Falconer - Grime vs Grandeur (2005)

Falconer's fourth album, with guitarist Jimmy Hedlund and bassist Magnus Linhardt replacing the booted Anders and Peder Johansson, is virtually bereft of the folk touches that gave them such a notable sound - only towards the end, with the morbid tale of Jack the Ripper ("Jack The Knife") and "Child Of The Wild" does it come through just a touch. Instead is a pretty standard heavy metal style, and vocalist Kristoffer Göbel, while not bad, still can't match Mathias Blad. He even sounds like Bon Scott at one point!
Having said all that, there's still much to like on Grime vs Grandeur, like the anthemic opener "Emotional Skies" and "Humanity Overdose", and the overall result is a pleasing listen - it's not excessively worse than what they have done before. It's just not the same.
However, things were to change, as Göbel got his marching orders, and Blad returned for the highly acclaimed NORTHWIND.

***1/2

Rebellion - Sagas Of Iceland: The History Of The Vikings, Volume 1 (2005)

After tackling MacBeth, and then going for a lamentable biker image with BORN A REBEL, Rebellion started a trilogy of Viking albums with this impressive release.  Vikings tend to be a favourite topic of black metal (and folk as well), which has led to the subgenre of viking metal, but hey, who can't tackle the Norse if they want to?
While the record goes for over an hour, no song outstays its welcome here, and such pieces as "Ragnhild's Dream", "Eric The Red" and "Blood Rains (The Saga of King Olaf Trygvason)" are first rate. Even if some of the other songs require more commitment to take hold, there's something about the whole enterprise that just works. There are a few moments of spoken narration, but overall, considering the subject matter and presentation, it's pretty much straight metal, without grandiose choirs or orchestras. While this might disappoint me in a way, bands are quite capable of using such things, and bringing out dross. It's better if an act sticks to what it can do best, and Rebellion certainly succeeds here.

****

Axenstar - The Inquisition (2005)

Axenstar's third album again has the sound that they have made their own, primarily that of Magnus Winterwild's vocals being overdubbed to create a pleasing, harmonic effect in the songs, and yet they've managed to not repeat themselves; there's an extra maturity to the songwriting here, meaning they have managed to be successful in balancing familiarity with progress.
Whether the record is about the Spanish Inquisition or not I can't be sure, although "The Burning" might refer to witch burnings, but such songs as "The Fallen One", "Inside Your Mind" and "The Sands Of Time" are worthy pieces of power metal, helping make the album enjoyable.

****

Brainstorm - Liquid Monster (2005)

I like Brainstorm, and have recently been comparing them with fellow Germans Paragon, who play a similar style (i.e. not fantasy and flying choruses, but somewhat darker, and with roaring, sometimes chanting choruses), but these lads have been doing consistent heavy metal right from the start, and this sixth album is probably their best to date. 
 They're not doing anything exceptionally new, but the songs are consistently catchy, highlights including "Inside The Monster", "All Those Words" and "Despair To Drown" (even if vocalist Andy Franck, who's great throughout, slips into Mustaine-mode there), while "Heavenly" is that rare power metal ballad that works!
The music is mostly mid-tempo, with moments of speed, and the lyrics are personal introspection. Oh, and the cover is great.  My imagination plays with those monsters (or is it one monster in three guises) terrifying an unsuspecting community and turning them to blue liquid with a touch. Or something along those lines.
While I might go ga ga over the likes of Freedom Call and Rhapsody, Brainstorm provide a good alternative to the power metal genre, and they keep bringing out worthy material.

****

Crystal Eyes - Confessions Of The Maker (2005)

Crystal Eyes' fouth album is also their first not to have guitarist/writer Mikael Dahl on vocals. He's still here, but Lost Horizon singer Daniel Heiman has come in to take on voice duties.  He benefits from not being drowned in the mix as much as Dahl was in the band's early releases, and Confessions Of The Maker, which is also less speedy than usual, is an improvement over their previous, rather disappointing VENGEANCE DESCENDING, even if it doesn't reach great heights either. 
Crystal Eyes' rather abrasive guitar sound has always been a notable aspect of their work, and so it is here, and such songs as "The Charioteer" and "The Burning Vision" are highlights, but there are also weak moments, like "The Terror" and "Terminal Voyage."
The album finishes with the ballad "Silent Angel", heralding a rather dignified resonance that's new for the band, and maybe it will lead them on to better things, but here, Crystal Eyes continue to show that they can do some good stuff, but continue to have drawbacks.

