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  1. Dragonland – Prophecies Review By ClarkKent

    Welcome to Disney World Dragonland! Its five kingdoms four realms provide hours of fun and entertainment for the whole family. Take a trip through a futuristic Tron-like realm in a fancy sports car! Sail the high seas through stormy waters that threaten to capsize your ship with 100-foot waves! Hike the scenic mountain trails at the mercy of the vicious, fire-breathing dragons! Explore an obliterated city from a post-apocalyptic world while dodging falling meteorites! Wait, this sounds way more terrifying than what was advertised when I originally booked my family trip. Isn’t this supposed to be symphonic power metal? I thought that was supposed to be harmless fun. Dragonland has been at the sympho-cheese act for quite some time, 27 years to be exact, but their output has slowed considerably compared to their more youthful times. When a less olde Steel Druhm reviewed Under the Grey Banner in 2011, it was their fifth release in ten years. Now they make a triumphant return to the blog 15 years later for album number seven, Prophecies. Is it worth the price of admission?

    Perhaps one advantage of less frequent releases is that it allows Dragonland to keep the spunk and energy of their youth. They take the good cheer of Fellowship and combine it with the fantasy-seasoned cheese of Rhapsody of Fire and Gloryhammer to make for some rather inspired tunes. Prophecies opens with gusto on the galloping, joyful “The Prophecy Unfolds,” complete with synth wizardry and some guitar fireworks. Beneath that cheer, however, the record can take a rather bleak view of humanity. On “Survival of Mankind,” for example, Jonas Heidgert sings with ironic joy, “Wastelands as far as your eyes can behold / Those before us brought destruction and despair.” It shouldn’t require a spoiler alert to say that a message of hope lurks behind the often dark lyrics, thanks to the uplifting music as well as a redemptive arc in the closing minutes of the finale, “Cries of Anguish.”

    While the bulk of Prophecies contains rollicking, galloping tunes, Dragonland have plenty of other tricks up their sleeves to keep the record interesting. The synths provide a distinct ’80s character to some tracks. “Rolling Waves” opens with the synth rock touches of Duran Duran, and then there are hints of ’80s synth pop on “Dragonland.” This latter song takes its energetic start and rips into a banger complete with a fun gang vocal chorus. Anders Hammer’s bass also makes a strong mark throughout Prophecies, with a Stratovarius-inspired bit on “Making Darkened Nights So Bright” as well as a funky bridge solo on “Call of the Wild.” The slower, piano-led ballad, “Light of the Sunset,” gives Heidgert the opportunity to show his range, crooning gently in the early goings and then belting his heart out in an emotional climax. Dragonland shake up their rigid formula on the more progressive “Glory and Gold.” This seafaring piece feels like a missed opportunity to partner up with the nautical Terra Atlantica, and at the very least could serve as the start of a raucous adventure film.

    Dragonland puts its power metal formula mostly to good use, writing tight, catchy songs that nonetheless begin to sag as the album drags on. Part of the issue is the generically uniform riffs that serve as the music’s backbone. Jesse Lindskog offers up some guitar solos here and there, often mixed with Elias Holmlid’s wild keyboard fretting, but the fact remains that the guitars feel almost like an afterthought for the most part. Prophecies also ends up feeling bottom-heavy, as tracks begin to creep into five-minute territory on the back half. They’re still fun songs, but their length does cause Prophecies to sag as it reaches its conclusion. Fortunately, “The Call of the Wild,” featuring the record’s best lead riff as well as an excellent chorus, swoops in to spice things up down the final stretch.

    If you’re a fan of the cheese, don’t miss out on this roller coaster ride of an album. Dragonland offers the thrills and joys of an amusement park ride from the safety of your headphones. They have managed to sound just as fresh and exciting as the newbies in the field. They may not shred like Dragonforce, but they’ve retained and sharpened a decades-old identity thanks to sharp songwriting and plenty of spunk. Buckle up and prepare yourself for one glorious ride.

