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Contents

What is considered power metal?

Power metal is a subgenre of heavy metal combining characteristics of traditional heavy metal with speed metal, often within symphonic context. Generally, power metal is characterized by a faster, lighter, and more uplifting sound, in contrast with the heaviness and dissonance prevalent, for example, in extreme metal.

Is Rainbow power metal?

I would say its the band Rainbow with its song Stargazer in 1976. It’s really proto-power metal but its not /real/ power metal. Real power metal are bands like Blind guardian and Helloween.

What is US power metal?

United States power metal is an umbrella term used to define the range of American bands playing a classic heavy metal that sprung up after the NWOBHM. The movement really kicked off in 1983 before it started petering out in 1989.

Is Dio power metal?

Dio was an American heavy metal band formed in 1982 and led by vocalist Ronnie James Dio. Dio left Black Sabbath with intentions to form a new band with fellow former Black Sabbath member Vinny Appice, the band’s drummer.
…
Dio (band)

Dio
Origin	Cortland, New York, U.S.
Genres	Heavy metal
Years active	1982-1991, 1993–2010

Is Judas Priest power metal?

HOW JUDAS PRIEST DISTINGUISHED THEMSELVES BY EXPERIMENTING WITH POWER METAL. Judas Priest continues to be among the most consistent metal bands still touring to this day.

Who created metal?

The first heavy metal acts are considered to be Led Zeppelin, Black Sabbath and Deep Purple, often referred to as the “unholy trinity”. Led Zeppelin released their self-titled debut in 1969, while Black Sabbath and Deep Purple put out influential records in 1970.

Is Iron Maiden power metal?

They’re definitely heavy metal, but a lot of their song have similarities to power metal, like their fast tempos and mighty, melodic vocals, among other things. I think of ’em as kinda proto-powermetal, but mostly heavy metal. Are Iron Maiden power metal?

Why do I like power metal?

Power metal is one of those forces of nature in the metal world that pretty much anyone can enjoy even if they are not really into metal. The soaring vocals, the catchy choruses and the wondrous riffs, solos and keyboard flourishes are what make power metal so addicting.

How do you scream like heavy metal?

You simply make a wide smile and sing a falsetto “eeeeee” on a low volume, and then swell the volume while trying to stay in that falsetto tone. Though this is a falsetto exercise, going loud and bright will teach you to sing higher notes with falsetto bite while sounding more like a full-voice tone.

Is Metallica a metal power?

Power Metal was a demo recorded by the American Thrash Metal band Metallica sometime in April 1982. Although the demo was never officially released, it was given the bootleg name “Power Metal” and contained four original songs by Metallica.

What genre is Beast in Black?

Why is it called black metal?

The term “black metal” was coined by the English band Venom with their second album Black Metal (1982). Although generally deemed speed metal or thrash metal rather than black metal, the album’s lyrics and imagery focused more on anti-Christian and Satanic themes than any before it.

What are the big four power metal bands?

For over a decade, thrash metal fans have had a definitive – if debatable – list of the top four bands in the field: Metallica, Slayer, Megadeth, and Anthrax.

Is Metallica a metal power?

Is metal Church a power metal?

Metal Church is an American heavy metal band.
…

Metal Church
Also known as	Shrapnel
Origin	San Francisco, California, U.S.
Genres	Heavy metal thrash metal speed metal power metal
Years active	1980–1996 1998–2009 2012–present

How To Be POWER METAL!

Power metal – Wikipedia

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Table of Contents:

Contents

Origins[edit]

Musical characteristics[edit]

Styles[edit]

Power metal

Subgenre of heavy metal combining characteristics of traditional metal with speed metal

Power metal is a subgenre of heavy metal combining characteristics of traditional heavy metal with speed metal, often within symphonic context. Generally, power metal is characterized by a faster, lighter, and more uplifting sound, in contrast with the heaviness and dissonance prevalent, for example, in extreme metal. Power metal bands usually have anthem-like songs with fantasy-based subject matter and strong choruses, thus creating a theatrical, dramatic and emotionally “powerful” sound.[1][2]
The term was first used in the mid-1980s[3] and refers to two different but related styles:

the first pioneered and largely practiced in North America with a harder sound similar to speed metal,

a later, more widespread and popular style based in Europe (especially Scandinavia, Germany, Greece, Spain, and Italy),[4] South America (especially Brazil and Argentina) and East Asia with a lighter, more melodic sound and frequent use of keyboards.

Origins [ edit ]
Anthropologist Sam Dunn traced the origins of power metal back to the late 1970s, when the groundwork for power metal lyrical style was laid down by Ronnie James Dio. The fantasy-oriented lyrics he wrote for Rainbow, concentrated around medieval, renaissance, folk, and science fiction themes, directly influenced modern power metal bands.[5] According to Dunn, the songs “Stargazer” and “A Light in the Black” from the 1976 album Rising, as well as “Kill the King” and “Lady of the Lake” from the 1978 album Long Live Rock ‘n’ Roll, might be among the earliest examples of power metal. In his 2011 documentary series Metal Evolution,[6] Dunn further explained how Rob Halford of Judas Priest created a blueprint for power metal vocal delivery. His almost constant high-pitched singing became one of the main characteristics of power metal. The twin-guitar sound promoted by Judas Priest’s duo of K. K. Downing and Glenn Tipton also highly influenced this subgenre. Another pioneer in the power metal genre is Jon Mikl Thor, who was a strong inspiration to the American band Manowar.

Another British band, Iron Maiden, brought epic and melodic sensibility to metal, creating anthemic, singalong music, an approach widely embraced by modern power metal musicians. The emergence of the early German power-metal scene in particular was made possible by Scorpions and Accept. Swedish guitarist Yngwie Malmsteen made a significant impact on many future power metal guitarists, with his accurate and fast neo-classical style. His bandmate Jens Johansson modernized the keyboard sound of Deep Purple’s Jon Lord, which was further incorporated into the genre. Manowar’s mythological sword and sorcery lyrics influenced a number of power metal bands.

