Napalm Records’ outsourcing of Power Metal bands has been less than effective. However, Norway’s Kamelot was a surprising addition to the pantheon of the best Modern Power Metal bands, at least in heart. The best connection for this is their thirtieth studio album, The Awakening. To understand the alluring nature of the album, we must scrutinize each track.

“Overture (Intro)”:  4

   Listeners are enveloped within the first minutes of the album with a soft symphonic touch. Its outer beauty gives off a great smoke screen for the darker pieces of the proverbial puzzle to unwind. It’s a perfect metaphor and symbolism for the entirety of the record.

“The Great Divide”: 4

   They say first impressions are key. But I think the second time is more genuine; there seems to be a heavier application of candidacy within that experience. “The Great Divide” is a perfect example of it. First off, Tommy Karevik’s vocals are beautiful. His classical style enhances basic melodies within the genre, as salt to a tomato. Thomas Youngblood’s playstyle exalts the drumwork, while also boosting Karevik’s melodies. Alex Landenburg is at the forefront of the speed, which creates a less sharpened version of Judas Priest. The track covers overcoming deep personal struggles (brokenness, fear, madness) and longing for a lost love, using the “Great Divide” as a mystical boundary where light meets dark, symbolizing transition, reunion, and resurrection after immense suffering.

“Eventdie”: 4

   Listeners are brought into a heavier application of modern Power Metal. This track is near-perfect. The structure of the song feels odd, with the speed coming to fruition during the chorus, and the melodic side of Kamelot peeks its head in the verses. It’s an effective change-up, even if it’s just a swap within the track’s structure. It explores deep, lifelong companionship and unwavering support through life’s darkest moments, acting as a comforting presence (a guiding light or song) for a friend facing pain, loss, or challenges, symbolizing loyalty and shared memories until death reunites them, often interpreted as a powerful ode to friendship.

“One More Flag in the Ground”: 5

   I wasn’t expecting a Sabaton song. I may be completely wrong later on, but this is probably one of the most triumphant songs that ever existed. I love how full Karevik’s vocals sound on this track. The arena aspect of the track makes it one of the best tracks on the album. Kamelot uses warlike imagery to symbolize overcoming intense mental or physical battles, representing each step of healing or recovery as “One More Flag in the Ground,” a marker of victory against illness, despair, or personal struggles.

“Opus of The Night (Ghost Requiem) [Feat. Tina Guo]: 3

   Unfortunately, all good things must come to an end. However, my thoughts on this track are purely based on my own experience. The track drops everything for a more stripped ballad. My biggest problem is how overdone it is. Tina Guo is a fantastic vocalist, but she doesn’t add anything to the track.

“Midsummer’s Eve” (Feat.Tina Guo): 4

   I feel divided with this track. I heavily favor this song more than its predecessor, but I can’t place my finger on why it’s different. I could be the instrumental arrangements. But Guo does fantastically.

“Bloodmoon”: 5

   This is the track! Anytime I think of Kamelot, the first thing that pops into my head is “Bloodmoon.” I love how Karevik taps into his orchestral instinct, which combines a beautiful melody and an equally grandiose feeling. Also, this track holds some of Youngblood’s best leadwork. I can’t put into words how great this track is. If you listen to any of these tracks, this should be your priority. This song illustrates father-son estrangement, self-blame, painful acceptance, and finding peace through letting go, depicted through shifting perspectives, with a sorrowful father regretting abandonment and a son learning to love from afar, culminating in welcoming death (Azraelle) as release under a blood-red sky signifying finality and ancient cycles.

“NightSky”: 3

   Unfortunately, the fun bus halts to a stop. Even though I don’t think it’s horrible, after the momentum of the top half of the record. But I think it encapsulates the playstyle of Kamelot, and would heavily recommend it to newer fans of Kamelot, to at least get a stable feeling of how they approach Power Metal.

“The Looking Glass”: 3

   This track definitely isn’t a standout on the album by any means. But the song exemplifies Kamelot’s ability to fuse elements of progressive, power, and symphonic metal, offering a dynamic listening experience that combines a somewhat bleak or mysterious mood with moments of brightness and soaring melody. Even though I think Prog can be a heavy-handed application with something as powerful as Power Metal. 

“New Babylon (Feat. Melissa Bonny)”: 4

  The next track blends orchestral grandeur with a heavier application of rhythmic sections, not to say Youngblood’s leads weren’t great. Melissa Bonny’s powerful vocals, including growls, create dramatic contrast and epic scope alongside Tommy Karevik’s lead, adding depth to the narrative. The music and vocals build a massive, anthemic atmosphere befitting its theme of grand societal struggle. 

“Willow”: 3

    The song starts with sensitive piano, transitions from mellow verses to an epic chorus, and incorporates folk elements, creating a balance of speed, atmosphere, and big melodies. The track, at least on paper, would feel like a unique song, but it ends up being bland.

“My Pantheon (Forevermore)”: 5

   This is a perfect follow-up to “Bloodmoon.” It captures grandeur and the nature of how the band approaches their symphonic side. Even though Karevik doesn’t get into the registers of “Bloodmoon,” it still leaves me awe-struck on subsequent listens.

“Ephemera (Outro)”: 4

   After the previous track, the direction of the track leading out of the record left me wondering how they would do it. They end the album with a soft instrumental, one that ties a ribbon on this vast present.

   Overall, this record rejuvenated Power Metal as a genre. The genre tends to be monotonous since its definition is thinly veiled. But when a band like Kamelot pushes those boundaries, it creates a fun and effective listening experience.