Hello Gang!
Just to let you all know, I am no longer with the AA webzine (notice my new blank signature!) and in the process of setting up a new site where my friends and I can have some fun in writing the occasional reviews etc. To add, our ongoing support of Power Quest and Symphony will continue with pride.
In any case, I have no idea if and when my Power Quest review is going to see the light of day anytime soon, so as approved by Symphony, I'd really like to share this with you guys. It's a little long and in-depth, but I'd appreciate your comments! I wrote this early December by the way. OK, here we go:
***
The word on the street was that Power Metal was creating a stir on the British shores. Could that be? The words Power Metal and British typically dont fall into the same sentence. In fact, these days, youre hard pressed to hear about any metal coming out of Ol Blighty. But just like their public transport, the Brits have a knack of being absent for a painfully long wait, and then they all seem to conveniently arrive at the same time.
Upon his departure from DragonHeart (now called DragonForce), the mastermind behind Southampton-based Power Quest, Steve Williams, began to assemble the band in March 2001 to quench his personal appetite for Power Metal, particularly in a country dominated by a dance sub-culture, and where the term underground is simply associated with the London subway. Simultaneously, the grapevine started screaming with British bands categorized in similar genres, to name but a few: the aforementioned DragonForce, who have already accompanied the likes of Halford, Stratovarius, and Falconer on stage, dominated the metal charts on MP3.com, and now signed to Sanctuary; Shadow Keep, a Power Progressive Metal band, signed to LIMB music and now co-existing on those eye catching colorful spreads announcing any new Rhapsody or Luca Turilli offering; and of course the already magnificent Threshold, who very recently shook the foundations at ProgPower USA, and left a lasting impression on the Americans that confirmed there is life yet in Her Majestys island. Perhaps the description of creating a stir, therefore, is an understatement to say the least. To add, all these bands, including Power Quest themselves, have had life gracefully breathed into their production by Karl Groom (Threshold guitarist/producer) at UKs Thin Ice Studios, who is inadvertently taking on the moniker of being father figurehead for anything that resembles a fellow native Power or Progressive inkling.
Williams couldnt have timed his music-driven goal with Power Quest better therefore. Indeed, after hearing the early rendition of Far Away on an MP3 web download, Power Quests Wings of Forever became as much sought after as the Avantasia follow-up to The Metal Opera. Coincidentally, the standout features of Far Away were reminiscent of something Tobias Sammet might have written for an early Edguy release including the choir driven vocals, and keyboard-laden melodies. And now, after hearing Wings of Forever in its entirety, its very apparent that Williams, being the main song writer, has taken a further range of widespread Power and Traditional techniques to his scripted magic, yet maintaining the key ingredient of fist-flying and sing-along melody in both instrumentation and vocals respectively.
Starting the album with Prelude to Destiny, Power Quest set the stage with a symphonic instrumental, only to be highlighted with an emotion-filled guitar break courtesy of Andrea Martongelli, who also happens to be the latest addition to the Power Quest camp. The guitar solo, regardless of its shortened duration, hints at an immediate exotic quality that Marty Friedman might have let bleed into his Kitaro-inspired compositions from Scenes. Wings of Forever announces the signature vocal and keyboard melodies, where the keyboard tends to lead the orchestrated direction, and the guitar and bass string attack throws the listener into their double-time crunch. The song inevitably emits a tone of regality, similarly showcased in the Kamelot opus, Karma. Far Away, with all its hype building qualities, will probably become a Power Quest trademark to their live set. I have no doubt this will become their Run to the Hills or Paranoid, with fans demanding an encore before they see the chance to escape the arena. The choir-like introduction, augmented with the echoing acapella, could conceivably be the Power Metal chorus of the year. Talk about bringing the house down on a debut. And were only on the second song into the album.
Quickly reiterating my mention of widespread influences, Power Quest have searched beyond what Helloween might have instigated by delving deeper into the roots of the Iron Maiden tree, particularly in tracks like Glory Tonight (which, by the way, contains a keyboard solo that ranks right alongside a Jens Johansson medley from his days of early Malmsteen) and Freedom of Thought. In fact, for lack of a better term, we could quite easily refer to these tracks as Maiden on steroids. Interestingly, however, Power Quest have not necessarily delivered a symposium of constant double-bass driven metal throughout Wings of Forever, which in all honesty is tiring in any sub-genre, whether it be Power Metal or otherwise. To accentuate the need for variety, and indeed extend the attention and listening pleasure, tempos need to change throughout all the songs in my humble opinion, and indeed within the songs themselves. Power Metal bands should take a leaf out of the Book of Edguy when it comes to learning this art, and a similarly strong example is offered in Power Quest (Part I) where the track is held at a mid-tempo balance. Its a good thing that Williams holds Edguy in such high regard, because hes obviously been doing his homework. Good man.
