Sabaton "Father" (2022)

 

 "Father of toxic gas and chemical warfare", no surprises here, more plain faced descriptions and tunefully cheesy lyrics. Sabaton have returned with additional songs from this World War I themed era of theirs, which I have enjoyed immensely. Its the first of a few EPs to be packaged with additional tracks from The Great War and The War To End All Wars. Although only hosting one new song, the grouping of relevant tracks is a niche touch, another reason to their music once again.

Father is dedicated to Haber Fritz, a figure well worth learning about. Creator of synthesized crop fertilizers and chemical weapons he has brought about both suffering and flourishing for humanity on a grand scale. He is given a somewhat ambiguous reception by the band. The song has a soft lurching darkness and sinister tone as its guitars take a subdued roll, letting its symphonic tones roar. It pivots to quite an uplifting reprisal, led on by a brief guitar solo, the vocals roll into a brief swooning. Perhaps these contrasts are reflective of the scientists contributions to humanity. Weight is certainly put on the suffering he caused. Its a reasonable song, fitting snugly into their current focus. Can't wait to hear more on the coming EPs!

Rating: 4/10

Sabaton "The War To End All Wars" (2022)

 

As a newly indoctrinated Sabaton fan, getting exactly what you wished for isn't always perfect. Released one hundred years after the end of its inspiration, their last album The Great War completely engulfed me. Understanding the historical context, learning about the individual history of each song through their history channel turned me into a believer! Much to my initial delight, The War To End All Wars simply continues that theme. The Swedish group dove deep into the history of World War I, leaving them with a wealth of inspiration, becoming the ten tracks of this newest album.

As I mentioned, this isn't a perfect scenario. With three years to dwell on the glory of its predecessor, the lack of shift in tone or aesthetic gives these new songs a large shadow they struggle to emerge from. Although its been less than a week since its release, I've wrapped my head around these songs on repeat and felt as if the formula of their War inspired Power Metal style prevails but only with the hallmarks and cliches very visible. Its no longer has the impact of surprise, muting much of my excitement.

That's not a put down on the music. These are fine metallic strides of fist pumping power and might, aligned with sharp, riveting rhythms to carry forth a sense of epic and glory. The group dominate with Joakim Brodén's triumphant vocals. The glossy melody resonating from its synths and lead guitars gives it a great sensibility. Sabaton are seasoned and it shows in both writing and execution. Its a stellar production, bold and bright, a gleaming aesthetic for their excellent song writing, which again does show its own tropes now that I am more accustom with their particular approach.

With every listen the last four tracks seem elevated to my ears. Starting with Lady Of The Dark, their tribute to Serbian combatant Milunka Savić kicks a little fire into the tone. Something about Joakim's plain faced, descriptive lyrics seem to strike a nerve, as they do again on Christmas Truce, a subject with immense significance. The lead piano's inflection of seasonal tone is very well handled. Versailles then asks the important questions of peace and loss and life, a powerful subject the band approach with a brimming jollity that then collapses into hints and what is to follow historically...

Rating: 7/10

Fairyland "Score To A New Beginning" (2009)

Concluding our journey through the French Power Metal band's original trilogy of records, this final chapter remedies the vocal horrors of The Fall Of An Empire with a new approach to personal. Guest vocalists arrive in droves to color the music in a tapestry of voices. Theatric, occasionally operatic and frequently choral, male and effeminate singing lavishes this record with neither Elise Martin from Of Wars In Osyhria or Maxime Leclercq returning. The result is a pleasant one, an enjoyable variety of approaches typical to the genre, theatrical and empirical within its fantasy story telling setting which plays out in tales of war, exploration and adventure.

All Ive said before applies again, this record straddles the line between its previous two approaches yet didn't spark quite the magic I first heard on their debut. Gleaming triumphant music glistens again with uplifts and swells of glory and might as the music constantly ascends in a pursuit of epic it lands fairly well. Its a bit slow to get going but around A Soldier's Letter and Godsent it finds a stride. Its lavish and its symphonic component is usually the main propellant of its momentum through the record.

