Betoken: Beyond Redemption (2014)

Inadvertently Correct Album Title

Review by joanismylover, the third metal attorney.

I have only been to a lounge once that played "lounge music." It was fun. We lounged around. We drank cocktails. We chilled. We requested Billy Joel be played by the piano man. We tipped said piano man when he played "Piano Man." It was relaxing, fun and a good time out. I'd never do it again, but it was fun.

But it was fun in a non-metal kind of way. Metal is fun but one does not lounge while listening to it. Maybe one gets stoned, if that's her thing. Maybe she checks out for a bit and hails to the Dopesmoker or Jerusalem. But she does not "lounge." She does not chill. She will not drink fancy cocktails and listen to metal.

Satan's Host: Pre-Dating God, Parts 1 and 2 (2015)

Power Metal That’s Not a Joke

Power metal is a joke. If you’re American, you’re probably going to agree with me there, and I’m guessing there are a whole lot of extreme metal fans around the globe that feel the same way. But then, there are exceptions to that rule.

Satan’s Host is exceptional. A few years ago they blew my mind with their blackened power metal, and now they’re back to do it again. There’s never been anything wrong with high-energy performances, soaring guitar solos, and dramatic clean singing. Never. What’s wrong with the rest of power metal is the cheese factor, and maybe even the particular feel-good metal vibe. Satan’s Host is not about to make a feel-good song, and it’s clearly non-dairy.

Satan's Host: Virgin Sails (2013)

Infinite Impossibilities

Review by Metallattorney. He is the law.

I love Satan's Host. I have made absolutely no secret of that over the years. Their last full-length of original material nabbed the top spot on my end of the year best albums list. I even enjoyed a lot of their black metal material when their Satanic lyrics and image were overwhelming. Of course even though Patrick Evil's stunning guitar work was the star attraction, as it has always been throughout the band's history. Their blackened power metal style of their last album is still my favorite. So I was pretty excited when Satan's Host released a new album.

This is the long-running evil Colorado band's second album since Leviathan Thisiren, aka Harry Conklin of Jag Panzer, returned to the band for the first time since their 1987 EP. His return had brought back a clean vocal style instead of the blackened rasp of former vocalist L.C.F. Elixir. This change in vocal style brought a significant amount of attention back to the band, even though their black metal material was actually pretty strong.

Lord: Digital Lies (2013)

A Bad First Impression, But Solid Album

Review by Metallattorney. He is the law.

First things first, the awful title. This is the kind of title you would have expected in the 1990's when that newfangled internet showed up, but now it just seems outdated. That, added to the cover that looks like something out of a cheap SyFy channel movie is not really the best way to make a first impression.

I will admit I was a little surprised by the sound. I probably shouldn't be anymore, but I was a little surprised by the upbeat power metal. I was expecting something darker. But this is not the "flower" metal style made popular by bands like Sonata Arctica, Rhapsody, or anyone like that. This is the more extreme form of power metal which found its roots in groups like Jag Panzer in the United States. Lord is the new band of Lord Tim (pretty sure that's a Monty Python reference), who previously headed Dungeon in Australia. I was never really familiar with Dungeon other than hearing the name occasionally, but they had a decent track record.

Powerwolf: Preachers of the Night (2013)

Res Ipsa Loquitur

Review--or, rather, an argument--by joanismylover, the third metal attorney.

The issue on this review is why anyone would listen to Powerwolf. The elements that constitute heavy metal music are at least one of the following: 1. swagger that snaps necks and/or dual guitar harmonies that invoke Wayne's World air guitar outbreaks; 2. "dangerous" or at least a little sinister, or, in the alternative, transcendent and uplifting amid thunder or sludge; or, 3. fucking loud.^^ The rule assumes the heavy metal music is purveyed by at least one guitar and actual drums, bass being helpful and keyboards being muted or hidden backstage, a la Dio in the early 80s.* This review will argue that Powerwolf - and by extension a great deal of European "power" "metal" - is not heavy metal at all, having no swagger, lacking danger, and not being very loud.

Fatal Impact: Esoteria (2012)

Keep on Runnin'

A scathing, song-by-song review by joanismylover, the third metal attorney.

Here is my stream of conscience review of Esoteria, song by song, as it happened while listening at work:

[A New Era] Some cool riffing but then devolves into some incongruous singing with a plodding guitar line, “progressing” to some chug-a-chug-a-chug-a riffing. Then some KSE type toned metalcore, but without their heft or emotion. Tolerable.

[Where the Alders Grow] Pick my head up midway through because it’s so bad, I ask myself the question, “Who listens to this kind of drivel?” Honestly, it’s so saccharin – Journey and REO Speedwagon blow this out of the water.

Circle II Circle: Seasons Will Fall (2013)

Savatage-Lite

Review by Metallattorney. He is the law.

