Archive for Dragonforce

Dragonforce announced to co-headline with Epica at London show in December

Posted in News with tags , , , , , , , on 25th June 2014 by Nico Solheim-Davidson, the North Sea Poet

UK power metal heroes Dragonforce have been announced to co-headline with Epica at their only UK show in London later this year. The show will take place at The Forum in London on 6th December. Fans are advised to grab their tickets quickly as demand for this double bill will be high. Tickets are on sale now via SeeTickets.com.

In related Dragonforce news, the band also unveiled their new video for  The Game last week. The video can be viewed below.

Dragonforce online:

http://www.dragonforce.com/
http://www.facebook.com/dragonforce

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Dragonforce announce new album

Posted in News with tags , , , , , , , on 3rd April 2014 by Nico Solheim-Davidson, the North Sea Poet

Titans of British metal Dragonforce are on the verge of completing their sixth studio album, titled Maximum Overload. Produced by Jens Bogren at Fascination Studios in Örebro and Varberg, Sweden, the new album will be the band’s first ever album involving an outside producer, having historically opted to record themselves in association with Karl Groom.

Maximum Overload will be the band’s debut album for new label earMusic, part of the German Edel music group, who will release the album in the UK on 18th August and in Germany on 15th August.

Dragonforce online:

http://dragonforce.com
http://facebook.com/dragonforceofficial
http://twitter.com/DragonForceHQ

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DragonForce complete writing of the follow-up album to 2012’s The Power Within

Posted in News with tags , , , , , , , on 15th April 2013 by Nico Solheim-Davidson, the North Sea Poet

UK metal icons DragonForce have completed writing the follow up to last year’s release The Power Within album, which was their first with vocalist Marc Hudson. Since his live debut with the band in July of 2011, Marc has gone on to front over 100 shows with the band in 32 countries across the globe, including arenas with Iron Maiden as well as a mammoth headlining world tour to support the album.

With a new found wealth of experience for the new singer and two years of playing together, the DragonForce machine will be at it’s most powerful when they enter Fascination Studios in Sweden in May with Jens Bogren to start laying down tracks. Known for his work with the likes of Opeth, The Devin Townsend Project, Amon Amarth, Katatonia, Soilwork and Symphony X to name a few, a killer-sounding album will be the inevitable result.
Dragonforce’s own shredmaster Herman Li says: “Right now, everyone in the band is itching to get into the studio to record probably the most epic DragonForce music ever written. With so many ideas flying around and songs already written, we decided to team up with producer Jens Bogren to help us take the DF sound to the next level and beyond!”

The band will perform at Download Festival at Donington Park June 14th – 16th.

 

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Holy Dragon-Zerstorer

Posted in Review with tags , , , on 30th October 2012 by gothicspike88

Holy Dragons
Zerstorer
6th November
Power Metal
Released via Pitch Black Records

Holy Dragons are a power metal band from Kazakhstan. Founded in 1992, since their beginning to the present day, the main musical direction for the group is that the band sticks to the style of the eighties. The band has done 12 albums including their most recent one, Zerstorer.

After a somewhat quite and subdued first track, Voices of Lie, the album comes at you full force in the second track Dooms Day Angels at a very fast pace. When the vocals came in I can’t help but listen closely to the singer’s voice as he sounds very familiar – a bit  like Oscar Donjack from Hammerfall. It’s a very nice song to have opening the album has a few very nice guitar solos in the middle that will just want to make you do some air guitar to this track.

Man Who Saved the World picks up right where the second track ended, beginning with a somewhat subdued start on an acoustic guitar then kicking in with a fast paced tempo of drums and guitar and those Hammerfallesque vocals that I still can’t get that out of my mind. Again it’s a nice, catchy track with some very nice solos in the middle of the track. There’s a little bit where it sounds like the songs being played backwards before it comes at you again loud and fast for the final two minutes.

Project A119 is track has all the things I’ve already talked about and the added use of backing vocals add to the slickness of the vocals on this track. The guitar solo on this track is my personal favourite part of the track with just the way it sounds, making me try to tap my finger in time with its truly amazing sound.

Mutual Assured Destruction starts in a similar fashion to one of the previous track. I get the feeling this album could of been written and recorded by DragonForce  if I hadn’t already known it was Holy Dragon. Somewhat quiet backing vocals say the words “nuclear fire” on each chorus. The vocals again are good however I struggled on this track to understand what the lyrics were.

