We Have The Power Presents: The Top 100 Power Metal Albums Of All Time, Part 1

Heroes! Adventurers! Bards, smiths, strumpets, tapsters, fools and ghouls! As the great Aragorn once famously declared in the back corner of a dimly lit halfling honky-tonk, “Let’s get into some mother-humpin’ trouble…”

“YES!” Replied every single mutha interested in hay-rolling with the universe’s most famous ranger. (Sorry, Pudge. Still a Hall of Famer!)

It is time. It is time to pull up our boiled leather undertunics and determine once and for all—with nary the teensiest shred of the smallest of minuscule doubts—who and what belongs in the hallowed halls of THE TOP 100 (EURO AND PROGRESSIVE) POWER METAL ALBUMS OF ALL TIME. [Falls down several hundred flights of stairs]

You remember we decided to do this, no? The royal we? We, as in We Have the Power? We, as in the Power Metal Borg Collective? Oui, chef?

Here’s an important question: Is this even possible? Of course it is(n’t). Taste is clearly subjective, and taste is often questionable, especially when it dares stand in opposition to my skillfully honed palate of champions. [Falls up several hundred flights of stairs]

It’s all in good fun, though, yes? Is this actually fun? It is my belief that most anything can be fun if you’re determined enough, and I am determined to FORCE YOU to have fun with this. And if you insist on being a Fanny Footdragger about everything, perhaps consider restocking on some Tobold Hornblower grass. Or don’t, I’m clearly not the boss of you.

At the end of the day, the prevailing objective here is simply to celebrate metal’s most celebratory off-shoot, and to take part in that glorious enterprise together. Fellowship, my fellow shipmates: It’s a wonderful thing we should all strive for as often as possible, and for as long as our planet allows it. So, let us plunge our collective hands into some fertile power metal soil together, and in doing so, we will in turn find ourselves imbued with the music of true adventurers. Glory be.

Here’s how the game works.

 We’ve already covered THE TOP 50 US POWER METAL RECORDS OF ALL TIME (here and here) , so the purpose of this supplemental list is to shine a light on what’s become the more widely accepted interpretation of power metal following the European coup that took place in and around the spring of 1987. [“Initiation” begins drifting from the loud speakers atop the Zugspitze]

The rules are straightforward:
» (4) articles celebrating (25) albums each to follow (likely every other week)
» Only one album per band will qualify
» The order of the albums is totally randomized
» Progressive power allowed entry to the pool

That’s pretty much it. And no, I’m not one of those soreheads who thinks all modern releases must age on some cellar shelf for decades before being able to qualify for an endeavor such as this. Power metal has seen a serious influx of remarkable talent in recent years, and I very much believe the genre is bristling with more explosive spirit today than ever, thanks to new talent AND veterans discovering pathways to new energy. Put simply, it’s a great time to be alive and a fan of power metal, and a portion of this list will certainly reflect that truth.

Before we begin, a few virtuous acknowledgements must be addressed. First, a solemn bow is owed to two classic albums that continue to influence power metal but don’t really qualify as power metal themselves. On your left, an heroic entry that could qualify as USPM if it weren’t so very Swedish, and to the right is a record whose title track could very well be the most influential 6 minutes a band has ever gifted to our scene. In a nutshell, two absolute UNITS in terms of influence:

Furthermore, an equally deep bow is owed Arjen Anthony Lucassen and Ayreon for setting the standard in terms of complex music featuring a myriad of guests that’s suited to intricate narratives and elaborate realms that skirt the outer boundaries of power. Can one be a power metal fan without at least appreciating the works of Ayreon? Probably! But what a bummer that would be. If I had to pick just one Ayreon release to recommend to the uninitiated, allow the following:

Right-o, enough with the prattling. As mentioned above, expect the three remaining articles to land two weeks apart moving forward, and the last entry will collect the full 100 with a little bonus fun at the end to sweeten the pot. Until then, let the games begin!