A couple of bands have formed over the last couple of decades from former members of Savatage. Of course there is the big one, Trans-Siberian Orchestra, featuring Jon Oliva, Al Pitrelli, and Chris Caffery, all of whom were major parts of the band. Then there is Circle II Circle and Jon Oliva's Pain. Circle II Circle was created when Zak Stevens, Savatage's singer that took over when Jon Oliva stepped away after the death of his brother, left the band. Stevens was the vocalist for most of the 1990's and was in the band when they started drifting toward the TSO sound.

Stevens was not really my favorite singer that Savatage has had. Part of that is perhaps due to the fact that I generally liked the music better on the albums with Jon Oliva as vocalist. Stevens is a decent vocalist, he just never really clicked with me on the later era Savatage material. On this album though he sounds great. He has a powerful voice with a lot of character in it. He is definitely the best part of this album.

Paragon: Force of Destruction (2012)

Take-No-Prisoners Power Metal

This is only the second power metal review on the site this year. You know how much we like power metal in general, but this album is approved by Metallattorney. He is the law.

If I had to think of one genre that Germany is particularly well-known for in the metal world, I would probably have to pick power metal. Not to suggest that other genres are not done well, obviously I am a huge fan of German thrash, but the country really produces a lot of good power metal bands. And not the overly flowery types like Sonata Arctica, real power metal. With groups like Helloween, Blind Guardian, Grave Digger, and Running Wild among others, Germany is definitely a hotbed for power metal.

Paragon is a German power metal band that has apparently been around for more than 20 years but has heretofore escaped my notice. I do not seem to be alone in this respect as a cursory glance at their discography on the Encyclopedia Metallum indicates only one or two reviews for most of their full-length albums. This is the band's first release on a more recognizable label.

Theocracy: As the World Bleeds (2011)

Review

There is an entire parallel universe of Christian popular culture out there. They have Christian music, books, and movies in every genre (save pornography, I think). It was a pretty big deal at my alma mater, a place where the weekly "Praise" sing-along was the central social event, or so I gathered, having never gone myself. Most of the time this kind of thing is wholly insulated from the rest of pop culture, although the occasional crossover does become successful (Amy Grant, Left Behind, etc.). The problem with most of it is that it's message first, art second. It's also generally intended to offend as little as possible (even though offense is sure to be made if Christian doctrine is to be strictly interpreted), and be uplifting, and those attitudes bleed further into the art itself. In the case of metal, that often strips away the danger of the music, a necessary element.

But Theocracy aren't overly concerned about causing offense. They address Luther's 95 Theses, a topic sure to offend Catholics. They also address the doctrine of Original Sin, surely offending the many Christians who don't accept the doctrine (the popular Left Behind books assume it's incorrect). So Theocracy successfully jumped a major hurdle in the path of a Christian metal band.

Unleash the Archers: Demons of the AstroWaste (2011)

Review

Quite some time ago, I reviewed the debut album of Canada's Unleash the Archers. I praised their unselfconscious brand of power/thrash/melo-death because of its balls-out intensity, catchy songs, and the powerful singing of frontwoman Brittney Hayes. She remembered that positive review, and provided me with a copy of their sophomore effort, Demons of the AstroWaste. The prospect of any improvement in this already excellent band had me practically frothing at the mouth.

Then I listened to it, and was reminded of the so-called sophomore slump. It's not that the new album is bad. The elements of great singing, great riffs, catchy choruses, and high intensity are all still there. Some of the songs are great, too. The metalcore leanings I mentioned in the first review have been emphasized, but that's not necessarily such a bad thing. But there is something different, and in a bad way.

Communic: The Bottom Deep (2011)

Review

I've mentioned before that I love American-style power metal. The more aggressive, less cheesy cousin of the Euro variety does exactly what I want it to do. And Norway's Communic is about the only European band to do it the American way.

The Bottom Deep is the band's fourth full-length. If you've heard them before, you know what to expect. If not, chances are you've heard Nevermore, and that will put you in the right frame of reference. Jeff Loomis-style thrashy power metal riffs with the occasional pinch harmonics, peppered with the occasional undistorted section, with an operatic, emotional vocal performance. Cool riffs, big drama.

Aittala: Haunt Your Flesh (2011)

Review

Eric Aittala contacted me with a review copy of his one-man-band's sophomore album, Haunt Your Flesh. He does everything in this band, although it seems the drummer is uncredited (to my knowledge).

As Metallattorney observed, this album is unique. If you're tired of hearing the same thing over and over, it's a welcome respite. Even with its unique identity, the influences are clear: Aittala has probably given intense study to the playing techniques of Jon Schaffer, Jeff Loomis, and Jerry Cantrell. He even uses the word "sanctuary" in "New Day", possibly as an intentional reference to Loomis.