After a staggered introduction using the play pause play pause technique, Cuband Crisis begins to build up before finally getting going with a solo on both guitar and drums before the vocals finally come in properly. This is one track I actually enjoy. In the middle where the song changes to Insomnia, there’s a use of an organ which gives it a creepy haunting feel as though people could be coming to where a bomb has just gone off and there looking at the devastation it has left in this wake. This in turn brings in the acoustic guitar and some very haunting vocals before the song come round full circle and repeats its introduction.

F.R.A.G.I.L.E is a somewhat shorter track than has been used up to this point, a nice calm relaxing song with the acoustic guitar and the use of a keyboard combine well to give the listener just a little time to let their ears recover before coming back in again loud hard and fast for NORAD Alert. NORAD Alert is another fast paced opening with a very powerful guitar solo at the start, which leads into the vocals. Mainly on the chorus rather than the verses which I think it should always sound better. More catchy solos in the middle of the track before the vocals come back in for the chorus for the final three times before fading out to the sound of what I assume to be an alarm sounding an incoming nuclear attack.

 The Day After is the shortest track on the album making use of the acoustic guitar, giving the listener a chance to let their ears have a break.

HL 7442 begins very heavy on the drums which is a nice change – it’s good to finally be able to hear some more of the vocals on this track compared to other tracks on this album. The way the lyrics in this song talk about war and how some soldiers were not coming home again with a chorus is poetically done. I really like how this sounds within the context of the song its self.  Yet again. amazing solo work by Jurgen Thunderson. I really like this guy’s work and the sound he produces in terms of the vocals on this track – As I said before, it’s nice that you can hear what is being sang and that only helps add to how good this song really is. DEFCON 1 is the final track on this album, beginning with a very nice slow opening with use of keyboards. As the song builds up before it kicks in with the fast pace drums and wailing guitar riffs that have been present throughout the entire album. Again, you can hear the lyrics on this on which is a nice change.

I think personally for me this album Zerstorer isn’t that great while I love the guitar and drum work on this album. It’s the vocals on a lot of the tracks let it down massively, the fact you can’t understand them a lot of the time. Furthermore, I find the fact the first five to six songs sound almost exactly alike just how DragonForce sound on  their albums doesn’t help in any way at all.

3/5

Luke “GothicSpike” Smith

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Dragonforce/Alestorm @ O2 ABC Glasgow

Posted in Gig, Live with tags , , , , , , , , , on 19th October 2012 by underthenorthernstar

Bands: Dragonforce, Alestorm, The Defiled, Cavorts
Location: O2 ABC, Glasgow
Date: 28/09/2012

In order to be fair to the first two bands who were playing this gig, I have to not say my honest opinions – I’m sure they have their respective fanbases (proven by the legion of moshing 14-year-olds), but they really weren’t my thing.

Moving on. It must be said that I had been looking forward to this gig for a very long time; the last time I had seen Dragonforce was in 2009 when they had toured with Sabaton, a fantastic gig by all accounts. (Incidentally, Sabaton are also doing a UK tour with Eluveitie in November; if you’ve not seen them live, I highly recommend it.) Since then, they had gone through a lineup change, recorded and released a new album, and highly impressed me, as you can see from my review here. Naturally, I was interested to see how their new singer Marc held up live; the man has a fantastic voice, but I had to see for myself.

But before Dragonforce would take the stage, another one of my favourite live acts were playing; I interviewed Alestorm last time they had played here, which was an incredible gig, so of course I was really rather stoked to be not only seeing them again, but interviewing them again (That previous interview can be seen here). Some arrangements were made with Alestorm before the gig that we would do the interview later on that night, as they were staying with a friend of mine and it would be convenient for everyone. This did, however result in a very slightly drunken interview at 3 in the morning, which shall be on the site very soon, I promise.

But I digress. Alestorm played an excellent set; Keelhauled, Wenches and Mead, Nancy the Tavern Wench; a fairly standard set by all accounts, but no less entertaining, especially when, like you should be at an Alestorm gig, you are ever-so-slightly drunk. Leviathan was a particular highlight for me, mainly due to the fact that the crowd enjoyed it quite a fair amount. It must be said though; the amount of crowdsurfers and pre-pubescent “moshers” was somewhat off-putting. Can’t be helped, I suppose, but when I’m trying to windmill I would appreciate it very much if you weren’t landing on my neck thank you very much (Blah blah blah old man complaining blah). Excellent set guys, well done!