THE TOP 100 POWER AND PROGRESSIVE POWER METAL ALBUMS OF ALL TIME // THE FIRST 25

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Helloween – Keeper of the Seven Keys Part I [1987]

[Cover artwork: Uwe (R.I.P.) & Edda Karczewski]

Yeah, I’m not gonna be that guy that makes everyone wait to see which Helloween album wins, so let’s jump right into the album whose yearbook senior picture prominently declared “Most Likely to Change the Course of History for One Small Pocket of the Universe… Hell, Maybe Even Beyond Our Smelly Little Universe.”

Sure, there are some who might opt to crown the speedy Walls of Jericho as the launching point for the Euro strain of power, but it’s truly Keeper 1 that holds that regal distinction. This is the Holy Grail, baby. The Big Kahuna. The highest muckamuck on Mt. Chuckaphuck. In truth (and oft-times in secret), I prefer Part II’s epic 13-minute closer to “Halloween,” but side A of Part I? Myyyy word. I think Helloween smashed whichever key (probably the 8th) is necessary to get to the divine instructions on How To Make Sure Your Launch Sequence Results In the Largest Impact Possible, because “Initiation” » “I’m Alive” » “A Little Time” » “Twilight of the Gods” » “A Tale That Wasn’t Right” is a HELL of a way to very literally initiate a brand new heavy metal off-shoot. Glory, hallelujah; it’s the primordial ooze whence golden glory didst first embiggen the realm. Long may she reign.

Primitive origins: Germany
Label(s): Victor / G.B.B.S. Records / RCA / Noise Records
Sample: “Halloween” OFFICIAL VIDEO

Avantasia – The Metal Opera, Pt. 1 [2001]

[Cover artwork: Jean-Pascal Fournier]

If you’re in the mood to believe everything Tobias Sammet says, this record marked the first time “metal opera” was used in reference to an album. Or maybe it’s the first time it was used as part of an album title. Who the hell really knows. Whatever the strange distinction, the only reason that sentiment might hold true is because Savatage opted for Streets: A Rock Opera back in ’91. But honestly, what harm is there in bestowing Avantasia its own special ribbon for one gloriously distinctive occasion. If there’s really a ribbon to be won, though, I’m guessing it might commemorate the first power metal album to feature a long list of guest vocalists. Maybe? Is that possible? I guess that depends on how you feel about Ayreon traipsing around on the outskirts of power metal. Anyway, The Metal Opera, Pt. 1 is the first power metal album to ever be called The Metal Opera, Pt. 1, and more importantly, it’s a very fine power metal album that quite honestly doesn’t feel very much like an opera at all, especially compared to what Avantasia would manage in the future.

Primitive origins: Germany
Label(s): AFM Records / Century Media Records / Aquarius Musikindo / CD-Maximum / Mystic Production / NTS / Rock Brigade Records / Seoul Records / Wizard / Victor
Sample: “Serpents in Paradise”

Symphony X – V: The New Mythology Suite [2000]

[Cover artwork: Kazuo Hakamada]

Trying to pick a top Symphony X album amidst V: The New Mythology Suite, Damnation Game, Divine Wings, Olympus and The Odyssey is some “who is your favorite child” bullshit most anyone of sound mind would very much rather avoid. But… I’m the dolt who made the “only one album per band” rule for this list, and V gets the nod because it feels like the most impervious Symphony X album stem to stern, and that’s clearly saying quite a lot.

I don’t know what these guys were eating / drinking / smoking in 2000, but it must have been amazing, as it resulted in a progressive power masterpiece that sounds equal parts moody and bright / heavy and light, and certainly something many of us are comfortable calling a true pinnacle of the genre. If a passerby enters your life and expresses some level of interest in exploring progressive power, only offer up V: The New Mythology Suite if your intention is to set the bar so flippin’ high even Superman would need to shotgun a twelver of Red Bull to clear it.

Primitive origins: USA
Label(s): Metal Blade Records / InsideOut Music / NEMS Enterprises / NTS / Z / Pony Canyon Korea
Sample: “A Fool’s Paradise”

Power Quest – Neverworld [2003]

[Cover artwork: Geoff Taylor]

Anyone with some level of familiarity with Power Quest’s sophomore effort understands that Neverworld is…a bit of a challenging record. It fully embraces the (holy hell do I hate this descriptor) “cheese factor” that bars entry for so many outsiders, and it does so with an unbridled enthusiasm, sounding like the power equivalent of OU812 (particularly those keys) one minute and the intro to a Telemundo novela the next. But it’s also crammed to the rafters with so fricken much bright, exquisite, often elegant melody (my LORD, the leads!) that you just can’t help but return to the record time and time again. Neverworld is the ultimate ear candy, plain and simple—a near endless amount of Nerd Ropes that fashion a net big enough to land an entire pod of orcas attacking some hapless ship. THANK YOU FOR YOUR SERVICE, POWER QUEST.

