Posts Tagged ‘ Power Metal ’

Album of the Week 16-2017: Labÿrinth – Architecture Of A God


Despite their distinctly Italian power metal sound, Labÿrinth was a pretty unique band in the country’s mid-nineties metal scene. They shared their countrymen’s melodic sensibilities, tendency towards higher tempos and somewhat symphonic approach, but also had an uncommonly romantic vibe for a metal band. However, not long after founding guitarist Olaf Thörsen left, the band entered an unprecedented identity crisis. Thörsen eventually returned, but band members were shuffled around freely. Luckily, the core of Thörsen, fellow guitarist Andrea Cantarelli and singer Roberto Tiranti is firmly intact on ‘Architecture Of A God’, easily the best Labÿrinth album since their masterpiece ‘Return To Heaven Denied’.

While the last album was good enough, it featured Labÿrinth playing things too safe by trying to create a copy of ‘Return To Heaven Denied’ to the point of self-plagiarism. On ‘Architecture Of A God’, the self-referencing is limited to a brief section on ‘We Belong To Yesterday’ and the atmosphere is more spontaneous. Personally, I was glad to see Thörsen’s former Vision Divine bandmate Oleg Smirnoff vacate the keyboard position. His greater focus on atmospheric texturing than neoclassical virtuosity makes him a unique musician within the genre and gives the album a breath of fresh air at times.

That is all relative though. Because ultimately, ‘Architecture Of A God’ is a typical Labÿrinth record. Speedy, somewhat progressive power metal tracks with highly melodic choruses are alternated with dreamy semi-ballads full of bright, shimmering acoustic guitars and if Tiranti isn’t wailing or crooning passionately on top, Thörsen and Cantarelli are elevating the melodies or shredding their hearts out. ‘Stardust And Ashes’, the surprisingly aggressive ‘Take On My Legacy’, ‘Someone Says’ and especially ‘Still Alive’ are all excellent melodic power metal tracks like we’ve come to expect from Labÿrinth through the years.

For all its class, ‘Architecture Of A God’ does take a slight dip in quality halfway through. While all separate sections of the title track are amazing, the transitions don’t flow as well and the novelty of the following cover ‘Children’ from dream trance legend Robert Miles wears off quickly. But the rest is incredible; ‘A New Dream’ is one of those progressive ballads Labÿrinth excels at and though it mirrors ‘The Night Of Dreams’ somewhat, it certainly improves upon its formula, resulting in an atmospheric work of art. Smirnoff’s compositional contributions ‘Random Logic’ and ‘Diamond’ are the album’s most unconventional moments. The latter – a beautiful, scarce ballad that is highly electronic in nature – closes the album in style.

After hearing the first tracks that surfaced, my expectations of ‘Architecture Of A God’ were sky high and I can gladly say they were exceeded. Everyone who likes their power metal with a healthy dose of melody and romanticism should give the album a spin. The guitars – both electric and acoustic – sound as good as ever and Tiranti hasn’t lost one bit of his emotional power. It may be a bit premature to call the record album of the year material, but I will be very surprised if I hear a better power metal record this year.

Recommended tracks: ‘Still Alive’, ‘A New Dream’, ‘Someone Says’, ‘Diamond’

Album of the Week 14-2017: Onmyo-za – Kishibojin


Concept albums can be a tricky affair, but when done right, their atmosphere and continuity lifts everything about the albums in question to a higher level. Take Onmyo-za’s ‘Kishibojin’. It’s one of those albums that leaves very little to be desired and therefore is almost impossible to turn off before it’s over. The band supersizes its unique combination of fairly traditional heavy metal riffs, an atmosphere inspired by Japanese myths and legends, an approach to songwriting that ignores genre boundaries and a duo of (almost) equally amazing singers, resulting in one of the best albums I have ever heard.

On the surface, all the songs having “Kumikyoku ‘Kishibojin'” in their titles – which I will omit from the separate songs for brevity reasons – already betrays that we’re dealing with a concept album, but there’s more subtle hints as well, such as songs transitioning into each other and recurring themes. All songs are great stand-alone tracks too, however. And there’s a consistency, both in terms of style and quality, that surpasses even the rest of Onmyo-za’s strong discography. That also means there’s no upbeat J-Rock songs here – though the aggressively playful ‘Oni Kosae No Uta’ is borderline – but I consider that a plus.

