From The Metal Archives Vol. 8 - Soulseller Records

[When I add labels to the Metal Labels on Bandcamp page I usually scan their releases looking for anything interesting I might have missed. The reviews on The Metal Archives are a great help when doing this: a couple of great reviews

By the reviewers from The Metal Archives.

[When I add labels to the Metal Labels on Bandcamp I usually scan their releases looking for anything interesting I might have missed. The reviews on The Metal Archives are a great help when doing this: a couple of great reviews means an album I should probably check out. With this series I'd like to share some of my finds - in this edition we feature three releases from Soulseller Records, two classics and a hard rocker of recent vintage, but with a soul of the classics.]

Cover art by Lise.

[The Metal Archives reviewer Thamuz said]

The compositions evolve eloquently, often displaying several dynamic shifts per song, combined with a neo-classical spirit that entails subtle evolutions within. The opener “I Sang With The Swans” is an excellent example of this, starting with a minimalistic melody surrounded by subtle atmospheric drum-beats before slowly progressing and building up to climatic proportions, before settling in back to the original tempo. This is only the first three minutes, before a vocal has even been sung - the start of a recital of epic proportions.

[read Thamuz' full review here]

[The Metal Archives reviewer dismember_marcin said]

I don't think there were that many new bands and albums, which came out in new millennium of 2000's that made such a big impact on the death metal scene as Repugnant's "Epitome of Darkness" did. Sincerely I think this band and album, together with Daniel Ekeroth's "Swedish death metal" book is responsible for influencing a bunch of youngsters to play this obscure style with passion and style, which haven't been seen since the early 90's! Repugnant and "Epitome of Darkness" probably also directed them to take the image of cult horror movie freaks, with all the empty tombs, zombies and stench of cadaver around it, by writing some cool, horror lyrics and using an adequate front covers.

[read dismember_marcin's full review here]

Cover art by Joe Petagno.

[The Metal Archives reviewer CHAIRTHROWER said]

Erik Sugg's (also active with Lightning Born) eerily wobbling vocals are as groovy as ever while the battery comprised of bassist Paul Walz and drummer Bill Eagen certainly doesn't play second fiddle to Sugg and Larry Burlison's heady, melodic chops and bluesy showmanship, as attested by its dominance on the late 60s/Jefferson Airplane & The Doors sounding title track and all-around solidity, from the opening, triplet based "The Waters and the Wild" to the swinging and twirling Black Sabbath evoking closer "Mourning Son", which halfway in devolves into a super nostalgic, Mountain/Leslie West sounding wind-down.

[read CHAIRTHROWER's full review here]

Angel Sword - Neon City

By Calen Henry. I love Angel Sword but I wasn’t sure on them at first. Their mix of rough, melodic, mid-paced heavy metal and gravelly Lemmy inspired vocals can take a bit to get into, but it’s chock full of hooks and sing-along choruses. They sound authentic and like they’re having a ton of fun

By Calen Henry.

Artwork by Art by Bring

I love Angel Sword but I wasn’t sure on them at first. Their mix of rough, melodic, mid-paced heavy metal and gravelly Lemmy inspired vocals can take a bit to get into, but it’s chock full of hooks and sing-along choruses. They sound authentic and like they’re having a ton of fun. The odd mix of vocals and musical style really set them apart from the heavy metal crowd.

Much to my delight, Angel Sword’s second full length, Neon City, dropped over the weekend with little warning or fanfare. It continues the heavy metal journey started on their first album, Rebels Beyond the Pale. The titular city is, in fact, pictured on the back cover for their last record and it's the urban counterpoint to the previous album which featured songs focusing on heavy metal, Mad Max inspired highways, and heroes fighting against authority.

The anti-authority sentiment continues, but, as is immediately apparent from Neon City’s cover, it takes it’s cues from Cyberpunk building up the story of a thought-controlled surveillance city-state policed by brainwashed cyborgs and the fight against total control. The liner notes are perfect for their retro brand of Cyberpunk metal. Included with the download are digital liner notes all designed to look like a DOS terminal displayed on a glowing green CRT monitor. They’ve even given file extensions to the track (.trk), production (.job) and band member (.mem) lists and the lyrics sheet separates lines with /// and uses REPEAT CHORUS. It’s pitch perfect.

There is also a bit of a musical shift keeping the theme cohesive. Jerry Razors’ vocals are largely unchanged but the band is a bit tighter and cleaner sounding this time with some speedier sections of double kick and metal gallop propelling things along. Some may miss the messier sound from Rebels, but the tighter, cleaner sound is perfect for the Cyberpunk vibe permeating the album. As a bonus, the master is DR 11 so you get the full retro metal sound with nice retro dynamics giving the low end a great thump and compelling you to crank it up.

Gygax - High Fantasy

By Dave Beaudoin. The third release from SoCal rockers Gygax marks a return to the high octane sound of their first album, and while it is a solid effort, High Fantasy doesn’t show the same evolution of their sound that was apparent on their sophomore effort.

By Dave Beaudoin.

Artwork by Fares Maese.

The third release from SoCal rockers Gygax marks a return to the high octane sound of their first album, and while it is a solid effort, High Fantasy doesn’t show the same evolution of their sound that was apparent on their sophomore effort. That doesn’t mean this isn’t a great Gygax album though. On the whole, the album works well, and each track captures the feeling of playing tabletop games with friends. It’s that translation of the theme of tabletop gaming to music that has been the defining feature of Gygax and they don’t put a foot wrong here. The excitement of building a world comes through in the interplay of the dueling guitars and narrative tension created by the vocals - from the intro riff of the opening track, “Light Bender,” the album dives right into lore, with lyrics that sound ripped from a Monstrous Manual.

Gygax’s previous album, Second Edition, stood on the precipice of being a full-on concept album and was a significant step beyond their debut record thematically. This also makes it the kind of ambitious record that can be extremely hard to follow. So it makes sense that High Fantasy represents a return to the roots of Gygax rather than as a further extension of their sound. From the start High Fantasy recalls the free-form roots of the band’s first album Critical Hits and collects a rogues gallery of D&D themed jams rather than presenting a more cohesive sonic narrative. Each track still is laden with lore, but taken as a whole High Fantasy serves as more of a general soundtrack to Dungeons and Dragons rather than guiding the listener through an imagined campaign.

High Fantasy leans heavily on the dueling guitars of Byrant Throckmorton and Wes Wilson to create an energetic and driving album while Eric Harris’ vocals tie everything together. Finally, adding extra flavor are some great keyboard lines by Ian Martyn. Overall the mix is great, and really puts the dueling guitars right out front, leading the charge. I do wish the keyboard sections were given more attention, as there are a few moments where they get lost in the mix and you have to work to really hear the fantastic work being done there.