Throughout the early 1980s especially in the years 1982 and 1983, a US power metal style first emerged from traditional heavy metal, the new wave of British heavy metal (NWOBHM), and thrash/speed metal influences. The exact first origin is often contested, but bands such as Cirith Ungol, Jag Panzer, Manilla Road, Omen, Riot, Savatage, and Warlord are thought to have influenced the earliest development of the style.[7][8]
More concretely, in 1987 German band Helloween released their second album, Keeper of the Seven Keys: Part I, cited by AllMusic as “a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands”.[9] This release influenced a European power metal style to evolve, which proliferated throughout the globe and since the start of the 1990s is still the most commonly heard style of power metal.

Musical characteristics [ edit ]
Power metal is today associated with fast tempo and melodic harmonies, the sound tempered by characteristics of speed metal, power metal’s musical forerunner.

Vocals [ edit ]
Power metal is highly focused on the vocalist, with “clean” vocals being much more prevalent than the growling vocals often associated with extreme metal. Inspired by Ronnie James Dio, Bruce Dickinson, Rob Halford, Geoff Tate, and other rock and heavy metal vocalists, power metal vocals are often in a high register, and the singer’s vocal range is usually wide.[10] The majority of the genre’s vocalists sing in the tenor range and are capable of hitting very high notes, for example Timo Kotipelto of Stratovarius, Tony Kakko of Sonata Arctica, Michael Kiske (Helloween) and Andre Matos (ex-Angra). There are many exceptions who sing in either baritone or bass range. Some vocalists sing in a harsh, thrash metal style, including Chris Boltendahl of Grave Digger, Kai Hansen of Gamma Ray, Peavy Wagner of Rage, and Wintersun’s Jari Mäenpää.[11] Many power metal vocalists, most notably Hansi Kürsch of Blind Guardian, record multi-layered vocals reminiscent of Queen, creating a choral effect.[12]
Lyrical themes [ edit ]
Most songs of German band Blind Guardian are based on fantasy, mythology and science fiction, and their live shows often feature fantasy decorations

Themes that frequently feature throughout other metal subgenres, such as religion and politics, are comparatively rare in power metal – albeit not unheard of. Power metal’s lyrical themes often focus on fantasy and mythology, camaraderie and hope, personal struggles and emotions, war and death, or combinations of the aforementioned. For example, Finnish band Sonata Arctica have been known for focusing their lyrics of their songs on fantasy but also have many songs based on reality, love and relationships.

Many power metal bands based their concept albums on fantasy books and national epics; Blind Guardian based Nightfall in Middle-Earth on Tolkien’s The Silmarillion, while Kamelot based Epica and The Black Halo on Goethe’s Faust. Some bands have even written their own imaginary stories, like Rhapsody of Fire’s Emerald Sword Saga and The Dark Secret Saga, Iced Earth’s Something Wicked Saga, or Avantasia by Edguy’s Tobias Sammet.

Historical themes have also seen usage in the works of bands, most famously Sabaton, whose lyrics extensively focus on historical wars, battles, and individuals that received notable recognition for their wartime accomplishments. Examples include World War I, World War II, Vikings, Samurai, and much more from around the world including the American, Swedish and German militaries. Serenity, an Austrian (symphonic) power metal band, focuses mainly on historical figures and events, including Sir Francis Drake, Marco Polo, Galileo, Beethoven, and Napoleon.

Contrary to traditional power metal music, Powerwolf focuses on Transylvanian werewolf and vampire legends and dark myths. The lyrics of the band are characterized by the treatment of Christianity and ancient Romanian legends. Powerwolf, however, do not consider themselves a religious band, but rather call themselves spiritual.

Instrumentation [ edit ]
Power metal guitarists and bassists generally play rapid streams of notes, but change chords comparatively slowly, with a harmonic tempo of once per measure or slower. Fast and technically demanding guitar solos, however, are almost guaranteed.[13] The slow changing of chords is significant in defining power metal just as the fast rapid chord changes often define traditional thrash metal. Power metal often makes use of Major chord progressions as well as circle progressions. Some of the most influential and acclaimed power metal guitarists are Kai Hansen of Gamma Ray, Michael Weikath of Helloween, and Timo Tolkki formerly of Stratovarius. It is a common trait in power metal for the bass guitar to take a back seat, so to speak; often simply providing the chord root notes and being drowned out by the more prevalent rhythm guitars. However, some power metal bands incorporate bass that is more audible with colorful patterns distinct from the rhythm guitars, such as Helloween, Hibria, and Symphony X.

Many power metal drummers play double bass patterns with either two bass drums, or utilize a double bass pedal; using them to play a constant stream of sixteenth notes (semiquavers) with snare drum accents on the beat, a style not restricted to, but most often associated with, power metal. The style was used by drummer Ingo Schwichtenberg of Helloween, setting a blueprint for many other drummers to follow. Others, such as the drummers of Blind Guardian and Iced Earth, use a more thrash metal style of drumming with rapid bursts of double bass that involve three to six beats with the double kick.

Power metal bands often incorporate keyboards into their musical arrangements, something popularized by Jens Johansson of Stratovarius, though their usage varies from subtle accents to a full-blown melody line. Some power metal bands also record with symphonic elements, and as such, they utilize a full orchestra to fill the role usually played by the keyboardist.

Styles [ edit ]
American style [ edit ]
The American branch of power metal emerged in early 1980s in the United States, drawing influence primarily from traditional metal and the NWOBHM. Though very close to its roots, US power metal (often abbreviated USPM) is often faster and more energetic than traditional heavy metal, with a more riff-driven approach and a relative lack of keyboard usage compared to its later European counterpart. However, it is often more melodic than thrash metal, with a greater emphasis on guitar leads. USPM is also notable for its widespread (but not universal) use of high-register operatic vocals, a trend which would continue with the rise of European power metal in the late 1980s and early 1990s.[13] This style is not exclusive to North America, as European bands such as Sacred Steel, Majesty, and Australian band Pegazus later adopted a style inspired by USPM bands in the 1990s.

