Time To Take A Break...

I started this blog about two years ago now, with the intention of listening to various power metal albums, year by year, from the late eighties (Helloween) onwards. I wasn't sure how it was going to go, and it was to depend on how much I continued to enjoy the genre, as well as to whether I continued to feel like writing about all the different artists.
Well, two years down the track, I've listened right up until 2006, and now I think is a time to take an indefinite break from this blog.
Certainly, I am delighted with how things have gone.  Power metal is indeed a wonderful subgenre of rock music, and it has not let me down in the slightest. Naturally, come artists have been considerably better than others, and there have been highs with lows, but there's been so much to love, I know there are plenty of records I'll be going back to time and time again.
However, as I suspected, I've struggled with my enthusiasm lately, largely because of a need for something different (it's certainly not because of quality -  I think 2006 might have been the best year to date). I have wide tastes, and even as I've been going through these power metal years, I've been tempering them with other acts from time to time, particularly ones I have been longtime fans of, like Duran Duran, Nik Kershaw, Howard Jones, Suzanne Vega, The Human League, Heaven 17, Depeche Mode and others.  But power metal has dominated, and it's wearing me down a bit.
Having said that, I'm in a bit of a bind, because I'm only up to 2006, and we're about to enter 2014. I want to catch up, and there're heaps still to listen to!  I've had a stronger and stronger desire to go back to the music of the eighties and earlier for a while (the eighties will always be my ultimate musical passion), but it's silly to be forever being behind the times with at least some bands as the years go on (I couldn't care less with being behind the times as far as charting music is concerned - I pretty much gave up on that years ago).
So what I'm probably going to do is narrow things down a bit and persist with the power metal bands I have grown to love (as well as those other artists), trying to get up to date with them as much as possible, as well as attempting to investigate earlier acts whom I would like to try (largely, but not only, metal).
I don't know if I'm going to keep writing about them.  The thing is, while I know one or two people have at least read all this (thank you, Alltime Records), it's obvious I don't have much of an audience, which is fine. :-) I wasn't really sure if anyone at all would care about this.  But my writings have proven useful to me, as I have approached some bands' music with rather vague memories (if that) of what of theirs I've listened to before, and going back and reading what I've written of their earlier work has helped me better appreciate the album on which I am currently focusing.
I do need to mention Alltime Records, a new record reviewing site which contacted me earlier this year, having read my writings on this blog, and asked me to contribute to their venture, with was both flattering and surprising to me, as I don't think my writing is really all that great.  Sometimes I get on a roll and out comes some really good stuff, but at others I don't write a very long review at all, and that is sometimes because I simply can't think of a lot to say about the album I have listend to - it might be bad, good or very good, but so unremarkable, there just doesn't seem to be much to speak of.
But also because my brain does not always like to co-operate. I am the son of a man who has over a dozen books published (mostly religious/historical writings, under the name of either David Bennett, or David Malcolm Bennett), and of late, the brother of a girl who has just started getting young adult romance/science fiction books released (Lynne Stringer and her Verindon series), and I am hugely proud of them both.  I would dearly love to find the same success, most of all with some kind of children's writing.
But I find it so hard to do. :-/ Sometimes words flow, but at others it's like my brain is just screaming at me to stop.  I go through almost pain and deadening effort to just get myself going. Some might say "sure, everyone gets writer's block", but for me, it's the rule, not the exception.  I think it's fair to say it's one reason why I struggled so much at school.
Anyway, I am continuing to contribute to Alltime Records, and I would like to recommend them - they can be found at http://www.alltime-records.com/index.php - and certainly want to keep that up, as well as putting some up at Rate Your Music, a site I have been going to for some years now.
But I might put this blog on hiatus for a while, depending on how I feel in the coming weeks.
However, something I would like to do is make a list of the power metal bands I have grown to love, and am definitely now a fan of, as well as other lists of ones of whom I've given up, etc.
I love lists. :)
So I thought I would write all this as an explanation of what is happening, to whomever might be reading.  I want to thank anyone for taking the time to read this stuff, and I also want to thank so many of those great bands out there who have provided me with what I have to say has been a new lease on my music-loving life. :-)
I might be wearying of it for now, but my love for power metal will never die, and I know I will be approaching much more of it with just as much love as I have in the past.
Power metal rules!

Crystallion - A Dark Enchanted Crystal Night (2006)

Crystallion is a German band who doesn't really do anything remarkably new on this, their debut album, but still offer plenty to like as they indulge in all the cliches of power metal.
It's consistently speedy (no ballads), with reasonable melodies (highlights including "Visions" and "Crystal Clear"), and lyrics that revel in fantasy battles and triumphing over evil - example from "Tears In The Rain": "Onward now my warriors, we fight with no remorse/Sail away, the stars will guide us far to distant shores/Thunder shakes the battlefield, the dark defeats the light/'Til the last there's no retreat, for we stand as one tonight."  Where's my sword??
Thomas Strübler's vocals, which are a bit lower than usual for this style, are reasonable, but somewhat uninspiring, although the rest of the instrumentation is fine, particularly Manuel Schallinger's keyboards. 
The final song is the nine and a half minute "The Final Revelation", which brings out that great standby, the Book of Revelation and a battle between the angel Michael and Lucifer.  It's a nice effort, but lacks that epic feel, to the point where it almost sounds like the two protaganists are singing a duet in some apocalyptic cafe.
To a certain degree, I think Crystallion come across as a less hysterical DragonForce, and A Dark Enchanted Crystal Night (even in the title they try to squeeze in all the power metal cliches they can) is a pleasing listen, without managing to take the breath away.