Because every track is linked thematically not to just Dungeons and Dragons, but to the experience of playing those games, the feeling of traversing a fantastic world rife with magical monsters and fighting side by side with your party for honor, loot, or both carries each track. This is especially apparent on “Spell Shaker” as well as the first single off the album “Hide Mind.” Even the more chilled out instrumental “Acquisition, Magnus Canis” evokes the victory music of video games like Final Fantasy processed through the sensibilities of Thin Lizzy.

“Acquisition, Magnus Canis” also serves as a short intermission between the two halves of the record, both of which keep up a pretty high level of intensity. Even “Mirror Image,” the closest thing to a ballad on this record features some of the most sun-drenched Southern California guitar work I’ve ever heard on a Gygax album. It’s more Gary Hoey than Dick Dale, but it works in context and features one of the catchiest riffs on High Fantasy.

Ultimately, the one real problem with the album is that while each song is solid, there are few standouts and there isn’t enough variation on the album to make any one song particularly memorable. I’ve seen other critics say that Gygax is in a rut with this album and while I understand where they’re coming from, I don’t think it’s really a rut. High Fantasy almost feels like a greatest hits album where every song is immediately familiar and there aren’t any low points, but taken as a whole it fails to make a compelling case or evolve the band’s sound beyond Second Edition. What’s interesting is that if we look at this format from the perspective of tabletop gaming, it helps to rationalize this approach.

If High Fantasy is viewed as a “Gygax Sourcebook,” it makes much more sense as a complete work. In the world of tabletop gaming, between major revisions to the rules (usually referred to as “editions”), companies release sourcebooks that flesh out the world within the bounds established by the core books (in D&D this is the Dungeon Master’s Guide and Player’s Handbook). Sourcebooks have historically introduced some of the most legendary settings and iconic characters that have ever existed in tabletop gaming. In Dungeons and Dragons, for example, the Tomb of Annihilation, Forgotten Realms, and Ravenloft are all iconic settings that were introduced outside of the main books and hold a much more prominent place in defining Dungeons and Dragons as a popular culture artifact than the rules laid out in the handbooks. The Tomb of Annihilation was even featured prominently in the book Ready Player One as the touchstone for Dungeons and Dragons culture. High Fantasy works on the same level as these types of game supplements. On High Fantasy Gygax take the “rules” they’ve established in Critical Hits and Second Edition and play within that context to tell expanded stories. The result is a great album that delves deep into the underground caverns of the Gygax underdark and extends the fantasy while avoiding making any changes to the rules.

This view also resolves the internal conflict I had when I first listened to High Fantasy. Every track on the record can hold its own against nearly anything else in their catalog, but the lack of a central theme or story seemed like a deal breaker. Realizing that not every Gygax album is going to be a new set of “rules” helps to reconcile what I was expecting from a new Gygax record and allowed me to respect it for what it is, a collection of great rock tracks about dungeons and Dragons. If you’re a fan of Gygax you’re going to definitely dig this album, but if you’re looking for the next evolution of their sound you’ll have to wait. Maybe for the third edition.

Rebel Wizard - Voluptuous Worship of Rapture and Response

By Justin C. I've most-often seen Rebel Wizard summed up as "NWOBHM meets black metal," and although that's a little reductive, it's also a pretty good summing up. Whether switching back and forth between those two broad styles or

By Justin C.


I've most-often seen Rebel Wizard summed up as "NWOBHM meets black metal," and although that's a little reductive, it's also a pretty good summing up. Whether switching back and forth between those two broad styles or mixing them in more subtle ways, there's no denying that dual influence, and it's still in force on the new album, Voluptuous Worship of Rapture and Response.

That's not to say that sole member NKSV (a.k.a., Bob Nekrasov) is in any way musically lazy. The second track, "The Prophecy Came and It Was Soaked With the Common Fools Forboding" starts out with some seriously riff-tastic NWOBHM before gradually escalating into black metal territory with the addition of tremolos, black metal screeches, and blast beats. Once the two elements have been successfully mixed, the song charges onward to the end with the throttle wide open. "Healing the Chakras With Heavy Negative Wizard Metal" takes a slightly different path, starting off with a more "traditional" black metal intro before moving into trash territory. No matter how NKSV proceeds, though, it's impossible to deny how ripping these songs are.

Is this all a bit tongue and cheek? Most likely. The cover art shows a hooded figure triumphantly holding aloft two Gibson Explorer-style guitars, which young me remembers being a signature move from bands in the NWOBHM heyday. Song titles like "Drunk on the Wizdom of Unicorn Semen" mix the profane and the goofy into word salads. But is the music itself a joke? Not at all. Unlike Steel Panther, for example, who tries (and fails) to entertain by parodying a musical style that was already a parody of itself, Rebel Wizard cranks out damn good tunes without making you feel the need to qualify it by saying, "It's good...but it's kinda dumb."

Sure, I could pick a few nits. Two different songs go with the somewhat-tired "rain/nature sound" effects. The album's closing track, "Exhaustive Glory," is unfortunately named because pushing 10 minutes and lacking the dynamicism of most of the other tracks does, in fact, make it a bit exhausting. But credit where credit's due: NKSV samples a fairly moving speech from philosopher Jiddu Krishnamurti for the album closer, when he could have gone the easy path and put in some overcooked Satanism or dialog from a Mad Max movie.

But when all is said and done, this is an album that will rip right through you. Triumph of Gloom is the last Rebel Wizard album I've spent significant time with, and NKSV has upped his songwriting game as well as his level of shred, but technicality never overwhelms the musicality. So by all means, put the extra-kvlt doom and gloom aside for a little while and rock out. Maybe even smile a little?

Mercyful Fate - Melissa

An Autothrall Classic. Perhaps the only tangible quip I could launch against Mercyful Fate's seminal debut is that, compared to the King's next six full-length records (from both Fate and his solo band), I hold Melissa in somewhat lesser regard

An Autothrall Classic. Originally published here.

Artwork by Thomas Holm.

Perhaps the only tangible quip I could launch against Mercyful Fate's seminal debut is that, compared to the King's next six full-length records (from both Fate and his solo band), I hold Melissa in somewhat lesser regard, owed largely to the fact that the sum songwriting is marginally less infectious. Just about every stylistic die had been cast here which would serve Kim and his companions for decades hence, but in terms of sheer riffing stickiness and atmosphere, this album just doesn't have the same gallery of chops and leads as its successors. That being said, this album still deserves the forklifts of accolades dumped upon it, because Melissa remains one of the highlights of 1983. One of the better overall European metal records of the earlier 80s outside England. Heck, apart from Don't Break the Oath and the band's more divisive reunion disc In the Shadows (which I happen to favor, others not so much), it's probably the one mandatory purchase in their discography.