Primitive origins: United Kingdom
Label(s): Now and Then Records / Limpid Eye Records / Avalon
Sample: “Sacred Land”

Nightwish – Wishmaster [2000]

[Cover artwork: Markus Mayer]

In the interest of being forthright, I would like to reveal that it took quite some time for me to come to terms with operatic metal. Not just “symphonic,” which was somehow an easier sell, but full-on operatic metal that puts a heavy emphasis on vocals conducted by Bugs “Leopold” Bunny. As a result, I was obviously kind of late to the Nightwish game, but finally dipped into 2000’s Wishmaster based on the strength of the song “Dead Boy’s Poem” alone. I am, at my core, a sentimental push-over who loves most forms of dramatic art, and Wishmaster is explicitly tailor-made for those individuals who prefer heavy metal that spins visually epic and dramatic storylines in the ol’ brain matter whilst the theatrical music carves its vivid pathway. What’s really rewarding about a record like Wishmaster, though, in addition to all the spectacle, is the fact that Nightwish doesn’t forget to be heavy, particularly with regard to the drumming of Jukka Nevalainen. So, yeah, a really nice balance between elegance and heft pushes things over the edge here, and with just a little time spent with Wishmaster, it quickly becomes clear why so many people hold principle architect / keyboardist Tuomas Holopainen in such high regard.

Primitive origins: Finland
Label(s): Spinefarm Records / Bull Terrier Records / Drakkar Records / Mystic Production / NEMS Enterprises / One Music / Rock Brigade Records / Vinyl Collectors
Sample: “Dead Boy’s Poem”

Dark Forest – Beyond the Veil [2016]

[Cover artwork: the incomparable Duncan Storr]

England’s Dark Forest have secured themselves a rather unique corner in the power metal realm. There’s a very clear classic power metal tone attached to a record like Beyond the Veil that calls to mind saints such as Manilla Road and Helloween, but eclipsing all else is a very pronounced emphasis on traditional folk music that puts an even stronger accent on an irresistible hook and a very palpable sense of heroic adventurism. In essence, Dark Forest creates exhilarating, medieval power metal for people who own authentic greaves and dream of living in turf homes amidst magickal landscapes. And really, who doesn’t need a hefty slice of atavism with the horrors of A.I. currently looming around nearly every corner. A supplemental award is also due Duncan Storr (the master) for creating one of the most inviting artworks to appear on this list. “The hunting horn / Shall sound in the forest once more / We are reborn!!”

Primitive origins: United Kingdom
Label(s): Cruz del Sur Music
Sample: “The Undying Flame”

Masterplan – Aeronautics [2005]

[Cover artwork: Thomas Ewerhard]

I wrote a terrifically embarrassing and weirdly negative review of Aeronautics back when I first started at Metal Review nearly two decades ago. (You will no longer find it in a search, as I deleted that sucker when we shifted to Last Rites. Whew!) It marked my first exposure to the wondrous vocal realms of Jørn Lande, but the personal space I was in at the time really only allowed for much darker and more extreme music that was clearly at odds with the buoyant hard-rockin’ power behind Aeronautics. Much to my surprise, though, once that review published I found myself fully incapable of letting the record go. I became obsessed with Aeronautic’s straightforwardness in delivering indomitable hooks around virtually every corner, and before long, any criticisms for hugely awkward lyrics like “Sleeping beauty, I could not resist you” were washed away by a deep appreciation for getting back to the sort of basics laid down by bands like Whitesnake and Y&T, bolstered by power metal’s overwhelming positivity. I edited that review to reflect my change of heart, and I still feel guilty about ralphing all over the parade when Masterplan first came into my life. Anyway, here’s to open-hearted apologies and setting records straight.

