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

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

HELLOWEEN Keeper of the Seven Keys Part II Album Cover Keeper of the Seven Keys Part II
HELLOWEEN
4.51 | 114 ratings
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JUDAS PRIEST Painkiller Album Cover Painkiller
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SABATON Heroes Album Cover Heroes
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LOVEBITES Clockwork Immortality Album Cover Clockwork Immortality
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4.69 | 9 ratings
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HELLOWEEN Keeper of the Seven Keys Part I Album Cover Keeper of the Seven Keys Part I
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4.45 | 94 ratings
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SEVEN KINGDOMS Brothers of the Night Album Cover Brothers of the Night
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NIGHTMARE The Dominion Gate Album Cover The Dominion Gate
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3 INCHES OF BLOOD Fire Up the Blades Album Cover Fire Up the Blades
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ARMORY Empyrean Realms Album Cover Empyrean Realms
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ETERNITY'S END The Fire Within Album Cover The Fire Within
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power metal Music Reviews

BEAST IN BLACK From Hell With Love

Album · 2019 · Power Metal
Cover art Buy this album from MMA partners
Kev Rowland
Right after the departure from his former band Battle Beast, Beast In Black’s founder Anton Kabanen recruited new companions in the way of high-pitched vocalist Yannis Papadopoulos (Wardrum), bassist Mate Molnar (WISDOM), guitarist Kasperi Heikkinen (U.D.O.) and last but not least drummer Atte Palokangas (Thunderstone), who officially replaced Sami Hänninen in early 2018. Their debut, ‘Berserker’ was well received, and now they are back with the follow-up, ‘From Hell With Love’. With a similar name to his last band, as well as the cover artist who worked on the debut Battle Beast album, ‘Steel’, Kabanen is making sure everyone knows he is following in a similar vein of symphonic power metal. Some of these songs, or at least bits of the songs, are really very good indeed and show just what is possible, but as for the rest…

Okay, let’s agree to just take the keyboards out the back and put them in a crusher. There are just way too many Eighties sounds and styles for my brain to process and as for the beginning of “True Believer”, if anyone remembers “Popcorn” by Hot Butter and thought we never hear the like again, well you were wrong. As for the synth drum roll in the same song, combine this with the over the top sugar harmonies and I felt not only was I in a timewarp but I was about to be very ill. I keep reading rave reviews of this album so guess I’m in the minority again, but I know this will never again desecrate my eardrums.

MAJESTY Legends

Album · 2019 · Power Metal
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DippoMagoo
It can sometimes be very shocking, when a well established band, known for a very specific sound, suddenly decides to shift gears seemingly out of nowhere. It’s happened with countless numbers of well known bands before, and will almost certainly happen countless more times, as bands continuously look to evolve and distinguish themselves from everyone else. One band who always had a clear, distinct direction to their music is German heavy/power metal band Majesty, formed in 1997, and with eight albums in their discography (or nine, if you include their Metalforce album, which had a different name, but was largely similar to their other releases.) While the band had made some very subtle changes on some of their albums (such as the more laid back Sword & Sorcery, or the pure, intense knockout of an album that was Hellforces) their main sound was always immediately noticeable, falling somewhere in between classic Manowar and early Euro power metal.

So, when the first single for their upcoming ninth album, Legends, was released and proved to be a dramatic change in direction for the band, fans were shocked, and in some cases disappointed to hear the band seemingly abandoning their usual sound. Personally, I found the change interesting, as I do love the band’s earlier releases, and found their previous album, Rebels, to be easily their best since Hellforces, but a potential shift in sound didn’t bother me one bit, as long as they could pull it off well. Now that I’ve heard Legends several times, I am left with mixed feelings, as there are moments where the new sound works wonders and takes the band to new heights, but there are also some misguided experiments, as well as times where trying to mash old and new elements together don’t quite work out. The album ultimately feels like a new beginning for something that could pay off on future releases, but at least for now, the band hasn’t quite nailed their new sound down as well as their old one.

Longtime fans of the band were certainly in for a shock when they heard the rather cheesy keyboards used on lead single “Burn the Bridges”, and while not every song falls in line with that one, there’s certainly a lot more where that came from. On each of their previous albums, Majesty played a style of music that could best be described as a mix of classic Manowar and Euro power metal, with a bit more speed and intensity compared to the former, while at times being a bit more laid back than the latter, while still being very epic and melodic at all times. Their lyrics were often in line with their heroes, as indicated by such album titles as “Keep It True” and “Reign in Glory”, and so Legends is already a big chance of pace, being a concept album centered around a post apocalyptic wasteland, complete with little bits of narration. This is the first sign of trouble, as the album lacks some of the fun and wackiness of their past albums, while the narration is very forced and irritating, especially on the very skippable intro track, which gets the album off on the wrong foot.