Melissa was actually my second exposure to Fate, having first bought the sophomore at a young age, and I admit it was underwhelming at first, if only because I had enjoyed the other tape more. But not only does this debut age well, it has managed to never accumulate much dust on its surface in going on thirty fucking years! Melissa still feels fresh and innovative, a more complex offering than what most of the group's British peers were capable of writing at the time, and also a hallmark of strong production values and deft musicianship. It might have taken time for some to adjust to King's eery and unnerving falsetto shrieks, which he lays on pretty thick throughout this, but there is no debating the amount of effort and professionalism in the compositions. Thomas Holm's cover art is remarkable, a screaming skull that bleeds hellish red light and gives a sense of sheer monument. The lyrics are maniacal blueprints for many themes Diamond would later flesh out in both his bands, with an emphasis on history, archaic horror, and occult topics fundamental to King's later pursuance of LaVeyan Satanism.

Pacing and production are key here, integrating the critical moments of atmosphere with the thundering, primal speed metal melodies and swaggering grooves that would come to define the group's sound as it supported the chilling vocals, which in metal music had simply never gone so 'over the top' without losing the gravity and impact of their subject matter. I realize that many outsiders to the band's sound, or power/heavy metal screamers in general (Halford, Dickinson, etc) must immediately find this vocal inflection comical in nature, but there was never anything remotely 'funny' about Diamond on these old Mercyful Fate records, he was a shrill specter that I took quite seriously even if I had to adjust myself to this timbre as the primary vocal tone. He's got his grittier end, mid range register also, but it's not quite so distinct. I wouldn't say that the melodies he summons up here are nearly so unforgettable as those he'd weave in later to several of the King Diamond concept albums, but for '83 this was pretty damn ambitious even when you placed it up against a record like Piece of Mind, Bark at the Moon or Balls to the Wall.

The instruments also sound stunning, with the better balance and clarity than the band's eponymous 1982 EP. Kim Jensen's drums are loaded, with a nice slap to the snare and some great reverb to the kicks that really measure off well against the guitars, though the cymbals and hi-hat seem a fraction more muffled. The bass lines are enormous and muscular when needed, like the close of "Evil" where the guitars remind me of the primary riff in Survivor's "Eye of the Tiger" before that charging power metal finale; but Timi Hansen also slinks along with a creepy class through the record's more atmospheric climes. As for the guitars, they are just beyond compare, with an effectively chunky fiber to them that allows the looser, glimmering leads to wail and writhe above and really stand out. They're also incredibly busy here, constantly twisting and turning into some new 'banger of a riff and really controlling the tempo for King's lyrical tales. The leads are usually quite brief through the album, but none of the notes seem misplaced, and I'd rather a band give me some spikes of emotion and harmony rather than indulge themselves to the detriment of the songwriting.

"Curse of the Pharaohs" is a real bruiser, and one of my all time favorite Mercyful Fate tracks, but I'd have to give "Black Funeral" the pick of the litter, a thundering and frightening piece where King's voice and the triplet rhythm collide in a moonlit, haunted tower. "Satan's Fall" is the most ambitious in terms of its length and construction, with an opening segment that feels like an occult "Immigrant Song", and some grimy and shuffling riffs deeper in which are among Shermann and Denner's most inventive (Jensen also shines here with a few cadences in the bridge). That said, there's nothing here which even hinges on 'bad'. Pieces like "At the Sound of the Demon Bell" and the bluesy "Melissa" itself might not resonate with me as much as "Gypsy", "Night of the Unborn" or "A Dangerous Meeting", but they're all well written and stuffed to the ghastly gills with conscious effort and variation. Fuck, I listen to these songs now in 2012 and they still don't give me any impression of becoming 'dated', though as a huge King Diamond nutter I'm understandably biased.

No, it's not the eeriest record in the Danes' lexicon, but along with the rest of Diamond's works from '84-'90, this is well worth breaking out for another Halloween spin, since it's lyrics and concepts of witches, Satan and the restless dead make a great accompaniment to the aesthetics of the holiday. Granted, there's nothing so obviously cheesy or 'haunted house' here like you'd find on a Cradle of Filth disc, but instead more of a bite out of classic horror antiquity, a spiritual celebration of black/white films with Lugosi and Karloff. Like Dracula, The Wolfman or The Mummy is to nearly a century of film scares, this record serves as an aesthetic monument to its medium. How many heavy, power, speed, thrash, black and doom metal acts owe so very much to Mercyful Fate? The answer would be next to incalculable, so I'll just stick to 'all of them' and you can mark your own exceptions to the rule.

Gygax - 2nd Edition

By Dave Beaudoin. Hailing from Southern California and named for Gary Gygax, the creator of Dungeons & Dragons (D&D), Gygax has always worn their influences on their sleeve. Their second album even takes it title from the naming conventions

By Dave Beaudoin.


Hailing from Southern California and named for Gary Gygax, the creator of Dungeons & Dragons (D&D), Gygax has always worn their influences on their sleeve. Their second album even takes it title from the naming conventions of tabletop role playing games with album artwork straight from the so-epic-it-should-be-painted-on-a-van aesthetic of 80's gaming.

Artwork by Fares Maese.

2nd Edition opens with an epic call to arms showing confidence not usually heard leading off a sophomore effort. Featuring a great 70's rock riff that takes you right back to the days of riding your bike over to a friend’s house to gorge on pizza and high fantasy into the late hours of the night. From both a structural and thematic perspective, having an absolutely rocking call to arms as the first track then leading into the “why” of gaming with "It Makes It Worth It" really works. By following up the invite with a seriously blistering number that celebrates making up stories about elves and dragons reaffirms the theme of the album and doubles down on why D&D resonates with so many people. 2nd Edition also mirrors the story arc of a well crafted tabletop roleplaying encounter and is meticulously accurate when referencing D&D lore

The lead single off the album, "The Lascivious Underdark" is perhaps the most overtly D&D themed song on the album and continues to display the quality of Gygax’s songwriting. The main riff is absolutely infectious and so many of the guitar and drum fills are a real testament to the great harmonized guitar acts of the 70's and 80's. The obvious comparison is Thin Lizzy, but there are also progressions and structures that sound like they could be Queen if Brian May was really into T-Birds. The interplay of lead and rhythm guitar on the album is fantastic and really shines on repeated listens. There is also great stereo separation on many of the tracks that enhances the dueling guitar nature of the songs. Also, I’m pretty sure this is the only song about a Mind Flayer who is just looking for love/lunch.


"Pure Hearts" is the second single on the album and for me is the obvious standout track. The hook is fantastic and would sound at home on a Huey Lewis album, but it’s obvious that Gygax prioritizes painting miniatures over playing sports. Pure Hearts also represents the first downtempo track on the album and while it’s still an upbeat number, it foreshadows a shift in tone that defines the second half of the album. I’d also like to point out that somehow Gygax managed to write a great rock song about undying love and magic that contains a reference to a transmuter’s tower.

