Megalomanium II

"Usually always about and busy as a guitarist, songwriter, and producer, Magnus Karlsson is ubiquitous in his contributions to the European metal scene. More recent adventures include The Ferrymen, Ginevra, Allen/Olzon, and Primal Fear. Now, Karlsson returns to his principal solo project, Free Fall, and the latest and fourth recording, Hunt The Flame.As most fans and readers will recall, a Free Fall album his two specific aspects. First, it's a platform for Karlsson's fine melodic metal songwriting and spry guitar work (read: epic solos). Second, he invites a host of respected international singers to add their voices to the songs. Each album offers different and varied vocalists, all related to genre at hand. Following the second video below, you will find lists of the vocalists and which songs they appear on.Speaking to the songs, what you expect is what you get: expertly crafted melodic metal, twisting between conventional heavy and power metal, with both gallop and groove, song harmony and vocal melody and, yes, Karlsson's guitar wizardry. After this, the listener than must consider the vocalist which, with little doubt, Karlsson has acutely picked to fit the song. My favorite associations were Alexander Strandell and Hunt The Flame, Kristian Fyhr and Break The Dawn, and Girish Pradhan and Holy Ground. The only female vocalist among this boy's club is Antti Railion on the closing track, Summoning The Stars. There is not a ballad to be found.All said, as expected from Magnus Karlsson, Free Fall's Hunt The Flame is another entertaining excursion into his signature melodic metal featuring his skilled songwriting and guitar work and a great host of talented and varied vocalists. Recommended." - Dangerdog.com

"Leverage continue to showcase their contemporary heavy rock sound on their new album, “Above The Beyond”, which takes influence from the golden past while still offering their own unique personality. Plenty of ear-catching melodies delivered skillfully with pristine production on the band’s latest album.Finland’s Leverage are not a power metal band, nor an AOR band, and definitely not a tribute to the '80s band. Leverage doesn't easily fall into a genre category because for the band, it’s all about making and playing music with heart and soul and having a blast doing it. Leverage thus have developed their own style of making heavy rock and that is their mission. The sonic stamp says Leverage. No more needed.Leverage first landed on the scene in 2006 with the independent release of their debut album, “Tides”. With their blend of symphonic metal and melodic hard rock, with some progressive metal twists, they created a buzz on the scene and were signed by Frontiers for the release of their second album, “Blind Fire” in 2008, before moving to Universal/Spinefarm for their next album, “Circus Colossus” (2009). The band became inactive not too long after the release of that third album though, sadly leaving fans craving more music from the band.In 2018, Leverage returned with a new lineup featuring an amazing new singer Kimmo Blom (ex-Urban Tale, Raskasta Joulua) and a new guitar player Mikko Salovaara. They first released an EP, “The Devil’s Turn” and then a full-length, “Determinus”. The band showcased that they are still able to cover a pretty wide ground musically. Again, not power metal, not AOR, not thrash. Just great heavy rock with stunning melodies. That same result is also evident on their new record, "Above The Beyond"."