***1/2

Heavenly - Virus (2006)

I've been won over by Heavenly so far, and this fourth album of theirs has done nothing to sway my view.
At a thankfully more manageable running time of fifty minutes, after the seventy-plus of the last release DUST TO DUST, Virus is not as mean as the cover would suggest, but it is more catchy, passionately played power metal, and Ben Sotto's vocals are reasonably restrained (compared with SIGN OF THE WINNER, anyway).
Such tracks as "Spill Blood On Fire", "Wasted Time" (with Sonata Arctica's Tony Kakko adding his voice), "Liberty" and "The Prince Of The World" are excellent, while they also do a first rate cover of the 1984 hit by Jermaine Jackson and Pia Zadora, "When The Rain Begins To Fall", a song that lends itself well to this genre.
If anything, I've underrated this French band thus far.  Their first four albums are all highly enjoyable, and thinking about them now, I'd have to put Heavenly as one of my favourites of power metal.

****

Crystal Eyes - Dead City Dreaming (2006)

Crystal Eyes' fifth album has them with their third vocalist, this time Søren Nico Adamsen, and that part of the band's sound is certainly better than their early days, helped by the also much improved production.
Unfortunately, the material is often rather uninspired, and doesn't really justify all the effort.  It's mostly reasonable stuff, a bit slower than normal, and songs like "Dawn Dancer" and "Temple Of Immortal Shame" are good, while the conclusion to the final song "The Halls Of Valhalla" (there's Valhalla again) is grabbing, but too much of this sounds like the band is just going through the motions.

**1/2

Sacred Steel - Hammer Of Destruction (2006)

Sacred Steel never have been the typical power metal band, and here they are mostly steeped in straight speed metal, and it's all very heavy and fast, with Gerrit Mutz's usual strangled vocal yelps combining with the gang chants, as they hail metal a lot, and also go for extra dark territory with, in particular, the nine minute "Black Church", which is slower, and is probably more satanic than you're likely to find anywhere else done by a band under the banner of power metal.
I like their heaviness, but Sacred Steel will never really be my cup of tea. I think I've come to that safe conclusion by now.

**1/2

Dragonland - Astronomy (2006)

So far, the three albums from Dragonland have yet to impress me, but this one is certainly a step up, if only for their attempts to progress.
As the title suggests, the topics focus largely on space themes, on the first half at least, and the song "Cassiopeia" is a highlight there (although that one's actually based on Greek mythology), while also intresting is "Beethoven's Nightmare", a reflection of the great composer's suffering through deafeness while writing his music.
The most notable part of the record, however, is the concluding, three-part "The Old House On The Hill". Said to be attributed to Danny Elfman (former singer/songwriter for Oingo Boingo, as well as being the composer for such themes as the ones for the 1989 "Batman" film, and for "The Simpsons"), it is completely instrumental and largely orchestral.  By the end, it reaches quite an impressive grandeur.
However, through all this, the fact remains that the song writing still isn't very inspired or interesting overall, something that has dogged Dragonland throughout their career.  They get marks here for a galant attempt, but only reasonable execution.

***

Fairyland - The Fall Of An Empire (2006)

FAIRYLAAANNNNDDD!!!!
No, I can't really sound metal-tough, no matter how I shout it, can I?
Anyway, The Fall Of An Empire is the second album of this French band, three years after their classic debut OF WARS IN OSYRHIA, and in that time, bassist/drummer Willdric Lievin and vocalist Elisa Martin had left, which resulted in the band bringing in a male singer (Martin was also replaced by a male when she left Dark Moor - does she put these bands off women somehow??), Magic Kingdom vocalist Max Leclerqc. While not great, he's certainly an improvement, and there are also a couple of other female voices that appear from time to time.
I admit I was a bit disappointed to start with when listening to this album.  I can now look back and see that the choral vocals that were so wonderful in OSYRHIA are still there, but they seemed somewhat diluted to start with. Or maybe the material is a bit weaker.
Indeed things do start a bit below par, but there is still some really good stuff here, the first outstanding track probably being the first slow song, "Eldanie Uelle", immediately followed by the more up tempo "Clanner Of The Light". These two songs show just how deft and melodious Fairyland can be. Other songs like "The Walls Of Laemnil" and the ten minute "The Story Remains" ar also good, and it soons become apparent this is indeed the Fairyland that has come before.
Guitars seem to be a bit more prominent this time around, and there's probably a bit more variety in regards to tempo and song structure. All these factors are fine. But the impression remains that The Fall Of An Empire stalls a bit at the beginning before eventually picking up.
Nevertheless, Fairyland are a must for those who love epic-sounding, symphonic power metal, and it's just a shame that their output is so sporadic.  The metal world could do with more from them, no matter what it might think of their name.

****

Celesty - Mortal Mind Creation (2006)

After the ordinary LEGACY OF HATE, Celesty return to form with this third album. It's not breathtaking, but decent enough power metal, with such songs as "Land Of Mortals", "Unreality", "War Creations" and "Arrival" amongst the highlights.
I'm sorry, I'm afraid I'm not feeling the best at the moment. Got a bit of a headache, which is unusual for me.  I don't think it's because I played these chaps too loudly. :) I'm afraid I don't feel up to writing or thinking much more...
But I can still say that Mortal Mind Creation is a good release.

***1/2

Dionysus - Fairytales And Reality (2006)

Wikipedia has this quote from Dionysus' drummer Ronny Milianowicz, concerning Fairytales And Reality: "This album is so good that you would throw away all other CDs you got only to have this one. It will make you drink beer like crazy. It will make your neighbors your worst enemies. It will make you a true metal warrior."
I would have liked to have made a few jokes in reply to that, but I won't, firstly because I'm guessing Milianowicz was being tongue-in-cheek, and secondly, the record is actually a good listen overall.
The band's third and last, it doesn't do anything particularly exciting, but the likes of "The World" and "The Game" are worthwhile, and one can't complain about Olaf Hayer's excellent voice.
Over the course of their trio of releases, Dionysus hasn't done a lot for me, but they're listenable enough. However, I won't be throwing out all my other CDs in the light of any of them.

***

Dream Evil - United (2006)

Dream Evil's fourth album, after the departure of drummer Snowy Shaw and guitarist Gus G. (replaced by Pat Power and Mark Black respectively), can't quite match the monster THE BOOK OF HEAVY METAL that came before it, but there's still plenty of metal pleasure with the likes of "Fire! Battle! In Metal!", "United" and "Let Me Out", while the lyrics veer to more of the evil side, with occasoinal references to Satan (there's even a "Hail Satan" a couple of times), although it's not clear what they're actually trying to say.
United is no classic, but what it does, it does well.

