Introduction to Power Metal, Part II: The First Wave of European Power Metal

[The epic continues!  Read part I of Johan’s journey here and listen for yourself via this playlist]

While working with what was intended to be the second part of a tripartite article series covering the history and general properties of the power metal subgenre, it soon became clear that a sufficiently thorough treatment of the subject would require more space and time than what was originally intended. This insight subsequently led to the conclusion that individual parts needed to be subdivided and portioned out in order to not grow out of proportion. The initial plan to present the material into three consecutive parts has thus been revised.

Another related issue that arose during “research” concerns the historical development of European power metal. As have been noted in previous articles on this site relating to the history of metal music, artistic “movements” or periods of development tend last about five years speaking in generalized terms. This phenomenon can be observed in European power metal as well. After having studied Euro-power metal as a composite phenomenon, a rough sketch outlining the developmental trajectory of said music began to take form:

1984-1989: The first wave of European power metal.

1990-1995: Intermediate period.

1996-2001: The second wave of European power metal.

While not a perfect model, this rough periodic division will be used as a framework for discussion in the articles to follow. The relatively lengthy timespan that has passed since the putatively defined second wave of European power metal will be left out for the moment, primarily (and regrettably) because there hasn’t really occurred much of a development in power metal since the early 2000s. If anyone sits on information that invalidates the above statement, feel free to chip in – this writer would be very pleased to be proven wrong on this front.

Accordingly, the second part of this article series will be mainly devoted to the development and characteristics of the first wave of European power metal and the intermediate period that followed in its wake. Instead of approaching the subject in thoroughly generalized manner, a ???-track compilation will be used as source material to make observations about the historical development and specific traits of first wave Euro-styled power metal. Please not that this collection of tracks is by no means intended as a “best of”-compilation but should rather be viewed of as a springboard for further discussion.

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Adramelech Reissuing Pure Blood Doom

Pure Blood Doom, the notoriously hard to find second album by elite Finnish death metal band Adramelech, has been scheduled for re-release on cd and limited vinyl courtesy of Nuclear Abominations Records. According to the press-release, hungry customers can expect “new, remastered sound and new, improved layout and cover by artist Turkka Rantanen who already drew the original art”.

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Introduction to Power Metal, Part I: Origins and Influences

(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. (more…)

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Paramaecium – Exhumed of the Earth (1993)

In addition to its notoriously contradictive definitional nature, doom metal remains something of an enigma in terms of its enduring popularity. Whether or not one chooses to view it as a distinctive subgenre, style or even technique, doom metal must bear one of the most in-proportionate quotas within metal music when it comes to quantity over quality.  If attempting to depict doom metal from the perspective of enduring releases, the list of canonical works would become surprisingly short.  It seems plausible that part of the explanation to this sad state is embedded in the very characteristics of the style.  Doom bands have generally prioritized development of exceptionally powerful tools for conveying sonic heaviness at the expense of other aspects of the music. It might even be so that the techniques in themselves has forced artists into a particular way of writing music. Either way, there appears to be a widespread discrepancy between the means of expression and what is actually being expressed in doom metal; which in turn provides clues as to what makes for a genuinely satisfying doom-offering. With the above discussion in mind, today’s written offering presents the Australian death/doom act Paramaecium – one of few bands bearing the doom-tag that has managed to write compositions to match the sonic gravitas associated with said style.
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Control Denied – The Fragile Art of Existence (1999)

Control Denied was formed in the mid-1990s by late Death-frontman Chuck Schuldiner to cater to his desire to explore more traditional metal stylings.  Schuldiner, however, was still bound to Death’s contract with Nuclear Blast and thus agreed to record one more album under the Death-moniker before concentrating fully on his new band and musical direction.  As a result, songs originally intended for Control Denied were shoe-horned into a death metal context on The Sound of Perseverance (1998) which partly explains the lackluster, two-faced nature of the last and arguably worst Death-album. With contractual entanglements finally sorted out, Control Denied’s debut The Fragile Art of Existence saw the light of day in 1999.
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Heavy Metal In Academia

The last two decades has witnessed an exponential growth of studies devoted to popular music, coupled with a re-evaluation of past theories and models for interpretation and analysis. This paradigm shift has sparked interest in music “at the fringes” which in turn has led to the unlikely emergence of “metal studies”: a multi-disciplinary field of research centered around all things related to metal music.

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Ancient – “Eerily Howling Winds” (1993)

As previously pointed out by the editor of this site, metal demo recordings does not exist as crass commercial propositions with the sole purpose of advertising the market viability of the artist, but function — at least ideally — as independent works produced and distributed without further infringement from the recording industry. In spite of eventual shortcomings resulting from lack of budget, experience, and time, demo-level recordings remain a breath of fresh air because they oftentimes capture bands at a nascent and untempered creative stage.

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Black Funeral – Ankou and the Death Fire (2016)

Counting among the longest running US black metal institutions to date, Black Funeral has given birth to a motley collection of musical works over the last twenty-five years, spanning regional adaptions of Northern European black metal, over dark ambient and archaic/industrial drones, through the Les Legions Noires-styled raw melodic approach of later years.

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