We Have The Power Presents: The Top 100 Power Metal Albums Of All Time, Part 4

Well, here we are. The last hurrah. The final frontier. The last restaurant at the end of the universe. One more for the road. Goodbye, farewell, and amen. Hasta la vista, baby. Smell you later. Don’t let the door hit ye where the good Lard split ye. He was soon borne away by the waves and lost in darkness and distance. Etcetera.

IT’S THE FINAL PART OF WE HAVE THE POWER PRESENTS: THE TOP 100 POWER METAL ALBUMS OF ALL TIME

Hey! Eyes up here, conqueror. Don’t go skipping on down below for a peek at what albums I might have very unreasonably and flagrantly skipped over. (There’s a lot of ‘em, on account of me being a total rascal.) Before we dig our hands into the dirt one last time, though, I have a few things to say. Super important things that very well might leave the planet’s survival swinging in the balance if you don’t read them. Ooo, swings! Wheeeee!

I don’t expect people to really care or think about the amount of time and effort that went into a endeavor such as this, but walk away with the understanding that I went all in. As I mentioned way back at the start of things, this whole idea was born following a review of the latest Sacred Outcry record, which eventually lead to power discussions inside the LR HQ Discord, followed soon thereafter with the decision to finally put up or shut up. To be clear, even the act of putting the list together just for my fellow crew buds was time consuming, but thinking about making it official and writing a total of 150 power album blurbs over the course of one summer on my own? I honestly wasn’t sure if I had the time or fortitude to take it on. But then I figured, what else am I gonna do? Solve the debt crisis? Booooooring.

Here’s my biggest takeaway from this entire exercise: I needed it. I know I touched on the positivity upshot of an endeavor such as this in the intro to part 2, but it’s a benefit that’s worthy of reiterating.

I’m really not much of a “woe is me” guy, but beyond covid, rotten politics, climate chaos, etc. ad infinitum, the last few years have stressed a few of the more grim aspects of life as an extravagantly sentient being [rattling cough] on planet Earth. I’m an adult, though, so I understand that part of doing business as a living human involves experiencing the negative pendulum swing just as often and sometimes a little more than its inverse. But with the supplemental odiousness floating about my little insignificant sphere, I needed something to help offset the negative charge. You know, balance being the key to ideal duration. So, as a result, I decided to temporarily shelve my normal fixation on all things deathly and deadly in favor of swaddling my brain in an endless barrage of golden light from metal’s most valiant defender of merriment, enthusiasm and MAJESTY. This tactic has in turn gifted me significant dividends. Not only have I gotten reacquainted with a number of albums I’ve held dear for ages but haven’t had time to revisit (niiiiiice), but people around me have noticed a general uptick in my attitude, much of which I attribute to the unreal amounts of positive power that’s bulldozed the bulk of the last few months. Hey, excellence is really excellent, but accidental excellence is even excellenter.

Now, I’m not saying this is permanent, obviously. In each life some rain must fall, and if you think I’m done listening to death metal that sounds as if it could reach out of the speaker and wither my organs with one single touch, you are craaaazy. But I’m riding my sweet, sweet wave as best I can this very moment, and I would feel a little strange if I didn’t at least offer up a genuine and heartfelt doff of the ol’ cap to the entire power metal realm for abetting this noble quest for positivity, and that includes the bands / albums I had the audacity to leave in the dust. You’re all aces in my book. Unless, of course, you happen to not be an ace, which happens on every single block, in every corner, and in every genre. But you virtuous souls out there sticking to your power convictions amidst continued howls of “it’s too corny / it’s too bright / it’s too fun”—you are needed in this world, and I see you. I salute you.

Enough of the loud-mouthin’, here’s what we’ve done so far:

» The Top 50 US Power Metal Releases of All Time, Part 1
» The Top 50 US Power Metal Releases of All Time, Part 2
» The Top 100 Power Metal Albums of All Time, Part 1
» The Top 100 Power Metal Albums of All Time, Part 2
» The Top 100 Power Metal Albums of All Time, Part 3

And in case you need a refresher regarding the rules, they’re pretty straightforward:
» (4) articles celebrating (25) albums each, every other week
» Only one album per band will qualify
» The order of the albums is totally randomized
» Progressive power allowed entry

And just to get all the rules and regulations out of the way, here’s the copy / paste statement regarding the timeline narrative:

I am 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.

BUT WAIT, THERE’S MORE!!

I’ve decided to wrap things up with ONE MORE ROUND following Part 4. Not a huge deal, just one more article that stacks things all nice and neat, with the top 25 of the top 100 IN (MASTERFUL) ORDER, and maybe a little something that breaks down some hopefully interesting details about the final results. If you care, that’ll land either next week or the week after. And following THAT, it won’t be long before I have to start consuming this year’s top power releases for the annual We Have the Power Presents: The Top 30 Power Metal Albums of 2023. Well, if I still have some leftover energy, that is. I’m guessing that’s a yes, but I don’t even know if the planet will still be here in three months, so let’s just play it by ear.

INTO THE REACTORRRRRR!!

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

«»

Kamelot – The Black Halo [2005]

[Cover artwork: Derek Gores]

The four album Kamelot run from The Fourth Legacy (1999) to Karma (2001) to Epica (2003) to The Black Halo (2005) is one of the best in power metal, and anyone’s favorite could very well swing on whichever release landed in their lap first. Each album is great, and they all hold enough merit to warrant a crown, but put a flintlock to my head? I might concede that Karma is my personal favorite. That Black Halo, though… C’mon… You can’t walk away from an album like The Black Halo without conceding that something pretty special was in the air when the Kamelotters kicked that one into our beautiful faces.

“But it doesn’t have my very favorite Kamelot songs,” cried the neglected yet still very valid voice in the back of the great hall.

That may be so, but the crater left following Halo’s landing nigh two decades ago rivals the one found buried at Chesapeake Bay. This record is, without question, power metal’s answer to Queensrÿche’s Operation: Mindcrime, and with that distinct honor comes all the accolades and fine tooth combing due a record that’s widely considered a band’s magnum opus. So, yeah, people love to love the record, as they should, just as others will love to find fractures in the things so many people love, as humans are wont to do. (Naughty, naughty humanses.) But taken as a whole, everything concerning the flow behind The Black Halo—musically and narratively—is second to none, and the record all but demands the listener to play it front-to-back 99% of the time it hits the player. There are standout tracks, for sure—some will correctly point to the closing 15 minutes as PEAK Kamelot at their peakiest—but all in all, the listener wants the full experience once they decide to dip in, and that’s basically any band’s dream amidst an age where most everything is now consumed in small, manic bites.