***1/2

HammerFall - Threshold (2006)

I have given each of HammerFall's first five albums three and a half stars, and this one is going to get the same.  It's not that all their releases have been identical, but they've managed to be consistent enough in quality, without reaching any breathtaking heights.
Threshold has a bit more of the choral/chanted choruses than usual, something that always appeals to me, and such songs as "Rebel Inside" "Howlin' With The 'Pac" and "Carved In Stone" are good, powerful heavy metal for those who aren't too demanding.
There's not much more to say, really. Another HammerFall album which offers no real surprises, but does the job.

***1/2

Wuthering Heights - The Shadow Cabinet (2006)

Following the excellent FAR FROM THE MADDING CROWD was always going to be a tough ask, but Wuthering Heights have given it a damn good try on The Shadow Cabinet.
I think this is another of those albums which will grow on me with more listens, as I did find it a bit tough to get into, but enjoyed such pieces as "Snow - Apathy Divine Part II", "Sleep" (its quiet, a capella start before growing into a rousing refrain is terrific) and "Carpe Noctem - Seize The Night".
It's quite ferocious and vigorous throughout, with various complex passages, as well as touches of folk, and really just gives off a sense of fun, even if the lyrics aren't necessarily light hearted.
Wuthering Heights is definitely a band I'm going to have to investigate further, as I think their albums have much more to discover with subsequent listens.

***1/2

Divinefire - Into A New Dimension (2006)

I don't want to bag Divinefire too much, as I thought their first album, GLORY THY NAME, was excellent, and the follow-up HERO was also impressive, if not quite of the same calibre. And there are unfortunately few Christian bands that win me over.
However, this third album is a further step down.
It's extremely ferocious, with furious songs through its running time of about forty minutes, and main instrumentalist/music composer Jani Stefanović injects moments with death roars which aren't really necessary, although they aren't too bad. But there just isn't much in the way of stand out material; probably the first proper song, "Passion & Fire", is the best one. 
Singer/lyricist Christian Rivel does as good a job as he does with his fellow-band Narnia, a group which is not extreme, and whom I would normally enthuse less about. But in 2006, they won the battle with ENTER THE GATE.
Into A New Dimension is impressive with its fury and passion, but faulters with the actual material.

***

Angra - Aurora Consurgens (2006)

I admit my admirations for Angra have faded as their career has gone on.  I thought TEMPLE OF SHADOWS was quite overrated, and this follow-up has impressed me even less.
Based on the writings of Thomas Aquinas, and focusing on different mental states (like suicide and schizophrenia), as well as being the last album to feature drummer Aquiles Priester, it's quite heavy, which is good, but with few particularly memorable songs. And when they are memorable, like with the ballad "Breaking Ties", it's not for a good reason, since it sounds like Bon Jovi.
Maybe this will grow on me over time. But, for now, I can't really get excited about Aurora Consurgens.

**1/2

Mob Rules - Ethnolution A.D. (2006)

Mob Rules' fifth album, thanks to the liner notes for the songs on the first half, makes the song topics quite clear, as they sing about religious wars ("Unholy War"), the Klu Klux Klan ("Ashes To Ashes"), division in Germany ("Fuel To The Fire") and suicide bombers ("The Last Farewell").  For some reason, the songs on the second half do not have similar notes.
However, the album as a whole is not all that exciting musically anyway.  Mob Rules has always been reasonable, without doing anything outstanding, but Ethnolution A.D. is not even that good, with rather uninspired writing. What's more, Klaus Dirks' vocals, which have always been easily recognisable with their slightly warbly tone, get rather annoying on the latter part of the record with such songs as "New Horizons". Even the final, quite nice ballad "Better Morning" can't save things.
The best song here is certainly "Day And A Lifetime", but the album as a whole is really not all that special, no matter how notable some of the topics might be.

**

Virgin Steele - Visions Of Eden (2006)

Subtitled "The Lilith Project - A Barbaric Romantic Movie Of The Mind", this is Virgin Steele's first album in six years, and as if to make up for lost time, is eighty minutes long as it tells the grim tale of some kind of battle that starts in the Garden of Eden, when God creates Adam and Eve, and Adam then gets a second wife, the less pure Lilith, who seems to be befriended by the Devil, or something similar.
As usual, this is very much Dave DeFies, as he wrote it, produced it and performed much of the instrumentation.  His snarling/singing (when he does sing, DeFies has quite a deft, sometimes almost gentle voice) is also used for all the different roles in the drama, rather than inviting other singers along, and he is as professional as always.
However, the rock side of this is curiously muted at times - the guitars are certainly not very prominent, and the record can't help but drag in places. And yet it also can't help but be impressive overall, and such songs as the opening "Immortal I Stand (The Birth Of Adam)", "Bonedust" and "Childslayer" deserve to be seen amongst the better tracks from Virgin Steele's catalogue.
I can't say I care for the subject matter, and these really long albums are not easy to get into, and yet I surprise myself with how well I can get swept away by them sometimes. Such is the case with Visions Of Eden.  It's a flawed, but skilled piece of work from someone who just knows how to do this kind of thing.

***1/2

Falconer - Northwind (2006)

After two albums with singer Kristoffer Göbel, and losing their distinctive sound somewhat on the previous GRIME VS GRANDEUR (although it really wasn't that bad a record overall), Matthias Blad returns with his beautiful baritone, and with him comes Falconer's folk metal touch. In fact, Northwind is so steeped in folk, it sounds like they're trying to regain the fans they might have lost due to their previous release.
Such songs as "Waltz Of The Dead", "Spirit Of The Hawk", "Purjury And Sanctity" and "Home Of The Knave" rank with the best these Swedes have done so far, and while some of the other songs mightn't be quite as good, there's still much to like here, and it is a must for those who might have given up on Falconer.