"This has to be one of my most anticipated releases of 2021, and has been so since news broke of it’s likely release a few months ago. Witherfall impressed and amazed me with ‘A Prelude To Sorrow’ in 2018, so it’s hardly a shock to learn that I was desperate to hear their follow-up. That record was one hell of an emotional rollercoaster, as it was the first recording since the death of their drummer and friend Adam Sagan in 2016 from a rare form of cancer. But just as importantly, it was an album chock full of really fantastic heavy metal anthems, doing the memory of their former bandmate real justice. I still get tearful on occasions as I listen to ‘Vintage’, such is its power and raw emotional depth.It sounds a little harsh and cynical but as much as I was looking forward to hearing new material from Witherfall, I did wonder slightly whether the band would produce something as powerful and emotional with the ghost of Sagan looming slightly less large over their collective shoulders. As I know all too well, grief never goes away or reduces, but you do learn to deal with it in different ways. So how would ‘Curse Of Autumn’ fare, and how would it sound with another two years and more under their belts?The answer is simply: very well indeed. And, on the evidence presented within ‘Curse Of Autumn’, Witherfall will seemingly always be a band that refuses to shy away from confronting their emotions and lacing their songs with poignancy. On this album, there’s a strong thread of anger and frustration, two intertwining emotions that the band, particularly vocalist/keyboardist Joseph Michael and guitarist Jake Dreyer, have experienced over their careers. They take these feelings that are usually viewed as negative, and channel them into a positive force, pouring out all the angst, aggression and rage into an eleven track, 57 minute thrill ride into some of the best and darkest melodic heavy metal since…well, since ‘A Prelude To Sorrow’ if I’m honest.Firstly, a word to the wise about the production which is massive. Witherfall enlisted the help of Jon Schaffer and, regardless of your personal thoughts about recent events involving the Iced Earth guitarist, he has helped ‘Curse Of Autumn’ to become Witherfall’s best-sounding album to date. He and engineer/mixer Jim Morris, as well as Tom Morris for mastering duties, who both deserve credit. The guitars sound even more authoritative and rich than ever before, but the entire band can be heard thanks to the clarity and separation afforded to each musician. Then there’s the stunning artwork, once again handled by Kristian Wåhlin, the icing on the cake.The core of the band remains unchanged, with Dreyer and Michael joined by bassist Anthony Crawford. However, live keyboards are performed by Alex Nasla, whilst the drum stool is now home to Marco Minnemann, the behemoth that has recently been included in Prog Magazine’s twelve best drummers of all-time. Well, if you’re forced to replace a dear friend, you may as well replace him with the best. And, as good as Steve Bolognese was on ‘A Prelude…’, Minnemann makes his presence felt throughout this record with his combination of power, precision, and panache.Indeed, it is hard to argue against the suggestion that all members of Witherfall deliver their ‘A’ game on ‘Curse Of Autumn’, in many cases even pushing their abilities even further than before in the process. You think this to be unnecessary hyperbole? If you do, I urge you to check out the first song proper on the album after the brief intro, ‘The Last Scar’. A furious drum flourish introduces an equally furious thrash-like opening riff, as Witherfall come out of the blocks all guns blazing. Michael sounds like a man possessed as he spits out his diatribes with urgency and unquestionable passion. And then, signalled by a gloriously dirty and heavy open guitar chord, the chorus bursts into life, delivering more disgustingly marvellous guitar notes and effortless-sounding high-pitched vocal melodies. It is one of the catchiest choruses on the entire album, grabbing my interest from the first spin way back when I first heard the record. As you’d expect from Dreyer, there are plenty of lead guitar histrionics and a couple of  breath-taking lung busting high notes from Michael towards the end.Follow-up ‘As I Lie Awake’ is more of a slow-burner but it is no less impressive. It begins in more reserved fashion, but this allows the darkness of the music to resonate, whilst allowing bassist Crawford to take the spotlight, which he grabs with both hands. The song feels slightly less heavy than its predecessor, but only a smidgen, whilst it is blessed with a more expansive power metal-style chorus that hits hard once it works its magic to the fullest.You might think that the best material is behind us given such a powerful start. But happily, oh so happily, you’d be mistaken. ‘Another Face’ takes up the baton and runs hard and fast into my affections. There’s more of a hint of Nevermore within this dramatic and more theatrical track, a composition that flows between light and shade very gracefully and effortlessly. Again, the guys have plundered the magical box of hooks and melodies because the chorus is another sure-fire winner, complete with a dark, angry edge demonstrable within Michael’s forthright delivery.