The early releases of progressive metal bands Queensrÿche and Fates Warning, such as The Warning (1984) and The Spectre Within (1985), heavily influenced a number of bands that were to develop a common sound towards the late 1980s. Among the better known representatives of the style, such as Manowar, Vicious Rumors, Virgin Steele, Riot, or Jag Panzer, a small number of bands enriched their sound with progressive and epic elements (the most obvious examples being Crimson Glory, Savatage, Sanctuary and the epic doom metal band Cirith Ungol); or even with thrash metal elements, e.g., Iced Earth. US power metal saw a sharp decline in popularity at the beginning of the 1990s, though the style has rebounded somewhat in the past decade, with bands such as Liege Lord or Heir Apparent reforming for live performances[14] and many, such as Helstar and Omen, still releasing new material.

European style [ edit ]
European power metal originated from speed metal and the NWOBHM, emerging in late 1980s, particularly in Germany, with Helloween, Running Wild, Rage, Grave Digger, and Blind Guardian. The second and third Helloween albums; Keeper of the Seven Keys: Part I (1987) and Part II (1988) are usually considered the first proper European power metal albums.[15] Alongside the early German bands came Finland’s Stratovarius in late 1980s. These bands pioneered the genre, but took it in somewhat different directions. Helloween, followed by early Gamma Ray, mixed fast palm muted speed metal riffs with high-pitched clean vocals, and with a strong focus on melody and uplifting, positive themes. Stratovarius further developed this melodic direction by making heavy use of keyboards, with lyrics dealing with emotions and personal issues. Blind Guardian utilized the technique of vocal and guitar overdubbing to create an epic atmosphere, with lyrical content strongly based on fantasy novels, myths and legends. The symphonic and neo-classical elements also found their way through power metal with bands like Rhapsody of Fire (Italy), Serenity (Austria) and Nightwish (Finland).[16] At the same time, bands such as HammerFall simplified their power metal to bring it closer to traditional heavy metal.

Over the late 90s and early 00s, power metal spread over Europe especially as well as the rest of the world, often incorporating new influences. Italy’s Elvenking, Sweden’s Falconer, Spain’s Mägo de Oz, and Denmark’s Wuthering Heights integrated elements of folk music with power metal. Angra, Kamelot, and especially Symphony X are known for combining progressive and power metal. Some bands are known for combining power metal with more aggressive musical forms; Children of Bodom were one of the earliest who combined elements of power metal and an early form of melodic death metal.

European-style power metal became widespread in comparison with US style as of the mid 1990s, with numerous North American bands such as Theocracy, Borealis, Forgotten Tales, Avian, Pharaoh, Circle II Circle, and Kamelot demonstrating the style. This European style of power metal is sometimes considered the “second wave” of power metal since its spread was in the late 1980s and especially the mid-late 1990s rather than proliferating throughout the 1980s, and the widespread influence and development of the genre that came in its tow while US “first wave” style markedly declined.

See also [ edit ]
Citations [ edit ]

Marco’s Guide to USPM Part I: The Basics, Essentials, and Modern Heroes

Video accompaniment to the guide!

Introduction

In the current internet age, genres and characterization of metal music is so precise and defined. However, this wasn’t always the case. Back during the height of heavy metal mania in the 1980s, there were so many bands and scenes popping up at such a fast pace that it was impossible to keep up with tags. Nowadays we understand power metal to mean a specific range of sounds, but during the early and mid 80s it was used as a term to differentiate more aggressive and evil sounding heavy metal bands from the glam/hard rock leaning stuff that was so popular. Metallica had a bootleg demo all the way back in ’82 titled Power Metal named after a term their first bassist Ron McGovney used on very early business cards (approximately April 1982 and potentially the first usage of the term). Venom also at one point referred to themselves as power metal in a Kerrang! interview as early as November 1982. Even bands like Slayer and Voivod were referred to by that tag and Pantera released an album titled Power Metal in 1988 to make a statement about their sound. Of course we now understand that none of these bands are actually what we today call power metal.

Early usage of the term “power metal”

While Slayer themselves were never power metal, many of their American peers at the time were. Energized by the explosion of metal originating from the UK during the New Wave of British Heavy Metal, American bands took inspiration, stripped most of the hard/blues rock roots, and started adding their own touches all while retaining that classic heavy metal foundation. This style is now referred to as United States power metal.

This article is the first in a trilogy of guides chronicling the United States power metal (USPM) scene. This first section focuses on defining the sound and providing listening essentials. It also includes excerpts from interviews with Mike Sabatini of Attacker and Howie Bentley of Cauldron Born.

For other segments of the guide, please see the following links:

See pt. II (lesser known 80s EPs and albums) of my guide to USPM here!

Find pt. III (Demos) here!

What is USPM and what does it sound like?

United States power metal is an umbrella term used to define the range of American bands playing a classic heavy metal that sprung up after the NWOBHM. The movement really kicked off in 1983 before it started petering out in 1989. The pioneers of the USPM movement took the traditional heavy metal sound of bands like Iron Maiden and made it into something entirely their own. They sped it up. They made it more energetic. They increased the number of solos. The vocals were intensified. They made it more melodic. The songs were more complex and progressive. Not all bands sounded the same or went for the same approach, but they all shared one important thing: they moved away from the hard/blues rock inspired sounds of the NWOBHM and added intensity – POWER.

“From classic rock to to metal, I have always felt that anything you hear has an influence whether intended or not. We loved Priest, Scorpions, Maiden, Accept, UFO, Riot, Anvil, Loudness to name a few.” says Mike Sabatini, drummer of early USPM band Attacker. “Back in the 80s US bands took their influences and used them to create their own style. They did not just copy what others did. I would say the Euro and British styles of Metal were where the US style came from but with our own added flair.”