The second half of the album is where Gygax starts to get into ridiculously deep D&D lore. "Song of the Silverhands" and "Wish" both have some very specific references to epic heroes in the overarching world of D&D. The Silverhands were three sisters, raised by one of the greatest mages in the lore, and who each went on to each be a major hero in the overarching world of Dungeons and Dragons. They founded the Harpers and the Spellguards. In "Wish", the story of a Spellguard who encounters a succubus is told in detail as a cautionary tale for any party that wishes to go up against a powerful magic user.


Both tracks display Gygax’s respect for not just the themes they’re singing about, but the musical history they represent. The horns on "Song of the Silverhands" are expertly woven into the sound of the track and show an ability to not just put a song together but to orchestrate a spectacle. Though I imagine this song is destined to be a deep cut off the album, it’s the one I’d most like to see performed live in a stadium.

As the album winds to a close, "Heavy Meddle" shifts to a soulful and almost jazzy tone setting what could be literal campaign flavor text to music. This track in particular shows off Eric’s range as a bard (though album credits list him as a cleric… I assume he’s dual class).


After taking a bit of a break with some slower tracks Gygax’s 2nd Edition closes with an absolutely ripping battle anthem. The aptly titled "Second Wind" is yet again rife with specific D&D references, so if you thought the party was going to phone it in at some point, you’d be mistaken. "Second Wind" also provides a great rock’n’roll close to the album after the previous two relatively slow tracks and brings the album full circle.

2nd Edition is a fantastic album full of classic heavy metal riffs that sound great even if you’ve never cruised the strip in a custom van or invited the gang over to slay some dragons. The mix is pretty dynamic and sounds great when cranked up. The album is out on Creator-Destructor Records and Gygax is supporting it with a tour of the western US If they’re coming to your town I’d definitely encourage you to grab your dice and head to the show.

Darkest Era - Severance

By Calen Henry. Though Severance is almost four years old, now is a great time to revisit it. Darkest Era share an overall mood with Solstice and Primordial, the former just released their first album in 20 years and the latter is releasing their ninth

By Calen Henry.

Artwork by Costin Chioreanu.

Though Severance is almost four years old, now is a great time to revisit it. Darkest Era share an overall mood with Solstice and Primordial, the former just released their first album in 20 years and the latter is releasing their ninth at the end of the month.

Darkest Era, though being the youngest of the three bands, was the first I heard, diving into the other two when I wanted more of what Darkest Era had on offer. All three bands play melancholic folk-inflected metal leaning on melody and compound time signatures. Primordial's epic melodic blackened take on heavy metal and Solstice's bottom heavy epic doom approach neatly bookend Darkest Era's sound; faster and more blackened that Solstice but doomier and more classic metal than Primordial.

Darkest Era 2013. Photos by Dvergir

At their core they're a classic heavy metal band complete with epic clean vocals and twin guitar attack. Their magic is how they bring other styles into the fold without ever sacrificing the classic metal feel. The songs are rife with tremolo guitar lines and blast beats as well as melodeath style repeated note riffs instead of sustains, strung together with folky rhythms and with melancholic lyrics straight out of the doom playbook. Through it all they never lose the fist-pumping heavy metal feel.

Bands incorporating many styles can sometimes come apart a bit at the seams but there are no weak points on Severance. The vocals soar throughout, the drums kill everything from the blasts to the 6/8 stomp, the guitars nail everything from the screaming leads to the tremolos. There are even numerous audible bass riffs that round out the record.

Severance is simply one of the best metal records of the past decade. Darkest Era stand with Solstice and Primordial as titans of metal.

Note: Since Severance, Darkest Era have released a 2 song EP with nicely dynamic production (DR 9). If they keep that production for their follow up full-length I will never stop talking about it.

Metal Bands-you-might-have-missed-camp 2017

By Calen Henry. Things you might have missed. I'll be honest, I only checked out Dumblegore because of the band name, among the best of 2017. It turns out, though, that they totally rule, though they don't sing about Harry Potter.

By Calen Henry.

Things you might have missed.


I'll be honest, I only checked out Dumblegore because of the band name, among the best of 2017. It turns out, though, that they totally rule, though they don't sing about Harry Potter.

Dumblegore play "Spooky Metal" the stuff drenched in B-movie horror tropes, but their spin on it is unique. They marry fuzzed out stoner doom, spooky organ, and a kind of "laid-back Mantar" vocal approach with punk rock attitude (and often song structure). It's a little bit black metal, a little bit stoner rock, a little bit punk and a whole lot of fun. The master is decent too, a respectable DR 8.

Come for the silly name stay 'cause they rock.

Vaivatar are Finnish. That seems to be the only information available about the band which is always a great sign!

They play a strange mix of symphonic but raw black metal. It's extremely busy, but extremely melodic with very inorganic sounding synths. It gives them a sound like Havukruunu meets Master Boot Record by way of Castlevania. The guitar distortion and the synths are eerily similar so it can be hard to tell which is which adding another outré layer to the music

It's epic, but mysterious, dense but soaring, and Pay What You want, also a nice master at DR 8.

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Cover art by Bring.

I LOVE Angel Sword but feel like I'm mostly alone in my love of their mix of Motorhead vocals and sloppy Iron Maiden instrumentals, but I don't care. They rule! Their 2016 release Rebels Beyond the Pale is still in heavy rotation for me, and though this is only an EP more Angel Sword is more Angel Sword.

I initially checked them out because of their so bad it's amazing album covers, and wrote them off as inept traditional metal due to some odd chord structures and vocals but I was missing out. Underneath the intentional roughness of their presentation are fantastic songs. They keep it classic; nothing is lighting speed, lots of the songs are in major keys, and many are even about heavy metal. But it's all so well done, just sloppy enough to seem totally genuine but get across the wicked riffs, choruses, and gang vocals.

Things I missed, but apparently no one else did.

Cover art by Paolo Girardi.

2013's Manifest Decimation didn't click with me so I glossed over Nightmare Logic until it was all over year end lists, metal and otherwise. Boy, was I missing out. Power Trip play reverb drenched throwback thrash with pop sensibilities. Every riff and every chorus is so catchy. It's one of 2017's most fun and most relevant releases. While a lot of metal concerns itself with how everything is terrible, Power Trip implore us to get out and do something about it. Thankfully since the album's release many have!

Unfortunately the album's production, reverb drenched though it is, isn't a total throwback. It's mastered incredibly loudly and clips almost as hard as it rips. Musically, though, it's a total win.

Track o' the Year


Not metal, but The Deep is the best single track of the year. Commissioned for the podcast This American Life, it's an homage to Detroit electronic artist Drexciya, extending their mythos wherein the children of pregnant African women thrown overboard from slave ships were born and adapted to life underwater.