Bottom line: The Black Halo is a progressive power soundtrack masterpiece, and today we celebrate that mighty success.

Primitive origins: USA
Label(s): Steamhammer / Scarecrow Records / Союз / Nexus / Sauron Music
Sample: “The Haunting”

Orden Ogan – Ravenhead [2015]

[Cover artwork: Andreas Marschall]

Orden Ogan is one of those bands that appears to be infinitely determined to test limits when it comes to kitsch: top hats, western gear, a… steampunk version of the Matrix in winter? Basically, anything that’s currently of principal interest to chief engineer Sebastian “Seeb” Levermann is fair game for album content, and listeners either hop along for the ride or wait for the next… permutation. We are a tolerant and cosplay-friendly rabble, we of the power metal empire, so anything short of the Ogans showing up wearing nothing but adult diapers and Ugg boots will likely be given a pass, which must be pretty good news to the lads.

Where I personally draw the line, though—and this is where I nearly opted to avoid Orden Ogan altogether—is when a band overshoots the limits with regard to repeated choruses. (Some of us refer to this as Brave New Worlding, in Iron Maiden terms). Ohhhh, indeed, Orden Ogan enjoys beating the hell out of a chorus, and so egregious are those beatings at times that I’d occasionally like to pull a song or three right from the air and SHAKE them. “I UNDERSTAND WHAT YOU’RE TRYING TO SAY TO ME. I GET THE DRIFT, YOU TOOTHSOME MONSTER.”

The hook, though… That eternally and damnably seductive hook is just too strong to ignore, and when it’s tied to the deliciously dark slant of 2015’s Ravenhead? What cruel opium den is this, Orden Ogan. How dare you prey on us in such a devilish manner. And how dare you inspire me to find a way to complain about an album that’s good enough to land on a list such as this.

Wait… Me? Am I the drama?? I don’t think I’m the drama. Maybe I am…

Primitive origins: Germany
Label(s): AFM Records / Fono Ltd. / Icarus Music
Sample: “F.E.V.E.R.” OFFICIAL VIDEO

Sonata Arctica – Ecliptica [1999]

[Cover artwork: “Landscape engineering” by Tero Junkkila]

If you start off as a rock band called Tricky Beans, you probably have no business eventually morphing into a power metal band that releases something as great as Ecliptica right from the jump. Is that awful of me to say? I really don’t mean to be awful. I’m simply saying I’d expect to see a band called Tricky Beans offering a cover for the intro to Hey Dude on a Nickelodeon comp or something, so the fact this particular bean managed to grow into Sonata Arctica is some form of magic. Magic beans. The Tricky Beans turned out to be magic beans. Where the cow comes into the story, though? No idea. Please inundate the band with that very question TODAY.

Anyway, Sonata Arctica vocalist / keyboardist / principal songwriter Tony Kakko has referred to Ecliptica as a “cute” launch for the band, but it is the best Sonata Arctica album largely because of the way it manages to barely bridle all that youthful energy just before things literally detonate. The songs are speedy, assertive and just shy of flying off the rails (“8th Commandment!”), but there’s just the right amount of pop sensibility still left over from the fellers’ rock ’n’ roll days to drive in that necessary hook, as evidenced by the ridiculously catchy “Replica,” “FullMoon,” and the plaintive ballad (that somehow doesn’t manage to suck), “Letter to Dana.”

So, yes, it’s a fairly raw (not really production-wise, though) and wildly enthusiastic first jump from a band flying by the seat of their pants, but that’s all a huge part of its eternal charm, even 25 years later.

Primitive origins: Finland
Label(s): Spinefarm Records / Century Media Records / Mystic Production
Sample: “Replica”

Triosphere – The Heart of the Matter [2014]

[Cover artwork: Katell Anne Vivier]

There is certainly no shortage of underrated bands on this list, but pound for pound, Triosphere makes a case for themselves as being pretty danged close to the top. Sure, 13k followers on a certain limping social media platform ain’t exactly teeny-tiny PO-TAY-TOES [greasy Samwise Gamgee grin], but a band as good as Triosphere and a record as moving and complex and rewarding as The Heart of the Matter makes it seem at least plausible that someone simply forgot to add that extra zero on the end of the 13k statistic. Yes, you will certainly benefit from having a penchant for extremely hooky and emotional progressive power that comes across like some sort of mad collision between Pagan’s Mind, Nevermore and, say, the classic hook of early Warlock, but that seems likely to tick the boxes for one hell of a lot of very wise and extraordinarily attractive individuals out there, no? Yes. The answer to that question is yes.

Also working in Triosphere’s favor is the fact that they typically sidestep the stock fantasy and sci-fi tropes so prevalent in the genre in favor of exploring our connection through everyday life’s myriad triumphs and hardships. For its part, The Heart of the Matter explores humankind’s connectedness through love, be it the more positive side of the spectrum (“RELENTLESS”) or the more heartrending (“Breathless”), and it does so through 50-plus minutes of knotty, melodic progressive power that’s equal parts brooding as it is starkly triumphant. Marius Silver Bergesen’s skill as a songwriter is through the roof, and he’s matched note for note by bassist / vocalist Ida Haukland’s incredible voice and prowess as a lyricist.

Is… Is that a touch of pensive emo (GASP!!) we hear in a couple songs? “Remedy,” for example? Can we handle that? Yes, because the record never loses full sight of belting the listener with that infectious power punch that’s become a Triosphere hallmark over the years, so don’t expect it to be all glow-sticks and aggressively fringed bangs. What you should expect, however, is loads of sentimental power prog that punches straight at the heart, and if The Heart of the Matter ends up being the last thing the band ever does (10 years is a looooong span between records), at least they know they can go out on a very high and timeless note. (Side note: Please don’t let this be the last Triosphere release.)

Primitive origins: Norway
Label(s): AFM Records / Fono Ltd.
Sample: “The Heart’s Dominion”

Forgotten Tales – All the Sinners [2004]

[Cover artwork: Jacques Marcoux]

Time for another dip into “albums we often reach for when it comes time to illustrate our grossly impressive awareness of lesser known heroes that remain relatively obscured for a myriad of reasons, hence inspiring hundreds of thousands of bystanders to lift us onto their shoulders as a sign of deep respect for our limitless and extraordinary knowledge of underground power metal.”

Previous weeks have crowned Galoglass and Human Fortress, and now we look toward Quebec and the sophomore release from medieval / symphonic / power adventurers Forgotten Tales for one more selection.