I need to digress a little here and jump to Immortal Plains specifically to bring attention to vocalist, Alessio Garavello. As mentioned earlier, much emphasis has been made to keep vocal melodies to the utmost importance throughout Wings of Forever, and for the most part they work outstandingly. But note that they typically work better when performed at a slightly higher vocal range. So here comes my first piece of constructive criticism to Power Quest. Garavello, singing at a low range during the verses of Immortal Plains seems obviously stretched. Fortunately, hes helped along by the female touch of Tina Groom, wife to Karl, who provides backing that really brightens the overall impact. However, on the plus side, during the chorus the octave is brought up a notch and Garavello magically transforms into a vocal mirror of Andre Matos. Its quite extraordinary. The same applies to the chorus in Freedom of Thought, where the vocals help mold the track into a Matos-era Angra frenzy. This is something that Power Quest may want to explore further on their sophomore outing, and perhaps take better advantage of allowing Garavello to just let go and hit the high notes throughout.
So now that I have Wings of Forever finally in my possession, Im already feeling a twinge of greed in wanting to hear their sophomore. OK so shoot me - patience was never my virtue - but based on their news updates, it appears that Power Quest have already lined up ten new songs. If that isnt teasing, then I dont know what is, especially when a debut such as this is so uncommonly sensational. Ladies and Gentlemen, Power Quest have left the building - but theyll be back. And if they can create this much of a stir with a debut, one cannot imagine the forceful delivery of a three-prong guitar lineup that theyve already begun to hint at in their much anticipated return.
Ill therefore address my summary to the likes of Steve Harris: take note and read the smoke signals rising out of Southampton. Better still, take your fellow countrymen out on one of your tours. There are bands worthy of your support, so look closer to home the Quest must indeed go on.
-JayKeeley
***
Just to let you all know, I am no longer with the AA webzine (notice my new blank signature!) and in the process of setting up a new site where my friends and I can have some fun in writing the occasional reviews etc. To add, our ongoing support of Power Quest and Symphony will continue with pride.
In any case, I have no idea if and when my Power Quest review is going to see the light of day anytime soon, so as approved by Symphony, I'd really like to share this with you guys. It's a little long and in-depth, but I'd appreciate your comments! I wrote this early December by the way. OK, here we go:
***
The word on the street was that Power Metal was creating a stir on the British shores. Could that be? The words Power Metal and British typically dont fall into the same sentence. In fact, these days, youre hard pressed to hear about any metal coming out of Ol Blighty. But just like their public transport, the Brits have a knack of being absent for a painfully long wait, and then they all seem to conveniently arrive at the same time.
Upon his departure from DragonHeart (now called DragonForce), the mastermind behind Southampton-based Power Quest, Steve Williams, began to assemble the band in March 2001 to quench his personal appetite for Power Metal, particularly in a country dominated by a dance sub-culture, and where the term underground is simply associated with the London subway. Simultaneously, the grapevine started screaming with British bands categorized in similar genres, to name but a few: the aforementioned DragonForce, who have already accompanied the likes of Halford, Stratovarius, and Falconer on stage, dominated the metal charts on MP3.com, and now signed to Sanctuary; Shadow Keep, a Power Progressive Metal band, signed to LIMB music and now co-existing on those eye catching colorful spreads announcing any new Rhapsody or Luca Turilli offering; and of course the already magnificent Threshold, who very recently shook the foundations at ProgPower USA, and left a lasting impression on the Americans that confirmed there is life yet in Her Majestys island. Perhaps the description of creating a stir, therefore, is an understatement to say the least. To add, all these bands, including Power Quest themselves, have had life gracefully breathed into their production by Karl Groom (Threshold guitarist/producer) at UKs Thin Ice Studios, who is inadvertently taking on the moniker of being father figurehead for anything that resembles a fellow native Power or Progressive inkling.