It's a microcosm of what made Splendor & Misery so compelling; fascinating concept, exquisite execution, and great production. The production matches the watery theme with beats and accents that sound "bubbly"

In The Deep the water-dwellers go from peaceful existence to climate change worry to full-on war with the "two-legs" from the surface. The track is divided into movements as the situation escalates. It starts of slow and laid back but each revelation towards confrontation and eradication of the two-legs increases the pace of the music and lyrics and adds more layers to the beat.

Though I love Splendor & Misery, it was criticized by some for its lack of immediacy, essentially required a full listen through to properly experience it. The Deep is the answer to that. Five minutes for one of the best, and most immediate "concept albums" of 2017

Dream Tröll - The Witch's Curse

By Bathy Kates. Hello metal warriors! Long time, no see! I’m back to tell you about a band I wrote about many moons ago on Metal Bandcamp: Dream Troll. Hailing from Leeds, England, the band delivered a righteous offering of traditional metal

By Bathy Kates.


Hello metal warriors! Long time, no see! I’m back to tell you about a band I wrote about many moons ago on Metal Bandcamp: Dream Troll. Hailing from Leeds, England, the band delivered a righteous offering of traditional metal that added a sleek coating to the Barbarian metal sound. The Knight of Rebellion was like Iron Maiden and Manilla Road running on Windows 10. And guys, I have to be honest with you right now. Start actively supporting this band right now, because they are going to be the next big thing in traditional and power metal. I promise you. With this new EP, The Witch’s Curse, the band strikes while the iron (maiden?) is hot and proves that their debut was no fluke.

A revelation I had about Dream Tröll while listening to The Witch’s Curse for the first time that I did not include in my original write-up is that the band really isn’t a full-on “throwback” act. It’s subtle, but the band knows how to make their music sound modern both in composition and in production. This hit me during the first track on the EP, “In The Name of Isabella”, where the music breaks down into a bit of a hard rock groove as new vocalist, Paul Walsh, sings “Listen up boy you've only got one chance…”, and suddenly we’re barely in a metal song anymore. Of course, the mighty riffs returns full blast but the short detour adds so much to the character of the music. Hell, there’s even some tasteful cowbell on this thing in later tracks. The same tight production from Rebellion also adds to the more modern approach to a classic sound.

Witch’s Curse is a bit more theatrical than Rebellion. Where their debut album, despite the title, had orderly and neat hooks, Walsh adds some grit and spirit to his lyrical delivery, painting a vibrant picture of the medieval tales and occult drama. To further assist their epic storytelling, their long songwriting is back and better than ever. Dream Tröll never just lets a song write itself with boring, generic riffs. Each section of the song is expertly crafted to fit the words and story. There’s so many harmonies, diverse riff choices, clean sections, and a thrilling rhythm section. It’s actually very reminiscent of Blind Guardian’s approach to their music, especially in their later albums. It’s not that their writing the most dense and complex music of all time. Dream Tröll , like Olbrich and Kursch, simply has a firm grip on their sound and know exactly how to paint the story with the talent that they possess.

This EP will certainly give fans of Knight of Rebellion something more to chew on while they wait for the full follow-up from Dream Tröll. Keep an eye on these guys and check out their absolutely brilliant traditional heavy metal on their Bandcamp page. You will be singing along in no time.

Dream Tröll - The Knight of Rebellion

By Bathy Kates. Traditional metal is making a really cool comeback. Classic heavy metal is always underestimated in how complex and how enjoyable it can be. Luckily, it seems that this up and coming generation of metal musicians wants to remind everyone about awesome it can be.

By Bathy Kates.


Traditional metal is making a really cool comeback. Classic heavy metal is always underestimated in how complex and how enjoyable it can be. Luckily, it seems that this up and coming generation of metal musicians wants to remind everyone about awesome it can be. New bands like Ghost, Enforcer, and Midnight have become huge off of old school sounds and old legends like Accept, Hell, and Satan are making the best albums of their careers. Of course, there’s not just one kind of old school heavy metal and there’s always room for more.

Dream Tröll picks up the torch for what I like to call “Conan Metal”, the ultra melodic, fantasy-based cheesefest that bands like Manowar, Virgin Steele, and Manilla Road pioneered. It’s basically proto-power metal. Eternal Champion, Visigoth, and Legendry have all emulated this sound recently in their own way. Dream Tröll, however, adds a stainless steel sleekness to their sound that their peers don’t quite have. They’ve stripped away every ounce of gruff meanness in exchange for a progressive, more European sound. It sounds like Manowar and Iron Maiden had a baby with Tyr, Nightwish, Bathory, and 80s Rush.

If this was still the age of buying every song individually for 99 cents (yes, I’m dating myself), then you would be getting a great value for your money. Five of the seven songs are around seven minutes long and the remaining songs are about five minutes. This is not to say the album is overwritten and repetitive. The songwriting is actually absolutely great. Dream Tröll is simply very deliberate and, much like a good Maiden record, knows how to build their songs into big moments. There’s always new little details emerging to keep you engaged. The production is so clean and crisp, it’s appropriately otherworldly. You could honestly just listen to the beautiful tone and thick (thicccccc) power chords all day. This perfect production is especially impressive for a totally independent band.

The band lives up to most heavy metal clichés believably. “Velvet Drawbridge” has a shout-style killer chorus. “Unwanted by the Gods” has some great guitar work from the opening riff to the developing midsection with its heavenly breakdown. “The Earthbound Betrayal” has some impressive vocals. But this band is not just about copying the greats. There’s a distinct Dream Tröll sonic world. The aforementioned production, march-like tempos, and modern influences create the perfect cocktail of updated classic metal. It’s music that takes you to another, more marvelous world.

Lizzy Borden - Visual Lies

An Autothrall Classic. There are a few things one has to take into account to avoid an immediate bias against Lizzy Borden. For one, they were 'glam' in the sense that they wore big hair and trashy 80s metal gear like Kiss or Poison. Second, they were a very theatrical band

An Autothrall Classic. Originally published here.


There are a few things one has to take into account to avoid an immediate bias against Lizzy Borden. For one, they were 'glam' in the sense that they wore big hair and trashy 80s metal gear like Kiss or Poison. Second, they were a very theatrical band, and they liked their women in leather with hair as big as their own. Third, Lizzy himself, the vocalist, has a voice which can sooth like a crystal scream or wail like a siren, an obstacle for some.

That being said, they are one of the best metal bands ever produced in the United States of America, with a pretty spotless discography. With all that hairspray, I didn't want to believe it either. Sitting at the peak of this body of work, alongside the rock opera of Master of Disguise, is the excellent Visual Lies. This record has a lot in common with Menace to Society or Love You to Pieces, but it's got a cleaner, accessible sound that in no way hinders the marvelous songwriting.