Musically, the band still has traces of their classic metal sound, but the songs all have a more modernized feel to them, with keyboards aplenty, and some of the guitar work has a slightly chunkier, more modernized sound to it. I actually find the album works best when the band goes all in with their new sound, as they do have the ability to write some very fun, energetic tracks with a slightly more modern sound, and the speedier, more power metal focused tracks are especially strong on this one, while some of the tracks where they try inserting some of their classic elements to go along with the keys and overall more melodic approach, just don’t quite work out too well. Performances are still strong across the board, with the guitarists having some great moments, especially some really beautiful, melodic solos on many of the tracks, while vocalist Tarek Mahgary still sounds like a slightly lighter singing, deeper voiced version of Eric Adams, and his vocals are as excellent as always, while the production is also top notch.

The biggest area where the album comes up short is in the songwriting. There are some excellent songs here, but there’s also a few that come up just a bit short of greatness, as well as one that could only be described as a total disaster. Following the terrible intro track I already mentioned, the band comes out full guns blazing with “Rizing Home”, a speedy, hard hitting power metal with some great lead riffs, an excellent solo in the second half, fun verses and an absolutely incredible anthem like chorus, the likes of which they’ve always excelled at, though this may be one of their absolute best, especially with the infectious hook of “ruh-ruh-ruh-ruh Rizing Home”, which will never get old! It’s also a perfect example of how to pull off their new sound effectively, without fully abandoning their past, as it’s still very much a heavy, energetic metal track, but it mixes in some keyboards, though the key is they’re largely kept in the background and used to add an extra layer of epic, to what’s already a great track, and so they’re never dominant or distracting. Overall, it’s an absolute masterpiece of a track, and one which, sadly, the rest of the album can’t quite live up to.

Following that epic opener is lead single “Burn the Bridges”, another fine example of the band’s new sound. This one immediately gives off some Sabaton vibes, with the very cheesy keyboards, and it has a lighter sound overall, though it still moves along at a fast pace, with some very fun verses, an epic build up and then the chorus comes in and manages to be simultaneously a whole lot of fun, while also being one of the most annoyingly repetitive things I’ve ever heard on a metal track. I eventually came to love it, but the fact that it has to follow “Rizing Home”, which manages to be equally energetic, while having a much stronger chorus, does end up hurting it just a bit. The solo in the second half is excellent, though, and it’s a very fun track overall. Next is “We Are Legends”, and this one is a bit of a mixed bag. It has traces of the band’s classic sound, with an epic, fun chorus that brings “Rebels of Our Time” to mind, but at the same time, the chunkier guitar work during the verses feels a bit out of place, while the keys are a bit awkward sounding, and don’t mesh well with the overall classic vibe of the track. It’s a case of old and new clashing together in a way where everything just comes off feeling a bit muddled.

The album picks up for a while after that minor letdown, with second single “Wasteland Outlaw” laying down the blueprint for how to make a slower paced, more laid back heavy metal track with the band’s new sound, as it’s very light, very keyboard dominant and is one of the most relaxed and more melodic tracks on the album, with guitars playing a very minor role. At the same time, it’s a very enjoyable track, with an excellent, irresistibly catchy chorus and an excellent melodic guitar solo. Next is “Church of Glory”, another very keyboard driven track, though it’s a more upbeat track, with some very bouncy keyboard hooks during the verses, while the chorus has more of a classic feel to it, with some nice melodic guitar work, some insanely epic backing vocals, and awesome vocal melodies all around. It’s definitely one of the best, most fun tracks on the album, though some fans may be turned off by the over the top keys. Another strong track is “Mavericks Supreme”, which is very much in line with the previous track, though the keyboards are a bit more restrained, and if anything the chorus is even more epic and fun. It’s another fun, upbeat track, with incredible backing vocals, an excellent, very melodic guitar solo, and a nice use of keyboards. The final speedy track on the album comes two tracks later, with “Last Brigade”, and it’s another massive highlight, probably the best on the album aside from “Rizing Home”. It’s a fast paced, hard hitting track with some very aggressive guitar work, fast and furious verses, and an unbelievably uplifting, insanely epic chorus, with some more incredible melodies and backing vocals. It’s one of those tracks that fits in perfectly with the new sound, while still managing to have a slight throwback feel to it, and it’s absolutely amazing from start to finish.