Howie Bentley of 90s USPM flagbearers Cauldron Born agrees that the UK really laid the foundation for American bands as he says “…all of these USPM bands were influenced by three bands, when you get right down to it: Black Sabbath, Iron Maiden, and Judas Priest.” Howie elaborates a bit further and mentions that “fans now can shit-talk them all they want, but bands like Metallica, Megadeth, and Slayer had something new and fresh going on at the time. I listened to those bands and I am sure some of the songwriters for the other USPM bands listened to them, too. It’s why the bands that were still operating in traditional metal territory in USA sounded a little harder-edged than the bands across the pond.”

This harder edge that Howie refers to is a key, defining part of the US power metal sound that helps differentiate it from the far more popular European branch of power metal that has become the standard. While US and EU power metal are both evolutions of the traditional heavy metal style, USPM tends to be more riff-centric with a wider range of vocals from gruff baritones to tenors with impeccable falsetto. EUPM on the other hand is more chorus driven and really leans in on big vocals – there’s less room for baritones and singers with a rougher edge. European bands also tend to utilize keyboards and neoclassical guitar solos whereas those two elements are nearly unheard of in the US strain. Additionally, US power metal makes more use of mid-paced sections and a more prominent bass. With all that said, there’s quite a bit of variety within both strains of power metal – USPM in particular has a wide range of sounds that fit under its umbrella.

While not a necessary criteria in defining music, there are some recurring lyrical themes found in US power metal. Compared to the traditional heavy metal found in the NWOBHM, the American bands leaned a bit more into fantasy and sword & sorcery lyricism. On this topic, Howie Bentley says “I think sword-and-sorcery, horror, the occult, and fantasy in general is a defining factor in heavy metal. Heavy metal goes beyond music, it is about a state of mind. I often mention that Robert E. Howard was writing heavy metal almost fifty years before the first Black Sabbath album was recorded. He was just expressing this aesthetic through literature instead of music.”

USPM Starting Points

In an effort to make discovery easier, I’m separating the bands into two buckets; the first is for the more aggressive band and the second is for the more melodic or progressive bands. What I’m calling “aggressive USPM” is more speed metal and thrash metal oriented. While the bands I’m referring to as “melodic / progressive USPM” focused more on melodies, bigger vocals, and tended to have more complex song structures. Please keep in mind that these distinctions aren’t hard and fast (many bands blur the line in between), but rather they serve as general listening guidelines.

The following releases in my humble opinion serve as fantastic gateways to exploring the genre. They consist of some of the best releases in USPM and act as wonderful representatives of the incredible variety and songwriting found in the genre. In order to keep things simple, I’ll be recommending just one album per band.

Aggressive USPM

Jag Panzer – Ample Destruction

With their 1984 debut album, Jag Panzer effectively defined an entire genre and regional scene. Ample Destruction is the quintessential United States power metal album. When introducing people to the style, this is always my go-to album. Simply put, it captures the very essence of the movement like no other and 30 seconds of Ample Destruction does more to describe USPM than any possible combination of words that I could ever come up with. There’s nothing pretty about this album. It’s straight forward, bare bones, in-your-face, balls-to-the-wall power metal that operates at maximum efficiency and that’s where its beauty lies.

Liege Lord – Master Control

Liege Lord’s Master Control is a time-weathered classic of USPM that serves as another one of the best entry points to the genre and is a shining example of what makes it so great. It exemplifies the best features of the genre; aggression, speed, catchy vocals, varied riffs, pounding drum and bass, blistering solos, and a strong production that ties it all together. Master Control manages to maintain a level of quality that is difficult to find elsewhere while still being very accessible and familiar for listeners (Bruce Dickinson like vocals definitely help!).

Omen – Battle Cry

Battle Cry isn’t a pretty album in the slightest – it’s straightforward and devoid of frills. You won’t find a fancy power ballad here or any lengthy songs. In fact, most of the songs clock in around or just under four minutes long. It’s the ruthless efficiency and earnestness that makes Battle Cry the classic that it is. Kenny Powell’s bouncy riffing and lead style are so very unique and vocalist JD Kimball (RIP) always finds a way to insert an appropriate gruff vocal melody above it all. This album is just chock-full of memorable lyrics and catchy guitar hooks that it’s impossible to forget. While everything in their classic period is stellar, Omen’s first effort is their best in my opinion and there’s few records out there that match the quality of Battle Cry.

Helstar – Nosferatu

Helstar are one of the more technically intense USPM bands out there. The riffs are incredibly complex and the solos are a blazing fast neoclassical affair, but rest assured that they never sacrifice songwriting simply for the sake of technicality. Helstar’s ability to write memorable and compelling songs is what makes them one of the scene’s finest bands. They have this uncanny ability to seamlessly transition between drastically different yet equally neck-breaking riffs and this makes listening to them a treat every single time. Nosferatu has a darker touch both lyrically and musically relative to the rest of their discography and it’s their most popular album for a very good reason – a must listen by all accounts!

Riot – Thundersteel

Thundersteel is everything and anything you could possibly ask for. Riot blend elements of classic heavy metal, furious speed metal, and beautifully melodic power metal together into forty-six minutes of bliss. The album cycles through a variety of sounds across the nine tracks and not once does the quality dip. For me, there’s a handful of albums that I find myself leaning on over and over again throughout the years. Whether I’m in a rough patch of life or whether I’m just mindlessly staring at my collection unable to determine what I should listen to, it’s these handful of releases that I rely on for their sense of familiarity, and above all, for their unwavering quality. Over the years I’ve increasingly found myself turning to Riot’s Thundersteel to fill this vital role in my listening.