Every track on the album is loaded with memorable riffs and charming vocal melodies. The guitars are expertly crafted: every hook, every melody, every lead, no wasted notes. "Me Against the World" is power metal lite, deriving its energy from the constant, steady thump of its rhythm guitars and big NWOBHM chorus. In fact, Lizzy's entire style is like a beautiful dedication to the masters of NWOBHM who paved the road for 80s hard rock. "Shock" is another another mid paced track with the huge vocal hooks and delicate, memorable guitars. "Outcast" starts with a great riff, and slows for an emotional, acoustic verse. This verse alone has better vocals in it than many bands have on their entire records...and of course, another of those amazing chorus hooks that should have ensured this band would have dominated radio play if the $$ weren't changing hands for other bands to do so. "Den of Thieves" picks up speed at just the right time on the record, and the guitar work during the verse is simply stunning, with some kickass leads to boot. This is one of my hands-down favorite Lizzy tunes, and for the power metal's fans time and money, the one you want to hear the most on this album.

She's a harlot, she holds the key
She's never free, she's a good time
What you see is a slice of the knife
A piece of life in a heartbeat

The title track "Visual Lies" uses some gentle melodic picking lines to create an incredible atmosphere before the swollen, glorious vocal hooks that could easily have given Cinderella or Def Leppard a run for their money. "Eyes of a Stranger" may not be the equal to Queensryche's track of the same name, but it's an excellent melodic mid paced fist pumper. "Lord of the Flies" once again picks up the pace for some more extremely memorable speed metal. It's almost a shame that so many of the songs on the album are slower, not that they're bad by any means, but it would have been a pleasure to hear an entire album where Gene Allen and Joe Holmes were allowed to just go off. "Voyeur (I'm Watching You)" also has some delightful licks but based off more of a blues hard rock vibe. The album ends with the great "Visions" and its swinging hooks and rollicking percussion.

Visual Lies is easily the best produced album of 1987, I don't hear many albums in the 21st century that come close to sounding this good. Every note is at the perfect level and no element of the music dominates another. With a vocalist this graceful and talented, that's not an easy feat. The guitarwork deserves an award for both its restraint and the sheer amount of quality found in every track. This album is a major achievement and it's a crime the band doesn't get the credit it deserves. While not as directly heavy, the material is easily as catchy as a Primal Fear or Hammerfall, in fact it's superior.

Walpyrgus - Walpyrgus Nights

By Karen A. Mann. North Carolina’s Walpyrgus play classic heavy metal that recalls the period in time when British Steel and Number of the Beast ruled MTV, and a bevvy of European and American bands popped up with variations of that raw, aggressive sound.

By Karen A. Mann.

Artwork by Gustavo Sazes.

North Carolina’s Walpyrgus play classic heavy metal that recalls the period in time when British Steel and Number of the Beast ruled MTV, and a bevvy of European and American bands popped up with variations of that raw, aggressive sound. The band’s reverence for the era of Denim and Leather is obvious from the outset: Think screaming dual leads, ripping melodies, and singer Johnny Aune’s powerful voice wailing creepy odes about dead girls, ghosts, witches and woe.

Formed in 2012 by veterans of long-running regional acts Twisted Tower Dire, October 31, Daylight Dies, Heaven Wept and Viper, Walpyrgus has teased listeners with several singles and two live albums. And just in case you doubted where their musical interests lie, two of those singles were faithful covers of Riot’s “Outlaw” and Mercyful Fate’s “Doomed by the Living Dead.” Now the band offers the most complete illustration (literally and figuratively) of their full metal power on Walpyrgus Nights, their first full-length.

Photos by Karen

Ripping through eight songs (including a cover of Witch Cross’ “Light of a Torch”), Walpyrgus Nights weaves a spooky, Lovecraftian tale that’s macabre, but in an almost light-hearted way. Aune’s voice is passionate and emotive, even when the lyrics turn a little campy. A sample:

Dead of night, come to life. You’re the Queen, got no equal.
But you’re cold, and you’re dark and you’re evil

Adding to the fun factor: Vinyl versions of Walpyrgus Nights includes a 56-page comic book that illustrates the stories behind the songs with drawings of sexy witches, clawing goblins, foreboding palm readers and dire warnings.

While the majority of the album is straightforward, meat-and-potatoes classic metal, the band veers into pop-punk territory on the first single, “Dead Girls,” a fun, furious four-chord ripper that features chanted backup lyrics and even an organ solo. It’s a standout song on an album that marks Walpyrgus’ as one of the best bands in the New Wave of American Traditional Metal scene.

Satan's Hallow - Satan's Hallow

By Calen Henry. Satan's Hallow piqued my interest on the strength of their advance streaming track, "Beyond the Bells". Sounding like Christian Mistress but faster, it’s a blistering traditional metal track kicked up to speed metal velocity, overlaid with Mandy Martillo's soaring vocals.

By Calen Henry.

Drawing by Eric Rot.

Satan's Hallow piqued my interest on the strength of their advance streaming track, "Beyond the Bells". Sounding like Christian Mistress but faster, it’s a blistering traditional metal track kicked up to speed metal velocity, overlaid with Mandy Martillo's soaring vocals.

Their self-titled album is a solid start for a band who show a lot of promise, but it doesn’t live up to the excellent “Beyond the Bells”. The foundation, speedy traditional metal with a female singer is great and puts a new spin on a pretty common genre as well as featuring lots of great guitar work. The album, though, is a mixed bag in terms of successful implementation of their formula. Initially I thought this was based on speed, with the faster tracks working better but that's not the case.

Some tracks, regardless of speed, absolutely nail it while others never quite come together. "Hot Passion" and the title track, "Satan’s Hallow", for example both unfold at a more standard metal pace. The former never quite comes together. The various parts never quite lock in and the lyrics are trite, seemingly featuring arbitrary lines for the sake of rhyming. The title track, on the other hand really comes together. The guitar and vocal grooves lock together for a truly fist pumping song.

Their sound is most of the way there, but simply lacks on a couple of fronts, most evidently the vocals. Martillo seems unwilling to fully commit to either totally clean soaring, powerful vocals, or middle finger to the world, sloppier-than-thou delivery. Some tracks lean one way or the other and show great promise. She delivers "Satan's Hallow" with a metal sneer, whereas "Black Angel" and "Beyond the Bells" are much cleaner and powerful. But all the tracks sound a bit restrained; the soaring vocals, in particular, lack power and the sustained notes are a bit flat.

These are blemishes on a really, really solid sound which is both disappointing and encouraging. Satan's Hallow have all the pieces for an absolutely stellar second album. I hope they put them all together to get there. In the meantime, their hits are hits and absolutely worth checking out.