Unfortunately, the worst moment of the album comes in between those last two tracks. Majesty are usually pretty good at ballads, with “Across the Lightning” from Rebels being particularly excellent, but it’s safe to say, “Words of Silence” is by far their weakest ballad ever, if not their absolute weakest song, period. It’s largely a piano ballad, with slight symphonic elements, but it struggles to get going right away with some rather awkward vocal melodies, and more alarmingly, an F-Bomb shows up early on, with more to follow later in the track. The thing is, swearing can be effective, if used on an angry, aggressive track, but on such a tame sounding ballad, it just feels forced and hopelessly out of place. Worse though, the second verse has an attempt at some very bouncy vocal melodies that come close to rap, and it’s just pure torture to listen to, while the chorus is better, and feels close to being good, but it just doesn’t quite get there: Something about it just feels a tad off, and so it never gives the emotional feeling it should. A nice guitar solo in the second half is really the only redeeming quality the track has, but otherwise (and I really hate to say this,) the track is an outright colossal failure, and one of the worst tracks I’ve heard so far this year, if not the absolute worst.

With that downer of a track out of the way, we move to the final two tracks, both of which are solid, but unspectacular. First up is “Blood of the Titans” a slightly upbeat, hard hitting track, with solid verses and a pretty epic, fun chorus, though it doesn’t reach the heights of most of the earlier tracks on the album, aside from another excellent guitar solo in the second half, as well as a great use of keys. Closing out the album is “Stand As One”, a very modern sounding, more mid paced track, with some very chunky riffs, an overuse of keys, and decent verses, helped somewhat by yet another very fun, epic and catchy chorus, with more outstanding vocal melodies. Its not the strongest way to end an album, but it’s a pretty solid track, and it doesn’t reach the lows some of the other tracks do, so it’s a fine enough ending.

Legends is an interesting album, in that it shows signs of being incredible at times, with the new keyboard driven focus working wonders on some tracks, while the vocal melodies and choruses are generally amazing, the speedier sections tend to be equal parts intense, melodic and pure fun, while the solos are excellent, as always, and yet there are enough weaker points to drag the album down, to the point where it ends up being a bit of a mess. I think Majesty need to decide whether or not they’re willing to fully commit to this new sound or go back to their roots, as the tracks that lean more towards one way or the other tend to work out the best, while tracks that try and mix the two together often see the two styles clashing in ways that cause the song to turn into a muddled mess. I can definitely see longtime fans of the band being disappointed, though I can also see people turned off by their Manowar influences being more willing to give this album a chance, thanks to the more modernised approach, while newcomers are likely to find some enjoyment, as there’s enough variety and enough outstanding moments for the album to be worth a shot. It’s not as good an album as I was hoping it would be, but it’s still very fun at times, and it does show potential for better things in the future, if the band can figure out how to pull everything together. At the vary least, it feels like a potential start to a new era for Majesty, and it leaves me very excited to see what they come up with next. It may not be the total knockout I was hoping for, but it certainly isn’t a total failure, either. It’s more of a fascinating near miss, than anything.

originally written for myglobalmind.com: https://myglobalmind.com/2019/06/26/majesty-legends-review/

SABATON Carolus Rex

Album · 2012 · Power Metal
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Kev Rowland
‘Carolus Rex’ was originally released in 2012, a concept album about Sweden’s 17th and 18th century empire, with a special focus on the rise and fall of Charles XII, the tragic king who devoted his whole life to war but could not prevent his empire’s downfall. They were the first Swedish metal band to gain platinum status in their home country, and it was recently certified as quadruple platinum, so it has been reissued with new artwork, additional tracks and even blu-ray discs. I always think of this as the beginning of the Sabaton at the top of their particular power metal tree, although strangely enough I have always preferred the albums which followed this.

The powerful riffs, strong anthems and vocals are of course all in place, but it never really has the spark which is so prevalent on the later works. Strangely enough, the live album which followed this and includes plenty of these songs is probably the one I would suggest people listen to first when coming across the band before moving on to ‘Heroes’ and ‘The Last Stand’. There are some bonus songs on the new version, including a Sabaton-ised version of “In The Army Now”. It may fit with their lyrical vision, but it certainly doesn’t fit musically! Made me smile though. Sabaton have released great albums throughout their career, and while I don’t think this is one of them it is still certainly worth investigating in the new expanded versions.