Attacker – Battle at Helm’s Deep

Much like their peers in Jag Panzer – Attacker are a fantastic introduction and representation of what USPM is all about at its most basic level. The music on Battle at Helm’s Deep is simple, but still dynamic enough to be interesting. It’s very much still classic heavy metal and yet it has that extra edge and grit. The no-frills bullshit approach of Attacker is what makes them so good – plus the artwork on Battle at Helm’s Deep is iconic in itself!

Attacker are a band that strove for constant development and evolution in their sound and it shows with their impeccable sophomore album The Second Coming. On this topic, drummer Mike Sabatini says “We wanted to make an album that surpassed the Battle album in musical growth, musicianship and production. Being that we had different writers between the first 2 albums, they are somewhat different in style while keeping a common thread to the sound. I love both of these albums for what each one is.” It’s this drive for growth and musicianship that has kept Attacker consistently excellent despite line-up changes. They are one of the few bands that are still out there several decades later kicking ass and their modern albums are easily up to par with their classics. “We have had different members come and go who while in the band brought their style that ultimately worked for us. It has always been sort of fresh. When the same guy writes all the music for years, they sometimes run out of good ideas. That’s why most bands with the same writer historically, put out their best material in the first few albums. We have been very fortunate to be a consistent band in the writing department.“

Melodic / Progressive USPM

Crimson Glory – Crimson Glory

If Jag Panzer’s Ample Destruction is the paragon of aggressive US power metal, then Crimson Glory’s self-titled debut is the equivalent for the melodic and progressive side of the movement. Crimson Glory’s riffs and melodies are second to none and most importantly – the interplay between the vocals and guitar is unmatched. The songwriting is complex and nuanced without sacrificing edge and Crimson Glory are always sure to give plenty of room for all-star vocalist Midnight (RIP) to captivate the audience. He was a once in a generation talent that deserves to be mentioned with the greatest of all metal vocalists. Midnight was a master of his craft, able to infuse any song with class and charisma whether it was a slow and emotional ballad or a fast-paced banger. From a tight rhythm section to compelling riffs to untouchable vocals – this is a band that really had it all. Simply beautiful.

Warlord – Deliver Us

With a prominent emphasis on melody and tasteful use of keyboards, Warlord’s landmark 1983 EP titled Deliver Us is one of the first true examples of pure power metal. Warlord follow up on the foundation that Rainbow laid down many years before with Rising and take it to the next logical step. Songwriting William Tsamis has a sense of melody that is nearly unparalleled in metal and the subtle keyboard touches on this EP do wonders in bringing out those magnificent lead guitar melodies. Vocalist Jack Rucker aka Damien I is no slouch either as his smooth and soothing voice commands its own more subtle presence, fitting perfectly over a record that needs a bit of finesse.

Queensrÿche – Queensrÿche

Queensrÿche are a band that many readers may already be intimately familiar with. These metal legends are far and away the most popular band that can be grouped into the USPM umbrella. Although Operation: Mindcrime is heralded as their peak in the broader mainstream, it’s the pre-Mindcrime material that really sticks out as their strongest efforts, especially the self-titled EP and The Warning. Their magnificent EP in particular stands as both one of the earliest examples of US power metal and one of the most prominent. The songwriting isn’t incredibly complex, but it’s straight to the point and elegant. The songs feature that classic heavy metal sound that built upon the NWOBHM with that slight American edge. All-time great vocalist Geoff Tate wastes no opportunities on tracks like “Queen of the Reich” to remind you of how he earned his status in the first place. Even if you’re already very familiar with the Queensrÿche EP, it’s never a bad idea to take the opportunity and revisit this timeless classic.

Savatage – Sirens

Debuting in 1983 with Sirens, Savatage are in good company with Warlord and Queensrÿche as one of the first bands to leave their mark in USPM. They are the perfect example of a group that really does it all and an argument could just as easily be made for placing them in the aggressive camp of USPM as well. Much like the rest of their peers, they would pursue a more over the top and progressive sound with time, but their material up to 1987 (most notably including Sirens, The Dungeons are Calling EP, and Hall of the Mountain King) is just as chock full of aggressive riffs as it is beautiful vocal melodies.

Fates Warning – Awaken the Guardian

Fates Warning are not an easy band to listen to. Awaken the Guardian and The Spectre Within are some of the greatest heavy metal albums ever written, but they do not open up quickly. It takes time to adjust and unravel their brilliance. The songwriting is maze-like: it’s complex and filled with twists and turns, but once you figure it out, the reward is well worth it. I would be remiss not to talk about vocalist John Arch’s role in particular. His specific high pitch singing style is a big part of why this era of Fates Warning is so difficult to get into, but at the same time he really defines the band’s sound and makes them unique. His vocal melodies and phrasing (how he emphasizes particular notes) are unmatched and in this regard he is truly one of a kind.

Heir Apparent – Graceful Inheritance

Heir Apparent are the least known and popular of the bands included in this section, but not for a lack of quality – rest assured that Graceful Inheritance fits very nicely in company with Crimson Glory and Queensrÿche. Their music is characterized by emphatic, charismatic vocals, exceptional leads, and incredibly active bass lines. Relative to the rest of the bands here, Heir Apparent opted for shorter, punchier tracks. The maximum song length on Graceful Inheritance is around five minutes long, but the majority of tracks clock in around three minutes with coming in just under that! You won’t find any meandering or a band trying to cram too many ideas here – just eloquent and progressive power metal.

Special Mentions: Epic Heavy Metal

There were a few bands that released material around this type that are related to USPM but don’t quite fit the moniker. Their music shares elements of USPM, but it veered into another direction: epic heavy metal (read more about that style here). Both the quality and influence of these bands cannot be understated and for those reasons I believe they deserve a special mention here.

Special Mentions Essential Listening:

USPM Essentials (80s)

Once you’ve gotten your feet wet and decided that you enjoy this type of music, it’s time to start hitting the rest of the essentials (and fill any gaps you might be missing)! Essential albums here are defined by 3 key attributes: popularity, influence, and quality. Of course this is all subjective at the end of the day, but the albums listed below meet all of the criteria to varying degrees.