There’s a lot to celebrate concerning All the Sinners, the band’s second of three releases to date. The work is stacked with charming (and often quite brisk!) melody, the songs are complex yet notably fluid, and the narrative—while certainly nothing that breaks the mold—is endearing and comforting in a very “fairytale by the fire” sort of way. Above all else, though, there are two distinct Forgotten Tales advantages most fans will quickly point toward when asked, “Why are you clutching a CD copy of All the Sinners to your heart in the middle of this meeting about 3rd quarter profit margins for our mid-tier sink handle manufacturing firm?”

Firstly, there’s the voice of Sonia Pineault. When it comes to power of this style, one might expect (overly) operatic vocals, but Pineault instead opts for bombastic force, and holy whoa, does she deliver. Her role is definitely emphasized up and down the record, and it doesn’t take long to figure out why all involved made that a central intent.

Equally worthy of commendation, however, is the lead guitar work here, courtesy of principal songwriter / guitarist Martin Desharnais. This guy is the hero who arrives at the battle just as your forces start to waver, and his remarkably clean, fast and epic play is precisely what the infantry needs to feel a sudden rush of pure ENERGY. His riffs are sharp and innovative, but it’s those endless leads, when combined with Frédéric Desroches’ baroque keyboard flourishes, that gives the whole of the record a notably appealing neoclassical feel worthy of its storyline.

Primitive origins: Canada
Label(s): Union Métal International / M&I Company Ltd.
Sample: “Three Wishes”

Eternity’s End – The Fire Within [2016]

[Cover artwork: Caio Caldas]

I’m sure there’s a marvelous joke in there somewhere that ends with a bartender wishing they’d gotten into real estate, but for this endeavor we replace the punchline with a punch to the squibblies, because the unification of those duelists actually ends up creating something that’s about 800 miles away from funny. Well, unless you count getting pinned to a brick wall by one of the most explosive power debuts of the last decade funny. Hee hee ha ha, a freight train just slaughtered me against a wall? Sure, why not.

The Fire Within landed without much warning. At least I don’t recall a warning. If there was a warning, I was probably too busy exhausting people with my never-ending Armor of Ire reflections, as that record also landed in 2016 (with a little more commotion). However, what Eternal Champion did to give epic power a needed shot in the arm, Eternity’s End did to an even greater extent for Intensely heavy shred-power. The guitar work of chief architect / sole songwriter Christian Münzner (Obscura, Alkaloid, Paradox) is the star of the show, and his leads here are enough to inspire fledgling guitarists to either spend 6 more hours per day practicing, or 10 small minutes posting their axe on eBay. “You were a fine blade, Ibanezor, but I must place you in the hands of a champion more worthy…” [weeps under the covers]

What’s not expected—at least it wasn’t for me—is the HEFT behind The Fire Within. These formidable riffs and the swingin’ rhythm that accompanies them hit like… Well, the best way I can think to describe their equal in the power metal realm is to compare their arrival with the way Sabbat’s Dreamweaver hit the thrash world: “Are we sure this is allowed to be this heavy? HAS THIS BEEN CLEARED BY OSHA??” And pushing it all over the edge are the vocals of Ian Parry (Elegy), whose delightfully gravelly delivery is the spitting image of a guy like Herbie Langhans of Firewind / The Lightbringer of Sweden.

The two records that have followed have increased the complexity and adventurousness, and they also have the added benefit of one-time Hibria (Defying the Rules) vocalist Iuri Sanson, but it’s difficult to not give the ultimate nod to the very loud and HEAVY arrival of The Fire Within.

Primitive origins: Germany
Label(s): Power Prog / Avalon / Evolution Music / Metal Force Records
Sample: “The Fire Within”

Pathfinder – Beyond the Space, Beyond the Time [2010]

[Cover artwork: Chris Cold]

The debut full-length from Poland’s Pathfinder asks a lot of listeners. For proof, look no further than its position over at Metal-Archives, which includes reviews that currently sit at 98%, 97%, 100%, 0%, 95%, 97%, 100%, 0%, 55% and 0%. So, yes, polarizing would be an apt word to nail to the front door of Beyond the Space, Beyond the Time. Of course, this is clearly a case where overreacting to an overly theatrical (by design) symphonic power metal record is the order of the day, which naturally results in as much unchecked joy as it does indignant and very calculated hwarfing. We’ll take it, though, right? In a power metal world where you’re allowed to show up to the meeting wearing a homemade falcon costume, you can feel free to test any extreme.

So, what exactly is all the fuss’n und fight’n over? Well, for one thing, the record is more theatrical than Hamilton on a month’s worth of bath salts. Much to its advantage (or disadvantage?), however, there is no semblance of rap battles focused on the state of the nation circa 1776. But holy hand grenades, this record sure does enjoy exploding right in your face. Rhapsody of Fire and DragonForce are the easiest comparisons, but Pathfinder doesn’t appear to be terribly interested in the elegance of the former or the, um, poppiness the latter is currently chasing, so the result is a largely molten symphonic power record with all the sub-genre’s trademark characteristics given free reign to knock down walls. That’s great for those who like things taken to the extreme, but woe to ye of sense of sensibility, you will find no home or hearth here.

Primitive origins: Poland
Label(s): GM Records / Radtone Music
Sample: “The Lord of Wolves”

Heavenly – Dust to Dust [2004]

[Cover artwork: Jan Meininghaus]

For a number of power metal enthusiasts, France’s most physically fit band, Heavenly, remains one of the more unheralded (not underrated, mind you, as most anyone who truly knows ‘em loves ‘em) bands in existence. Put simply, more people who crap their faces off for the likes of Helloween, Gamma Ray and Rhapsody should also know and fully fixate on Heavenly, as the three album run of Sign of the Winner (2001), Dust to Dust (2004) and Virus (2006) delivers enough high energy power to fuel a modest sun. And hey, who doesn’t need a modest sun within arm’s reach when so much of this planet’s denizens are, in fact, ENERGY WAMPYRES.

Speaking of vampires, I’ve clearly opted for the creatures of the night route here, as Dust to Dust delivers a doomed narrative that heeds a formerly un-fanged feller seeking revenge on a dark lord who’s cursed his poor soul with the wampyre’s kiss. You still like vampire stories, right? Re-embrace your inner Lost Boy, ye lost individuals of literally any of humankind’s rich pageant of designs. Fly over the Santa Cruz Beach Boardwalk with thirsty claws and incisors a’tingle! Or, you know, just relax on a few mellow rides with cotton candy residue on your fingertips, I’m clearly not the boss of you.

In truth, there are quite a few days where I prefer the outright Helloween worship of Heavenly’s Sign of the Winner, but Dust to Dust’s gothic narrative, combined with its modest push away from their Deutsche forebears (forepumpkins?), ultimately wins the day because it represents the ideal midpoint between the outright homage years and the chunkier, more modern era that produced Virus.