PALADIN Ascension

Album · 2019 · Power Metal
Cover art Buy this album from MMA partners
DippoMagoo
As someone who’s always looking out for promising new power metal bands, one band that managed to catch me completely by surprise when seeking out new promo materials, is American power/thrash/melodeath band Paladin. I had never heard anything about the band going in, but apparently they released a demo in 2017, went through some lineup changes afterward, and now they’re ready to release their debut, Ascension later this week, and it is one heck of a killer album!

The band is led by vocalist/guitarist/songwriter Taylor Washington, who is clearly the star of the album, though the other three members also do an excellent job, of course. Musically, Ascension is quite the interesting release, as its two singles may make it seem like fairly typical power metal, except with a slight thrash edge to some of the guitar work, but there’s actually quite a lot going on throughout the majority of the tracks, with some very thrashy instrumental work at times, as well as some extended harsh vocal sections. In fact, while quite a few power metal bands do use growls on occasion, I struggle to think of many who do it quite the way Paladin do, where a song can start off feeling like thrashy power metal, with strong, soaring clean vocals, and then suddenly a huge, explosive melodeath section will come with some epic growls. And of course, it often goes the other way around, too, with “Carpe Diem” in particular starting out with a thunderous, powerful opening verse that brings classic Swedish medlodeath to mind, before opening up with a soaring, very melodic, cleanly sung chorus. And on top of all of that, the instrumental work often switches from very melodic, albeit guitar driven, power metal, into all out thrash territory within an instant. Suffice to say, the band does an excellent job of genre blending, and while the core of the music is definitely power metal, there’s quite bit of thrash and melodeath to find, often showing up seamlessly into a track, and everything is executed to near perfection.

Performances are excellent across the board, with Taylor and Alex Parra in particular delivering some excellent guitar work, which often switches from very melodic, to quite crunchy or quite aggressive and then back again, in a hurry, while Nathan McKinney’s drumming is generally frantic, to stay on pace with the generally speedy tempos of the tracks, but it’s also very well done. Taylor’s vocals are also impressive, alternating seamlessly between soaring, powerful clean vocals, and some deep, intense death growls, which fall somewhere in between classic death growls and blackened rasps. His clean vocals are smooth, and he does a great job during the epic choruses, while at times having a slight edge to his voice, which also works very well, and is especially effective during the thrashier sections. The songwriting is also impressive, with most songs doing a great job of incorporating different elements, though the couple of more straight-forward power metal tracks, “Awakening” and “Shoot for the Sun”, the two singles for the album, are also both excellent, immediately engaging tracks. Production is top notch, with everything sounding crystal clear and powerful, and for a debut, the band sounds very tight.

Songwriting is one area that can take time for bands to master, but Paladin has nailed it down quite well on their debut, with every song being excellent. It all starts off with opening track and second single, “Awakening”, a very speedy, melodic power metal track, which alternates between frantic, intense verses, and a soaring, melodic chorus, where Taylor really shines. It has some excellent melodies, especially during the chorus and excellent solo in the second half, as well as some riffs that slightly hint at a thrashier sound, though that doesn’t fully emerge until later in the album. Speaking of which, the next track, “Divine Providence”, introduces the band’s full sound, starting off at more of a relaxed mid tempo, before some powerful growls enter in early on, during an atmospheric section that introduces the band’s melodeath side, and then for a while the track alternates between clean and harsh vocals, as well as frantic sections and more mid paced sections, until a big instrumental section later on, where some obvious technical thrash elements appear. And thus, Palandin’s full sound has been properly unveiled, in all its glory, by the time the track is over.

The melodeath elements only get stronger on “Call of the Night”, which opens with a very speedy, melodic, growled chorus that certainly brings many classic Swedish melodeath tracks to mind. This continues on for a while, before Taylor brings back his clean vocals for an epic chorus, and then the track continues to alternate between melodeath and power metal as it goes on, which makes for one explosive, highly addictive track. Fans looking to hear the thrashier side of the band need look no further than “Call of the Night“, another frantic track, which kicks off with some very hard hitting, thrashy guitar work, and while it does throw in more growls during the chorus, it’s pretty much an unrelenting power/thrash assault from start to finish, with some very powerful and intense clean vocals from Taylor, as well as an incredibly fun and heavy instrumental section in the second half. It’s definite one of those tracks where the band does an amazing job of alternating between their wilder, heavier side, and their more melodic power metal side, with both aspects coming through perfectly. While the album has some great vocals, the more instrumental side of the band comes through strongly on “Black Omen”, another speedy, very hard hitting track, which has some great extended instrumental sections, and the guitar work gets very technical in places. There are some vocal sections, as always, including both clean vocals and growls, but it’s the instrumental sections that standout the most, most notably during the first minute, as well as an extended section in the second half, which alternates nicely speedy, heavy guitar work, and a very nice slower section.