Primitive origins: Germany
Label(s): AFM Records / CD-Maximum / Evolution Music / Icarus Music / Magnum Music / Rock Brigade Records / Scarecrow Records / Wizard / Avalon
Sample: “Back for My Life” OFFICIAL VIDEO

Judicator – At the Expense of Humanity [2015]

[Cover artwork: Austin Bentley]

Judicator’s juggernaut of a third record hit my lap without warning, and I was not at all prepared for the vortex of emotions it so brazenly laid out like the most vulnerable of hearts crowning the starkest of sleeves. The clear and very deliberate influence is Blind Guardian, which is tattooed up and down the guitar work and especially in the way the vocals are layered, but the hugely personal and tragic message at the core of the record exploring the emotional roller coaster that is losing a sibling to cancer? Just flattening, pure and simple. And attaching such a leveling and natural world experience to a mode of power that’s so often used to emphasize all manner of fantasy elements gives the record a very unique distinction that only adds to the overall windfall of this remarkable release. In the end, none of us will walk this earth without experiencing more than our fair share of tragedy, so it’s comforting to have powerful records such as At the Expense of Humanity available as powerful allies to help lift us through the malaise.

Primitive origins: USA
Label(s): Masters of Metal Productions / Divebomb Records
Sample: “God’s Failures”

Running Wild – Death or Glory [1989]

[Cover artwork: the great Sebastian Krüger]

Chances are, if you’re a fan of the Running Wild years that followed the speed-evil birth that marked the band’s first two records, you have anywhere between three to five albums to choose from as an ultimate favorite. Maybe six? So, yes, the word “consistency” is very often tromped out to the poop deck when speaking of Running Wild’s output from the late ‘80s and on through the ‘90s. Death or Glory wins the honors here, though, because it strikes the most perfect balance between the rawness of the earlier albums and the more sing-songy swing of what followed. Plus, the presence of Demon Pact drummer Iain Finlay (the only RW full-length he would play on) gives the record an even heavier footprint, and guitarist Michael “Majk Moti” Kupper’s final stamp before unfortunately moving on is just massive front to back. Really, there ain’t a bad grape in the bunch, and while tracks such as “Riding the Storm,” “Renegade” and (aherm) “Bad to the Bone” continue to be clear fan faves, it is “Evilution” that stands out as a personal Running Wild highlight amongst a great many for yours truly.

Primitive origins: Germany
Label(s): Noise Records / EMI
Sample: “Evilution”

Blazon Stone – No Sign of Glory [2015]

[Cover artwork: Alan Lathwell]

Oh, hello! What a pleasant surprise to find this record stowing away amidst the rum barrels aboard The Jolly Rolfer. It makes sense to follow Death or Glory with arguably the most authentic tribute to Running Wild that’s ever been put to wax, no? I mean, it doesn’t take a musket scientist to recognize the band is named after a notably popular Rock ’n’ Rolf album, and Blazon Stone wears that badge with a great deal of pride. In short, No Sign of Glory is the best album Cederick “Ced” Forsberg’s Blazon Stone has penned to date, and featuring it on a list such as this is essentially a sneaky cheat for getting two Running Wild albums in for the price of one. Of course that’s all helped by the fact that No Sign of Glory also happens to be good enough from a songwriting perspective to give a couple Running Wild classics a run for the money if forced to rank it alongside them. (Also, between you, me and the foremast, Blazon Stone is currently out-marauding the original marauders, but I don’t really want to say that too loud because taking my leave over the ship railing ain’t on my list of things to do today.)

Primitive origins: Sweden
Label(s): Stormspell Records
Sample: “Bloody Gold”

Pagan’s Mind – Enigmatic: Calling [2005]

[Cover artwork: Nils K. Rue]

I am of the opinion that Pagan’s Mind holds within their ranks one of the most underrated vocalists in metal. At least I think he’s underrated? The name Nils K. Rue doesn’t seem to pop up too often when the conversation shifts to the greats is what I’m saying, and I don’t believe there are many peers with a range like his that can shift from, say, Bowie to King Diamond at the drop of a hat. Suffice to say, Rue is a remarkable talent, and the rest of the band that’s surrounded him since day one (same lineup through five full-lengths? What is this madness??) throws down an equal degree of skill across the board, with a notable medal of honor pinned to the lapel of guitarist Jørn Viggo Lofstad, who happens to be a level 20 fret warlock. What makes Enigmatic: Calling, album number three, the optimal choice for this list? As is often the case, it marks an ideal bridge between the old and the new: Not quite as modern with the riffing compared to the almost too modern God’s Equation, and the ideal amount of progression from the crunchier roots of Infinity Divine. It’s a model nucleus, essentially, and it throws down hooks for days.