Mercyful Fate - In the Shadows

An Autothrall Classic. In the Shadows could be considered a righteous 'comeback' record long before metal comeback records became a thing, as the majority of 80s acts hit their midlife crises and decided to give it that last college try. King Diamond and crew weren't leaping back into some trending rebirth of aesthetics in 1993...traditional heavy metal

An Autothrall Classic. Originally published here.

Cover art by Torbjörn Jörgensen.

In the Shadows could be considered a righteous 'comeback' record long before metal comeback records became a thing, as the majority of 80s acts hit their midlife crises and decided to give it that last college try. King Diamond and crew weren't leaping back into some trending rebirth of aesthetics in 1993...traditional heavy metal, especially here in the States, was a veritable dead zone. Beyond the touring stability of a few dozen acts, grunge and death metal had all but taken over, and groove metal reaching terminal velocity thanks to Pantera's success. That a defunct Danish staple like Mercyful Fate could return with such a fantastic record as this is a testament to how great they were in the first place, but color me unsurprised...

...because for about 15 years, Kim Bendix Petersen never once let me down on a single full-length. In fact, beginning with Melissa and Don't Break the Oath, up until the time someone lost their marbles and decided to release that riffless, idealess, uninspired creative nadir The Graveyard, King Diamond/Mercyful Fate probably laid claim to the greatest streak in all metal music. Ten full-lengths of quality in that '83-95 era, ranging from just 'great' to utter perfection, and yes I'm including Time and The Spider's Lullabye in that total. So when the King decided to take a short respite from the constant touring and brilliance of his solo group and reunite with his alma mater, with less than a decade since Don't Break the Oath, I had little to no trepidation about the ability of these men to deliver, and not only were my expectations met, but in some departments exceeded. Don't Breath the Oath is, and will likely remain my favorite of the Mercyful Fate records, but without question, I find In the Shadows to be their most creative. The sophomore is the first I'll turn to when nostalgia summons, but this felt far more unique to me in 1993 than Oath did in 1984.

A statement that would likely generate some dissent among various acquaintances who have argued with me that this simply sounds like another King Diamond solo record, but I have to disagree. Apart from the fact the two groups are inexorably linked due to Kim's falsetto shrieking and thematic similarities, I have long found the playing of the Shermann/Denner configuration quite different than Andy LaRocque. These guys had a more workmanlike unity to their playing, where Andy's more like a one man exhibition falling somewhere between Randy Rhoads and Yngwie Malmsteen, regardless of whoever is backing him up. Don't get me wrong, I enjoy all three of these legends (and Mike Wead to boot), and they could easily cover for one another if the need arose; but while there was obviously some influence from the old Fate carried forth into the King Diamond legacy and then back again, it's definitely the rhythm guitars that make all the difference discerning between the two...that and the fact that this particular disc reached a new benchmark in production quality that even renders masterworks like Abigail and The Eye somewhat unwashed (though I wouldn't trade the atmosphere inherent to those recordings for the world).

But In the Shadows has an atmosphere of its own. The record is loaded with these incredibly interesting, eerie and slower lurching riff progressions that are remarkably well-conceived, the sort of planning you're just too rarely going to find in a younger or 'throwback' band more concerned with copying pre-existing patterns of chords and mutes and then juggling them around like lottery balls. Granted, these unique twists did exist on the first two Fate outings, but to a lesser extent, not as fully fleshed out. Fear not: there are still numerous bursts of intense, melodic speed/heavy metal here as found in "Egypt", the spiritual stepchild to "Curse of the Pharaohs". Hank and Michael can certainly eviscerate a fretboard, but without exception, it's the moodier and measured picking patterns on this album that truly excel and stand to memory. By 1993, when many groups had dissembled or were stylistically shifting towards the status quo, Mercyful Fate was polishing and innovating its own brand into crystalline clarity and ear-carving catchiness. And it's not simply limited to the rhythms...the leads and melodies here are spectral, pristine, and just as important as their surroundings, and you also feel a tasteful amount of blues and 70s hard rock inspiration over the entire album.

What's more, the musical decisions here really seem to fit the individual tales of specters, seasons, shadows and other introspective gloom that dominate the lyrics. Unlike King Diamond records, which are more or less metallic-orchestrated novellas following an internal narrative, these read like short stories, though often also from the first-person perspective. Petersen shines throughout, engaging in quite a lot of his mid range to balance off against the shrieks and grooves in cuts like "The Bell Witch" and "The Old Oak", with a few of those blissful, ghostly lower falsettos emphasized with an additional whisper track. By this point, the King might be considered a master composer by any standard, so it's not unexpected that he can so carefully lay down each line, an author aware of every phrase before he dips his pen in the inkwell. The synths strewn across the songs are generally tasteful and supportive, occasionally reminding me of their use on The Eye, especially in the instrumental "Room of Golden Air" which honestly is the one tune that sounds like a leftover from that period. Acoustics are likewise sparse, used only in brief segments (like the intro to "Egypt"), it's ultimately those uncanny and morbid mid-paced rhythm guitars that drive so much of this experience.

Morten Nielsen's beats, while simplistic and rock-oriented rather than intense, have this great mix with just the right amount of resonant to the snares and kicks. The one component lacking for me here is the bass playing, which seems really subdued, and not one of Timi Hansen's finer performances alongside the King. I mean, this is a very airy, eloquent mix, like a cold moonlit night with only a few clouds; so a booming or buzzy bass tone might prove distracting, but the volume is such that it only hovers below the rhythm guitar and I don't pick out a lot of interesting or inspired grooves and fills, with a few exceptions like "A Gruesome Time" where the instrument shines a little more than usual. Otherwise, In the Shadows just sounds so timeless and tremendous that I would hardly change a bloody note. Even the 1993 rendition of "Return of the Vampire" sounds dramatically improved thanks to its production...would've been better as a pure bonus track, since it seems mildly redundant, yet in keeping with the various 'sequels' on the album like "Is That You, Melissa" or "Egypt", it makes some sense and is thankfully tacked on as the finale.

Mercyful Fate had such a classy comeback here that it's hard to imagine any long time fans not enjoying it, beyond those easily marginalized louts who seem to joy in clinging to some proscribed period of a band's work and then automatically rejecting everything exterior to that phase. In the Shadows is intelligent, it's intricate, and it's thoroughly innovative despite such a strict adherence to the band's lyrical aesthetics and traditional 80s style. With the exception of "Room of Golden Air" and "Return of the Vampire", it's quite coherent without any of the tunes sounding quite the same, and it's even got that captivating cover image which broaches a number of the album's subjects. Perhaps most impressive, at least to me personally, is that this is one of those rarities which seems to improve with age, despite its minor flaws. I enjoyed this more in 2003 than 1993, and now in 2013 that trend continues, to be reflected in my rating. I simply can't imagine spending a Halloween without throwing this on the deck at least once. I know, the same could be said for anything King put out in the 80s with either vehicle, most of which is mandatory, but In the Shadows is absolutely one of those uncommon gems of that earlier 90s period not to involve death or black metal. If I find myself in the mood for hellfire, leather and burning witch-skin, Don't Break the Oath would still be the defacto Fate disc due to its ferocity and importance, but this is such a great record to kick back to on an autumn New England night with a seasonal brew, to just watch the leaves drift or wallow in the slowly encroaching cold.

