(Join DMU Legend Johan Pettersson for what may be the most expansive analysis of power metal ever presented in the first of a 3 part series. Listen to the accompanying suggested listening here)
Of all the subgenres and styles that fall within the metal spectrum (hence excluding unmitigated relapses into rock such as death’n’roll, stoner, nu- and indie metal), power metal most definitely counts as the one that has received the highest amount of scorn and ridicule from critics, fans and outsiders alike. Despite being located at the bottom of the pecking order, the power metal “movement” has stubbornly toiled on for over three decades packed to the brim with musical epiphanies and fads alike. Practically declared dead by the early 1990s following the rise of death and black metal, power metal experienced something of a renaissance around the millennium and has remained popular ever since.
While discrepancy between popularity and critical acclaim is hardly a rare phenomenon, the factors behind such divides can differ significantly. When it comes to power metal, there seems to be something inherently embarrassing about it. Not only is power metal often deemed artistically inferior when compared to adjacent subgenres, it is also perceived of as something that should not be taken seriously. For example, there are many stories where even the most seasoned of metalheads express a certain unease about someone overhearing them listening to a power metal record, even though they evidently show interest in the music in secrecy. Moreover, power metal has worked as an entry point for thousands of younger metal fans, who after delving deeper into the genre tend to denounce or conceal their earlier, supposedly misguided enthusiasm. Boasting a background in traditional heavy metal is perfectly legitimate, but for many power metal is definitely a no-no.
A further and perhaps more critical indication of power metal’s poor status within metal culture concerns the ultimate lack of literature dedicated to the subgenre in question. With a few notable exceptions – including an excellent article by a former DMU associate – very little has been written about the history, taxonomy, spirit or musical properties of power metal in a more systematic fashion. This three-part article has been written with the aim providing a rudimentary yet comprehensive introduction to the subject which could in turn open up for discussions about the potential and relevancy of power metal. If we are to believe the predictions presented in a recent publication courtesy of Spotify where power metal occupies the number one positions of “emerging genres” for 2017, such an endeavor should be in pressing demand.No Comments
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