Primitive origins: Norway
Label(s): Limb Music / PM Records / Avalon
Sample: “Enigmatic Mission” OFFICIAL VIDEO

Scanner – Hypertrace [1988]

[Cover artwork: Joachim Luetke]

Here’s the proposed scenario: Somewhere amidst the mid-‘80s, the lads behind Lion’s Breed decided life as an average NWOBHM clone was no longer cutting it, so they took a recent obsession with a stack of sweet ’n’ shitty (?) science fiction films—Star Crystal, Land of Doom, and maybe a bit of The Wraith—and welded it to the bumper of the nascent and very curious Euro power metal scene. Thusly, Scanner was born, and with it came a surprisingly workable schtick and a debut record that very much appeared to understand the best way to bridge the realms created by Helloween’s Walls of Jericho and Keeper Part 1. Sure, Hypertrace is a little raw and loose around the nuts (?) and bridge intercom panels, and vocalist M.A.J.O.R. sounds a bit like the bridge officer version of Kai Hansen trying to shake a redshirt back into consciousness, but holy hell does it all end up working out in the most fun ways possible.

Primitive origins: Germany
Label(s): Noise Records
Sample: “Locked Out”

Highland Glory – Forever Endeavor [2005]

[Cover artwork: Mark Wilkinson]

There’s no shortage of highly qualified candidates for “the most underrated power metal album of all time,” and while I wouldn’t go so far as to hand the heroic souls behind Highland Glory’s wonderful sophomore effort the ultimate crown, I’d certainly say the record is good enough to fall inside the top ten. Vocalist Jan Thore Grefstad is a beast behind the mic, offering up a favorably raspy and visceral delivery that he’s since carried over to the very solid Saint Deamon, and the overall songwriting spans a myriad of moods and styles without ever managing to sound at all fragmented. When the cylinders are firing at full capacity, though, the songs underscore a more adventurous and epic face, bringing to mind the proggier side of Iron Maiden—the title track and the magnificent closer “Demon of Damnation,” for example. But really, there’s not much to complain about inside the record’s generous 50 minutes, and I’d say we’re all very ready for a reunion album that rights the fairly disappointing ship that was 2011’s Twist of Faith.

Primitive origins: Norway
Label(s): Massacre Records / Art Music Group / FaceFront Records / Spiritual Beast
Sample: “Forever Endeavour”

Fairyland – The Fall of an Empire [2006]

[Cover artwork: Gonzalo “Genzo” Ordóñez]

Yeah, yeah, tee-hee, the band is called Fairyland. That would be a lot less amusing if you’d actually spend an afternoon in Fairyland tripping balls on gnomish mushroom caps and sipping dandelion tea with the færiefolk while watching bullfrogs fence on lily pads. Or maybe you wouldn’t. Maybe you’re an incorrigible monster who hates fun, how should I know.

Philippe Giordana was a heck of a talent as far as bombastic symphonic metal composition is concerned, and The Fall of an Empire should probably be considered his crowning power metal achievement? I’m leaving that as a question only because I wouldn’t fault a soul for electing 2003’s Of Wars in Osyrhia, the band’s triumphant debut, and their only record to feature Dark Moor’s incredible Elisa Martín behind the mic. Ultimately, though, I give the very slightest of edges to The Fall of an Empire, largely because I think it’s a skosh more complex and interesting in terms of composition. Plus, Max Leclercq ain’t exactly a slouch when it comes to vocals, and the guitars feel like they have a stronger presence here. Rest easy, Philippe. You are definitely missed.