‘Kishibojin’ is a darker affair than the average Onmyo-za record, though songs like ‘Urami No Hate’ and the powerful opener ‘Samayoi’ have a hopeful undertone to them. You don’t have to understand Japanese – I don’t, for instance – to get carried away by the atmosphere. For instance, the middle section of the amazing ‘Kishibojin’ seems to portray insanity – highlighted by subtly shifting rhythms and lead guitar feel – and the ballads ‘Korui’ and ‘Gekko’ suggest a feeling of solitude. The slower, brooding tunes ‘Ubugi’ and ‘Michi’ are masterclasses in building atmosphere, while the brilliant closing track ‘Kikoku’ ties the whole thing together musically and mood-wise.

As far as performances go, ‘Kishibojin’ is as close to perfection as it gets without having its life sucked out. Bassist and band leader Matatabi and his wife Kuroneko are both great singers. The former delivers his best performance thus far on this record, while the latter is – as always – incredible. The guitar duo has perfectly complementary lead guitar syles, with Maneki having a more thematic approach and Karukan being responsible for the faster runs. ‘Kishibojin’ is session drummer Makoto Dobashi’s recording debut with Onmyo-za and his powerful, but not overly aggressive playing proves to be a perfect fit for the band.

While Onmyo-za has yet to release an album that is less than good, every good band has a release where they truly outdo themselves. ‘Kishibojin’ is that release for Onmyo-za. The generally melancholic atmosphere on the record may not be for everyone, but it’s also a very important part of what makes the album such an immersive listening experience. I would like to be critical and point out small mistakes, but the truth is that they are nowhere to be found. This is a near-perfect record, right down to the subtle, but indispensible keyboard flourishes. Go check it out, if you haven’t yet, and don’t blame me for your Onmyo-za addiction.

Recommended tracks: ‘Kikoku’, ‘Kishibojin’, ‘Michi’

Album of the Week 13-2017: Wicked Mystic – Lithium


Sometimes unexpected breakups inadvertently mean that bands go out while they’re at their peaks. Yours truly was thoroughly impressed with Wicked Mystic’s sophomore album ‘Lithium’, but before they could properly promote the record, the band had already broken up. And that means that outside of the Netherlands, not many people could acquaint themselves with this highly interesting hybrid of progressive and power metal. During those days, it wasn’t easy to find a record in the genre with such a perfect balance of melody and variation in the songwriting department. Easily one of the best Dutch metal records of all time.

Compared to its excellent predecessor ‘The Paramount Question’, ‘Lithium’ is more concise and a little more aggressive, but the general sound is similar. Specifically, this means the songs are shorter, but not simpler. Within the songs, quite a lot of things happen, but they never end up sounding disjointed. In addition, some of the album’s best moments are not in the riffs – despite their obvious quality – but in the clean and acoustic guitar passages, that the quintet seems to be quite liberal with. This may cause the album to sound a little busy at times, but that generally is its strength.

Two of the songs are even largely acoustic. ‘The Reverie’ is a beautiful, folky ballad with some excellent fretless bass work by Erik Schut, but the most wonderful acoustic work can be heard on the breathtaking closing track ‘Last Honesty’, which tells the story of a wrongfully convicted death row inmate through an immaculate build-up. Some acoustic guitar solos pop up from time to time, with those near the end of the strong heavy metal track ‘Inborn Jester’ standing out most. The heavier ‘Mournful Rhymes’ and the euphoric ‘Hollow Phrase’ profit from extended clean sections with fantastic lead guitar work by Niels Kuenen and Harald te Grotenhuis.

On the more aggressive side of things, there is the relatively speedy ‘Calm Despair’, which builds from a high-speed twin guitar intro to a song with driving rhythms and great vocals by Remko Roes, who draws parallels to Ronnie James Dio and Tad Morose’s Urban breed. ‘Knight Errant’ is the song that demands most versatility from him – from the more aggressive opening to the harmonies of the chorus. Opening track ‘Toxemia’ is easily the most modern song on the record and while it’s good, it’s probably not the best song to open with, as it’s a bit misleading.