All the elements are there. The recording is gorgeous and instruments beaming with energy and color. Haven given it many spins I am not sure why it didn't stick. Perhaps the impact of a new sound has worn off, or maybe the songwriting wasn't quite there, despite seemingly like brilliant executions of fantasy driven Symphonic Power Metal with progressive structures. Score To A New Beginning ends up being one of those albums I can't criticize but just didn't quite click with as a whole experience, there are undoubtedly favorites in the track listing though.

Rating: 6/10

Favorite Tracks: Assult On The Shores, A Soldier's Letter, Godsent

Fairyland "The Fall Of An Empire" (2006)

Blown away by their stunning debut, Of Wars in Osyhria, I thought my battle with Power Metal may be turning. It is not so, this sophomore record from the French band has unfortunately solidified the focal point that ruins this style for me time and time again, the singing. With a line up shuffle retaining two of the original band, Maxime Leclercq steps in for the lead vocal role. His pitch and tone rubs me the wrong way on to many an occasion. Stretching and reaching for notes he can't quite grasp leaves a strain. The style is often to forceful and once again the French accent has an uncanny knack to make to add a irritation to the pronunciation. I've always believed in looking for what you enjoy in music but found very little of that here, the singing tarnishes the fantastic instrumentation.

The music itself is a little less charming then last time around. I suspect the vocals may have made it harder to digest but there is an obvious shift in luminosity. The elements of fantasy and wonder still play out through the picturesque synths painting magical landscapes and heroes adventures .This time they are more balanced with the aggressive guitars and drums that clatter along with chomping double pedal rolls battering patterns constantly. Its lively, animated and ambitious but the production is a little thin and raspy in places, the music does however get across well its fantastical themes and fairy tale story telling. Pianos feature frequently and ambitious songwriting births a progressive journey to venture on but as clearly stated the vocals dispel any magic. Its frustrating but it is what it is. The next album has a plethora of vocalists so it will be interesting to see what happens there!

Favorite Track: The Story Remains

Rating: 4/10

Fairyland "Of Wars in Osyhria" (2003)

This short lived band from France only released a trio albums, this being the first. Of Wars in Osyhria has been an absolute pleasure that has got me questioning my stance on Power Metal. First Sabaton blew me away and now this! Two totally different beasts but now I am seeing the lines that get blurred between the Symphonic Extreme Metal I love, for example Dimmu Borgir, and where Power Metal shares some similarities in embracing keys and strings. In particular, a relatively unknown outfit called Stormlord had a stunning fusion of Black Metal and this style of fantasy led symphony on their At The Gates Of Utopia record! The Metal was far more dominate and overpowering of its fantasy string section but the tone is very similar!
 

That initial comparison gave me an anchored entry into this record and swiftly did I grow to appreciate the absence of shouts and screams! Fairyland have given the spotlight to the layers of glorious synths ushering in hugely magical and imaginative soundscapes. Its actually the drum kit that brings in an extreme angle, driving the music along with thunderous intention, battering with an intensity to raise the stakes as the guitars tend to chug and churn underneath the rich symphony. Electrified lead licks and solos do occasionally blaze into the light but the keys are king here. Acording to the wiki only one keyboardist is employed at a time, I wonder how they pull of such a lavish sound live, its clearly layered and dense.

These songs dazzle there way through epic themes of might and magic, heroism in battle, good versus evil, all in a glorious stride that could encompass a typical Fantasy genre tone. Particularly Warcraft in places, echoing Glenn Stafford's genius soundtracks. Its wonderfully written, the songs continuously swoon in and out of oozing arrangements of gleaming melodies that give me goosebumps again and again. The balance is stunning, songs are structured with recurring sections that punch with weight after the dancing through progressive tangents tirelessly. Its sixty five minutes don't let up for a moment, a ceaseless magic that gushes forth right to the very end, the last few notes being admittedly underwhelming to bow out on.
 

Ive actually binged this record hard and its still working for me. I feel like Ive found another diamond that will be with more for the rest of time. The only weak spot Ive encountered is the vocals, Elisa Martin's operatic voice is a sturdy fit, powerful, strong and theatrical, only her accent puts a noticeable hindrance on the pronunciation of certain words. Its a minor qualm. Alongside her, the occasional chiming powerful male voices unite and plenty of choral voices enrich this avenue too. Its a thick and dense onslaught of instruments, crescendo by the lavish dance of stunning symphonies. Truly a marvelous record, can't wait for the next one!