For what it’s worth, there is an actual Fairy Land in Oakland, CA—right alongside Lake Merritt. In order to get in, adults have to be accompanied by a kid. Pretty amazing.

Primitive origins: France
Label(s): Napalm Records / Irond Records / Scarecrow Records / Avalon
Sample: “Anmorkenta”

Brainstorm – Liquid Monster [2005]

[Cover artwork: Jan Meininghaus]

If you’re at all familiar with Germany’s Brainstorm—like, even if you’ve heard just one album out of the thirteen they’ve managed to churn out over the course of the last 25 years—you pretty much know what to expect once you hit play: Scootable melodic power with a rare (and teensy) symphonic element that ultimately wins or loses based solely on how effectively the hooks and leads hit. Accordingly, we can expect a full array of releases to stand out as favorites amongst the populace, as the formula rarely swerves and the band is pretty damned good at what they do. For its part, 2005’s Liquid Monster seems to be a bit of a mixed bag for some, likely because it sidesteps the speedier elements earlier works underscored in favor of cranking the infectious, scootability factor to the next level. Hey, can’t please everyone.

Primitive origins: Germany
Label(s): Metal Blade Records / Indy Pop Records / Sum Records / Avalon
Sample: “Inside the Monster”

Conception – Parallel Minds [1993]

[Cover artwork: Michael Albers]

Choosing between a record like Parallel Minds and its equally impressive follow-up, 1995’s In Your Multitude, is very much not an easy task. Maybe just pick the one that happened to hit your ears first? Is that fair? Vocalist Roy Khan (Kamelot) is likely the biggest selling point here, but the prowess of sole songwriter / guitarist Tore Østby is equally impressive, blending a clearly progressive intention with just enough power to keep the record comfy inside a similar camp as Symphony X and Angra.

For his part, Khan sounds impeccable throughout Parallel Minds (duh), and the repeated shifts to a slower pace underscores an almost doomy sense that makes one realize just how close Khan’s voice parallels (swish) a fellow like the great Tony “The Cat” Martin. A more prog/power version of Tyr, you say? Sign me up.

Primitive origins: Norway
Label(s): Noise Records / Victor
Sample: “Roll the Fire” OFFICIAL VIDEO

Shaman – Ritual [2002]

[Cover artwork: Marc Klinnert]

Of course we’d rather never learn that the bands we hold near and dear to our hearts struggle internally over management / money issues, but in some cases these sorts of brouhahas render windfalls that award fans with even more quality output. Such is / was the case when Angra’s Andre Matos (vocals / keyboards), Ricardo Confessori (drums / percussion) and Luís Mariutti (bass) took their ball and went home around 2000, only to reassemble under the similarly prog / power-driven entity Shaman. The primary difference between the two camps? Well, a record like Ritual focused a little more on traditional Brazilian instrumentation—world or global music, as some old coots might specify—and the results are good enough that, at the time it was released, I’m guessing more than a few fans were left wondering if the bar had suddenly been set to a point where Angra might fear to tread. So, yeah, Ritual is fantastic, and in this ol’ banger’s opinion, it’s the best album Andre Matos ever attached his name to, may he rest in peace.

Primitive origins: Brazil
Label(s): Universal Music Group / Aquarius Musikindo / Lucretia Records International / Maldito Records / NTS / Victor
Sample: “Fairy Tale” OFFICIAL VIDEO

Tad Morose – Modus Vivendi [2003]

[Cover artwork: Jan Meininghaus]

Sweden’s Tad Morose had a bit of a reverse trajectory similar to, say, Stratovarius in that they kicked off as a more prog-centric band that slowly stripped the formula down into straight-up power over each subsequent release. The Morose fellers did it with a stronger emphasis on a walloping heaviness, though, and 2003’s outstanding Modus Vivendi flexed that strength in the most infectious way possible. The record is absolutely loaded with extremely bangable (?) riffs and hooks for days, too—not sure you will find a catchier opening one-two punch on this list compared to “Anubis” and “No Mercy.” Spice the brew even further with the best performance of vocalist Urban breed’s career and you’ve got a shoo-in for a list such as this.