However, Dragonforce… well, I’m a self-professed Dragonforce lover; something that gains me a great deal of ridicule. I enjoyed myself hugely at this gig – I was somewhat taken aback that singer Marc Hudson could hit the notes he did. Managing old songs (Fury of the Storm, Valley of the Damned etc.) and new (Cry Thunder, Seasons) alike, he actually managed to distract my view away from the frantic and blister-inducing guitar work of Herman Li and Sam Totman, ever the centre of attention. Managing for the most part to steer away from technical difficulties, the set seemed flawless; even the crowd became far better. The unity felt by all to Cry Thunder was a fantastic feeling. I even caught one of Sam’s picks; so frankly, the night didn’t feel like it could get any better.

This was, of course, before Alestorm, Dragonforce, I and a multitude of others ended up at Glasgow’s Cathouse venue, singing Rhapsody, Sonata Arctica, Lost horizon and Meatloaf into the small hours of the morning.

5/5

– Alasdair “Scotch Egg” Dunn

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Arthemis announce tour with I Am I

Posted in News with tags , , , , on 29th August 2012 by Nico Solheim-Davidson, the North Sea Poet

Thrash Metallers, Arthemis have just released their latest studio album ‘We Fight’ this week via Off Yer Rocka Recordings, as well as announcing that they will be hitting the road in Autumn with Ex DragonForce vocalist ZP Theart and his new project I AM I.

Guitarist & vocalist Andrea Martongelli comments: “Wow! I can see this I AM I / ARTHEMIS UK tour is gonna be a hell-of-a-tour, a true-Metal-party….and everyone’s invited!!! Only for true Metalheads! We can’t wait to see you all and give you the best Arthemis show ever! WE FIGHT!!! Bring it on!!! \m/”

October UK Tour Dates

21st The Waterfront – NORWICH
22nd The Borderline – LONDON
23rd Moho – MANCHESTER
25th Corporation – SHEFFIELD
26th Yardbirds – GRIMSBY
27th Academy – NEWCASTLE
29th The Haunt – BRIGHTON
30th The Cellar – SOUTHAMPTON

We Fight is available from the following links.

AMAZON
EMP
ITUNES

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Alestorm ready to set sail with Dragonforce

Posted in News with tags , , , , , , , on 28th May 2012 by Nico Solheim-Davidson, the North Sea Poet

image (1)Scottish pirate quartet Alestorm will join Dragonforce on a string of dates in the UK and Ireland kicking off in Dublin on September 25, 2012.

They’ll be joined by The Defiled and Cavorts.

The dates are as follows:

September 25 – Dublin, Academy
September 27 – Belfast, Mandela Hall
September 28 – Glasgow, ABC
September 29 – Newcastle, Academy
September 30 – Wolverhampton, Wulfren Hall
October 1 – Bristol, Academy
October 3 – Nottingham, Rock City
October 4 – Norwich, UEA
October 5 – Manchester, Academy
October 6 – London, Shepherd’s Bush Empire
October 7 – Portsmouth, Pyramids

Tickets are available from http://www.kililive.com

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Dragonforce – The Power Within [2012]

Posted in Review with tags , , , , , , , , , , , , on 17th April 2012 by underthenorthernstar

Band: Dragonforce

Album: The Power Within

Release Date: 15/04/2012

Genre: Extreme Power Metal

Label: Electric Generation Recordings

 

 

 

 

 

 

 

 

 

 

This Review is dedicated to the memory of Vadim Pruzhanov’s Hair. RIP.

It’s been 4 years since the release of the last Dragonforce album, “Ultra Beatdown”, shortly after which singer ZP Theart left. It’s been a fairly brutal 4 years for the London-based Extreme Power Metallers; a new album in the works, a GARGANTUAN world tour freshly completed, and the singer, beloved of the fans, is gone? Surely, a bell tolling death for most bands? Not Dragonforce. Since footage of “Cry Thunder” was leaked, having been filmed by fans watching the band support Iron Maiden, I have been far more than enthralled. As for new singer Marc Hudson, I could hug the man. He is everything ZP was and more, and his entrance has injected huge amounts of life into the band once more. The songs are far more varied in structure, and thus make for a much more enjoyable listen, but every single one still manages to soar to the octane-guzzling heights of Glory of previous albums.