‘Tempest’ meanwhile cleverly juxtaposes beautifully delicate acoustic guitars with more extreme metal elements, principally fast picked black metal-like riffing, muscular drumming, and ominous atmospheres accentuated by a polished, charismatic performance from Michael, who is a true showman here, even allowing an occasional growl to escape his lips. At over eight minutes, the song is allowed to ebb and flow creating a more pronounced progressive feel as a result, complete with an extended instrumental section, full of more of that dark, foreboding intent. But in typical Witherfall style, the final minute or so is pure theatre, with a giant bittersweet melodic crescendo led by Dreyer’s solo prowess leading us to the conclusion.‘The Unyielding Grip Of Each Day’ is a prog-cum-neo-classical instrumental workout that covers a lot of interesting ground in under three minutes, from fast and frenetic, to slower and more measured, allowing the dexterity of the musicians to shine. ‘The Other Side Of Fear’ by contrast is arguably the most abrasive composition on the album, putting to music a tangible sense of frustration and of all-encompassing anxiety. As such, it happens to be the least melodic of all the songs, but far from the least enjoyable thanks to some chunky riffing and commanding rhythms from Minnemann and Crawford, who is something of an unsung hero on this album, littering the entire album as he does with some remarkably dextrous and inventive bass playing, much more than just a rumble in the background.‘The River’ is a beautiful song, the first half of which is an acoustic-led ballad featuring some of Michael’s more tender and poignant singing. The second half continues on the same sentimental path, albeit with the introduction of more metallic trappings, Michael’s lung-busting vocals, and melodic leads from Dreyer.The final original composition is a monster in the form of ‘…And They All Blew Away’. At over 15 minutes, this is an epic song in just about every sense of the word. Easily the most progressive, it twists and turns for the entire time, rarely settling, but all the while delivering a masterclass in heavy melodic music, capped by some scintillating performances. Minnemann produces some superb fills and beats, the guitars flit between chunky and muscular riffing, delicate acoustics, and melodious leads. I hear a touch of Dream Theater within this song particularly in the extended instrumental sections, but then I also hear a million other fleeting references as it develops. In keeping with the entire album, the atmosphere is sombre and dark, with some of the most angry and confrontational content being spat forth at times.This sensational record is then rounded out by an acoustic cover of Boston’s ‘Long Time’ which is actually really good, and that’s coming from someone who’s not always a fan of cover versions. It caps a remarkable performance from a band that just seems to get better and better. In a live setting, I bet these guys slay and I sincerely hope that I get to witness this sooner rather than later. But in the meantime, we have another masterpiece to enjoy, in the form of ‘Curse Of Autumn’ – dark and properly heavy melodic metal rarely sounds this passionate or brilliant." - Man Of Much Metal

"When one thinks of countries that are a hotbed of prog metal bands, places such as Norway, Sweden, and Finland come to mind. However the Land Down Undah’ otherwise known as Australia has been churning out amazing prog metal bands for the past decade. Bands such as Hemina, Voyager, Lord, Carnivool, Caligula’s Horse, Teramaze and Melbourne’s Vanishing Point have been wowing the prog metal scene for the past decade. It’s been seven long years since the release of Vanishing Point’s The Fourth Season, but the melodic metal quintet consisting of Silvio Massaro (Vocals), Chris Porcianko and James Maier (Guitars), Simon Best (Bass), and Christian Nativo (Drums) have finally returned with their fifth studio album Distant Is The Sun on AFM Records. The band has stayed true to their unique blend of progressive, power, AOR metal and have secured the talents of Sebastian “Seeb” Levermann of Ordan Ogen for mixing duites on Distant Is The Sun. Picking up right where The Fourth Season left off, the musicianship and songwriting on Distant Is The Sun is exceptional.The album kicks off with the short instrumental track Beyond Redemption and powers right into the first song King of Empty Promises. The double bass drum attack from Nativo and melodic keyboards lead the way and the harmonious soaring vocals during the