***1/2

Rhapsody Of Fire - Triumph Or Agony (2006)

Luca Turilli continued his busy year with this album, that was the first to be released under Rhapsody's new name, due to a legal dispute.
Triumph Or Agony seems to be viewed as the weakest release in the band's catalogue, and it's certainly not as good as what has come in the past. One reason is that there's very little speed here; at times, it almost seems like a selection of fantasy ballads, with choirs and orchestras added.
And there's a choir and orchestra, to be sure.  The sound of Rhapsody is all here, as is the story of a band of adventurers trying to find a powerful book before the evil Nekron does.  And all this culminates in the five-part, sixteen-minute (there's always got to be one of them) "The Mystic Prophecy Of The Demonknight". There's certainly little wrong with this sometimes mighty piece of music, and, along with a few other guest actors (including Susannah York), we have Christopher Lee returning to do the narration. Naturally, he is magnificent.
Earlier on, "Old Age Of Wonders" and "The Myth Of The Holy Sword" (two parts of "Legend And Myth Of The Emerald Sword") are charming in their folk leanings, but the album lags badly in other places, like Fabio Lione's composition "Il Canto Del Vento", while there are times when the choir will suddenly come in chanting what I presume is an Italian refrain, and it almost seems like Turilli and Alex Staropoli thought they'd better throw them in somewhere, to stop things from getting too mundane.
Triumph Or Agony is a step down for Rhapsody Of Fire, as well as Turilli's other two projects in the same year, but it still has some excellent moments that help it to be far from a lost cause.  However, it would be four years before the band would release their next album, thanks to legal wrangles as well as extra-carricular activities of Turilli, Lione and Staropoli.
Then the naming of the band business would get even more confusing.

***1/2

Kaledon - Legend of the Forgotten Reign - Chapter 4: Twilight of the Gods (2006)

2006 has been very impressive in its consistent body of power metal work, but there seems to have been a notable lack of speed in much of the material.
Re-enter Kaledon, the band who started horribly, and has improved rapidly.  This is their fourth album - sorry, chapter - and it pretty much matches the previous chapter in every wonderful way.
Of course, speed is great, but you need melody too, and this record has it in spades, like the opening "The Holy Water", "War Plans", the gloriously flying "Eyes Of Fire" (a song which just calls out why-I-love-power-metal-so-much), "The Fury" (one of the few slow songs here, which is ironic, considering the title), and the wonderful conclusion, "Out Of The Ground".
Through it all is a production that's almost Wall Of Sound, Phil Spector-like in its echoey tone, which just enhances the experience.
Twilight Of The Gods isn't all brilliant, but the best parts are so good, they make the album as a whole a joy to listen to. A must for power metal fans.

****1/2

Blind Guardian - A Twist In The Myth (2006)

Right in the early days of writing this power metal blog (and it's been going for about two years now - that's not bad), the first band I really enthused about was Blind Guardian.  TALES FROM THE TWILIGHT WORLD, from 1990, blew me away, and their next few releases continued to blow with similar greatness.
As time went on, the band's output became less common (they have eventually slipped into a one-album-every-four-years way of doing things), and other bands, like Freedom Call, Rhapsody, etc, took over my adorations. 
I thought 2002's A NIGHT AT THE OPERA was really good, but not quite the same as those earlier great ones, and A Twist In The Myth is kind of similar.
The immediate hooks aren't there any longer, as Blind Guardian now seem to prefer a more reckless, haphazard style of songwriting. However, that's not to say there's nothing here worth listening to.  These boys can't help but be entertaining and lively with their vigorous playing and passion, and such early songs as "This Will Never End" and "Otherland" are fine, as is "The Edge", which is actually about the apostle Paul and his view of the end of the world.
Of course, through it all, Hansi's unique voice (forget Jens Carlsson) just can't be beaten for epicness. 
Blind Guardian will always remain one of my favourite power/heavy metal bands, even if largely on the strength of those nineties releases, but they've never brought out anything less than, at the very least, really good, and A Twist In The Myth doesn't buck that trend.

***1/2

Sabaton - Attero Dominatus (2006)

Sabaton continue their obsession with all things war here, focusing on such topics as the Battle of Berlin ("Attero Dominatus"), the rise of the Third Reich (the grim "Rise Of Evil"), the Falklands War ("Back In Control") and the attacks on Hiroshima and Nagasaki ("Nuclear Attack").
Again, Joakim Brodén's vocals roar perfectly (he's credited here as 'the voice of war'), and there's a passion and conviction here that can't be denied as the best songs chant our their choruses memorably.
It's probably a little less consistent than PRIMO VICTORIA, but impressive nonetheless, and again they finish with a cute metal tribute, this time composing the lyrics with names from various metal bands ("When the priest killed a maiden in the metal church, armored saints and warlocks watched the slaughter/Rage of the slayer forced the pretty maids to kiss the queen in crimson glory.")
It might seem a bit out of place, after thirty-odd minutes of battles and destruction, to finish these records in such a way, but hey, Sabaton have their little perks.

***1/2

 

Axenstar - The Final Requiem (2006)

Axenstar's fourth album is pretty much what one would come to expect, if you've heard their first three, although Magnus Winterwild's distinctive overdubbed, harmonic vocals are less prominent this time. Since this has been a major feature of the band's appeal, that's a bit of a setback, but also an issue is that there's pretty much a sameness to the material, and with that in mind, it could have done with a couple less songs.
It's still a good listen overall, as they lament about death and war (which the great cover depicts), but there's little that's particularly inspiring here, and maybe that's why they waited five years before releasing their next album, AFTERMATH.