“The Power Within.” There could not be a more appropriate title. The whole album is overflowing with POWER. Herman Li and Sam Totman’s epic guitar shreddery is prominent in everything the band does, their mastery being an album’s worth of an air guitarist’s wet dreams. Drums are utterly insane; while restrained on tracks like “Cry Thunder”, the 220 bpm monster of “Fallen world” (fun fact: Dragonforce’s fastest ever song, beating “Cry of the Brave” at 215 bpm) shows off Dave MacKintosh’s insane skill. There are even a couple of moments where Bassist Fred Leclerq gets to show off his talent in several extreme bass passages. And one Mr Vadim Pruzhanov (God rest his hair) is one of the greatest musicians to ever mangle a keyboard. Wizardry is the only way to describe it. But Marc Hudson’s vocals are ridiculously good – he far surpasses the expectations of any of the fans, many of who would, in normal circumstances, be winging and pining for ZP. He has stupendous amounts of talent, and with layered vocals, he sounds positively majestic.

One of the main criticisms of Dragonforce with regards to previous works was that “all the songs sound the same.” It was often insisted that they relied purely on technical ability to make interesting songs, and that was included in every song. This is not a criticism that has any grounds on this album – the songs have for the most part been shortened to be more digestible by the listener (most previous songs were around the 7 minute mark), and not every song is a hyper-speed blast to the end. “Seasons”, “Last Man Stands” and “Cry Thunder” are all fairly different to the usual Dragonforce way, but in no way unwelcome. Songs like “Die by the Sword” also mark a return to the Lyrical style of fantasy, swords and battles, not seen truly since 2003’s “Valley of the Damned.”

This album… blew me away in a way I’m quite sure most of the albums released this year will fail to do so.  All the apprehension is gone, and we should welcome the new Dragonforce with open arms. Utterly, utterly stunning, utterly, utterly brilliant.

5/5

Alasdair Dunn of Norderobring

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Rhapsody Of Fire – From Chaos To Eternity [2011]

Posted in Review with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on 14th June 2011 by Nico Solheim-Davidson, the North Sea Poet

Band: Rhapsody Of Fire
Album: From Chaos To Eternity
Release year: 2011
Genre: Power Metal/Symphonic Metal

Rhapsody Of Fire have been a dominating force in both the Italian and European metal scenes. “From Chaos To Eternity” is the last album based on the fantasy saga that started with the band’s 1997 debut album “Legendary Tales” and is the first album to feature the band’s newest member Tom Hess.

The short lived track “Ad Infinitum” , which is Latin for “Endlessly”, is the first track of “From Chaos To Eternity”. The track is mainly composed of the technical guitar work of Luca Turilli combined with the epic narration of Christopher Lee. It is a brilliant opener for the album in true Rhapsody fashion. The title track, “From Chaos To Eternity” carries on from where “Ad Infinitum” finishes.  The track is already at a good start with the acute riffs and epic sounding piano sections. Fabio’s vocals are stronger than ever, the drums are masterfully played and the bass sections are pure genius. The third track, Tempesta Di Fuoco, which roughly translated means “Firestorm” in Italian, shreds its way next with a fast paced, technical intro riff mixed with some epic symphonic sections. There is use of some acoustic sections which brings a certain calm to the track whilst the piano only section takes away something from the track.

“Ghosts Of Forgotten Worlds” like the previous tracks, starts fast paced and technical, though some of the guitar sections on this track seem to have more bite and aggression.  The vocals blend well with the acoustic sections. The symphonic sections contrast superbly with the violent sound of the track. Even the drums seem to have more punch. The synth and guitar solos make this track one of the best ones on the album. “Anima Perduta”, Italian for “Lost Soul”, begins with the sound of wind followed by a beautiful combination of piano, flute and harpsichord. The vocals are soothing, blending with the solemn atmosphere and sound of the track. The symphonic sections make the track more majestic sounding. The guitars sound as if they don’t belong on the track however. Next is “Aeons Of Raging Darkness”. The introduction is mightily played bass section followed by an epic guitar riff mixed with a sagaic symphonic section. The guitar sections have more a speed metal element to them whilst the piano medleys add a hint of neoclassical to the track. The vocals, to begin with, are raw, aggressive and brutal, blending exceedingly well with the cleaner, operatic vocals. “Aeons Of Raging Darkness” is certainly one of the most aggressive, violent tracks ever to be performed by Rhapsody Of Fire and its a sound that works well for them.

