A good majority of Power Metal is summed up by its lyrical concepts. Whether it be a Dungeons and Dragons-esque soundtrack or covering the Norse Mythos, sometimes the genre can become muddied by the amount of variation. At times, sacrificing a band’s sound for the lyrical statements they make. The Greek masterminds of Firewind perfectly allocate their musicianship with their eighth studio album, Immortals. To grasp this, we must delve into the album track by track to see whether Immortals and Firewind are another face in the Power Metal Scene or more.

“Hands of Time”: 4

   Getting started, Firewind fires off on all cylinders. One of the biggest pieces of this song is the drumming from Johan Nunez. His speed delivers what the approach to the song would be. The melodies Henning Basse hits on vocals are unique and ground the track in its Power Metal ontology, which everyone seems to love. Obviously, we can’t skip over a track without referencing the absolutely masterful guitarwork of Gus G. His leniency on the more rhythmic sections helps exalt Nunez. The track is an expression of the futility of changing the past during a conflict, as a desire for revenge clashes with the acceptance that what is done cannot be undone.

“We Defy”: 4

   Moving on, we get a nice tip-of-the-hat compositionally to Judas Priest. Basse’s vocals switch from the soaring nature of the previous track to a full arena sound. It perfectly characterizes the song alongside the clashing speed and methodicism of Gus and Nunez’s speed. I also have to shout out Petros Christodoulidis’ Bass riffs for perfectly linking them together.  I think it sits on the ears in comparison to the more modern feeling “Hands of Time.” Its central message is about maintaining one’s identity and refusing to be defeated by external forces or the inevitability of death.

“Ode to Leonidas”: 5

   In the many albums I have listened to, there aren’t many that capture the triumph of Firewind present in this track. From the starting monologue to the rising verse and soaring choruses, everything has magnitude. Gus’ constant balance of tribal rhythms with his masterful leadwork cements him as one of the genre’s best. Basse takes on a commandership role that reflects the monologue, delving into Ronnie James Dio’s approach to vocals. I can’t say enough about how good this track is, and it expands itself out front of the Power/Folk Metal. The Ode captures the bravery, sacrifice, and defiant last stand of King Leonidas and his 300 Spartan warriors at the Battle of Thermopylae.

“Back on the Throne”: 4

   Firewind returns to the classic sound of Power Metal. However, whereas “We Defy” only dips into certain aspects of the instrumentation, this track goes full force. Gus’s leads are fully reflective of the mindless mayhem of Judas Priest. I may be wrong, but I can hear a little bit of Bruce Dickinson’s vocal flair in Basse’s vocals. It’s unrelenting, but fun. “Back on the Throne” is an illustration of a defiant leader, a king or a general, who has faced defeat but is now returning to power to restore his rule.

“Live and Die by the Sword”: 4

   Following that near-masterpiece, “Live and Die by the Sword” applies older fantasy Power Metal. The track mirrors the sound of 90s bands of the same genre. It’s effective and shows the power in Basse’s voice. Other than that, the instrumentation does feel a little too generic, but I think that’s what they were going for, at least I hope so. The song’s lyrics explore the destructive nature of this cycle, where the methods of one’s success (or downfall) can lead to their own ruin and reflect themes of war, conflict, and a fight with no clear victor.

“War of Ages”: 4

   This was an unexpected turn. I love it when older bands explore more simplistic avenues instead of trying to reinvent the wheel. By doing this, they are already. The progression of Basse’s melodies. Under the catchy but simple sound is a generic speed metal application that hits the correct beats for the radio-friendly sound to shine. This song reminds me a lot of what Ensiferum did on their album Winter Storm. They combined the baseline versions of Power Metal and Melodic Death Metal and created something that had major levels of depth. “War of Ages” is about embracing a “warrior spirit” to overcome challenges and rise to your potential.

“Lady of 1000 Sorrows”: 5

   Few bands fully master the art of tracklisting. Firewind placed “Lady of 1000 Sorrows” in the best spot they could. Gus’s leadwork is powerful within the encapsulation of the ballad application. This is also by far the best track Basse has sung on. The ballad structure helps flex the band’s proverbial muscles for melodies. Nunez’s simplistic drumming illustrates the balance between the softer accents without fully sacrificing their heaviness. The song represents a powerful, destructive force or a personification of tragedy that has brought ruin and a multitude of sorrows, but the lyrics also suggest a hope that something new can emerge from the ashes of what has been destroyed.

“Immortals”: 4

   “Immortals” is a smaller interlude transitioning into the next track. I think the string arrangements are effective and perfectly encapsulate the sound of the preceding track.

“Warriors and Saints”: 3

   Unfortunately, all good things must come to an end. You would think a song worth having a two-minute interlude would be worthy of something grand, or even deep instrumentally. What listeners get is a basic-sounding Power Metal track. The track does, however, convey a powerful message about the struggle for justice, honor, and freedom.

“Rise from the Ashes”: 4

   Finally, listeners move on to the finale. ‘Rise from the Ashes” sums up a lot of the strengths of this album. Basse’s vocals soar throughout the song, pushing its limits each verse and chorus. Gus absolutely shreds in his leads and provides a near-perfect lower end to the granular feeling of the choruses. A surprising addition is the crisp slides for the smaller lulls in the transitions of the tracks on behalf of Christodoulidis. The song describes a state of living in “total isolation” and “wasted time,” where fear and twisted minds threaten one’s freedom. The central theme, directly expressed in the chorus, is a call to action and self-empowerment.

   Overall, this record shows the effectiveness of Power Metal as a genre. Even though there are better albums by their contemporaries, it’s hard not to look at this album as the Ocam’s razor of the genre.