Wicked Mystic recently had a brief reunion with one of their early line-ups, mostly focusing on the more aggressive thrash metal leanings of their early work. While it was a pleasant listen, ‘The Paramount Question’ and ‘Lithium’ were without any doubt the albums that showed the band from their more unique side. To call this progressive metal would give people the wrong impression of what the music sounds like, but it is a fact that Wicked Mystic didn’t let itself be limited by what was expected from contemporary power metal bands at the time. Worth a listen if you are into Iced Earth’s more adventurous material.

Recommended tracks: ‘Last Honesty’, ‘Inborn Jester’, ‘Hollow Phrase’

Album of the Week 12-2017: Seikima-II – Mephistopheles no Shouzou


A cliché often used for eighties rock bands that survived through the nineties is that their records sound as if the nineties didn’t happen. Hardly any album answers more to that sentiment than ‘Mephistopheles No Shouzou’. Despite being released in 1996, the compositions, arrangements and production scream eighties hard rock and heavy metal, while the band’s appearance and theatricality could be either a tribute to or a parody of Kiss during a time when Kiss themselves didn’t even wear make-up. One thing is for sure: it was almost impossible to find this much classy heavy metal on one record in the mid-nineties.

Most of Seikima-II’s records are good, but many of them lack a consistency that ‘Mephistopheles No Shouzou’ does have. The fact that it’s a concept album of Faustian themes may help the excellent flow of the record, although not an inch of the band’s versatility has been sacrificed. There’s the NWOBHM-tinged heavy metal of their early days, melodic hard rock tunes that wouldn’t sound out of place on their late eighties records and a bunch of power ballads, all passionately performed with a complete disregard of whatever musical trend reared its head, giving the album a timeless flair.

‘Jigoku No Koutashi Wa Ni Do Shinu’ kicks off the album in a delightful early eighties heavy metal fashion with all the simple, yet effective riffs and twin guitar harmonies you can wish for. This approach is combined with powerful galloping rhythms in songs like closer ‘Holy Blood ~Tatakai No Kettou~’ and the extremely well structured ‘Yajuu’. The power ballads may sound entirely out of style for the time of the album’s release, but especially ‘Who Kills Demon?’ – somewhat reminiscent of the band’s own ‘Stainless Night’ – is really good. ‘Salome Wa Kaette Satsui Wo Shirushi’ has a more epic nature, sounding unlike anything the band has ever done before.

Notably, former members have contributed greatly to the record. Especially original guitarist Damian Hamada, who wrote some of the album’s best material, including the aformentioned ‘Yajuu’ and the dark, brooding, slithering masterpiece of a title track. Former guitarist Jail O’Hashi wrote the closing track ‘Akuma No Blues’, which doesn’t really sound like the rest of the album musically and production-wise – it’s a seventies inspired blues rock track – but it’s too enjoyable to complain about that.

As for the actual members, Sgt. Luke Takamura III and Ace Shimizu throw around amazing guitar solos – including a mindblowing acoustic one in the title track – and Demon Kogure once again opens up his entire vocal register. Bassist Xenon Ishikawa and excellent drummer Raiden Yuzawa are surprisingly laid back for a metal rhythm section, but it works really well within the context of Seikima-II’s unique music.

Sandwiched between two records that have the band experimenting with a somewhat more poppy approach, ‘Mephistopheles No Shouzou’ often gets forgotten, but the truth is that it’s a quality heavy metal album released in a time that those were extremely rare. If you like your metal theatrical, epic, melodic and not afraid of a little experimentation, Seikima-II is your band. And with the consistency being as it is on ‘Mephistopheles No Shouzou’, it’s going to be difficult to turn off the album before it’s over.

Recommended tracks: ‘Mephistopheles No Shouzou’, ‘Yajuu’, ‘Jigoku No Koutashi Wa Ni Do Shinu’

Album of the Week 10-2017: Pentagram – Bir


Around the time ‘Unspoken’ was released, Pentagram must have realized that there was a demand for their Turkish language songs, which the album lacked. So a year after that album, the band released ‘Bir’, a collection consisting entirely of songs in Turkish lyrics or without any lyrics at all. This also marked the shortest break between two albums in the band’s history. And while the traditional Turkish flair that makes the band so unique wasn’t entirely absent on ‘Unspoken’, it is featured significantly more prominently on ‘Bir’, albeit not in the overwhelming, over-emphasized manner that bands with similar influences often employ.