Primitive origins: France
Label(s): Noise Records / Phantom Records / Sauron Music / Nexus / Magnum Music
Sample: “Keepers of the Earth”

Arrayan Path – Thus Always to Tyrants [2022]

[Cover artwork: Giannis Nakos]

I wouldn’t say I glossed over Arrayan Path’s 9th (!!!) full-length, as Thus Always to Tyrants hit just outside the top ten of 2022’s year-end edition of We Have the Power. I did, however, underestimate the album’s overall strength and returnability (it’s a word if we want it to be) when compared to AP’s already impressive catalog. In fact, I’d venture to say the only other power records I’ve listened to more in the last year are Towers of Gold and The God Machine, which is quite the lofty place for a record such as this to roost.

What’s interesting is the fact that Thus Always doesn’t stray in the least from the typical Arrayan Path formula—an expressly narrative form of melodic and dramatic epic power that drives hooky choruses down your gullet as if its life depends on it—but the record manages its card-carrying specificities in such a majestic manner that it ends up leaving all its predecessors in the rearview mirror. Yes, I’d concede that the choruses still remain fairly repetitive, but even in this regard the band has managed to find clever ways to make sure their welcome is never overstayed: The shift in momentum 6 minutes into the opening “Oh Dark Tears (Aftermath),” for example.

Ultimately, I think what we have here is a case where a band that’s found a formula, perfected a formula and rendered that formula into a very solid catalog just so happens to walk into the studio at an ideal time where everyone involved is firing on full cylinders and sharing one hell of a confident wavelength. The results: a new level of greatness has been unlocked. And if you happen to be side-eyeing the fact that a one year old album has landed on this list… Check back with me in a decade and I can almost guarantee I’ll still be cranking the bejesus out of this record. IF THE EARTH STILL EXISTS.

(P.S. For those who are new to the game: The band’s name has absolutely nothing to do with aryanism.)

(P.P.S. Thanks to power metal Frank for unwittingly allowing me see the light of this fantastic release.)

Primitive origins: USA, but reaaaalllly Cyprus
Label(s): Pitch Black Records
Sample: “Crossing Over to Phoenicia”

Dynazty – Renatus [2014]

[Cover artwork: Vira Haglund]

I would like to offer a sincere apology for being that one ramrod who drags his feet like the biggest killjoy on the planet when it comes to power metal infused to the point of detonation with Euro pop. It’s not that I don’t enjoy the style—Beast In Black in particular really knows how to (sigh) light up a dance floor—it’s just not what I typically reach for when I’m feeling… powerful. So, yes, take this as a clear indicator that Berserker, Dark Connection or any of Battle Beast’s records will not find their way onto this list. (Though that latest Beast In Black definitely came close.)

Obviously I’m bringing this up for a reason, and that reason has absolutely everything to do with Sweden’s Dynazty, a band that pulls a glammy hard rock strut that’s threateningly danceable into power metal’s otherwise prudently stoic [slips on a banana peel and off the top of a 20-story building] intent. So, why don’t I harsh Dynazty’s occasional forays into Euro pop vibes? Because I’m fairly certain that’s not the Dynazty intent, and whatever “radio vibe” the band is shooting for ends up tempered with an equal allotment of modern (polyrhythmic) prog. The result is just as danceable as what you get with current trendsetters like Beast in Black—FUN and crammed to the rafters with hooks upon Hooks atop HOOKS—but no one’s wearing zip-off rave pants and neon ‘KITTY’ chokers… Not that there’s anything wrong with that. I SWEAR I’M NOT A NARC.

Primitive origins: Sweden
Label(s): Spinefarm Records / Thunderball667 / Hellion Records
Sample: “Cross the Line” OFFICIAL VIDEO

Heaven’s Gate – Livin’ in Hysteria [1991]

[Cover artwork: Richard Corben]

Perhaps Heaven’s Gate should have sounded more like fellow countrymen Helloween, but instead of figuring out their own way to push the Keeper blueprint forward, they pulled that unmistakable Euro power approach back about ten years by infusing everything with a huge dose of early / mid-80’s hard rock and USPM. The result: A slightly glammy, fully sassy, brightly melodic fist-pumper that hits like a collision between TNT (Knights of the New Thunder!), Helloween and Metal Church, the latter of which is mostly due to vocalist Thomas “Fred” Rettke’s extremely virtuous nod to Mike Howe whilst wailing.

Livin’ in Hysteria is packed to the gills with milestones, vaulted highest by Fred’s sturdy and gravelly howl and the flashy guitar work of Sascha Paeth, who went on to play with other esteemed notables such as Luca Turilli and Tobias Sammet (Avantasia), and who also eventually produced just about everything you hold dear in power metal through the ‘90s and into the aughts.

Need one more reason to scour forgotten used CD bins in hopes of scoring this extinct jewel? Heaven’s Gate named the album’s only instrumental “Fredless.” HOW CAN YOU POSSIBLY RESIST. You cannot, heroes. You must not.

Primitive origins: Germany
Label(s): Steamhammer / Victor
Sample: “Gate of Heaven”

Dragonland – Astronomy [2006]

[Cover artwork: Niklas Sundin]

Hey, how about that, the best album from a band called Dragonland (dragonlanb, for those of us who know) has absolutely nothing to do with dragons! That’s actually a bit of bummer, if I’m being perfectly honest, as I count dragons as some of my very favorite absolutely real creatures in all the universe. But yeah, eyes largely to the stars for this one, ye sad little Hobbitses, and save the return to fantasy realms for the next adventure. (Very literally, as Dragonland got back to their dragonly ways five years later with the almost as good Under the Grey Banner.)

What makes Astronomy the best Dragonland album is really pretty straightforward: It is by FAR the heaviest release they’ve managed to date. Plus, a very serious tip of the crown is due the production team, because Astronomy additionally sounds beautifully clear, alive and very, VERY big. This certainly serves a record that’s a bit more stripped and focused on riffs, but those who prefer the drama need fear not, as the band still manages to underscore their adventurous spirit by shifting the symphonic element into a more cinematic realm, demonstrated to the hilt in a most curious way by closing out Astronomy with three instrumental pieces (approximately 15 minutes) that resemble a soundtrack to a lost Tim Burton film.

One small warning: Skip the ballad.

Primitive origins: Sweden
Label(s): Century Media Records / GMM Grammy / Mystic Empire
Sample: “Contact”

Firewind – Between Heaven and Hell [2002]

[Cover artwork: Rainer Kalwitz for this far superior version]

What the hell sort of power metal list would this be without throwing down some serious Gus G. love.