Williams couldnt have timed his music-driven goal with Power Quest better therefore. Indeed, after hearing the early rendition of Far Away on an MP3 web download, Power Quests Wings of Forever became as much sought after as the Avantasia follow-up to The Metal Opera. Coincidentally, the standout features of Far Away were reminiscent of something Tobias Sammet might have written for an early Edguy release including the choir driven vocals, and keyboard-laden melodies. And now, after hearing Wings of Forever in its entirety, its very apparent that Williams, being the main song writer, has taken a further range of widespread Power and Traditional techniques to his scripted magic, yet maintaining the key ingredient of fist-flying and sing-along melody in both instrumentation and vocals respectively.
Starting the album with Prelude to Destiny, Power Quest set the stage with a symphonic instrumental, only to be highlighted with an emotion-filled guitar break courtesy of Andrea Martongelli, who also happens to be the latest addition to the Power Quest camp. The guitar solo, regardless of its shortened duration, hints at an immediate exotic quality that Marty Friedman might have let bleed into his Kitaro-inspired compositions from Scenes. Wings of Forever announces the signature vocal and keyboard melodies, where the keyboard tends to lead the orchestrated direction, and the guitar and bass string attack throws the listener into their double-time crunch. The song inevitably emits a tone of regality, similarly showcased in the Kamelot opus, Karma. Far Away, with all its hype building qualities, will probably become a Power Quest trademark to their live set. I have no doubt this will become their Run to the Hills or Paranoid, with fans demanding an encore before they see the chance to escape the arena. The choir-like introduction, augmented with the echoing acapella, could conceivably be the Power Metal chorus of the year. Talk about bringing the house down on a debut. And were only on the second song into the album.
Quickly reiterating my mention of widespread influences, Power Quest have searched beyond what Helloween might have instigated by delving deeper into the roots of the Iron Maiden tree, particularly in tracks like Glory Tonight (which, by the way, contains a keyboard solo that ranks right alongside a Jens Johansson medley from his days of early Malmsteen) and Freedom of Thought. In fact, for lack of a better term, we could quite easily refer to these tracks as Maiden on steroids. Interestingly, however, Power Quest have not necessarily delivered a symposium of constant double-bass driven metal throughout Wings of Forever, which in all honesty is tiring in any sub-genre, whether it be Power Metal or otherwise. To accentuate the need for variety, and indeed extend the attention and listening pleasure, tempos need to change throughout all the songs in my humble opinion, and indeed within the songs themselves. Power Metal bands should take a leaf out of the Book of Edguy when it comes to learning this art, and a similarly strong example is offered in Power Quest (Part I) where the track is held at a mid-tempo balance. Its a good thing that Williams holds Edguy in such high regard, because hes obviously been doing his homework. Good man.
I need to digress a little here and jump to Immortal Plains specifically to bring attention to vocalist, Alessio Garavello. As mentioned earlier, much emphasis has been made to keep vocal melodies to the utmost importance throughout Wings of Forever, and for the most part they work outstandingly. But note that they typically work better when performed at a slightly higher vocal range. So here comes my first piece of constructive criticism to Power Quest. Garavello, singing at a low range during the verses of Immortal Plains seems obviously stretched. Fortunately, hes helped along by the female touch of Tina Groom, wife to Karl, who provides backing that really brightens the overall impact. However, on the plus side, during the chorus the octave is brought up a notch and Garavello magically transforms into a vocal mirror of Andre Matos. Its quite extraordinary. The same applies to the chorus in Freedom of Thought, where the vocals help mold the track into a Matos-era Angra frenzy. This is something that Power Quest may want to explore further on their sophomore outing, and perhaps take better advantage of allowing Garavello to just let go and hit the high notes throughout.
So now that I have Wings of Forever finally in my possession, Im already feeling a twinge of greed in wanting to hear their sophomore. OK so shoot me - patience was never my virtue - but based on their news updates, it appears that Power Quest have already lined up ten new songs. If that isnt teasing, then I dont know what is, especially when a debut such as this is so uncommonly sensational. Ladies and Gentlemen, Power Quest have left the building - but theyll be back. And if they can create this much of a stir with a debut, one cannot imagine the forceful delivery of a three-prong guitar lineup that theyve already begun to hint at in their much anticipated return.
Ill therefore address my summary to the likes of Steve Harris: take note and read the smoke signals rising out of Southampton. Better still, take your fellow countrymen out on one of your tours. There are bands worthy of your support, so look closer to home the Quest must indeed go on.
-JayKeeley
***