If there should be any criticism about ‘Bir’, it’s the fact that it should have been an EP. The two instrumental tracks ‘Mezarkabul’ and ‘For Those Who Died Alone’ are exactly the same as the versions on ‘Unspoken’ and are probably only there for conceptual reasons. They’re fine tracks as they are for sure, but that only leaves the listener with about half an hour of new music. The good news is that every single one of those minutes is excellent music and many of the songs featured on ‘Bir’ are still staples in Pentagram’s live set to this day.

Starting with the diptych of the instrumental intro ‘Tigris’ and the title track, a downright fantastic, upbeat heavy metal track calling for unity. This song is bound to drive a Turkish heavy metal crowd crazy and it’s easy to see why: its message, its catchy chorus and its simple, but brutally effective riffing is designed for a communal feeling. The thrashy ‘Bu Alemi Gören Sensin’ – which features guitarist Hakan Utangaç on lead vocals instead of the more soaring Murat İlkan – and ‘Şeytan Bunun Neresinde’ – which sounds like Metallica after a holiday to Turkey – feature traditional Turkish poems set to brand new music, something which works better than it may sound.

Less well known is ‘Sır’ and while it did take a while before the song grew on me, it is a monster of a slower metal track that manages to have both a symphonic and a somewhat industrial feel at the same time. It doesn’t quite sound like anything Pentagram has done before or since, but fits the darker vibe of the second half of ‘Bir’ really well. That vibe is further emphasized by the brilliantly brooding ‘Ölümlü’, which features what is quite likely İlkan’s most “evil” sounding performance ever in its verses.

While it may be intimidating to buy an album with four instrumental tracks of which the longest two have been previously released, ‘Bir’ is still a very worthy addition to any metal collection. For one because it emphasizes Pentagram’s unique, yet familiar style and it solidifies the band’s status in their home country, where they are viewed as the number one metal band. It’s easy to see why: the guys are excellent songwriters and will never let flashy instrumental egos get in the way of a good melody and a memorable chorus. You’re guaranteed to have them stuck in your head even if you don’t speak a single word of Turkish.

Recommended tracks: ‘Bir’, ‘Şeytan Bunun Neresinde’, ‘Ölümlü’

Album of the Week 09-2017: Onmyo-za – Fuujin Kaikou


With the genre nearing five decades of existence, finding unique sounding metal is becoming increasingly difficult. Onmyo-za somehow succeeds at doing so without attempting anything too far-fetched. Their riffs and twin melodies are generally from the traditional heavy metal and hard rock mold, but their open-minded approach to songwriting allows for a spontaneous sound that contains elements of J-rock, progrock and hints of Japanese folk. Also, singing couple Kuroneko and bass playing band leader Matatabi forsakes the “Beauty and the Beast” approach of most metallic male-female singing duos in favor of something more melodic, further emphasizing their highly original nature.

‘Fuujin Kaikou’ is the wind-themed half of a diptych with the simultaneously released – and thunder-themed – ‘Raijin Sousei’. That doesn’t mean it’s all soft and subdued though; in fact, there are plenty of riff-driven metal anthems like ‘Ichimokuren’, ‘Tsumujikaze’ and the excellent opener ‘Kamikaze’ present. However, it is the more melodic and better – by a hair – of the two. This approach leaves all the room Kuroneko needs to deliver her best vocal performance to date and often lays the guitars of Maneki and Kurakan on an atmospheric, but never overpowering symphonic bed. And even the ballads – there’s quite a few of them – are remarkably powerful.

To start with the latter category: Kuroneko’s composition ‘Kumo Wa Ryuu Ni Mai, Kaze Wa Tori Ni Utau’ is the most beautiful, goosebumps-inducing ballad the band has ever released. It’s the only song on the record where the orchestral tracks take over the guitars, but it fits the beautiful, cinematic atmosphere of the song perfectly. Both guitar solos are simply breathtaking as well. This does not disqualify the other calmer songs though; ‘Manazashi’ and ‘Hebimiko’ are somewhat more traditional, but excellent ballads and ‘Yaobikuni’ brings to mind Dio’s lighter sounding singles from the late eighties.