    Rating: 3.5/5.0
    DR: 6 | Format Reviewed: 256 kbps mp3
    Label: Scarlet Records
    Websites: Bandcamp | Facebook
    Releases Worldwide: October 23rd, 2026

    #2026 #35 #DragonForce #Dragonland #DuranDuran #Fellowship #Gloryhammer #Oct26 #PowerMetal #Prophecies #Review #Reviews #RhapsodyOfFire #ScarletRecords #Stratovarius #SwedishMetal #SymphonicMetal #SymphonicPowerMetal #TerraAtlantica
  2. Terra Atlantica – Oceans Review

    By Kenstrosity

    I had almost forgotten about German four-banger Terra Atlantica since I last covered them five years ago. Once my memory refreshed, I recalled what compelled me to snag Age of Steam in the first place: my love for steampunk. Far from the most dedicated—and perhaps even farther away from the best—piece of media based on that universe, Terra Atlantica nonetheless did sound appropriately grounded in a world propelled by superheated water. But their songwriting was too inconsistent to make a big splash with this sponge. With follow-up Oceans in tow, is their hope that Terra Atlantica will hoist my sails properly this time?

    With a new lead guitarist, Terra Atlantica finds themselves armed with a more folk-driven base that sends their sea-faring stories even further into open water than ever before. Veering into jaunty pirate metal territory, Oceans boasts a wide variety of baubles and decorative deviations scattered around their cookie-cutter power metal foundation. Terra Atlantica’s unusually reedy vocals carry over from the last record, evoking a certain Muppet-y personality that I don’t hate, but which many could. Canned strings and horns make a resurgence as well, pushing Oceans deeper into symphonic territory. In short, Oceans is as cheesy a power metal record as can be without being Fellowship, only without even half the songwriting acumen.

    In fact, songwriting is Oceans’ greatest downfall. Numbers that could’ve been great on their own merit find themselves stranded by downright infuriating choices. The greatest offenders are “Hoist the Sail,” ruined almost immediately once Terra Atlantica cribs the legendary “The Rake Hornpipe” for an overlong bridge and solo; and overblown closer “Oceans of Eternity,” which once again copies and pastes more than one segment from a piece of well-known classical music1 to pad its runtime without doing anything meaningful with them. Outside of those rage-inducing moments, though, there’s still very little substance to Oceans. Due to its dogged reliance on basic genre building blocks and banal lyrics, Oceans is effectively wall-to-wall tropes and fairytale pirate stereotypes (“Back to the Sea,” “Where My Brothers Await,” “Land of Submarines”).

    Indeed, Oceans reminds me of a metallized The Muppet Treasure Island soundtrack, minus that masterpiece’s compositional excellence. Nonetheless, flashes of brilliance give me some hope that Terra Atlantica have the potential to write showstoppers worthy of positive comparisons to that iconic OST. “Raven in the Dark,” for example, might be the album’s strongest whole song, pumping a stadium-ready melody and boasting a sticky chorus and fun hair-metal solo. “Caribbean Shores,” too, maximizes its fun factor with a novel bit of tropical songwriting not often heard in power metal, unless you are Twilight Force. Additionally, I do appreciate the injection of real heft and a vaguely thrashy personality in “Turn of the Tide.” If these novelties and convincing attributes were integrated more successfully into a greater portion of Ocean’s runtime, the record would feel quite a bit different than what metal fans have been taught to expect from the symphonic power scene.

    Unfortunately, Terra Atlantica only reinforce what metal fans learned to dread. To wit, a dearth of musical creativity in relation to material density, an overt abuse of classical standbys in the place of what should be original material (or at least a creative use of reference), and clear and present stereotyping in writing, theme, and lyrical content. What little hints of potential Terra Atlantica leave for listeners across Oceans’ relatively tight 49 minutes do not make up for the burden of uninspiring, sometimes outright annoying, material offered. Steer clear of this if you know what’s good for you, lads!

    Rating: Bad
    DR: 5 | Format Reviewed: 320 kb/s mp3
    Label: Scarlet Records
    Websites: terra-atlantica.de | facebook.com/terraatlantica
    Releases Worldwide: September 26th, 2025

    Show 1 footnote

    1. We all know each of these melodies well, and I am almost completely sure they’re Mozart, but I cannot for the life of me find the name of the composition they’re from. ↩

    #15 #2025 #Fellowship #FolkMetal #GermanMetal #Mozart #Oceans #PirateMetal #PowerMetal #Review #Reviews #ScarletRecords #Sep25 #SymphonicMetal #TerraAtlantica #TwilightForce

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