Primitive origins: Sweden
Label(s): Century Media
Sample: “Anubis” OFFICIAL VIDEO

Powerwolf – Blessed and Possessed [2015]

[Cover artwork: Matthew Greywolf]

Germany’s Powerwolf is a bit like the power metal version of The Fast & the Furious film franchise: Find an explosive formula that brings a very specific target audience into the theater, then indulge and spoon-feed that target audience until they become immobile and eventually require a boom forklift to help remove them for transport to a special needs facility.

Everything Powerwolf releases is of the highest caloric content possible, yet even higher, I would have to imagine, are the production costs associated with pulling off the frankly absurd levels of maximized spectacle for each release. Did it cost Powerwolf 38 million dollars to make a record like Blessed and Possessed? Let’s just go with YES. Did the record win the equivalent of an Oscar for best picture? Let’s go with NOPE. Did people walk away from their first Blessed and Possessed experience with sugar recklessly racing through their veins like illegally modified Toyota Supras? Let’s go with YOU BET YOUR SWEET ASS.

Literally the only difference between the two franchises: With Powerwolf, everything happens in a church. Wait, what?

Primitive origins: Germany
Label(s): Napalm Records / Shinigami Records / Avalon / Mazzar Records / Evolution Music
Sample: “Army of the Night” OFFICIAL VIDEO

Lovebites – Awakening from the Abyss [2017]

[Cover artwork: David López Gómez]

Welcome to Japan! Expect the unexpected! Cuddle cafes, town mascots wandering the streets, game shows featuring professional athletes taking on 100 children, and toilets that very politely ask how your day is going: all within walking distance of one another.

I’m guessing you see where this is going. Walk into a random venue and see the members of Lovebites prepping on the stage and you might expect… I dunno… Some sort of poppy R&B along the lines of En Vogue or Xscape? Am I dating myself too much here? Would I date myself? Probably, as I have terrific taste in music. Anyway, what you actually get when Lovebites hits the stage—or your speakers / headphones / oddly placed commode transmitters—is some of the most inspired, energetic, aggressively melodic power metal on this planet Earth, and Awakening the Abyss marks the launch of this extraordinary outfit that has YET to release something even within 100 miles of being weak.

Primitive origins: Japan
Label(s): Victor / Evolution Music / JPU Records / Sliptrick Records
Sample: “Warning Shot”

Mob Rules – Tales from Beyond [2016]

[Cover artwork: Nikola Fritz]

Germany’s Mob Rules has a few gems scattered amidst a mostly solid discography of mid-paced melodic power, but they really hit pay dirt in 2016 when they collectively decided to deliver the closest thing to a power rebranding of the re-Bruce era of Iron Maiden any self-respecting metal fan could ever hope to encounter. Funny thing is, the record manages the task of re-Bruce-ing without…well, having someone who really sounds like Bruce Dickinson at the helm. But sweat thee not, worthy heroes! It’s Klaus Dirks behind the mic, the sole original MR member left standing, and he sounds great AND gives the overall vibe that Euro power sense that’s actually pretty unique. So, yeah, if you’ve ever wondered what a re-Bruce album might sound like if Steve Harris spent a summer listening to nothing but Napalm Records stuff, this is your huckleberry. Just… expect Bruce to have missed that left turn at Albuquerque.

Primitive origins: Germany
Label(s): Steamhammer / Soyuz Music
Sample: “On the Edge”

Outworld – Outworld [2006]

[Cover artwork: Mattias Norén]

Outworld’s eponymous debut is one of those one-and-done full-lengths that forces you to realize just how challenging it is for any one band to stay afloat with a steady lineup of highly talented, fully contented (sigh) musicians. Shredhead Rusty Cooley was the principal draw, landing all sorts of guitar acclaim early on in his career, including a nod from Guitar Magazine for being “the leading light of the post-Malmsteen shred-volution,” and eventually falling into a natural instructor’s role that he continues to pursue today. Fittingly, Outworld is stacked to the rafters with leveling riffs and the sorts of mindbending leads that could lead one to wonder if he’s perhaps hiding a third arm somewhere inside a tuft of armpit hair. I gotta tell you, though, as good as he is on that six-string (actually… seven-string), he surrounds himself with individuals of an equal level of talent across the board on this record, resulting in an impressive work of notably aggressive and intrepid progressive power that sounds just as fresh today as it did nearly two decades ago.