Aggressive Essentials

Click here for aggressive USPM essentials!

Melodic and/or Progressive Essentials

Click here for melodic and/or progressive USPM essentials!

The 90s and Beyond

By the time the 90s rolled around, traditional heavy metal had started to die out and US power metal was unfortunately not an exception. As the global trends moved away from metal as a whole and the underground community began to collate around the more extreme side of the spectrum, USPM was left in the dust. With that caveat, there were a number of bands throughout the 90s and beyond that tried to keep the flame alive.

More recent years have seen a revitalization of traditional heavy metal as younger guys who grew up on these styles become musicians themselves. There’s a number of more recent acts taking influence from the USPM masters of old and even some older bands like Helstar and Attacker have kept going strong. Festivals like Keep it True, Up the Hammers, and Hell’s Heroes have done a tremendous job of carrying that spirit and giving modern fans a chance to appreciate classic bands in this style. Mike Sabatini reinforces this point as he says “we have actually met more of our 80’s US peer bands overseas at festivals in the last 16 years than we had met here in the US!” He continues, reflecting on Attacker’s career, “there was an amazing scene here for sure, we were lucky to be part of the birth of the American and worldwide Metal movement.”

Starting Points

Virgin Steele – Marriage of Heaven and Hell

Virgin Steele’s origins date back to the early 80s and they released a few solid albums, but it’s their immaculate mid 90s period that really shines. This renaissance gave us a string of 5 classic worthy albums that start with the Marriage of Heaven and Hell saga. The Marriage saga pushed Virgin Steele’s sound and songwriting to its very extremities. Musically, Virgin Steele are closest to Manowar’s most epic moments, but with a more melodic slant. With these albums, they took an even grander approach to songwriting and treated their music as an epic metal opera. It’s dramatic heavy metal at its finest and there isn’t a single band out there that sounds quite like Virgin Steele at their best.

Twisted Tower Dire – Crest of the Martyrs

Twisted Tower Dire formed in 1995, well after the peak of US power metal. They would release a handful of demos in the mid 90s and after a few line-up changes they finally debuted with The Curse of Twisted Tower in 1999. Now at this point, the European style of power metal was immensely popular and it crept its way into Twisted Tower Dire’s sound. Curse… demonstrated a band that was capable of blending the best aspects of both US and EU power metal – fast paced riffs and a strong rhythm section with catchy, singalong choruses. Twisted Tower Dire would continue to hone their sound and they eventually arrived at Crest of the Martyrs, which in my opinion represents their creative peak. The songs are jam packed with unforgettable riffs and you’re pretty much guaranteed to walk away singing about “Axes and Honor”.

Destiny’s End – Breathe Deep the Dark

Featuring members of Helstar, Crescent Shield, and New Eden, Destiny’s End were one of the single most talented US power bands to ever exist. They were active from 1997 to 2001, which are effectively the worst possible years for traditional heavy metal in terms of global interest. This sadly meant that despite being such an excellent band, Destiny’s End went under the radar. It’s such a shame because if their debut album Breathe Deep the Dark was released in the mid 80s it would be considered an instant classic. It’s a blistering fast and technical power metal album that immediately brings to mind Helstar’s classic era especially given that the vocalist is Helstar legend himself James Rivera. Breathe Deep the Dark is a fantastic example of a staple 80s era musician carrying on and releasing a classic worthy album with a new project.

Demon Bitch – Hellfriends

What makes Demon Bitch so special is their approach to music. Their core sound is rooted in the darker, more occult side of traditional metal and bears strong resemblance to early Mercyful Fate. Demon Bitch latch onto that Merycful Fate blueprint and incorporate elements of USPM to create their own unholy blend and above all, they have the single most important element in metal – killer riffs. Hellfriends is a frantic album where it feels like it can really fall apart at any moment, but Demon Bitch always keep it together and the end result is incredible. Admittedly, this isn’t a very accessible release as the production and vocals are rough to say the least, but Demon Bitch aren’t trying to appeal to the mainstream in the first place.

Eternal Champion – Armor of Ire

Eternal Champion are a band that we’ve discussed on multiple occasions and this is with very good reason. The Armor of Ire has received widespread acclaim because it demonstrates all the hallmarks of a modern classic; killer riffs, flawless production, a captivating aesthetic, well crafted lyrics, and a genuine passion that radiates from the music. Eternal Champion’s sound is deeply rooted in that American epic metal scene, bringing to mind the likes of Manilla Road, Omen, early Manowar, and Brocas Helm. The Armor of Ire is a powerful, but new age testament to the classics of yore that has cemented Eternal Champion’s place as torchbearers of the new generation.

Cauldron Born – Born of the Cauldron

Formed in the mid 90s and led by guitar virtuoso Howie Bentley, Cauldron Born are one of US power metal’s finest bands regardless of era. Everything from their earliest demos to their latest 2014 release is brilliant, technical, and progressive power metal with neoclassical touches in the vein of legends like Helstar and Fates Warning. Their 1997 debut album Born of the Cauldron in particular stands out as a shining example of the best the genre has to offer.

A Conversation with Cauldron Born Songwriter Howie Bentley

Cauldron Born’s sound is a varied and complex take on US power metal with a heavy neoclassical undertone that Howie Bentley owes to his diverse musical interests. “My main influences in my formative years were Black Sabbath, Judas Priest, Iron Maiden, the first two Ozzy albums, and the first two Venom albums. I also liked some early thrash metal like Metallica, Megadeth, and Slayer. Randy Rhoads blew me away and set me on fire to learn to play the guitar, but it was Yngwie Malmsteen that made me want to study music formally. By the time I graduated from AIM I was into all of these Shrapnel records bands and artists like Cacophony and Vinnie Moore, as well as progressive metal bands like King Diamond, Fates Warning, and Watchtower. I liked the idea of trying to forge my own sound with writing odd meter riffs and experimenting with atonality. I was also listening to Igor Stravinsky’s The Rite of Spring and Allan Holdsworth a lot then.”