***

Luca Turilli's Dreamquest - Lost Horizons (2006)

While completing his solo trilogy, and also getting Rhapsody Of Fire going under its new name, Luca Turilli also formed Dreamquest (his name added to it to avoid confusion with a French band, definitely not so it can give the outfit any extra publicity), this one to offer him the chance to showcase his keyboard talents, rather than guitar.
What we have is a sometimes terrific collection of more gothic and, at times, electronica metal, than power, with soaring operatic, female vocals of someone who just goes under the name of Myst, and whose identity has been kept secret. Some have suggested it's Bridget Fogle, who appeared on Turilli's THE INFINITE WONDERS OF CREATION the same year, but there has never been any firm solution to the mystery.
There are some great songs (all of conventional length - no ten minute epics here) with the likes of "Dreamquest", "Black Rose", the Italian-language "Sospiro Divino", that sounds rather like the song "Maria" from "West Side Story", and "Frozen Star" and, while there are weak moments here and there, the good moments are so exhilirating, and Mystery Girl's voice so strong, the album as a whole is just a sumptous pleasure.
Mr Tulliri can do no wrong.

****1/2

Firewind - Allegiance (2006)

Firewind's fourth album also has their third vocalist, this time Time Requiem's (he's also had moments with other acts) Apostolos Papathanasio,  as well as new drummer Mark Cross (also with various bands in the past, including Helloween). Even by heavy metal standards, this had been an unsteady line-up, but Gus G wanted to finally stabilise things, and he saw that getting it more Greek might be a way to establish that (Cross is English, but was living in Greece at the time), and he was to be quite successful in that regard, except for the drummer's chair, which still kept finding new sittees.
The immediate result is their best album to date. Firewind has, so far, impressed me, without holding me in awe, and while Allegiance is not earth-shatteringly amazing, it's certainly really good at what it does - that being strong power metal of the mid-tempo, occasionally fast style.  "Ready To Strike", "Breaking The Silence" (with additional, female vocals from Tara Teresa, a singer I'm not familiar with), "Dreamchaser" and the concluding "Where Do We Go From Here?" are highlights, but the whole endeavour has a life and power that makes this most enjoyable.

***1/2

Luca Turilli - The Infinite Wonders Of Creation (2006)

2006 was a very busy year for Luca Turilli. There was a new album coming out by the renamed Rhapsody Of Fire, he'd got another band together, Dreamquest, and he was also bringing out the third and, at the time of writing, last of his 'solo' albums.
And this is it.
Being the first recording on which Turilli contributes keyboards as well as guitar, it also differs from his first two releases by adding soprano Bridget Fogle to the mix, as well as the returning Olaf Hayer. Fogle is not quite up to the standards of some other operatic singers in power metal, and her breathing is bad, but she does a pretty good job overall.
The record is actually much more symphonic than metal, with little notable guitar work, although there is no shortage of straight rock songs, as well as a couple of slower pieces, to go with the expected choirs and orchestration. Typically, it's the last song (the eight minute title piece) that is the most expansive, but other tracks like "Angels Of The Winter Dawn", "Cosmic Revelation" and "Mystic And Divine" are also strong.  As the titles suggest, the lyrics are all heavy in mystic/New Age adoration of the world.
The Infinite Wonders Of Creation is another impressive chapter in Luca Turilli's book, not just as an album in its own right, but by again showing how diverse he can be, while still keeping his characteristic flourishes prominent enough to please listeners who get so much enjoyment from his work.

****

Edenbridge - The Grand Design (2006)

Edenbridge's fifth studio album again benefits from Lanvall's songwriting, instrumental and production skills, as well as Sabine's voice (oh, the other two are fine as well).  It's a bit more instantly accessable this time around, with more in the way of snappy choruses, although not to any great degree.
The two longest tracks, "Terra Nova" and "The Grand Design", show a more progressive side (and, on the latter, moments of folk), and they're both rewarding, but the record really shines with such songs as "Evermore" and the sunny "On Top Of The World".  Only the ballad "The Most Beautiful Place" is a bit ordinary. The lovely blue in the artwork is eye catching as well. I just like that shade of blue.
The Grand Design is another worthwhile release from a band who just knows how to keep producing the goods, and manage to balance the fine line between staying true to their roots, while not repeating themselves too much.

****

Tierra Santa - Mejor morir en pie (2006)

Tierra Santa have never reached any great heights, but they can still usually release something better than this.  Mejor morir en pie is a totally routine, by-the-numbers effort, with songs that pretty much all sound the same; only "Hoy vivo por ti" and, to a lesser degree, the opening, title track are of note. 
The production is beautiful, and the band play as skilfully as always. It's also a relief that their albums are never very long.  But, whatever the length of this one, the songwriting sounds like it was done in automode.

*1/2

Persuader - When Eden Burns (2006)

Persuader's third and final album is reasonable, with much speed (something that hasn't been very common in material I've been listening to lately), and good songs like the opening "Twisted Eyes", "The Return" and "Judas Immortal", and containing lyrics about evil and... well... Eden burning, or something. Ho hum.
It's nothing great, and Persuader's trio of records aren't particularly great either.  Since the band's break-up, I assume Jens Carlsson has continued to sing with Savage Circus, while we can also hear similar tones whenever Blind Guardian releases something, and Hansi Kürsch impersonates him.

**1/2

Kiuas - Reformation (2006)

I respected Kiuas' debut SPIRIT OF UKKO more than I really liked it, and I was wondering whether to continue with the band, but based on the good reviews they've received, and reasonable popularity (and the fact that I've already bought all their four albums they've done thus far), I thought I'd keep going, and that was a pleasing decision.
Again, this has them showing attractive variety in style, with shifting time signatures to keep one guessing, and also more catchy songs than can be found on its predecessor.  Such song sas "The New Chapter" and "Of Ancient Wounds" are highlights, while "Black Winged Goddess" has black metal leanings, in music and vocals, that I actually like (although I, seriously, will never become a black metal fan), and "Bleeding Strings", with its pumping chorus, is a classic.  Then there's the last song, "Reformation (Wrath Of The Old Gods)" which has them touching on the world of epic fantasy.
I still find Kiuas a bit hard to get into, but they seem ready to expand themselves so much, with results that can be very impressive, that they're certainly unlikely to ever get stuck in a rut, keeping them interesting and alive.