On the – slightly – heavier side of things, ‘Yue Ni Sono Toki Koto Kaze No Gotoku’ is a true highlight. With a great build-up, highly climactic lead guitar themes and a downright spectacular chorus that has Matatabi and Kuroneko duetting beautifully, the song is simply a lesson in how to write a mindblowing melodic metal song. ‘Saredo Itsuwari No Okuribi’ is somewhat more subdued, but still a great metal song with irresistible melodies. ‘Muufuu Ninpocho’ features a godly bass sound courtesy of Matatabi and is a bit more rocky, as is the – almost traditionally – upbeat closing track ‘Haru Ranman Ni Shiki No Mau Nari’. Both of those are songs that could sound horribly out of place on a metal record, but the general atmosphere makes them work here.

Exploring Onmyo-za’s discography can be a bit intimidating for a westerner, due to the fact that every song and album title is in Japanese, but ultimately, it will be a rewarding experience. Their unique sound somehow feels familiar and highly original at the same time, which was exactly what yours truly was looking for at the time he discovered them. Their status as one of the more popular Japanese metal bands is absolutely justified and listening to ‘Fuujin Kaikou’ – or really almost any of their albums – is highly recommended.

Recommended tracks: ‘Yue Ni Sono Toki Koto Kaze No Gotoku’, ‘Kumo Wa Ryuu Ni Mai, Kaze Wa Tori Ni Utau’, ‘Kamikaze’

Album of the Week 02-2017: Firewind – Immortals


Due to the band members being busy with other projects, Firewind has been a little dormant the last couple of years, but luckily there is a new album. And not just any album, it’s the first metal highlight of 2017. Everything the relatively lackluster ‘Few Against Many’ was missing is here and then some. Maybe the songwriting collaboration with producer Dennis Ward was what Gus G needed or maybe replacing the great former singer Apollo Papathanasio with the downright exceptional Henning Basse is what the band was begging for, but whatever the case, ‘Immortals’ is an exuberant power metal record with some excellent musicianship to boot.

Sometimes a band returns after a while and it just makes sense. ‘Immortals’ is one of those cases. It actually feels like a new chapter in Firewind’s history. Of course the addition of a new singer contributes to that, but there is a freshness to the compositions that greatly adds to the replay value of the album. The interaction between the musicians has a more spontaneous feel than on the last couple of Firewind records and the choruses have a sense of urgency that even their most catchy material didn’t have. Part of that is production, but if a song doesn’t allow for a big chorus, you can’t fabricate it.

‘Hands Of Time’ surfaced a couple of months ago and actually works very well as a mission statement for ‘Immortals’. There’s no long intros, it just blasts straight into full speed in all its melodic, triumphant glory. Henning Basse’s voice is rawer than in his early Metalium days, but fits this brand of power metal extremely well. He handles the calmer work like the lone ballad ‘Lady Of 1000 Sorrows’ equally well as the heavier, more aggressive stuff like ‘Back On The Throne’. On the former, Basse has a distinct early Sebastian Bach vibe to his voice, while the latter is possibly the most thrashy song Firewind has ever done.

‘Immortals’ is a concept album about the Battle of Thermopylae and though I think Greek history themes are overdone in metal, Firewind does get the benefit of the doubt because three of their members are actually Greek. It hardly ever interferes with the music anyway, except for maybe the overlong spoken intro to what is furthermore the album’s highlight: the strong heavy metal stomper ‘Ode To Leonidas’. Other highlights include the powerful closer ‘Rise From The Ashes’, the beautifully epic ‘Live And Die By The Sword’ and the forceful ‘We Defy’.

Firewind is back and that’s a really good thing. In a time when European power metal seems a bit samey, ‘Immortal’ sounds like an album written with the carefree attitude of a youngster and ends up sounding like a combination of the best elements of traditional and contemporary power metal. The result is surprisingly dynamic and simply a very pleasant listen. And take it from someone who has listened to it a lot: it gets better over repeated listens. Let’s just hope that this will just be the beginning of a great year for power metal.

Recommended tracks: ‘Ode To Leonidas’, ‘Rise From The Ashes’, ‘Live And Die By The Sword’