“I Belong To The Stars” begins with a calmer introduction compared to the previous track though the track does soon turn heavy and symphonic. There seems to be more emphasis on the choir and symphony on this track, mixed in with some great piano medleys and strong vocals. Some of the guitar riffs leave much to be desired, as do some of the drum sections, however, the synth solo makes up for it. “Tornado” begins with a dramatic intro and the guitar riffs that follow are great. Like “Aeons Of Raging Darkness”, this track has a very aggressive and violent sound, complete with more harsh black metal screams mixed with the cleaner, more operatic vocals. The drum and guitar sections have improved since the previous track as well.

The last of the album is the almost twenty minute long epic “Heroes Of The Waterfalls’ Kingdom”. Christopher Lee’s narration is the intro, setting a certain legendary atmosphere. The vocals bring a very medieval sound, whilst the slight use of flute works well with the acoustic guitar.  The violin sections are well composed, making the track that much more pleasant to listen to. The symphonic sections signal the approaching metal assault, which was to be expected eventually. Fabio demonstrates his full range on this track, whilst the riffs are more acute and technical than they have been on the album. The harsh vocals can be heard in parts of this track, giving it more bite. The choir sections do seem to ruin the track ever so slightly, however everything else makes up for that. Some of the other guitar sections are more aggressive and barbaric, clearly demonstrating the masterful skills of the guitarists. Christopher Lee’s narration can be heard half way through the track, making it more and more sagaic. There is a conversation between the characters of the saga, which helps bring about a very legend-like feel, especially as it works well with the guitar riffs and symphonic sections. The track ends very solemnly and grandly. A perfect end to the saga.

“From Chaos To Eternity” fully demonstrates how much Rhapsody Of Fire’s sound has changed and mature since their first album. This album is perhaps the best one they’ve written and probably will be the best for a long to come. This is certainly a jewel to have for any fan of symphonic and power metal.

4.5/5

Nico Davidson

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Emerald Sun – Regeneration [2011]

Posted in Review with tags , , , , , , , , , , , , , on 19th March 2011 by Nico Solheim-Davidson, the North Sea Poet

Band: Emerald Sun
Album: Regeneration
Release Year: 2011
Genre: Power Metal

Emerald Sun have been a part of the Greek power metal for thirteen years now, with a surprisingly small discography. “Regeneration” is the newest addition to said discography.

The album begins with the track “We Won’t Fall”, which begins with a rhythmic drum intro which is soon accompanied by a rock sounding riff. The guitar goes slightly more metal when the synths make themselves heard. The vocals have a very Judas Priest-meets-Iced Earth sound to them. The synth riff gets irritatingly repetitive throughout the track. There is a technical use of guitar work which improves the track a fair bit. However, the highlight of the track is the guitar solo. “Theater of Pain” follows after. It begins with the sound of clapping followed by a drum intro. The guitar riff that follows has a slight Dragonforce sound to it. There is a great use of double bass pedal throughout the track and the synth riffs work well with the guitars. The guitar solo sounds choppy to begin with but soon improves. There is a line of narration towards the end of the track, which gives the track a little bit of a Gothic novella sound.

Next is “Where Angels Fly” which begins with a heavier riff than the past two tracks. The vocals sound a tad lower as well and the synths work extremely well with the guitars. The drums on the other hand do sound quiet compared to the synths, guitars, bass and vocals. Some of the guitar sections on this track aren’t exactly impressive, as they lack technicality and musicianship. The solo, however, is good. The title track “Regeneration” comes after, being composed entirely of eerie and epic sounding synths. “Starchild” comes blasting in next with a fierce combination of guitars, drums and keyboards. The vocals, again, sound slightly lower. The keyboard riffs are more impressive on this track than they have been on the previous ones.

“Speak of the Devil” is next, beginning with a synth-and-drums intro. The guitars soon make themselves heard. The vocals sound like a harsher version of those found on a Manowar album to begin with and go back to sounding like a Judas Priest-Iced Earth combination. The synth sections sound great, especially when combined with the vocals and drums. Next is “Planet Metal” which begins with a heavy intro which is soon accompanied by synths and vocals. There is a slight use of squeaky vocals as well which kind of ruins the song. Aside from that, it is an okay track.