As much as I dig Gus’s work with Mystic Prophecy (you might hope to see Regressus here, but Mystic Prophecy’s best album actually just dropped), and as fun as Dream Evil’s DragonSlayer remains, it’s Firewind that feels most deserving of the ultimate Gus G. victory here. And yes, even within the windy realms of fire my gut kiiiiinda wanted to throw weight behind the more modern era of the band that produced Immortals (2017) or the total shot in the arm that was 2020’s Firewind, but there’s one particularly vital feature attached to the debut (the version featuring a much needed and MUCH improved album cover) that allows it to pull to the front: raw riffs, baby. Sure, a noteworthy record such as Regressus is built on the back of Gus G.’s aggressive fret domination, but the riffs that manage to punch through Between Heaven and Hell are a little more Zakk Wylde in their unruliness, and when paired with the absolutely scrumptious leads Gus seems to deliver just as easily as the rest of us breathe, that formula equates to the sort of record that inspires declarations like, “Whoa, who is THIS hero? And why did he just strut into this funeral with only one of his shirt buttons done?”

The title track opener is 100% pure fire… And I guess a little wind as well, but not that kind of wind.

Primitive origins: Greece
Label(s): Leviathan Records / Massacre Records / Art Music Group / Scarecrow Records / Z / Rock Brigade Records / Nexus
Sample: “Between Heaven and Hell”

Witherfall – Nocturnes and Requiems [2017]

[Cover artwork: Kristian “Necrolord” Wåhlin]

If you’re at all familiar with We Have the Power up to this point, you know I’m not exactly afraid of a little cheating. Nothing too outrageous, mind you, but one or two releases each year that are just enough to merrily ruffle a few feathers. Be that as it may, I really didn’t want to cheat for this venture, as there are well enough good-to-great albums that fall comfortably inside power’s fuzzy little lines to very quickly add up to 100.

Witherfall, though? Friends, these dudes are close enough to a cheat that I’ll freely admit to breaking out in the mildest of sweats for including a record like Nocturnes and Requiems on this list. Yes, there’s still a noticeable trace of progressive power akin to, say, Wuthering Heights afoot, but the quickest way to connect the dots here is to put Nevermore on one end of the spectrum and—hold onto your hats—King Diamond on the other. The progressive aggression (proggression?) behind these songs ties Witherfall to the former, and all the wonderfully dark theatrics tattooed up and down the record, when paired with Joseph Michael’s acrobatic and often chilling voice, gives the corners a very tasty ‘Them’ spirit. I know, right? SOLD.

Nevertheless, that progressive power edge does indeed seep in from the fringes, and g-g-grandma, these Witherfallians can PLAY, making Nocturnes and Requiems a shoo-in for anyone who prefers the style to stress an aggressively melodic yet shadowy face.

Primitive origins: USA
Label(s): Independent / Century Media Records
Sample: “Portrait” OFFICIAL VIDEO

Savage Circus – Dreamland Manor [2005]

[Cover artwork: Markus Mayer]

What could make an otherwise sound and inordinately discerning fan of all eras of power metal such as yours truly avoid a record that counts members of Blind Guardian, Iron Savior and Persuader in the ranks? Well, they break one of the most critical cardinal rules: Never put an incredibly hot elf in immediate orc danger on your album cover.

Wait, that can’t be right. Though, I will say the cover for Dreamland Manor misses the mark by making something that would seem pretty awesome on paper into an entirely different thing that looks a bit like a checkout stand romance novel called The Goblin Appetite. (I would probably read it.)

CIRCUSES! That’s it! That’s the broken rule: Absolutely no circuses allowed. Falsely imprisoned animals, ventriloquists, children of all ages realizing a lifelong fear of clowns, etc. No bueno, friend-o, under most every circumstance.

In this case, however, the circus transgression gets an extremely rare pardon, because Dreamland Manor gives us an opportunity to CHEAT AGAIN! Good cheating. Great cheating. Cheating that allows us to defy the cruel discomfort of having just one Blind Guardian release on this list.

Thanks to band’s continued disinterest in all things speed circa 2004, former Blind Guardian drummer / co-founder Thomas Stauch decided to whip up his own version of the band, and he rounded things out by also incorporating members from another Blind Guardian doppelgänger band (Persuader), PLUS Piet Sielck from fricken Iron Savior. Pardon me, is this Heaven I just stumbled into? Why is everyone still wearing pants.

Anyway, Dreamland Manor landed in 2005, treating fans to a full hour’s worth of notably swift Somewhere Far Beyond-styled (errr… traced) speedy power, and the Guardians released A Twist in the Myth a year later—easily the most divisive BG release in their catalog. Now, for what it’s worth, I happen to love Twist, but who in their right mind would say no to Dreamland Manor when BG was so busy softening up and being weird? NO ONE. Literally not a single soul in the entire world. Danke schön, Herr Stauch!

Primitive origins: International
Label(s): Dockyard 1 Records / Icarus Music / Scarecrow Records / Союз / Avalon
Sample: “Tomorrowland”

Stratovarius – Visions [1997]

[Cover artwork: Andreas Marschall]

Is… Is this the right one? Did I do good? Are we all okay with Visions? A number of people seem to lean toward its follow-up, 1998’s Destiny, but I think ending an album on a 10-minute epic is smarter than kicking off with one. Plus, I dig the more medieval tone behind Visions.

What’s that you say, sonny? Infinite? Because it’s a little speedier, brighter and… more pure power metal? Yeah, I get that, too. I honestly wouldn’t side-eye a soul who would elect any of those three as a top pick. And why not toss the sheer joystorm that is Nemesis (2013) into the game as well, right? Well, because that one doesn’t have Timo Tolkki, and celebrating the top power metal albums of all time and finding a way to snub one of the finest guitarists to ever grace the genre just seems… almost illegal. I do not want to get arrested over this, people. The last thing I need in my life right now is another Blind Guardian prison tattoo on my face, so let’s stick with the blessed Tolkki years and the Stratovarius record I have come back to a million times based purely on the limitless and bangtacular lead interplay between Tolkki and keyboardist Jens Johansson.

For realsies, Visions is so absolutely glutted with stunning lead-work, by the time the album finally closes out you will absolutely spray sweep picked guitar and keyboard licks onto the nearest wall just as Mr. Creosote sprays an entire menu. Better get a bucket! (What? Go look up Mr. Creosote if you somehow remain unaware of him. And do it while at work, in the middle of a very important meeting, with the volume turned way up.)