***

At Vance - Chained (2005)

At Vance's sixth album, and their first after a two year break (a long time by their standards) has them down to a trio, and the quality of music down as well.
While never reaching breathtaking heights, these Germans could always be counted on to provide some good, solid power metal, but this is a very disappointing collection of largely forgettable music. The highlight is the rather mellow "Heaven", which shows that even faster pieces like the concluding "Run For Your Life" can't cut the mustard much anymore. There are a couple of classical interludes from Bach (briefly), and Vivaldi's "Four Seasons", but if there was ever a record where they could have gone for one of their pop covers, this should have been it.
Chained is modest and quite ordinary, by far the worst in At Vance's catalogue to this point.

**

Metalium - Demons Of Insanity: Chapter Five (2005)

Metalium's fifth album yet again starts with a ripping piece (after the spoken introduction), "Power Of Time", before settling down to pretty standard heavy metal. The Shouting Choir (as it's credited here) wins me over every time, making such songs as "Destiny" and the roaring concluding "One By One" worthwhile, and the whole record is loud, pounding and furious, but fourteen songs are too many, and it's really not anything particularly exceptional overall.
If Metalium could take the first songs of their albums, and put them together as one record, maybe then we'd have a classic.

***

Paragon - Revenge (2005)

Paragon's seventh album just might be their best. It's more fast and furious metal about war and death and pain (the word "pain" seems to be sung more often than early Tears For Fears), with roaring choruses throughout, and even if there is some repititon in certain melodies from one song to the next, it's all still pretty impressive, and they even get progressive with the nine minute "Masters Of The Seas", which also works quite well.
There's nothing ground breaking about this band, but, like fellow Germans Brainstorm, they've got this kind of rock down pat, and clearly relish every moment of it.

***1/2

Secret Sphere - Heart & Anger (2005)

Secret Sphere's fourth album starts off extremely well with songs like the speedy "Where The Sea Ends" and "First Snake", boasting both a pleasing melodiousness and haunting symphonic sound. Then it goes off the rails somewhat, meandering too often, coming to life with "Lights On" and, to a lesser degree, "Leonardo Da Vinci", before faultering once more, and then finishing with the fine "Faster Than The Storm".
At their best, Secret Sphere can produce some excellent music, but also too much medicore stuff, and this overlong album is an example of both.

**1/2

Powerwolf - Return In Bloodred (2005)

While power metal is often about either historical wars, or fantasy... well, wars, German band Powerwolf brought horror into the mix, though not in a gory, death metal-type.  They're still quite dark, however, with each band member dressed up here to look evil, accompanied by their own ominous passage from Revelation in the Bible (obviously, the book of Ruth just wasn't going to cut it).
It's all an act, of course and, at this debut's best, like with "Kiss Of The Cobra King", the music is very catchy. It's not, however, very fast, almost leaning towards doom metal at times, particularly with "Lucifer in Starlight", which could have come straight out of the Black Sabbath Songbook For Boys And Girls.
Overall, Return In Bloodred, which focuses on werewolves in amongst the evil brood portrayed within, is a bit uneven, but there's plenty for the horror fan to sink their fangs into, and at a length of forty minutes, it does not outstay its welcome.

***1/2

HammerFall - Chapter V: Unbent, Unbowed, Unbroken (2005)

HammerFall's fifth studio album, and their first in three years, is more reliable heavy metal, with such songs as "Blood Bound" and "Hammer Of Justice" proving to be worthy. However, the concluding, ten minute track "Knights Of The 21st Century" is a lumbering, cumbersome affair that might be the band's worst moment. And people spent this time of the decade complaining about Judas Priest's "Loch Ness"...
This is five times out of five that I have rated a HammerFall album three and a half stars. It would be unfair to say they're repeating themselves; really, it's just my view that they give me consistent enjoyment, without doing much that's considerably breathtaking.

***1/2

Iron Mask - Hordes Of The Brave (2005)

After a rather modest debut from Dushan Petrossi's Iron Mask (to use the full moniker), there were a few changes in personel. Both Goetz "Valhalla Jr" Mohr and Oliver Hartmann came in to share vocals, and Richard Andersson took over keyboards (these men have been in so many different bands, it would be fair to now call Iron Mask a supergroup).
The result is a definite improvement right from the get go, with "Holy War", the Iron Maiden -inspired opus "Alexander The Great - Hordes Of The Brave (Part One)" and the concluding "Troops Of Avalon", where Petrossi's guitar work is terrific, shining.
It's not a record I adore, but it's a very enjoyable one, and recommended for power metal fans.