However, given the band’s timing it wasn’t an easy journey to arrive at Born of the Cauldron. When asked about the band’s origins and difficulties Howie comments: “I had moved from Kentucky to Georgia in 1988 to attend the Atlanta Institute of Music. I planned on making a living with my guitar after I graduated, so I started teaching forty to fifty students a week. I studied jazz guitar and classical at AIM, but I was steeped in metal. It was all I had listened to until then and all I wanted to play. I had heard about “all those metal bands” down in Georgia, but I wasn’t very impressed with what I heard when I got there. There was a mediocre little thrash scene, but the bands were all more hardcore than metal and didn’t write very good songs. I decided to form my own band, but it was hard because no one wanted to play the kind of music I was into. It took me years to form a good band. I released a demo under my name in 1993. The demo was titled Beyond the Shade Gates. I borrowed a singer and drummer from other bands just for a studio project. I managed to form Cauldron Born in 1994, but by then the scene in the United States for traditional metal was pretty much over with. It was an uphill struggle all the way.”

This struggle was unfortunately all too common for traditional metal musicians at the time. While there wasn’t much of a strong scene in the US during the 90s, some bands who played in the style were still sharing music and staying in touch. “I started getting to know quite a few guys who were wanting to do something similar to what I was doing after releasing the Swords, Sorcery and Science demo back in ’94. I was (and still am, as far as I am concerned) friends with guys in Skullview, Mystic Force, Nightmare’s End, and Mark Shelton (RIP) among others. I sent Swords, Sorcery and Science to Denis Gulbey. He had a fanzine called Sentinel Steel. Denis really liked the demo and told everyone about it. The word spread like wildfire and I was selling the hell out of those demo tapes.”

A key part of Cauldron Born’s music is a Sword & Sorcery aesthetic and lyricism that elevates the music. “I like to build another world with my music; a fantastic world into which the listener can escape, just like escaping into a good sword-and-sorcery tale. Also, as far as the similarity in ethos, I think sword-and-sorcery, as I recognize it (the Howard/Wagner branch, anyway) often emphasizes individual consciousness over collectivism.“

Howie Bentley has taken the Sword & Sorcery influence to the logical next level and started writing his own stories after Cauldron Born. “In 2015 DMR Books—a publisher in Chicago specializing in sword-and-sorcery—contacted me. I published my first tale, “All Will Be Righted on Samhain” in volume one of the DMR anthology series, Swords of Steel.“

“All Will Be Righted on Samhain” is a tale of revenge set during the aftermath of the Iceni revolt (around 62 AD). My tale features the Cauldron Born mascot, Thorn. Thorn is the Thorn rune incarnate—a sort of demon or god.”

Another Thorn tale, “The Heart of the Betrayer” was published in Swords of Steel II. In that story I introduce a new character named Argantyr. Argantyr is a barbarian swordsman who transforms into a werewolf. My book, The Snake-Man’s Bane collects my Argantyr stories and three of my Thorn tales up to this point. I am currently working on an Argantyr novel.”

“My latest published work is a collaboration with Matthew Knight (Eternal Winter) and Byron Roberts (Bal-Sagoth) titled Karnov: Phantom-Clad Rider of the Cosmic Ice. Matt came up with this character named Karnov who is a vampire hunter. Karnov is a warrior who returns home after a long battle to find his village destroyed and his family murdered by the hand of a powerful vampire lord. With the help of a sultry witch he is imbued with the powers of the Cosmic Ice and sets out on a quest to exact vengeance on the undead lord and his followers. The novel is a round-robin. Matt started it and handed it off to me. I added my portion then sent it to Byron. Then we repeated the process. We each wrote roughly a third of the book.”

90s+ Essentials

I’ve listed below some of the higher quality releases from the 90s up to the current year. Unlike the previous essentials listed for the 80s, influence and popularity are not considered for the below – merely the quality!

Click here for 90s+ USPM!

101 rules of Power metal

1. You have one goal: be epic.

2. Let no sound be lonely. If there’s a guitar solo, harmonize it. If there’s singing, make it a choir.

3. Keyboards offer a way to add thousands of different textures to a song. Find two of those that you like and use them on every song you write.

4. In a power metal world, everything steel is good, and anything good must be compared to steel.

5. You are not bound to sing about Satan, evil, and/or darkness.

6. You are bound to sing about dragons, freedom, and/or power metal.

7. Remember how no sound should be alone? Same goes for albums. Everything can have a sequel!

8. You are allowed to be blonde.

9. Swords enhance your credibility and your performance. Be sure to carry one regardless of whether or not you know anything about using one.

10. Pick a theme and stick to it. Manowar are warriors of true metal, and they don’t get to sing about anything else. Rhapsody has their Algalord chronicles. Hammerfall has their steel, hammers, and templar. Running Wild has pirates. Blind Guardian has Tolkein. None of them are allowed to sing about anything else.

11. If you have to sing about something else, put together a side project to do it. Avantasia is the perfect model.

12. Ballads are permissible.

13. That doesn’t mean your ballads can suck.

14. The longer a song is, the more epic it is. See rule #1.

15. More solos means more epic.

16. If at all possible, be Michael Kiske.

17. If this is not possible, pretend to be Michael Kiske.

18. Your album cover should include at least one of the following: fire, steel, weird glowing magical items, irregularly muscular men, fists thrust into the air, weaponry, magic creatures (preferably dragons), or bright beams of light around somebody/something.

19. ‘Grim’ and ‘necro’ don’t apply here; they just make you look silly. Now go back to singing your 20 minute epic about dragonslaying!

20. Power metal depends on power chords.

21. 16th notes are the only notes.