chorus are a perfect way to officially start the album.The title track is next and begins with a heavy groove and transforms into a light piano tinged verses with Massaro’s impressive vocals leading to a catchy and melodic chorus. The twin guitar harmony lead attack from Porcianko and Maier is a thing of beauty during the solo section.Symphonic keys signify the start of When Truth Lies, an epic slab of energetic melodic progressive metal with a driving headbanging beat. Sonata Arctica frontman Tony Kaako lends his melodic pipes to the fast and furious power metal of Circle of Fire. Kaako and Massaro’s vocals compliment each other extremely well and create an amazing metal duet.The keyboard prominence on Denied Deliverance is pronounced in the mix but never overshadows the heaviness of the track, it just adds to the overall melody of the song. A blazing guitar solo section highlights the middle portion of another stellar song. Let the River Run has an impeccable acappella vocal harmony section that begins this mid tempo metal gem. The beautiful vocals during the chorus will be stuck in your head for days after listening.The album slows down for the piano based Story of Misery but don’t be fooled into thinking this is a traditional power ballad. The emphasis is on POWER with a emotive vocal performance from Massaro. Era Zero speeds things right back up with a frenzied double kick attack with plenty of soaring melodic vocals throughout and a shredding guitar solo from the tandem of Porcianko/Maier and culminates in a symphonic ending and bursts right into Pillars of Sand which keeps the hard and fast metal flowing.The eerie keyboard intro of As December Fades melds into a Maiden-esque guitar harmony and a glorious AOR sounding chorus with a symphonic element that is reminiscent of Within Temptation. A bright piano melody signals the beginning of Handful of Hope. Once again Massaro gets his chance to shine with an impressive vocal performance filled with passion and emotion. The bands penchant for writing catchy power metal is on display on Walls of Silence. The brilliant symphonic melodies and heavy guitar compliment each other perfectly. The album closes with the acoustic guitar tinged instrument titled April, an understated yet effective piece of music with a keyboard accompaniment underneath in the mix. It is a curious choice to end the album, but well done nonetheless.After a seven-year absence, the world of melodic prog welcomes back Vanishing Point with open arms and hopefully Distant Is The Sun will shoot the band to the next level of popularity outside their native Australia. This goes to show that like a fine wine, Vanishing Point only improves with age!" - Lady Obscure

"Quiet Riot seemingly came out of nowhere in 1983, racing up the singles charts with their over-the-top cover of Slade's "Cum On Feel the Noize" and crashing the Billboard album chart's number one spot with their multi-million-selling Metal Health LP -- the first heavy metal record to ever do so. Prior to their "overnight success," QR had been toiling in relative obscurity for years, so that by the time they finally turned the corner, Metal Health's meteoric success must have surprised the band even more than it did their critics and newfound fans. Though it has received its fair share of criticism, Metal Health isn't nearly as average as some would have you believe. Say what you will, but the album's title track continues to deliver after all these years. With its crushing guitar riff, inane lyrics, and goofy bravado, it's heavy metal personified in all its glorious, ridiculous excess. The surprisingly laid-back groove of "Don't Wanna Let You Go" follows the storming "Cum On Feel the Noize," which leads into the slightly '50s-ish "Slick Black Cadillac," a rehashed early band favorite. "Love's a Bitch" closes side one with plenty of venom and attitude, but despite a valiant attempt by the driving coulda-been-a-hit "Breathless," side two falls way short of the mark. Even though "Run for Cover" is quite a stomper, the closing triplet of "Battle Axe" (Carlos Cavazo's half-assed guitar showcase), "Let's Get Crazy" (downright embarrassing jock rock), and "Thunderbird" (painful sub-Journey balladry) tend to understate the hugeness of the occasion. Still unquestionably the band's best effort, Metal Health would eventually earn one-hit wonder status thanks to Quiet Riot's inability to deliver anything resembling a decent follow-up." - Allmusic

"All My Shadows is a quintet founded in 2020 by Vanden Plas members Stephan Lill (guitarist) and Andy Kuntz (vocals). This is their debut album and is a sonic departure from the prog metal they are known for with their main band, as All My Shadows is a more melodic hard rock affair. Keyboardist Markus Teske, bassist Franky R., who has played with renowned guitarist Michael Schenker, among others, and drummer Andreas Lill, also of Vanden Plas, round out the line-up."