The album moves into slightly more straight-forward material for a while, starting with “Fall From Grace”, another speedy, very melodic track, with an extremely strong chorus. It has a slight thrash edge to it during the verses, but it also has some very nice melodic guitar work, as well as one of the best choruses on the album. Next is “Bury the Light”, one of the band’s earlier songs, as it appeared on their 2017 demo, and it’s another track which brings some classic melodeath to mind, with some very melodic guitar work early on, before speeding up and unleashing some intense growled verses, which give way to a slightly slower, very melodic chorus, which alternates between the two styles. It’s a simply, yet very fun track, which again shows both the heavy and more melodic sides of the band quite well. Perhaps the most straight-forward song of all is lead single “Shoot for the Sun”, a fast paced, hard hitting track which has very technical guitar work, as well as some classic speed metal influences, with intense rapid fire verses, and a simple but fun chorus. It brings the first two Hibria albums to mind, and is definitely a very fun, catchy track, as well as a great display of heavy, guitar driven classic power metal.

Moving towards the end, “Vagrant” is another track which does a great job of incorporating the band’s various styles, with fast paced, slightly thrashy verses, a very melodic, cleanly sung chorus, and some growls here in there, as well as more thrahsy guitar work in the second half. Next is “Dawn of Rebirth”, another one of the more thrashy songs on the album. It has a nice mix of both vocal styles early on, as well as some great melodies during the verses and chorus, and then it the second half it has an extended instrumental section where the band goes into full on technical thrash territory again, and it’s absolutely glorious! Closing out the album is “Genesis”, the longest and most epic track of the bunch. It has some nice melodic guitar work throughout, and starts off with some powerful harsh vocals, during a nicely paced, though not terribly speedy section. It carries on at this pace for a while, before slowing down in the middle for some of the most melodic and beautiful guitar work on the entire album, and Taylor alternates wonderfully between his two vocal styles, delivering some of his best vocals with both styles, before the music picks up one last time to close out the album. It’s an epic track on its own, and it’s definitely an excellent way to close out the album.

Paladin is one of those bands that kinda crept up on me from out of nowhere, and they managed to make a strong first impression with their debut, Ascension. It’s an excellent blend of speedy, melodic power metal, aggressive, technical thrash and some epic, powerful melodious death metal. While the power metal elements are the most prominent and are on every track, the band does an excellent job of blending the three styles together on most of the tracks, which helps make it quite a unique album. Fans of all three styles are highly recommended to give this album a listen, as it’s an amazing debut on all levels, with excellent musicianship, great songwriting and a killer vocal performance. This is a band I could see doing really awesome things, so hopefully they can gain a large following with this album, and have the success they deserve!

originally written for myglobalmind.com: https://myglobalmind.com/2019/05/13/paladin-ascension-review/

HAMMERFALL Legacy of Kings

Album · 1998 · Power Metal
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Kev Rowland
When HammerFall released their second album in 1998 they were following up from the incredible success of their debut, and cemented it with ‘Legacy Of Kings’ which charted in multiple territories including Top 20 in Germany and their home country of Sweden. Nuclear Blast have now released a boxed set containing two CDs and a DVD (which I haven’t seen), with loads of additional material which makes this a “must purchase” for any fan. The ’20 Year Anniversary Edition’ contains the original album (remastered of course), along with singles/bonus cuts which were available in other territories, live versions from recent tours, and what is probably the most interesting for real fans, rehearsal demo material from 1998. It is certainly interesting to compare those songs with how they sound on the original album!

HammerFall rarely fail to deliver, and this is certainly no exception with their take on power metal which at times also brings in a folk element, always with loads of bottom end and great vocals. It is interesting to hear them cover Helloween’s “I Want Out” as while a good version it doesn’t contain the power and emphasis of their own material, while I am still not sure why they recorded “Man On The Silver Mountain”, but they don’t do bad (and it is a brave man indeed to take on Ronnie). I am sure that most metalheads will already have this album in their collection, but while waiting for the next album (which should be out in a few months), this is well worth investigating again.

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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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