Rating: 9/10

Sabaton "The Great War" (2019)

And now for the mighty symphonic gleam of the one and only War inspired Power Metal outfit Sabaton! This album has been an absolute U-turn for me. I checked out Heros a few years back and despite always trying to open my heart to music, I was not swayed. It took my favorite war historian Indy Neidell teaming up with the band to win me over. The united to create a documentary Youtube channel that dives into the historical inspiration behind each song and It really brewed a connection. These guys are history nerds too and now the thematic nature of their music felt very genuine.

It took but two or three listens to engulf me. No longer did these cheesy lyrics act as a deterrent, I now understood that each song had a slice of the past inspiring it and that I could get behind! The wording does get somewhat literal and plain in places but I now find myself enjoying that aspect. "Lead the charge, our leader has entered the battlefield". There are plenty of un-poetic, descriptive wordings at play like this but when its lined with dates, names and locations you have to admire the dedication to keeping it accurate. Ive ended up singing along on many an occasion!

Joakim Broden's mighty and anthemic charge as a frontman is fantastic if not flawed. His deep voice in spoken sections can sound a fraction goofy but he knows how to deliver the energy. With power and conviction in his gruffly sung voice he constantly elevates alongside the music to create ear worm hooks that you just can't shake! Behind him the music is especially energetic and beaming with a triumphant might. Its Power Metal that leans on thicker guitar tones, classic Heavy Metal shredding and a delightful weight of symphonic keys that back with choral voicings and synths.

With the driving percussive force of Dahl, many of these songs move forward with a rocking tempo, cramming in a lot of sound. The rumble of textured bass lines creates a sturday foundation for tandem guitars to interchange colorful licks and variations over the top of power chord chugging riffs that batter in time with the drums. Its a big and bold sound always lined with a symphonic glow from the keys and just about every song encounters exciting breaks from the verse chorus structure.

Its mostly in the form of solos that shred classic wailing 80s Heavy Metal styling to give one goosebumps if your a fan of classic solos from the likes of Ozzy's guitarists. They are bright and beaming, colorful and played flawlessly. I also hear echos of Judas Priest in the solo's but I'm sure that's probably whats to be heard in a lot of Power Metal considering it developed from that sound. I also hear a now toned down Dimmu Borgir on the albums last Metal song. Its lavished in hysterical singing, horns and trumpets, the ramped up energy has some similarities to their Eonian.

The album bows out on an emotional note as a choir sings the memorial poem In Flanders Fields by John McCrae. The singing is simply gorgeous and ends the whole experience on a very humbling note. I absolutely love this record! I have had so much fun with it and will continue to spin it for weeks to come! I now feel rather incentivized to back track over Sabaton's discography. This album ticked so many boxes for me on things I like about Metal music, it seems almost mad I had dismissed them as not being for me. Its the same old lesson, gotta open up and learn to love cause hate and negativity means you miss out on fantastic records like this one.

Favorite Tracks: Seven Pillars Of Wisdom, 82nd All The Way, Great War, A Ghost In The Trenches, Fields Of Verdun, The End Of The War To End All Wars, In Flanders Fields
Rating: 8/10

Crimson Glory "Transcendence" (1988)

I fancied getting a little "old skool" with my Metal music and browsing through some online top lists this 1988 "classic" caught my attention, primarily for being labeled Progressive Metal at i wasn't to familiar with the genres roots bar Dream Theater who would drop their first album a year later. Crimson Glory are a five piece outfit from Florida who are still active despite not releasing any new material in this millennium. Id personally describe them as a traditional Heavy Metal and Power Metal hybrid however the influences of Progressive Rock are unmistakable, there is a clear elevation in song structure with time signatures and intricacies to ponder on throughout. Poised at a time where Thrash and Death Metal were starting to drastically change the identity and sound of the genre, Crimson hold onto the traditions but expand them with musical dexterity.

Transcendence isn't an album Ive dove to deep into but its lyrics portray fantasy themes of mythical beasts, lands of eternal season and dramatized figures of monarchical rule. Singer "Midnight" flexes these lyrics between a traditional range and the ear piercing wails of high pitched power done as good as the greats like Rob Halford of Judas Priest and Kind Diamond. On "Red Sharks" however the tone shifts to paranoid themes of communist threats in the mist! Sticks out like a sore thumb against the rest but doesn't detract from the fun music.

My vocabulary for describing these traditional Heavy Metal style songs is limited but what I can point to is the craft in song writing that guides the prowl and patrol verses into journeys with fantastic breaks for illuminating guitar solos that crescendo outbursts of color as acoustic chords chime with bright lead guitars and the rock solid rhythm guitar. These are the moments that the transcendence occurs, separating them from the likes of Dio and others in that genre. In other moments the band make great use of synths that might sound a little cheesy given the tone and age but they are executed without gimmick at fit snugly into the songs where they crop up. The drums have a big stadium feel, fit for the stage with plenty of gated reverb on the toms, very 80s. The bass guitar is mixed well, you can hear it often mirroring the guitars with little deviations and inflections.

All the components here add up to a terrific record that given its decade is certainly a gem, just not one too my taste. This form of Metal doesn't resonate strongly with me and without an emotional attachment much of its sparkle becomes more appreciative than impacting. It in no way turned me off though, in fact I think with more repetition it could grow on me. For now I will shelve this one for a rainy day, I'm sure the absence will give these songs new meaning when they return.

Favorite Songs: Masque Of The Red Death, In Dark Places, Burning Bridges
Rating: 6/10

Dio "The Last In Line" (1984)

Dio are an American Heavy Metal band fronted by Ronnie James Dio who passed away in 2010. Named after their singer, ther band are very much defined by his soaring vocal presence, a powerful and melodic voice that can hold notes with an unrivaled tenacity. Being a metalhead of the 90s and 00s eras there are many 80s bands that are beyond my scope, but how Dio evaded me all these years is a mystery. The band have sold over ten million records and have a sound about as definitive of Heavy Metal as it gets, fitting in alongside the greats of Iron Maiden, Judas Priest and Ozzy Osbourne.

The record starts with the fist pumping, anthem-like sing along "We Rock" setting the tone for an energetic foray of arena rock Heavy Metal that never slows down. From start to end its just classic fist pumping, head banging Heavy Metal with rattling drums, big grooving baselines and heavy chord driven guitars. The records tempo slows at times with elements of Ballard rock. The occasional use of synths fit in well but for the most part its a pretty traditional approach executed with a spark to define it as Dio.

The guitar work is solid, a great balance of thrashier picking rhythms and drawn out power chords that are elevated thanks to an excellent set of baselines courtesy of Jimmy Bain. They hammer and groove with a warm and bold tone that's high in the mix without overpowering the over instruments. Its often the focus of the energy alongside Dio's powerful voice commanding every note he hits. On the front of theme and execution everything here is pretty typical of 80s Heavy Metal, however nothing is corny of cheap, this is pure quality from start to end and made for the live audience with each song feeling fit for a stage in front of thousands.

Favorite Tracks: We Rock, Mystery

Rating: 7/10

Sabaton "Heros" (2014)

Sabaton are a Power Metal outfit from Sweden with a focus & inspiration on true war stories from the two world wars and other conflicts. Hero's is there 7th album since there inception in 99. I decided to give this a spin after a recommendation from a commenter here on the blog. What i found was a decent record, but it is unable to turn me onto Power Metal, which i have already struggled to click with.

This album was a refreshing break from the magic and fantasy themes so commonly explored in Power Metal. War & patriotism  is a bit of a touchy subject for me, however i found the lyrical content to be focused on the tales of soldiers who gave there life's for a cause, and this for me was enjoyable, however on "The Ballad Of Bull" i found myself a bit bemused. "Sometimes war is killing, sometimes its saving lives, its the judgment of fate, its nothing that man can dictate" No, just no. War is killing, war is made by man.

For me, the music behind the theme was pretty decent, but nothing special, there were not many moments that "blew me away" or stuck in my mind, and the leads/solos are pretty forgettable. The highlights for me were the rhythm guitar which was always solid, and the vocals! Joakim Brodén has a really distinctive voice, and i enjoyed the way his Swedish accent would leave its mark on some words, yet not others. It added a nice flavor to his mark on this record. Overall, pretty enjoyable but Power Metal still doesn't quite do it for me.

Favorite Tracks: Resist And Bite, To Hell And Back

Rating: 4/10