Primitive origins: USA
Label(s): Replica Records
Sample: “Warcry” OFFICIAL VIDEO (with Immortal Guardian’s Carlos Zemos on vocals)

Guardians of Time – Machines of Mental Design [2004]

[Cover artwork: Leo Hao]

Guardians of Time is power metal’s best kept secret, which is odd because their existence is not at all a secret, and it’s kind of frustrating that they’re a secret because they released five very strong albums before their unfortunate demise last year that should have guaranteed them a station that inspired comments akin to: “Of course I’ve heard of Guardians of Time! They’re great! And it’s not like they’re a secret.” Anyway, you really can’t go wrong with any of the band’s releases, but as much as the power metal elite crapped their pants over 2015’s excellent Rage and Fire, it is their 2004 sophomore release that wins the prize here because it puts on a non-stop clinic on how to deliver heavy and extraordinarily melodic power metal sans frippery in a way that hits the target dead center from the moment it jumps from the gate to the second it crosses the finish line an hour later. That guitar tandem of Paul Olsen and Rune Schellingerhout was really something, bubalas.

Primitive origins: Norway
Label(s): FaceFront Records / Spiritual Beast / Art Music Group / Massacre Records
Sample: “More than Man”

At Vance – Dragonchaser [2001]

 [Cover artwork: Cristoph Bersch]

At Vance is one of those bands that owes Yngwie Malmsteen and his collective Rising Force a month’s worth of dinners and, like, probably seven Ferraris. Or at least a colorful selection of new neckerchiefs? Chief helmsman Olaf Lenk is clearly the ringleader here, and his fretplay is of course extraordinarily clean, precise, fast and neoclassical as balls. Vocalist Oliver Hartmann ain’t far behind, though, delivering that husky “Jeff Scott Soto” style to a tee, and sounding like he has at least three buttons undone on his shirt at all times. Dragonchaser is a wyld little ride, offering up a full menagerie of moods and strides that cover everything from super speedy shred power to Beethoven (friends call him Wiggy-B) to ABBA, all under that super satisfying, fantastical neoclassical canopy.

Primitive origins: Germany
Label(s): Shark Records / NEMS Enterprises / YBM Seoul Records / Victor
Sample: “Ages of Glory”

Lorenguard – Eve of Corruption: The Days of Astasia – Part One [2011]

[Cover Artwork: Julie Dillon]

Here’s a fun little coinky-dink: The very first thing I reviewed when I first started with Metal Review back in 2005 was the debut full-length from Pennsylvanian power metal troupe Winterfell, a band that featured the very same vocalist featured on this, the sole full-length from Indianan power metal collective Lorenguard. As much as I liked that Winterfell debut, however, Eve of Corruption: The Days of Astasia – Part One eclipses it in essentially every regard, standing high atop a notably kingly power metal peak as one of the most rewarding blindside discoveries I’ve ever had the pleasure of experiencing in this wild little off-shoot of ours.

To attempt a tidy summation of all of this record’s benefits would be nigh unthinkable, and doing so might in fact deprive some other soul currently unaware of its boons a similar experience, so allow me the following synopsis: In the realm of largely unchartered, independent symphonic power done by ultimate fans and purely for the love of the genre, with no label backing / encouragement, this record is a colossal achievement. Like, how Lorenguard did not become a household name following this release is just… I don’t understand it. As an added bit of nudgery, further realize this: the solo 2:45 into “Greenstone” is one of the most emotional leads I have ever heard, and I am a fricken dinosaur who’s heard a very literal boundless amount of solos across decades of hardcore listening.

Very unfortunately, one of the true heroes behind Lorenguard—keyboardist Alec “Cookie” Biccum—abruptly left this planet in 2020, leaving the status of the band in limbo moving forward, which is, of course, completely understandable. If this ends up being the sum of what we get, though… Wow, what an absolutely massive achievement, and something that’s sure to be remembered as a bonafide classic in years to come.

Primitive origins: USA
Label(s): Independent (say whuttttt)
Sample: “Greenstone”

~ Part 2 in two weeks! Enjoy a selection of part 1 as a playlist below ~