Primitive origins: Finland
Label(s): T&T Records / Rock Brigade Records / Seoul Records / Victor
Sample: “Legions”

Crystal Eyes – Vengeance Descending [2003]

[Cover artwork: Kristian “Necrolord” Wåhlin]

Is it a surprise to see a Crystal Eyes album on this list? Only if you’re a total schlub, as the band has released their fair share of engaging melodic gallopers over the years, including one very fine album (2005’s Confessions of the Maker) that just so happens to feature the great Daniel Heiman on vocals. They do seem to thrive on riding riiiiiiiight out there on the periphery, though—regularly gratifying fans, but never quite breaking into a major spotlight.

The band’s third full-length, Vengeance Descending, gets the win here because it is a serious comfort album for me, which is an admittedly odd thing to say about a record called Vengeance Descending. But these songs are just so… steady, even and focused across the board, with every instrument and vocal line sounding as if it lifts from a single interface with the same peculiar steely reverb effect that governs that unique uniformity. The result is a weirdly calming effect, even if a number of the songs speed very speedily or hammer away with a satisfying weight. Hell, things are so steady here, it’s even a challenge to tell that Daniel Heiman guests on a song (“The Wizard’s Apprentice”). How is that even possible?

Ultimately, the easiest way to try and summarize one of the album’s true secret strengths (shhhh!) is this: Vengeance Descending is ~hypnotic~, and when you throw principal architect / vocalist / guitarist Mikael Dahl’s wonderful lead work into the equation, that hypnotism becomes all the more satisfying. Many of these songs would likely make great singalongs in an arena, but I’ve returned to the Vengeance Descending time and time again because it smoooooths my mind, and that is a wonderful thing.

Primitive origins: Sweden
Label(s): Heavy Fidelity
Sample: “Highland Revenge”

Keldian – Outworld [2013]

[Cover artwork: Tryfonov]

I am going be brutally honest here: Not much about the look of Outbound screams, “Stop attempting to thwart your archnemesis from entering the deadly missile codes and give Keldian your immediate and undivided attention!!!” In other words, on the surface, this appears to be a project that hopes the music does most of the talking. Very thankfully, it does.

We talk a lot about innovation in the game and how such a thing is vital to keep genres moving, bending, folding and expanding. Without innovation and movement comes stagnation, soon followed by death. And unless we’re talking about the band or branch of metal, we generally don’t want death sticking his or her or their nose in our business.

While I wouldn’t necessarily say a release like Outbound lands totally from left field as the most innovative power album you’ll ever hear, it does indeed manage to sound quite unique in the way that it incorporates elements explored by bands before, but in wholly new ways. Like, is this even power metal? It is, but you catch yourself asking that question as the album slowly unfolds and glimpses of AOR and prog and lost radio hits from the ‘80s start pulling into the picture. The result is something that’s undoubtedly power, but power along the lines of early Stratovarius if they’d assimilated Europe (the band) and Mike + The Mechanics. I’m guessing that sounds a bit weird, and it is, but Keldian make it all work without things ever coming across as awkward. And yes, the fact that there are just two individuals responsible for this project certainly adds to the overall novelty, but pushing it totally over the edge is the guest drumming spot filled by… Jørn “Steingrim” Holen of melodic black metal trippers Vreid?Whaaaaat? Yeah, git you some.

Primitive origins: Sweden
Label(s): Galactic Butterfly Music
Sample: “Morning Light Mountain”

Pyramaze – Melancholy Beast [2004]

[Cover artwork: Rob Alexander]

It would be interesting to find out which metal band was first to put together a release via file sharing. Pretty common practice today, but 20 years ago? I mean, it was around, as evidenced by an album like Melancholy Beast that featured members separated by an impressive 4000 miles, but it couldn’t have been a common practice. Certainly not something a band back then would’ve considered an ideal situation. I suppose what I’m trying to say is I find it impressive that a 20 year-old debut as vocally dominated as this ended up being rendered with the singer doing his part from a home studio 4000 miles away from the rest of the players and producers. Lance King is that voice, and his singing throughout Melancholy Beast is not only impressive in technique, there’s quite a bit of complex layering and acrobatics going on, which probably posed a unique challenge for making everything fit together so seamlessly. Or maybe all interested parties were and continue to be wizards, and everything was a total snap—I wasn’t a flippin’ fly on the wall back then. (Though I am today. Yes, all these words are being typed by a friendly little fly.)

Anyway, that’s just one small part of the remarkableness behind Pyramaze’s opening serve. Even more impressive—and the true impetus for the album’s loud arrival in my life and a near endless amount of return trips over the last two decades—is the way the record so handily weaves together an engrossingly dark narrative with an equally moody form of top shelf progressive power metal. Most everything about Melancholy Beast ends up coming across like some sort of lost grim fairytale that just so happens to also include loads of struttin’ riffs, ethereal keys, smart leads and hooks for weeks. Plus, it’s all capped by one of the more enticing album covers of the early aughts.

Primitive origins: Denmark
Label(s): NTS / Nightmare Records / Z
Sample: “Forsaken Kingdom”

Ancient Bards – The Alliance of the Kings – The Black Crystal Sword Saga Pt. 1 [2010]

[Cover artwork: Flush Design]

I’m guessing by now you’re aware of the fact that I am the easiest of easy marks when it comes to most anything related to swords, sorcery, dragons and fantasy realms in general, so when a symphonic power metal band from Italy whooshes into the game with a plot to deliver a hugely dramatic cinematic escapade concerning four kings in a rush to uncover a black crystal sword that grants full knowledge of magic before it can fall into the hands of a dark wizard called Sendor (hardly know’er), it probably goes without saying that I’m diving in with incredibly realistic replica sword swinging. And that, my friends, was a long sentence.

The good news: The Alliance of the Kings – The Black Crystal Sword Saga Pt. 1 definitely delivers on its promise—the promise of a hugely dramatic cinematic escapade concerning four kings in a rush to uncover a black crystal sword that grants full knowledge of magic before it can fall into the hands of a dark wizard called Sendor (still hardly know’er).

The even better news: It accomplishes this task with the proficiency of a band that sounds well beyond a debut album, with all the players being extremely present on the record. So, yes, you can actually HEAR the bass here, and it is quite fancy! Plus, the keyboard role is oh-so-much more than just filler, which is not really all that surprising once you discover Ancient Bards was launched by keyboardist Daniele Mazza.

The even more better news: You might expect the vocals of Sara Squadrani to be overly operatic (not that there’s anything wrong with that), but she’s actually much more of a total belter, which gives The Alliance of the Kings an even stronger metal edge.