Satan's Host: By the Hands of the Devil (2011)

Review

I've said it before, and I'm sure I'll say it a million times again from now: I am not a fan of power metal. But when I say that, I really mean I'm not a fan of the uber-cheesy European-style power metal. Soulless shred and, frankly, pansy-ass singing does not interest me. But in fact, I love American-style power metal. There are so few bands playing it (Nevermore, Iced Earth, Jag Panzer, and Norway's Communic) that sometimes I forget it even exists. But what does exist usually blows my mind.

I picked up By the Hands of the Devil from Satan's Host based on a recommendation from Metallattorney, who called it an album of the year contender. He is not wrong. The sound is based in the thrashy American vein of power metal, with highly aggressive riffs and the good kind of over-the-top vocals. The Tyrant (also of Jag Panzer) sounds like Communic's Oddleif Stensland at times and at other times like Dio. As far as the riffs--have you ever wondered how blackened power metal would sound?

Firewind: Days of Defiance (2010)

Review

Greek power metal stalwarts Firewind have been one of the best-known power metal bands for quite a few years (among American metalheads, anyway). But they got a huge boost when guitarist Gus G. joined the Ozzy camp, and Days of Defiance is the band's bid to take full advantage of that fact.

Power metal is quite literally a mainstream genre throughout much of Europe, but here in the U.S. it's always been relegated to a very small fan base--rejected by the rest of the metal clans as an aberration, with the occasional exception of the American style of power metal. A lot of the reason for that is, it's just plain cheesy, and it reminds us too much of our own embarrasing mainstream metal of the 1980's. (Europeans seem to still like that crap. Go figure.)

Firewind has always been more palatable, though, and Days of Defiance is no different. Sure, it's European power metal--virtuoso guitars and dramatic clean vocals always take the forefront, keyboards play in the background and they get leads, and most of the songs could be considered ballads. But Firewind is far less cheesy than, say, Rhapsody of Fire. The vocals are just barely over the top, and the keyboards rarely take the lead (but see keyboard interlude "The Departure" or the intro and outro to "Embrace the Sun"). The guitar leads are strong, and despite Gus's obvious talent, he never goes out of his way to show it off at the expense of the song. Plus, they know how to keep the heavy in their brand of metal, with some melo-death leanings on tracks like "The Yearning".

The music is catchy, and even when they do a straight-up ballad, it's not always embarrassing. "Broken", for example, switches between acoustic verses and an infectious power ballad chorus. It's even better when it's not a ballad, though. "World on Fire" has dissonant verses and a sing-along chorus followed by a heavy riff, and closer "When All Is Said and Done" has everything you could ever possibly want in a power metal song. Instrumental "SKG", with its guitar and keyboard solos, could be a Dream Theater song if I didn't know any better.

Still, the tracklist is geared a tad too much toward ballads for the average American trve metal crowd, with "Kill in the Name of Love" being the biggest crime. But with all the things going for Firewind right now, they could be a big breakthrough act in the U.S. mainstream. Most of Ozzy's youngest fans are far too young to feel any personal embarrassment by the similarities to 80's mainstream metal, and the music is catchy. There's a small chance power metal could finally be hitting the mainstream in America. Maybe--I give it a 50/50 chance.

The Verdict: Firewind have released another strong album, which gets past the shortcomings of European power metal for the most part. It's still a little ballad-rich, but that may be just what they need to make a run on U.S. rock radio. I give it 4 out of 5 stars.

Raintime: Psychromatic (2010)

Review

Raintime released one of my favorite power metal albums back in 2007, so I'm not quite sure why it's taken me so long to get around to reviewing their latest, Psychromatic.

As always, their signature sound is a unique blend of power metal, melodic death metal, and progressive metal--sort of a combination of Rhapsody of Fire, Soilwork, and Dream Theater.

The guitars hover on the border between melo-death and the heavy end of power metal. The keyboards sound a lot like any other power metal band that uses them, but they never get excessive (they get their due on the synth-driven, soft track "Shift"). The drums are powerful, and at times can get very aggressive (see "Beaten Roads"). But there are still some problems with this record.

The vocals are both sung and growled, but this time around the singing voice seems rather thin. Maybe we could chalk that up to production, as overall it seems a tad flat. That's no excuse for the weaker growls, though. The track list seems to bend more toward ballads--"I Want to Remember" and "Fake Idols" are all-out ballads, but many more songs have ballad tendencies--so much of the power seems to be sucked out of their power metal. This is made worse by the fact much of the softer stuff is toward the front of the list. Still, the Raintime I know is present later, with "Beaten Roads", "One Day", and "Buried in You" being shining examples.

They've also included a lot of variety, including a dance-style beat and a heavy breakdown on "Turned Up and Down", and going epic on album closer "Walk-on Actor".

The Verdict: Raintime has suffered some serious lineup problems of late, including the loss of both guitarists. Whether that's cause or symptom of the problem, it's evidence this was not their finest hour. I give it 3 out of 5 stars.