Power Quest
Neverworld

Here I am again, this time to review a gem of power metal, an album that aims unambiguously to propose itself as the natural holder of the most defined form of the genre, putting it in writing as soon as the play button is pressed:

the keyboard offers a sound like that of a church, shrunk and softened by an eminent mixing, which blends it with the percussion and the guitar reverb, converting everything into an elegantly harmonious complex, reminiscent of the organ. The guitarist (Martongelli) uses the guitar like a certain Schaffer (although here the sound is then muffled). Alessio Garavello (vocals) then attacks with a melody that is both powerful and languid, with lyrics that deal with something entirely different, yet always poetic, rhapsodic, narrating daring feats through this voice excellent in extension, but concluded only on the final vowels. The melodic structure of the track, I repeat, is wonderful, I will not describe it further to avoid becoming pedantic, but it truly deserves it - unfortunately, the CD becomes boring after a while having to maintain the power frequency, yet still hats off.

Next is ‘Temple of fire’ which is no longer a masterpiece, yet has very pleasant fast vocal lines, thanks to this excellent singer; variations in tempo; nice high notes, so again, full marks here. The following 'Edge of time' has a melody set to the heavy metal standards, a melodic scheme that reprises the first verse alternating the final accent, resumed on the metric extension of the second. The guitar riffs remain excellent; while the lyrics stay aligned with warlike deeds in the quest for immortal fame. ‘Sacred land’ returns to the power style, atypical here as well are the vocal lines, fast, similar to that of a soldiers’ march, obviously sung at high speed to the fourth. The following ‘When I’m gone’ is another of the three masterpieces: a slow track, where the verses move away from the commanding fury and rest on the natural backdrop where such deeds are accomplished, slow and expressive vocal lines, as if trying to express an intimate feeling. Accompanying them, we find a flute along with the acoustic guitar following the beautiful melody that closes with low notes, excellently executed by Garavello as well. Then follows a splendid guitar solo...

After such class, a CD can only get worse, as is the case with the next three tracks, which I leave aside in favor of the concluding ‘Lost without you,’ another masterpiece: an echo in the background reminiscent of wild natural landscapes and clear springs, thanks to a shiny-effect guitar melody, romantic vocal lines shared between Garavello and another singer, equally skilled in extension; then the power passages resume. Romantic and poetic lyrics, really well written.

I believe I have said everything already. An excellent album, a pity for the staticity.