Primitive origins: Italy
Label(s): Limb Music / Spiritual Beast
Sample: “Daltor the Dragonhunter”

Silent Knight – Conquer & Command [2015]

[Cover artwork: Andrej “All Things Rotten” Bartulović]

Tired of screwing around? Sick of all the symphonic / proggy / neoclassical / folky / Euro pop power and ready to have some grade-A pure power just clock you over the head with a bag of brass knuckles? Conquer & Command, baby. You like riffs, fuck-o? Boom, here’s 800 of them, fired straight from the kiln and ready to crack those chains some pencil-necked sovereign clacked on your heart down in a dirty ol’ dungeon. Shiny leads get the knees a’flutter? Silent Knight lights ‘em off as if they just tossed a match square in the center of Gary’s Discount (And Precariously Stacked In The Wide Open) Fireworks Emporium. Wailing vocals? Whaling vocals? Check AND check, probably. And they’re belted out by a shirtless hero in leather pants who will definitely shark that last can of loudmouth soup you have squirreled away in the back of the fridge. It’s basically everything you could ever hope to find under the tree on Chrizzmuzz morning if your second favorite gift idea after Castle Grayskull happens to be stripped-to-the-iron power metal with a tank that’s full 100% of the time.

Primitive origins: Australia
Label(s): Independent / Total Metal Music
Sample: “Prisoner of Your World”

Freedom Call – Stairway to Fairyland [1999]

[Cover artwork: Michael Huth]

Oh, you don’t want to go to Fairyland, huh? Sure sure. Too tinkly dinkly sounding for The Big Tuff Guy. Gotcha. You’d rather stay right here in reality and beat your own ass to death by enduring a merciless job that would be all too pleased to squeeze the very last drop of your blood into the great machine that churns out, what… whizzle dings? Whatever. At least you can look forward to your neighbor firing up that 300hp leaf blower every Saturday at 6am. Yep, life is pretty cherry. Pretty pretty cherry.

What’s that? Fairyland starting to sound pretty good? Hey, that’s great. Plenty of room on this here D&D roller coaster that somehow has the ability to fly through a rip in time and land us a few doors down from Tiamat’s cave. And from there? Why, ADVENTURE AWAITS. (Psssst, go for the energy bow!)

We take Stairway to Fairyland because it is the closest Freedom Call has ever come to pure classic Helloween worship. Do we really need another classic Helloween clone, you ask? What, are you high? Of course we do! And I really have nothing against the absolute fist of cheer that Freedom Call quickly morphed into, but give me this version of Freedom Call—Frelloween Call, if you will—because the wonderfully fantastical and slightly darker edge suits the early interpretation of the band like a well-worn pair of bracers.

P.S. Sascha Gerstner / Helloween connection for the win!

Primitive origins: Germany
Label(s): Steamhammer / NEMS Enterprises / Rock Brigade Records / Victor
Sample: “Graceland”

Anubis Gate – Anubis Gate [2011]

[Cover artwork: Marta Sokołowska]

Hey, guess what. Anubis Gate has never produced a lemon. Unless, of course, one or more members happen to be horticulturists. Or taskmasters lording over some booming lemonade stand conglomeration. As far as clunker albums go, though, they are 100% in the clear.

That said, for a list such as this, we probably need to dip a little further beyond the band’s proggiest genesis that produced crown jewels such as A Perfect Forever (2005), Andromeda Unchained (2007) and The Detached (2009)—all essential—and into their slightly more stripped, moderately more honey-hooked self-titled marvel from 2011. This was the band’s first outing without famed producer ( / guitarist) Jacob Hansen behind the microphone, but bassist / co-vocalist Henrik Fevre stepped into the spotlight with nary a stumble, and the results were… well, powerful. The album is still adventurous and decidedly progressive in overall structure, but an unmistakable pop element largely governed by all those gooshy, über-melodic vocal hooks gives the record a stronger power footprint and something that screeeeaaaaaams, “What would happen if I poured some scrumptious, locally sourced, non-GMO, pure Québécoisnian syrup all over this plate of proggy sweet tubers we righteously swiped from James LaBrie’s top secret garden? OH MY STARS, EVERYTHING’S EVER SWEETER.”

Primitive origins: Denmark
Label(s): Nightmare Records
Sample: “Golden Days” OFFICIAL VIDEO

Iron Savior – Battering Ram [2004]

 [Cover artwork: Marko Jakobi]

I had one hell of a time picking between Battering Ram, The Landing, Rise of the Hero and Skycrest for the ultimate prize here, and the fact that there’s a fair bit of years between those records is testament to both the consistency and stubbornness of Iron Savior for sticking to a proven formula. Yes, it’s absolutely true: If there’s on criticism to be levied against these guys, it would likely relate to their tenacity for sticking to what they know. But then, who would ever openly choose to complain about a constant (or at least extremely consistent) supply of intensely energetic power metal built on an armored Painkiller foundation? I assume those people do indeed exist, and I wish them all the best over there on Wet Sock Island.

So, why Battering Ram over the rest? To be honest, I’m not even sure I have a substantial reason. Seems weird to launch Skycrest into the top position, considering its newness and the fact that it doesn’t really drift into new directions, but holy smoke is it ever a fun album. And Battering Ram gets the edge over The Landing and Rise of the Hero simply because I appreciate the overall rawness behind it, which adds just a touch more gravel to the riffing. I mean, is there a tougher way to start an album than that title track? And the riff at the outset of “Time Will Tell” is one of the band’s very best.

Bottom line: Battering Ram just HITS, and it does so front to back without any of the ancillary window dressing so many other bands rely on to cover up the fact that they can’t hang when it comes time to deliver missile strike after missile strike after missile strike.

On a personal note, I’d like to extend Iron Savior chief architect / guitarist / singer / hero Piet Sielck the heaviest dose of golden energy to help get through his recent cancer announcement. If ever there was a guy with the power to crush a super fucking lame disease like cancer, it is Mr. Sielck. Here’s to hoping his recovery will be as speedy as his mighty riffing.

Primitive origins: Germany
Label(s): Noise Records / Century Media Records / Союз / Nexus
Sample: “Time Will Tell”

Twilight Force – Tales of Ancient Prophecies [2014]

[Cover Artwork: Martin Hanford]

Yes, I had to go with the debut here, ye elven-eared snugglefritzes.

I think everything that’s unfathomably tremendous regarding Tales of Ancient Prophecies can be summarized by its explosively magnificent album artwork. This is music fit for traveling to impossible lengths to get to a forge precipice where your carefully hauled iron can at last be fired by a fabled and gravity defying red dragon that looks none too pleased about being summoned into servitude for such a lowly human (or perhaps dwarven?) charge. Your blade will be fricken splendid, though, and your first stop will certainly be yon castle, where you and said blade will no doubt suddenly find yourselves completely flocked by more halfling schniz than a swapmeat at Bandy Gamwich’s Happy Hobbit Hole. Apologies for the vulgar wisuals.

Everything we want from Twilight Force is conveniently located inside literally every album they’ve offered to date (that new one… whoa), but Tales is just so honest and fresh with its impeccable epicness (impepiccableness?) and nobility that it manages to climb just a couple rungs higher than the rest. Plus, Christian Eriksson is an absolute BEAST on the mic, and the interludes are clearly provided by hammered muppets. What more could you possibly ask for in a symphonic power metal tour de force.

Primitive origins: Sweden
Label(s): Black Lodge Records / Spiritual Beast
Sample: “Fall of the Eternal Winter”

~ Please enjoy a FULL selection from parts 1, 2, 3 & 4 as a playlist below ~

Where we are at the end:

• • Helloween – Keeper of the Seven Keys Part I [1987]
  • Avantasia – The Metal Opera, Pt. 1 [2001]
  • Symphony X – V: The New Mythology Suite [2000]
  • Power Quest – Neverworld [2003]
  • Nightwish – Wishmaster [2000]
  • Dark Forest – Beyond the Veil [2016]
  • Masterplan – Aeronautics [2005]
  • Judicator – At the Expense of Humanity [2015]
  • Running Wild – Death or Glory [1989]
  • Blazon Stone – No Sign of Glory [2015]
  • Pagan’s Mind – Enigmatic: Calling [2005]
  • Scanner – Hypertrace [1988]
  • Highland Glory – Forever Endeavor [2005]
  • Fairyland – The Fall of an Empire [2006]
  • Brainstorm – Liquid Monster [2005]
  • Conception – Parallel Minds [1993]
  • Shaman – Ritual [2002]
  • Tad Morose – Modus Vivendi [2003]
  • Powerwolf – Blessed and Possessed [2015]
  • Lovebites – Awakening from the Abyss [2017]
  • Mob Rules – Tales from Beyond [2016]
  • Outworld – Outworld [2006]
  • Guardians of Time – Machines of Mental Design [2004]
  • At Vance – Dragonchaser [2001]
  • Lorenguard – Eve of Corruption: The Days of Astasia – Part One [2011]
  • Blind Guardian – Imaginations from the Other Side [1995]
  • Edguy – Mandrake [2001]
  • Nocturnal Rites – Grand Illusion [2005]
  • Manticora – 8 Deadly Sins [2004]
  • Rhapsody of Fire – The Frozen Tears of Angels [2010]
  • Falconer – Falconer [2001]
  • Persuader – Evolution Purgatory [2004]
  • Viathyn – Cynosure [2014]
  • SinBreed – Shadows [2014]
  • Grave Digger – Rheingold [2003]
  • Angel Dust – Bleed [1999]
  • Dark Moor – The Gates of Oblivion [2002]
  • Michael Romeo – War of the Worlds // Pt. 1 [2018]
  • Iron Fire – Thunderstorm [2000]
  • Seven Spires – Emerald Seas [2020]
  • Twilightning – Delirium Veil [2003]
  • StormWarrior – Northern Rage [2004]
  • Unleash the Archers – Apex [2017]
  • Angra – Temple of Shadows [2003]
  • Primal Fear – Seven Seals [2005]
  • X Japan – Blue Blood [1989]
  • Crystal Viper – Legends [2010]
  • Elegy – Labyrinth of Dreams [1992]
  • Galloglass – Legends from Now and Nevermore [2003]
  • Dimhav – The Boreal Flame [2019]
  • Sabaton – The Great War [2019]
  • Gamma Ray – Land of the Free [1995]
  • Lost Horizon – A Flame to the Ground Beneath [2003]
  • Majestica – Above the Sky [2019]
  • Galneryus – Under the Force of Courage [2015]
  • Theocracy – Mirror of Souls [2008]
  • Vision Divine – Stream of Consciousness [2004]
  • Steel Attack – Fall into Madness [2001]
  • Human Fortress – Defenders of the Crown [2003]
  • Fogalord – A Legend to Believe In [2012]
  • HammerFall – Glory to the Brave [1997]
  • Hibria – Defying the Rules [2004]
  • Wuthering Heights – The Shadow Cabinet [2006]
  • Rob Rock – Garden of Chaos [2007]
  • Dragonforce – Sonic Firestorm [2004]
  • Domine – Stormbringer Ruler – The Legend of Power Supreme [2001]
  • Wizard – Head of the Deceiver [2001]
  • Evertale – Of Dragons and Elves [2013]
  • Fellowship – The Saberlight Chronicles [2022]
  • Labÿrinth – Return to Heaven Denied [1998]
  • Armory – Empyrean Realms [2013]
  • Wisdom – Marching for Liberty [2013]
  • Dialith – Extinction Six [2019]
  • Adagio – Sanctus Ignis [2001]
  • Sacred Outcry – Towers of Gold [2023]
  • Kamelot – The Black Halo [2005]
  • Orden Ogan – Ravenhead [2015]
  • Sonata Arctica – Ecliptica [1999]
  • Triosphere – The Heart of the Matter [2014]
  • Forgotten Tales – All the Sinners [2004]
  • Eternity’s End – The Fire Within [2016]
  • Pathfinder – Beyond the Space, Beyond the Time [2010]
  • Heavenly – Dust to Dust [2004]
  • Arrayan Path – Thus Always to Tyrants [2022]
  • Dynazty – Renatus [2014]
  • Heaven’s Gate – Livin’ in Hysteria [1991]
  • Dragonland – Astronomy [2006]
  • Firewind – Between Heaven and Hell [2002]
  • Witherfall – Nocturnes and Requiems [2017]
  • Savage Circus – Dreamland Manor [2005]
  • Stratovarius – Visions [1997]
  • Crystal Eyes – Vengeance Descending [2003]
  • Keldian – Outbound [2013]
  • Pyramaze – Melancholy Beast [2004]
  • Ancient Bards – The Alliance of the Kings – The Black Crystal Sword Saga Pt. 1 [2010]
  • Silent Knight – Conquer & Command [2015]
  • Freedom Call – Stairway to Fairyland [1999]
  • Anubis Gate – Anubis Gate [2011]
  • Iron Savior – Battering Ram [2004]
  • Twilight Force – Tales of Ancient Prophecies [2014]

«»

Posted by Captain

Last Rites Co-Owner; Senior Editor; That was my skull!

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