***1/2

Icewind - All Is Dust (2006)

Icewind is a Canadian sextet, and what an assured debut they've come out with here.
Helped immeasurably by both an adult and children's choir, the highlights of this debut are absolutely gorgeous, those moments including the first song "Winter Heaven", as well as the likes of "Follow The Wind", "All Is Dust" and the sometimes glorious "Inner Storm". 
On the other side of the coin, there are a few fairly ordinary songs, like "Walking Alone" and the ballad "Washed Away", while vocalist Gabriel Langelier is a bit weak.  But, overall, Icewind has brought power and symphonic metal together in a sometimes exceptional release that demands seeking out for fans of either or both genres.

***1/2

Time Requiem - Optical Illusion (2006)

Time Requiem's third and final album has Richard Andersson with an almost new line-up, including debut vocalist Goran Edman, and the result is probably the band's best release.
Once more, Andersson's keyboard prowess is evident, but Magnus Nilsson's guitar playing is also skilful, and the songs, while nothing brilliant, are consistently interesting and have an appeal that is quite grabbing. 
During their brief career, Time Requiem crafted a style similar to Artension but, while Andersson and Vitalij Kuprij are both talented men, I prefer Time Requiem's superior song-writing ability. I think that's what the difference really boils down to.
Both bands are now defunct, but it would have been nice to see where Time Requiem could have gone from here.

***1/2

Narnia - Enter The Gate (2006)

Narnia's fifth studio album, their first in three years, is their best.  That's partly because of the consistent music (mostly mid-tempo), where such songs as "People Of The Blood Red Cross", "This Is My Life" and the concluding, almost nine-minute "The Man From Nazareth" shining, party because of the perfect blend of guitar and keyboard, and parly due to their most overtly Christian lyrics yet, which are uplifting and comforting for people of the faith.
I have really taken to Divinefire, the other band Christian Rivel sings with, while it's taken me a while to warm to Narnia. But they've got better as their career has moved along, and Enter The Gate shows what they can do.
Recommended for all Christian rock fans out there.

****

Steel Attack - Diabolic Sympony (2006)

"Oceans of fire, skies darker than black/Welcome to Hell, there's no turning back/It's time for you to die again again again/In sulphur flames, forever burning/Excuricating, forever yearing/To die for real to end this ever lasting pain."
Steel Attack's fifth album has them again focusing on the afterlife, mainly Hell, as can be seen by those lyrics to "Dreaming". DIABOLIC SYMPHONY is full of regret for a bad life, wanting to escape from eternal punihsment and then, finally, the opportunity of freedom with the concluding "The Other Side".
It's all good stuff, with a more steady musical approach than a fast one, highlights including the title track, "Invisible God", "Sanctimonious" and "Show Me The Way", while vocalist Ronny Hemlin roars suitably.
Steel Attack have become more progressive (to a degree) as their career has gone on, and they do it well, as they continue to indulge in broodings over death and its possible connotations.

***1/2

Highlord - Instant Madness (2006)

Highlord's fifth album is, again, pretty standard power metal, with plenty of speed and songs that don't leap out, but become reasonable after a while.  The keyboards are haunting (particularly on the concluding "Which Side Are You On?"), while on the other hand, Andrea Marchisio's diction and phrasing are pretty ordinary.
Overall, INSTANT MADNESS can't come near to matching the band's one classic, WHEN THE AURORA FALLS..., but it does get points for the stunning album art on the front.

***

Manigance - L'ombre et la lumière (2006)

Manigance's third studio album doesn't sound that much different from their first two, and I was thinking that they're just too hard to get into, but by the end of sitting down and really listening to it, I was really starting to have a good time, which is pretty impressive, since the record is over an hour, and yet it's songs on the second half, like "Privilège", "Sentinelle", "Miroir de la vie" and "Esclave", that really started to grab me. The technical prowess of the sextet are exceptional of course, although I don't really care for Didier Delsaux's rather nasally voice.
But this is a really good album.  I've sometimes wondered whether the only reason I stick with Tierra Santa is because of the novelty of them singing in Spanish, and I was thinking that might be the same with Manigance in regards to French. But no, I enjoyed this, and am starting to respect what the band can do.

***1/2

Rage - Speak Of The Dead (2006)

Oh, I like Rage.  They mightn't bring out much in the way of five star classics, but everything they do release is certain to be really good, and they don't let the side down with this umpteenth album.
The first half is called Suite Lingua Mortis, and is a symphonic mixture of orchestration and ferocious metal, and it comes together exceptionally well.  The second half is more standard, but it doesn't let up in the slightest, and includes "No Fear", one of their best songs of all.
Victor Smolski again shows he is an exceptional instrumentalist, and Mike Terrana (who left the band after this) is a furious drummer, but singer/bassist/main song writer Peavy Wagner remains the lynchpin, and how he has kept the band going for so long, in its various incarnations, is very admirable.
Anyone who likes some Rage, really should like them all. They're that kind of band.  And Speak Of The Dead deserves to be part of their impressive catalogue.

****

Iron Fire - Revenge (2006)

Danish band Iron Fire recorded two albums, the impressive THUNDERSTORM (2001) and the rather disappointing ON THE EDGE (2001), before they went missing in action for a while. Fast forward five years, and vocalist Martin Steene has got together a new line-up for this comeback album, Revenge.
With titles like "Wings Of Hope", "Whirlwind Of Doom", "Fate Of Fire" and "Brotherhood Of The Brave", you know what to expect (they're the only songs with 'of' in the title, but you get the idea), being mid-tempo metal about chosen ones and battles against incredible odds.  It's not really all that great, and a bit too long for what it is, but "Fate Of Fire" and "Alone  In The Dark" are really good, and it's a pretty decent listen overall.

***

Axxis - Paradise In Flames (2006)

After a bit of a mediocre patch, Axxis come roaring back to life with this album, which dabbles with symphonic elements not heard by the band before, as well as including female vocals from someone known as Lakonia, whom I am not familiar with.
In truth, it's nothing brilliant. But then, Axxis, never have been brilliant.  Bernhard Weiß still sings like Bob Dylan on helium, and the songs are mostly perfunctionary. But there's a vibrancy to the playing that is infectious, helping to make this one of the band's best releases.