***1/2

Sabaton - Primo Victoria (2005)

Power metal gets plenty of flack and derision for being 'cheesey' and suchlike, whether they're singing about fantasy or historical battles, or pretty much anything else.  But along comes Swedish band Sabaton, and they take their focus on war (here it's largely, but not only, WWII) so seriously, they almost dare anyone to laugh at them.  And it's not just 'about' war, but there's furious rage against it.
The music is punchy and to the point, the playing tight, and the roaring, Chris Boltendahl-like vocals of Joakim Brodén suit the material perfectly. It is also quite catchy.
Such songs as "Primo Victoria", "Wolfpack" and the concluding "Metal Machine" are highlights, the latter being a metal tribute, which includes name-checks of various metal songs ("is this St Anger, the ultimate sin/Or have I really a black knight within"), and even that manages to avoid cheesiness.
If there's any critism to be aimed at the record, it's that it could have been a bit more diverse and imaginative in the song writing, but there's still so much to like, and the attitude so impressive, Primo Victora stands as an example on how to do this kind of thing right.

****

Freedom Call - The Circle Of Life (2005)

Three albums, three classics. Like I said recently with Rhapsody, could they keep it up?
Not quite, but close.
Freedom Call's fourth album is certainly more of what one has come to accept from them, with multi-layered vocals crying out melodious choruses, fists pumping and guitars chugging in all its power metal glory.
Any problem is really with the first half - the songs there are shorter than the ones on the second half, which is hardly a crime in itself, but it gives the impression that they're a bit rushed. Of course, that first half does contain "Carry On", happy metal at its most anthemic and gleeful, and "Starlight" is good too. But the second half seems to have had more effort put into it, with such songs as "High Enough" and, in particular, "Starchild", glowing. The lyrics are the expected messages of positivity - the opening "Mother Earth" is an ode to... well, the Earth, while "Starchild" is actually a kind of tribute to Jesus Christ ("Bring your heart and soul, come back to earth, the world has gone insane/2005 years ago, your deeds seemed to be in vain").
No, The Circle Of Life can't quite match Freedom Call's first three, but it's hard to say it's disappointing for fans. There's still so much to like, and it's still very much in the style of what these Germans do best. Power metal of the most uplifting and enjoyable kind.

****1/2

Dreamtale - Difference (2005)

The first two albums of Dreamtale were quite good, but both suffered from overlength. This third release clocks it at about forty-seven minutes, so there's a plus, but that doesn't make it significantly better. These Fins play a pretty standard brand of power metal, which will be fine for some. Such songs as "Wings Of Icaros", "New Life" and "Secret Door" are all good enough, without being mind-blowing, although they are helped by the production of Timmo Tolki - it's nice and clear.
Dreamtale are unlikely to win any awares for originality or distinction, but they do offer enough to take their place in the committed power metal fan's collection.

***

Kamelot - The Black Halo (2005)

I've tended to be a bit eeehhh about American power metal, and Kamelot has been a band I've grown to like, without adoring, but it must be said that they've been getting better and better with each album, and THE BLACK HALO, which continues the story they started on EPICA, and kind of based on Goethe's "Faust", would be their best yet.
Considering the subject matter, the record itself (which includes appearances by Stratovarius' Jens Johansson, Epica's Simone Simon and Dimmu Borgir's Shagrath), is reasonably straight forward, but the production is beautiful and the performances first class.  I should also admit that I don't think I've given Khan's voice enough praise in the past - he really is one of the best in his field, and he shows it here.
Such songs as "When The Lights Are Down", "The Black Halo" and "Nothing Ever Dies" are just a few of the higlights of this very impressive release from a band who maybe I've undervalued so far.

****

Dark Moor - Beyond The Sea (2005)

It would be a bit hypocritical of me to lament the abscence of Elisa Martin, since I've never been a big fan of her voice anyway. Nonetheless, without her, Dark Moor does lose something of the distinctive sound of their early efforts. But this album, the second with Alfred Romero (who is good) behind the microphone, also suffers a bit from being a more conventional listen in regards to style. They've slowed down the tempos somewhat, which leads to it having a somewhat more standard rock sound.
But all the same, there's still good stuff here, like with "Houdini's Great Escapade", "Going On" and "Beyond The Sea", showing they have not lost the touch for graceful melodies, even if they're not as graceful as in the past.
In short, this is another good record from a band who, while maybe not reaching enormous heights, manages to be consistent with their output, no matter what style they choose to attempt

***1/2

Grave Digger - The Last Supper (2005)

When non-Christians focus on a Biblical event, it's inevitable there will be certain ways in which their views differs from how the average Christian would see it, and such is the case with this album from Grave Digger, which is an account of Jesus Christ's betrayal and resulting death. One example is "Crucified" - Jesus was certainly more aware of why He was doing what He was than what is suggested in this song.
It's still respectful overall, and the music certainly has its moments, like with "The Last Supper", "Grave To The No Man's Land" and "Hundred Days". But, no matter what the subject matter, it's been a while since Grave Digger has really been at their best, and The Last Supper could have been much better.  The mostly steady-tempo metal is good, sometimes really good, but not great.