22. Unless you’re singing, in which case you are not permitted to hold a note for any less than 2 bars.

23. Keyboards get solos, too.

24. If you can’t be Michael Kiske, you can at least be Timo Tolkki.

25. Actually, don’t be Timo Tolkki.

26. In case you didn’t know, “symphonic” is synonymous with “epic.” See rule #1.

27. Just because 300 bands before you have already done “epic,” there’s always room for more.

28. Songs come in two tempos: metal and ballad.

29. You are officially the only group of people who can refer to themselves as ‘mighty’ without being laughed at. Much.

30. Audiences need to be able to sing along. Make it catchy.

31. Sing in English, even though your fan-base will be comprised entirely of Brazilians, Germans, Japanese, Swedes, and Finns. See rule #30: if it’s not catchy, it’s harder to sing in a language that is not your first.

32. Play in as many bands as possible. More side projects and guest appearances means more epic!

33. Tight. Pants.

34. You don’t have to detune your guitars.

35. Though you probably should drop them a half-step.

36. Unfortunately, you need at least two guitar players. How else are you going to have dueling guitar solos?

37. Keyboards may substitute for one guitar player, as long as they can solo.

38. Fortunately, you don’t need a bass player! Or at least, you never have to use the same bassist twice.

39. Begin all songs with one big swelling chord on the keyboard.

40. Acoustic guitars are allowed. Sometimes.

41. It’s not a tour, it’s a crusade!

42. Layer your vocals, hundreds upon hundreds of times. Don’t worry about them live.

43. Never use mundane words in your lyrics. Nothing is epic if you don’t use words like “majesty,” “glorious,” “magical,” and so on.

44. Wizards! You need wizards!

45. Although your costume does not require corpse paint, it will require a cape, lots of jewelry, and the aforementioned swords.

46. Unless you are Manowar, in which case you are too metal for clothing.

47. Come to think of it, don’t be Manowar.

48. Wear armor if at all possible. Hammerfall can give you an idea of the variety of acceptable armors, ranging from leather to ring-mail.

49. Songs don’t begin at full speed. Gradually work your way into an epic frenzy.

50. Hail true metal!

51. Acoustic guitars are for intros and bridges. Then crush them with steel.

52. Epic. Tight. Pants.

53. Higher vocals are epic vocals. Female lead singers are great for this.

54. So, male lead singes should sound like female singers. See rule #52.

55. True warriors can tell the difference between albums.

56. Concept albums are totally epic. Nobody will ever see it coming.

57. Liner notes must include pages of backstory, either of your epic saga of conquest over dragons and evil or of your epic battles with alcoholism while recording the album.

58. Drugs aren’t metal.

59. Beer, however, can be served in all kinds of true metal ways.

60. “Flagons of ale.” It’s appropriate to your fantasy-riddled lyrics, and it almost looks like “dragons,” so you score extra points.

61. Since you can’t get away with grunts, growls, and other troll-like noises, you will have to sing.

62. Your accent will show as a consequence.

63. To compensate, sing about killing trolls. Preferably with the swords that you carry onstage.

64. More sequels = more epic. See rule #7.

65. Guest vocalists, guest guitarists, and any special appearances from outside your band will make your sound more epic, even if the track sounds just like all the other songs on the album with an extra solo.

666. Norsk Arysk Blak Metal! Rahhh!!!

67. Begin songs at half-tempo, and then, when listeners least expect it (i.e. at exactly the same time it happens in all your other songs) kick into full speed complete with double-bass and power chords.

68. Bass players: one note. Really fast.

69. But include one enormous crazy-ass bass fill before the chorus, even though the production will bury you so far in the mix that most people won’t realize your band has a bass player.

70. Just because you don’t play black metal doesn’t mean you can’t use Tolkein.

71. Whenever you short of ideas, pick up your Dungeons and Dragons books. You might as well be the first band to sing about owlbears.

72. Never leave Europe.

73. For purposes of rule #72, Japan may be counted as part of Europe.

74. Oh, and South America was colonized by Europeans, so it can count too.

75. Orchestras make a great addition to your album. Since you can’t afford one, find a new patch on your keyboard.

76. If your live album does not have the crowd singing all the harmony parts for you, you aren’t epic enough to justify a live album.

77. If you are European, use as many archaic English words in your lyrics as you can. Obfuscation is epic!

78. If you are South American, your lyrics should be closer to standard English, though nobody will ever read them.

79. If you are U.S. American, you probably aren’t actually a power metal band. Sing about tanks, or something.

80. If you are Italian, write some lyrics in Latin. Your American fans won’t be able to tell the difference between your Italian lyrics and your Latin ones, but Latin is epic.

81. Remember, shaving is epic, haircuts are not.

82. Entire albums must be recorded in the same key.

83. For that matter, entire careers may also be recorded in the same key.

84. Guitarists, remember: dun da-da dun da-da dun da-da�

85. Make your band logo very angular, but perfectly legible.

86. More than a logo, you need a mascot.

87. He need not be distinguishable from Eddie, but he does need to be on all your album covers.

88. At your first gig, if you feel a “rising force”, do be sure not to get it all over your audience.

89. Record your best songs unplugged, and sell them as an EP.

90. Do not expect anyone to buy the EP.

91. Remember, power metal fans are not gay. They are just comfortable with their masculinity.

92. Sing along.

93. Don’t get caught singing along.

94. Glitter is not epic.

95. Neither is body oil. See rule #47.

96. If you see a black metaller in the woods pretending to be a troll, see rule #9 and rule #63.

97. In your liner notes, thank everybody you toured with, even if they’re Stratovarius.

98. Complain about Stratovarius constantly even though you’ve bought all their albums and listen to them more than anything else in your collection.

99. Power metal must be pure; do not mix it with other metal styles.

100. To repeat: be epic.

101. I ran out of funny things to say way back at rule #52, but any less than 101 rules would so not be epic.

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