“Chasing The Wind” is next, which begins with a mixture of guitar, drums and synth. It isn’t exactly a heavy track, as it sounds more like a hard rock track rather than a metal track. The guitar solo, however, does add an element of metal to the track. Next is “Fantasmagoria” which begins with a slow synth intro, which is soon accompanied by a slow guitar riff and female vocals. The male vocals come in when the track turns heavier. There is also a use of harsher vocals, which sound eerily familiar to that of Marco from Nightwish. The guitar solo is similar to that of something that Megadeth would perform. After the guitar solo, there is another vocal section in which a new set of vocals come in, which sound a tad bit like those of the late, great Dio. The only problem with this album is that it’s far too long.

The last track of the album is the bonus track, which is a cover of Bonnie Tyler’s “Holding Out For A Hero”. It begins with a few chords played on the keyboard and a few quick blast-beats. After that the main keyboard riff begins. The guitars soon come in, bringing the metal element to the track. The vocals soon follow, sounding very much like Bonnie Tyler, almost to the point where the the vocals sound like female vocals. The guitar solo, however, is absolutely immense. If anything, this cover is probably more of a comical cover than a serious tribute to Bonnie Tyler.

Most bands normally get their sound perfect by their third album. Emerald Sun however have failed to do so. “Regeneration” is a great album but it sounds as if it is lacking in parts. Hopefully, Emerald Sun will have their sound perfected by the next album release.

3.5/5

Nico Davidson

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Power Quest – Blood Alliance [2011]

Posted in Review with tags , , , , , on 25th February 2011 by Nico Solheim-Davidson, the North Sea Poet

Band: Power Quest
Album: Blood Alliance
Release Year: 2011
Genre: Power Metal

 

“Blood Alliance” is the fifth and upcoming album by British power metal sextet “Power Quest”. The album features a whole new line-up.

The first track “Battle Stations” proves to be the beginning of a promising album with it’s drums and guitars intro which lead into a brilliant guitar solo. Despite being a two minute long instrumental, it is a very good track. The second track “Rising Anew” begins with a melodic guitar intro which is soon accompanied by some well-played drums. The keyboards fit themselves perfectly in as well. The vocals however don’t seem to sound powerful enough for this kind of music.

“Glorious” comes next. It begins with a very old-skool punk-ish sounding riff. The vocals soon kick in after and the riff turns dull. The track lacks energy during the vocal parts. Even the drums sound bleak alongside the vocals. The only really exciting part of the track is the guitar solo. “Sacrifice” is next and it begins with an old skool metal sounding riff which is soon accompanied the drums, the second guitar and keyboards. The riff retains some of it’s energy during in the vocal sections and this track is a slight improvement from the previous track. Like the previous track, the only exciting part of the track is the guitar solo.

After is “Survive” which begins with a wonderful mix of guitar, drums and keyboards, though this exciting combination is soon ruined by the vocals.  The guitar riffs on this track aren’t exactly well composed and they sound repetitive of the previous two tracks. The guitar solo sounds repetitive and dull as well. “Better Days” comes after and it begins with a slow synth-styled intro, something reminiscent of “Journey”, especially when the guitars kick in. The vocals sound more old skool on this track as well, which is an improvement compared to the other tracks. “Crunching the Numbers” begins with a fast-paced synth intro, mixed with some shredding guitars. The guitar riff sounds similar to a Dragonforce track, though this soon changes when the vocals some in.

“Only In My Dreams” and the title track “Blood Alliance”, like the previous tracks begin with synth intros before the guitars kick in. Both are dull and uninteresting tracks. The final track “City of Lies” begins with a guitar intro which is a welcome change, however, the track does revert back to synths dominating the music when the vocals come in. The guitar solo seems to be the only good part of this track. The rest of the track is just bleak.

“Blood Alliance” is a disappointing album. If the vocals had more power and less of a droning effect and if there was less use of synths, then this would be a much more enjoyable album. But if you enjoy synths and keyboards dominating metal, then this album will be right up your street. “Power Quest” are going to have to try a lot harder to release an album better than this mediocre production.

2.5/5

Nico Davidson

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