Best of 2016 - Power Metal Edition

By Andy Osborn. Good power metal is rare on Bandcamp. Whether that says something about the genre’s overall lack of popularity, or that the best stuff is controlled by a handful of labels with no interest in modernization, I’m not sure.

By Andy Osborn.

Good power metal is rare on Bandcamp. Whether that says something about the genre’s overall lack of popularity, or that the best stuff is controlled by a handful of labels with no interest in modernization, I’m not sure. Probably a little of both. Not only is it scarce on the platform, 2016 wasn’t exactly a banner year for the stuff. Admittedly I don’t hunt for power metal like I do the darker arts, but even when I take the time to dig deep it was incredibly hard to find real solid material; despite the sound demanding a full group of near-virtuosic musicians and not just the ol’ dude in the basement churning out atmospheric horrors. That said, I was able to scrape the barrel deep enough (through to the floor) to find this quintet of guitar wizardry that stood out above the rest in 2016.

Artwork by Eliran Kantor.

Iotunn deserve an award for their guitar tone alone. It’s not something that regularly stands out in the genre, but the biting, thick sound they have is singular - it was ten seconds into “The Wizard Falls” before I was sold. Denmark, for whatever reason, tends to produce a proggy variety of the sound, and Iotunn are no exception. They have hints of heavy metal, and a slightly American sound that definitely will appeal to Nevermore fans. Benjamin Jensen isn’t your typical soaring vocalist, either. His standard delivery is more of a gruff bar, that occasionally turns to an equally badass growl; something not used nearly often enough in the style. It all makes for a pretty interesting package, and the meandering song structures are captivating and interesting. Even if their overall style isn’t your thing, just ignore that and dig the sweet tone.

Artwork by Kip Ayers.

Power metal, like any style of of heavy arts, can take itself much too seriously. In fact, that’s probably why it’s not as popular as it should be. The songs are meant to be ridiculous and over-the-top, rather than burying the listener in evil cacophonies and pretend satanism. Zephaniah are great because you can hear the band having fun every second of every track. They’re also constantly switching things up, rarely sticking to a formula. Solos, blastbeats, and tempo changes erupt seemingly out of nowhere. They’re masters at keeping their fans on their toes. Reforged is filled with ripping, ever-shredding leads, and a nice hint of thrashy aggression to show off their American roots. The highlight of the album is the tracks modeled after the original Mad Max trilogy that tell the young Mel Gibson tale in metallic, stupidly fun form. It’s a shame they didn’t feel the need to do a part four to match the newest film but don’t worry, our friends in Spellcaster have us covered.

Artwork by Felipe Machado Franco.

In a world where Sonata Arctica didn’t move on from their much-loved original sound to play some sort of watered-down proggy pop-rock, they could have made this album. Taken’s self-titled debut is like a lost work that fits between Winterheart’s Guild and Reckoning Night (while still blatantly stealing the latter's cover art). What that means is Taken play a style of highly European power metal that sticks to the middle of the road; that is, it’s not overly bombastic or cheesy but contains the perfect amount of melody centricity and mildly-soaring vocals to still be taken seriously by those who aren’t power metal diehards. The septet are able to write a relatively lean, solid tracks with plenty of playful hooks, catchy choruses and more keyboard than guitar solos. Okay, a 65-minute debut isn’t exactly trim, but the intention is there, and it’s admirable. Despite a few unnecessary tracks these Spaniards have crafted one hell of a first album that many fans of the style will welcome.

Artwork by Ariel ZB.

Necromancing the Stone are probably the least publicized supergroup in metal history. With a cast consisting of Arsis, The Absence, and The Black Dahlia Murder veterans, it would be a given that that they would be some souped-up, crazy take on melodic death metal. That’s partially true, but with a twist. They smooth out their more aggressive sound with the buttery vocals of Brimstone Coven’s John Williams and then further round it out by (slightly) toning down the brutality in their riffs. And hearing the way they construct their axe wizardry, it turns out there isn’t too much different between the melodic death metal and power metal guitar techniques. They’re both catchy as all hell and painfully badass. The former may call for a bit more palm-muting and less bombast and high fret obsession, but the result is a perfect mashup of the best of both worlds into something entirely different; not to mention one of Metal Blade’s best additions in recent years.

James Malone’s unmistakable technical flourishes are ever-present and like any good power metal, Necromancing the Stone take writing music seriously, but not so much their image - as you can tell by the band name and album title referencing the 80s Michael Douglas adventure-comedies. “Siren’s Call” is the highlight, with it’s unforgettable lead melody that slides effortlessly into a pumped-up chorus booming with double-bass. It’s a swaggering beast of an album, so if you’re in the mood for some aggressive power metal or even light thrashy melodeath, this ragtag group of scene veterans provide one of the most quintessentially American releases of the year.

Artwork by Caio Caldas.

Even more of a supergroup, I can’t believe Eternity’s End flew under my radar until just recently. Featuring former and current members of Obscura, Spawn of Possession and Necrophagist, German savant Christian Münzner just took his recording lineup from his last solo album and threw English vocal vet Ian Parry into the mix. You wouldn’t expect such majestic, epic music from tech death titans but just like James Malone proved above, precision chops are perfectly suited for power metal. The Fire Within is a near-flawless debut that’s able to showcase the axe wielders’ insane technicality without treading too far into Yngwie’s grandiose, pretentious territory. Because despite the technical wizardry at play in the group, there’s only a medium dose of theatrics, solos, and self-indulgence, but still enough to solidly put them in the neoclassical camp. Their experimentation definitely throws on a “prog” tag as well, but one meant as a compliment of the highest order.

Unlike on Taken, the long playtime here is more than bearable, and gives you the feeling that the band could have easily stretched things out or added another track or four without losing steam. I’m very basic in my power metal love, as even a well-written ballad bores me. Power metal is about speed, precision, and fist-pumping choruses so part of what makes Eternity’s End great is that they don’t slow it down, even for a second. Maybe that’s just physically impossible for them. As a showcase, “Eagle Divine” contains the perfect power metal chorus. Gang vocals, empowering lyrics, all while the rest of the band is still going full speed. The end result is nothing short of jaw-dropping and is both the power metal album of the year and one of the best debuts in the genre’s history.