***1/2

Arachnes - In Praise Of Science (2006)

I've never got particularly excited over Arachnes, and since this is their last album until 2011, I think I'll put them aside and move them to eBay selling time.
But, to their credit, they've done their best work here.  As usual for them, the highlights are on the first half, Enzo Caruso showing his deft piano skills with the opening "Ouverture" (which are streets ahead of his lamentable vocal skills, from the wobbly tone to terrible diction), before such songs as "Gothic Description" and "Just Try and Hit Me" prove to be fine pieces of metal.  The instrumental, three-part "Mediterranean Suite" is good too, before things fade a bit on the second half.
I think In Praise Of Science (I've got a few atheist friends who'd love that title) is the first Arachnes release not to have any artwork related to spiders, but since that seemed to have more to do with the band's name than any of their material, it's no great loss.
I can completely forget about Arachnes, and maybe I will, but this record is certainly worth a few listens.

***1/2

Majesty - Hellforces (2006)

Well, Majesty have hit bulls eye here!
Their fourth studio album, and their first in three years, has them finding more melody than ever before, without losing their metallic power.
It's all dumb fun, of course. The first couple of songs, "Hellforces" and "Dance With The Demon", get all the evil stuff out of the way, before they start singing about victory against adversity, not giving up and all that.  Such tracks as "Sons Of A New Millenium", "March For Victory" and "Guardians Of The Dragon Grail" (the fastest of what is mostly a mid-tempo record) are great numbers, while "Freedom Heart" is an example on how to get a power ballad right.  And "Like A Raptor" is a hoot ("I'm going to hunt you like a raptor... like a raptor, honey...").
It's been no secret that Majesty are adorers of Manowar, but they outdo those old codgers on this occasion.  Hellforces mightn't be a completely polished diamond, but it sparkles enough to make it one of the bright lights of 2006.

****

Elvenking - The Winter Wake (2006)

Elvenking's third album is another erratic slice of folk metal, with original vocalist Davide Moras returning after a break, and again it's not an easy record to get into, but becomes somewhat more satisfying after several listens, and when one sits down to actually concentrate on it properly.
Having said that, it's still too much over the place, I think.  The violin, which (if my memory serves me correctly) is more prominent here than in the past, is welcome, and the deft flute in "On The Morning Dew" gives the song an undeniable Jethro Tull flavour. "Swallowtail" is quite good, while the concluding "Disillusion's Reel" shows how good the band can sound if they have more well-rounded melodies.

***

DragonForce - Inhuman Rampage (2006)

By the time of their third album, DragonForce was falling more and more into that heavy metal sin of popularity (the opening single "Through The Fire And Flames" even got onto Guitar Hero) - indeed, it was probably through this one that many fans were introduced to them.  If so, they would not have experienced the feeling of over-familiarity that could threaten to engulf the listener who had been with them from the beginning.
Again, there is speed, which is great. It would be DragonNotQuiteSoForceful otherwise. There are also the furious guitar solo battles between Herman Li and Sam Totman. And I mean battles.  It's so over the top in "Revolution Deathsquad", it's like each one doesn't want the other to have the last word.
And with all this are the melodies, and here lies part of the problem.  By now, the listener (those who have been with them from the beginning) can virtually pick how the choruses are going to go, from beginning to the - pause - last few woooooorrrdddsssss. Even the key changes are sign posted.
But added to this are the limited song structures. The band got immediate critism for sounding repetitive on their debut VALLEY OF THE DAMNED, but there's more variety there than here. It's almost as if DragonForce were aware of their growing fame, and wanted to play it as safely as possible.
The one notable difference from their first two albums is the ballad. Rather than putting it at 'half time', to give us a break from the lightning fury of the other songs, it's left to the end.  But it almost seems like they said to each other 'look, fellas, we need to do something different here. I know, let's put "Trail Of Broken Hearts" after everything else. That'll throw 'em'.  Oh, there are also moments of harsh vocals, although they're rare, and hard to pick (or maybe they just seem rare because they're hard to pick). Then there are the lyrics, which are full of eternities and fighting evil and whatnot, but really seem to say nothing at all.
Now having said all this, I still like Inhuman Rampage, because I just cannot help but be a sucker for the ferocity and the melodies, unimaginative as they might be becoming.  And there's something about the whole unabashed way these boys go about their business that is undeniably impressive.  They really do love what they do.
But the fact remains that, after such a brilliant start, they're stuck in a rut, and going backwards as a result.  Surely they can do more with the talent they have.

***1/2

White Skull - The Ring Of The Ancients (2006)

Since their 1999 classic TALES FROM THE NORTH, White Skull, disappointingly, have not been able to record anything nearly as good as that one, even though their output has been quite reasonable overall. And here, with The Ring Of The Ancients, they continue the trend.
It's pretty good, fairly ferocious metal, but once the opening songs "Ninth Night" and "Guardians" have done their bit, you pretty much know what you're going to get with the rest of the record.
Except towards the end, where "King With The Silver Hand" and "Marching To Alesia" bring back a touch of the old glories, suggesting that maybe a return to major form is not far away.  Also, between these two is a cover of Black Sabbath's "Valhalla". Look, with the obvious exception of Hell, has there ever been another place about which heavy metal bands like to sing so much? Valhalla just seems to crop up all over the place.
After this release, Gustavo Gabarrò left the mircophone, and White Skull went back to a female singer, although, at first, not Federica De Boni. Elisa de Palma entered the fray for 2009's FOREVER FIGHT.

***

Edguy - Rocket Ride (2006)

Time for 2006, and let's start with those crazy Germans, Edguy.
Here, they've left behind some of their power metal leanings and have gone all Bon Jovi, which is not a very exciting proposition. However, Mr Sammet has more ability to do consistently catchy work than anything that New Jersey mob can come up with, so ROCKET RIDE remains a good listen.
But it's still not a great listen. It's really with their most traditional song, "Return To The Tribe", that they sound at their best, and there's also good stuff with the likes of the title track, and one could say the same for "Wasted Time", only it's a bit too recycled. Even worse, songs such as "Matrix" just sound tired. Also, some of the sex-obsessed lyrics are dumb.
Concluding the album is the calypso-styled "Trinidad", and it's appealing in a silly way, completing a record that's certainly a good listen, but not Edguy at their best.

***1/2

Aquaria - Luxaeterna (2005)

Aquaria were a Brazillian band who has just brought out two albums thus far, this expansive, seventy minute effort being their debut. Being a mixture of power and progressive metal, it's not easy to get into, with many different segments amongst its selection of songs (no instantly catchy chorues or refrains here), even if the speed is fairly consistent, but its orchestration and grandiose presentations help make it undeniably impressive.
With references to Mother Earth, Mother Nature, Gaia and the like, it's awash in New Age, which is not really my thing, but the love and compassion found among it cannot be denied, and there are certain moments which are just beautiful.
Maybe Aquaria are a bit of a handful (or earful) at first, but if the ear is patient enough, there is much to be gained from this musical experience.

****

And so ends 2005. I think the year was consistently good, at times very good, without often reaching greatness, and it will soon be time to get going with 2006, and seeing what it has to offer.
Back soon. :-)

Dreamland - Future's Calling (2005)

Swedish band Dreamland (not to be confused with Dreamtale, let alone Dream Theater) play a mostly mid-tempo style of power metal, with moments of speed, and, despite their name, they don't dabble with fantasy, producing moe instrospective lyrics. 
The music is fairly straight forward for a while, and catchy with the likes of "Hearts Like Lions", while there's also a lovely ballad, "Fade Away", as well as a Stryper cover in "All For One", although Dreamland themselves don't seem to be Christian.
As the record goes along, the song structures start to vary a bit more, and it's all quite listenable overall, without being anything particularly remarkable.

***

Helloween - Keeper Of The Seven Keys: The Legacy (2005)

Go waaayy back to where I started my blog, before Andi Deris was a part of the band, and you'll find the first two KEEPER OF THE SEVEN KEYS albums from Helloween, which pretty much set the power metal ball rolling, and which still appear at or near the top of many 'greatest' lists. And yet I didn't really love either of them - I'm really going to have to give them another try someday soon.
Anyway, Helloween has continued to soldier on, with plenty of top material being released, and come 2005, they brought out this double album which, supposedly, concludes the KEYS story, although I don't really know if there's much of a story here.
Just the thought of seventy-eight minutes of music is enough to make me groan, and The Legacy certainly drags at times, but there's also much to like. The fourteen-minute opener "The King For 1000 Years" sets the tone, being a mixture of power and progressive metal, and surely one of their best tracks.  What follows are songs of various lengths and tempos, but with plenty of singalong choruses and key changes amidst the complex instrumental passages, to make it a worthy listen.
"Occasion Avenue" is the eleven minute one that opens the second disc, and while it's not as good as "The King", it's still not bad, while "Light The Universe" (with Candace Night from Blackmore's Night) is a fine ballad, and the concluding "My Life For One More Day" shows Helloween still has what it takes after all these years.
I'm rating this higher than the first two KEYS albums, but that could change, though more likely with them going up than this going down, for it really has much to recommend it, through its occasional missteps.

****

Requiem - Requiem Forever (2005)

This is Requiem's third and final album (making the title rather ironic), and I admit I had to look back at my reviews of this Finnish band's first two releases to remind myself about them, and, as it turns out,  I didn't really write all that much. The impression I get is their earlier material was quite fast, while this is at a steadier tempo. REQUIEM FOREVER  is really quite good overall, with pleasing variety, highlights including "Hold On" and the roaring "Violate", although it's not enough to really stay in the memory for all that long.


***

Galloglass - Heavenseeker (2005)

Galloglass' debut LEGENDS FROM NOW AND NEVERMORE was excellent, and this follow-up (sadly, the band's last to date) is almost as good.
Again, it's constantly speedy, stradling the line between power and thrash metal at times, and while a few songs might not leap out easily, there are many melodious and dynamic highlights all the same, like "Perished In Flames", "Dawn Of A New Age", "Heavenseeker" and "Signs" (alright, "Signs" is less dynamic, but still good), and once more the violin is a welcome touch, although it's not quite as prominent here as it was on NEVERMORE, while a couple of members of Annihilator also make appearances (on guitar, not violin).
How very sad that these German boys never got around to bringing out another record. I don't know what the various members have done since -  I can't find even a small page about the band on Wikipedia.  But if they ever do return, power metal fans will want to take note.
In the meantime, take note of what Galloglass has done already. It's worth it.

****
 

Primal Fear - Seven Seals (2005)

After a bit of a slip into mediocrity, Primal Fear return to form with maybe their best album to date, helped by that good old standby of heavy metal, the apocalypse.
The band sounds revitalised here as they sing of the battle between Heaven and Hell (including how, supposedly, some demons are not really evil, but just under evil spells), taken from the Book of Revelation, highlights including the opening "Angels And Demons", the title song, which is a slow piece, but a good one, and the roaring "Carniwar". The extravagent "Diabolus" is pretty decent too, although a couple of the other songs (like "All For One") go on for a bit too long.
Featuring touches of orchestration here and there, giving the band a slightly different sound than normal, SEVEN SEALS doesn't re-invent the wheel or anything, but it is good, solid heavy metal, from a group who has rediscovered their life and passion.

***1/2

Suspyre - The Silvery Image (2005)

As I've mentioned before, American power metal doesn't excite me reguarly, but Suspyre starts off well here (although the band members' names include Gregg Rossetti, Kirk Schwenkler and Sam Paulicelli, so there's obviously some close European influence there anyway) with a sometimes grand, symphonic album.
Very strong in keyboards at times, like with "Distant Skies", but also with vigorous guitar work, as well as other pleasing instrumental touches here and there (bassist Schwenkler contributes the flute at one point), this is a skilful release, with such songs as "The Breath Of Gloria", "Last Of The Survivors" and "The City Under Sands" fine listens.

***1/2