#galneryus — Public Fediverse posts

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind of an unmedicated, hyperactive toddler whose special interests are cyborg dinosaurs and laser-wielding ninjas that promises the sort of maximalist, power cheese pungent enough to stink up any room. Luckily for us, German fromagers Victorius have been honing their brand of hook-forward, Saturday-morning-cartoon power metal for years. Their 7th album, World War Dinosaur, is a continuation of the band’s deeply unserious “space ninjas vs. holy dinosaurs” storyline showcased on records like Dinosaur Warfare – Legend of the Power Saurus, Space Ninjas From Hell,and Dinosaur Warfare Pt. 2 – The Great Ninja War. I’m all for ridiculous imagery and album concepts, as long as they don’t overshadow the compositions themselves. Can Victorius manage to avoid being crushed under the weight of their own cheese?

On World War Dinosaur, Victorius demonstrates a seasoned knack for crafting straightforward, yet satisfying, dinosaur-themed power metal bangers. The band’s execution of their over-the-top subject matter is less garish than one might expect, eschewing lengthy spoken-word sections or lore-heavy character backstories in favor of poppy power metal with dinosaur-specific hooks. Tracks are fast-paced and built around the tried-and-true power formula of hyper-melodic guitar/synth hooks over galloping drums, with huge, festival-ready singalong choruses, and Victorius are masters at transitioning seamlessly between the expected sections. It’s easy to get lost in the Galneryus-esque haze of dino rippers on songs like “Raptor Squad Attack,” “Brachio Bazooka Battalion,” and “Dino Power Resistance,” which fully lean into their concept. There’s a simple joyousness to be had in listening to well-executed, catchy power metal, and it’s only made more fun by the blatantly absurd subject matter.

Luckily, Victorius aren’t just coasting on a dumb (read: brilliant) gimmick; they actually play like a band that’s been around the block. Vocalist David Bassin, who’s sounded a bit weightless in the past, finally shows up swinging. Here, he sounds confident and inspired, helped by stacked vocal harmonies and gang shouts, which appropriately heighten big moments. Bassin’s soaring tenor absolutely shines while belting out ludicrous lines on ridiculous choruses (“World War Dinosaur,” “Dino Race From Outer Space), leading the charge and treating the “dino vs. ninja” subject matter as if his life depended on it. Beyond the choruses, it’s the truly infectious non-vocal melodic lines that stand out on repeated listens. Guitarists Dirk Scharsich and Flo serve up sharp, memorable leads that weave throughout the songs, with the opening fanfare of “Kingdom of the Strong” and “Lost Legacy” serving as highlights. Throw in the usual bombastic orchestration and gloriously tacky synth work, and suddenly these compositions coalesce into something that’s still sugary and familiar, but hit just a bit harder than your typical middling power metal.

I only wish World War Dinosaur saw Victorius take more musical and conceptual risks. Every song is in the 3-4 minute range, and nearly all of them follow the tried and true power metal formula. There are some mid-tempo cuts like “Evil Mean Megalodon” about a cybernetic shark/submarine of all things, but most tracks feel incredibly similar. This extends to the concept as well, which seems to exist primarily as dinosaur-covered wrapping paper over some standard power metal lyrics about war and battles. There seems to be very little about the actual dinosaur-ninja war as promised, with no narrative progression present, just several songs about dinosaur war units (“Raptor Squad Attack,” “Brachio Bazooka Battalion,” “Prehistoric Panzer Power”), one song about laser ninjas (“Lazer Ninja Thunderstorm”) and a vague conclusion about “fighting forever” (“Lost Legacy”). None of this really detracts from the fun, chorus-focused power metal on display, but it does feel like a minor missed opportunity to elevate the record beyond the sum of its parts.

Nonetheless, World War Dinosaur is a well-crafted, entertaining and incredibly campy slab of power metal. Victorius aren’t charting particularly novel territory, but they’re clearly familiar with the elements that make this style so enjoyable and the over-the-top concept helps to make the whole package more exciting. For those in search of some accessible power cheese to brighten their day, look no further.



Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Perception Records
Websites: victoriusmetal.net | facebook.com/victoriusmetal
Releases Worldwide: April 17th, 2026

Returning with their over-the-top, moar is moar philosophy of fun and shred, on Outstanding Power Lovebites cooks up a sugarbomb so explosive it’ll blow your teeth out your earholes. Minted in 2016, Lovebites has been slinging their brand of power metal for a decade, dropping five full-lengths over that time.1 Outstanding Power marks the band’s fifth full-length release and the first since 2023’s Judgement Day, and these women from Tokyo used the intervening three years to cast a platter that shatters any illusion of restraint. With kicks and licks galore, does Lovebites cram in too much of a good thing, or can their latest LP stand the power?

Anyone unfamiliar with Lovebites can approximate their sound as an all-female version of Galneryus,2 although Lovebites is much more than a clone of a great band. Their full-length debut Awakening from Abyss dropped in 2017, with subsequent albums Clockwork Immortality and Electric Pentagram released in 2018 and 2020, respectively. Both follow-ups impressed, but nothing quite reached the heights of their debut until fourth album Judgement Day hit shelves in 2023. Introducing new bassist Fami,3 Judgement Day honed Lovebites’ attack to a lethal edge, and with even more time spent sharpening their craft, Outstanding Power cuts deeper than ever.

Outstanding Power by Lovebites

Lovebites’ stable lineup exudes an electrifying chemistry throughout Outstanding Power. Each component of the band’s auditory milieu complements the others, whether it’s the blazing guitar tandem of Midori and Miyako, Haruna’s meticulously mechanical drumming, or Fami’s low-end purr and incredibly hooky countermelodies. Musically, Lovebites has never been this exacting. From the calculated rhythms in “Silence the Void” to the galloping rolls in “Blazing Halo,” Haruna’s drumming goads songs with an unflappable urgency that’s simultaneously composed and tempestuous. Meanwhile, Fami’s bass flexes mondo swagger that recalls Geddy Lee’s aggressive plucks and twangs (“The Castaway”) as well as Flea-bitten flourishes (the intro to “Blazing Halo”). In fact, the bass’s expanded role on Outstanding Power defines what elevates the album above the rest of Lovebites’ already first-rate output. Besides trading vicious solos and captivating riffs with fellow axe-bearer Midori, Miyako supplies the keys, channeling duel-lead, arpeggiated runs à la Children of Bodom (“The Castaway”) as nimbly as she blankets moods with Sonata Arctica-informed synth and piano (“Eternally,” “One Will Remain”). Atop it all, singer Asami coos, belts, and wails with a voice that some may find an acquired taste with her heavy use of vibrato, but is powerful and unique. Overall, the songwriting on Outstanding Power synchronizes into lock-step bombast, where each track dazzles with its own fully-fleshed identity and laser-honed melodies.

Though not without fault, Outstanding Power unequivocally claims the top spot in Lovebites’ catalog (so far). No small part of this is thanks to Fami and Haruna, who bring the rhythm section to the fore with undeniable performances that match the high-flying axe-work besieging previous releases. The biggest strike against Outstanding Power is the album’s sixty-four-minute runtime, which the sharp songwriting mitigates with infectious melodies and perfectly executed instrumentation. Even Outstanding Power’s weakest cut, seven-minute ballad “Eternally,” contains good moments despite fumbling Lovebites’ momentum down the home stretch. Add in the surprisingly spacious mix4 that gives the band ample space to pop and you’ve got yourself a bona fide power metal classic on your hands.

Power metal presents a challenge to rate, as its natural optimism and oft-cheesy tropes can be at odds with what typically engenders high scores and opinions, and makes Outstanding Power the most difficult score I’ve assessed up to this point. Throughout, Lovebites exemplifies power metal ethos, unleashing high-octane shredded cheese with a flagrant nonchalance that is shamelessly irresistible. With Outstanding Power, Lovebites not only delivers their greatest achievement so far, but the best power metal release I’ve heard in over a year. Relentless riffs, grooves, and fills assail listeners with flamboyant moxie and technical ecstasy, defining an album I haven’t been able to put down since I got my grubby mitts on the damned thing. If fun won’t kill you, give Lovebites’ opus a spin. Or maybe give it a listen anyway, because what’s life without a little Love?