***1/2

Firewind - Forged In Fire (2005)

Firewind's third album is another decent, if unexceptional collection of hard rock, with a sound, at times, reminiscent of eighties hair metal. It features the debut of vocalist Chity Sompala, who is decent, as well as keyboardist Bob Katsionis, but these changes are perfunctionary. Firewind is really the baby of guitarist/writer/producer Gus G., and he offers enough her to satsify metal fans, without enough to hold them in much rapturous awe.

***

Masterplan - Aeronautics (2005)

2005 starts off with the second album of Masterplan. Like their self-titled debut, it's a decent effort, without being anything remarkable, although Jorne Lande's vocals are undeniably impressive.  I still don't know that the band deserves as many accolades as they've been receiving, but such songs as "Wounds", "After This War" and the concluding "Black In The Burn" are good.

***

Divinefire - Glory Thy Name (2004)

After some church bashing with a couple of recent albums I've listened to recently, how refreshing it is to finish 2004 with not just a Christian band, but one who's brought out an exceptional debut.
Led by Finnish guitarist Jani Stefanovic and Narnia frontman Christian Liljegren, Glory Thy Name manages to actually delight me with its music as well as its lyrics.  "Never Surrender" is a stone cold classic, while "Out Of The Darkness", and "Live My Life For You" are also worthwhile, showing more melodious inventiveness than, I have to say, is found with the likes of Narnia, and the Christian message is strong throughout, even though Jesus' name is never actually managed.
He is, however, quoted, in "The Spirit", where John 14:13-18 (Jesus' promise of the Holy Spirit to His disciples) is recited, and I have to say the way it is performed is a bit of a drawback. Part of it is spoken, but most is sung, and it's not sung very well, almost sounding like it's being made up on the spot. This could have been done better.
Of the nine tracks, seven are actual songs ,the first track, "From Death To Life", being a spoken quotation from Revelation, while the concluding "The Way To Eternity" quotes the famous "For God so loved the world" passage, again from the Gospel of John.
There are also moments of harsh vocals, as found in "The Spirit", but they're used fittingly, as a God-opposer coming against the Christian belief.
Admittedly, I haven't heard many Christian power metal albums thus far, but this is cetainly the best to date for me, and it's a great way to finish what has been, I think, an exceptional year for power metal, probably the best one since I started this blog.
I will start 2005 before long. :-)

****

Magica - Lightseeker (2004)

The second album of Romanian band Magica, now expanded to a five-piece, is awash in New Age imagery, which isn't really my thing, but there's plenty of catchines here with the likes of "Bind You Forever", "Bittersweet Nightshade", "The Living Grimoire" and "Wormwood" which make up for a few fairly ordinary moments. So far, while they are inconsistent, Magica has appealled to me with their talents for fast playing and grabbing hooks.

***1/2

Hibria - Defying The Rules (2004)

Brazillian band Hibria play a 'classic' style of heavy metal, and influences from the likes of Judas Priest and Iron Maiden are obvious, but they're speedy enough to put them in the power catagory.
This debut has got rave reviews from many, but it doesn't do much for me. It's technically efficient, and Iuri Sanson is an impressive vocalist in the Dickinson mold, but the material has little variety or melodious interest, making it all pretty boring after a while.

**

Visions Of Atlantis - Cast Away (2004)

Visions Of Atlantis' debut ETERNAL ENDLESS INFINITY was a promising album, but came across as somewhat wimpy, not helped by the rather weak vocals of Nicole Bogner and Christian Stani. Well, Stani has gone now, to be replaced by the pretty good Mario Plank and, with Bogner's operatic style showing definite improvement (even if she's still no Turunen), the vocal part of the band is certainly better. The material is still fairly modest, but showing some strength with "Lost", "Realm Of Fantasy" and "Lemuria", three songs which suggest these Austrians do have some potential.
Bogner left soon after the release of Cast Away (and, tragically, died of illness in 2012, at just 27 years of age), to be replaced by Melissa Ferlaak, and guitarist Werner Fiedler likewise departed, his place taken by Wolfgang Koch. With all these changes, it remains to be seen if Visions of Atlantis can settle and build on what temptations they offer.

***