Rating: Great
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 18th, 2026

Maddog

Much to her chagrin, Thus Spoke and I share many things in common. Chief among them is our anaphylactic allergy to major scales; being the two resident vegans, we struggle with cheesy music.5 While this has made power metal a difficult subgenre, Lovebites is an exception. Our coverage of this Japanese juggernaut has been scarce, but I gave 2023’s Judgement Day a tempered positive filter review. Outstanding Power has the same foundation as Lovebites’ prior work, but with a beefier rhythm section, more variety, better riffs, hookier hooks, and more cohesive songwriting. It’s a fantastic record.

Outstanding Power is textbook power metal, in the same sense that Rust in Peace is textbook thrash. The centerpiece is Asami’s vocal performance, which is appropriately over-the-top but steps back to let the instruments shine. Lovebites’ most visible weapon is their dual-guitar assault. Across theatrical leads, deathy riffs, and unrestrained solos, guitarists Midori and Miyako display a mastery of melody. Even with such stiff competition, Lovebites’ rhythm section stands out. Fami’s bass plays every part it can, with blistering riffs, playful lines that recall a young Steve Harris, and explosive additions to choruses. Haruna’s drumming is a gem, especially when her lavish fills and opening salvos help stitch the album together. Both the bass and the drums peak when their respective musicians take the songwriting reins; Fami’s collaborative composition “Blazing Halo” features irresistible dueling bass and guitar solos, while Haruna’s “Forbidden Thirst” highlights her grooviest drum work. No member of Lovebites ever fades into obscurity.

Outstanding Power holds me rapt throughout. Across their hyperactive leads, 1980s virtuoso shredfests (“One Will Remain”), and fanciful Mark Knopfler-style (Dire Straits) joyrides (“Wheels on Fire”), guitarists Midori and Miyako don’t miss a beat. Their dominance becomes clearest when they join forces. Lovebites’ harmonies recall Iron Maiden, and the guitarists’ knack for separating and rejoining makes “The Castaway” an early contender for Song o’ the Year. Asami’s vocals aren’t bulletproof, particularly in her higher register. Still, the vocals and the guitars forge an ironclad alliance that raises Outstanding Power to new heights. The guitars’ imitation of the vocal shouts on “[Grin] Reaper’s Lullaby” makes me grin every time, while the orgiastic leads that accompany the final chorus of “Out of Control” remind me of Madonna’s classic “Burning Up.” Even the ballad “Eternally” is a triumph. While its vocal melodies are memorable, “Eternally” takes a cue from Gamma Ray’s “Lake of Tears” in delegating much of the heavy lifting to the weepy guitars. These ingredients make Outstanding Power a wellspring of enormous climaxes. The guitar solos are at once emotive and explosive (“The Eve of Change”), and each song ends with pizzazz (“Silence the Void”). In short, Outstanding Power is a goddamn pleasure.

Outstanding Power is such a spectacle that I can’t even begrudge its excess. I hear Sunburst in the chugging riffs of “Blazing Halo.” I hear Riot in the downright rowdy “Silence the Void.” I hear 1980s electronica interspersed with chest-thumping power metal in “The Eve of Change.” I hear Symphony X in the vocal melodies and the atmosphere of “Forbidden Thirst.” I hear Kryptos’ heavy metal revival in the rockin’ ruffian riffs of “Out of Control.” I hear blackened melodeath in the vicious “Reaper’s Lullaby,” contrasting with the heart-rending ballad “Eternally.” Most importantly, I hear Lovebites in every moment. All five band members sustain the album’s shifts while sticking to their signature styles. With its balance of variety and continuity, Outstanding Power feels half as long as its 64-minute runtime. Due to the album’s wide emotional range, I even grew to love its more upbeat tracks. Criticizing Lovebites for sounding cheerful seems akin to criticizing Monet because you don’t like yellow water lilies; sometimes flowers are yellow, you twit! Outstanding Power tries to do a lot, and it nails every piece.

As I struggle to process this album, I’m reminded of Eldritch Elitist’s review of Imperial Circus Dead Decadence. Yes, Outstanding Power is self-indulgent; what’s your point? Lovebites paints their variegated image of power metal with five brushes and five million colors, and the result is astounding. It isn’t perfect, and the crushed master makes it harder to appreciate the album’s finer features. But Outstanding Power easily won over my shriveled heart. While major scales make me gag, these ones just feel like the crest of a wave. While I tend to balk at hour-long albums, this one goes by in a heartbeat. Power metal isn’t my usual fare, but Lovebites has created a masterwork.



Rating: 4.5/5.0

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce