ORION'S REIGN — Scores of War (review)

ORION'S REIGN — Scores of War album cover

Album · 2018 · Power Metal

5/5 · 2018-12-17
siLLy puPPy

After having gotten their feet wet in the mid-2000s with an EP and their debut album “Nuclear Winter,” the Athens based Greek band ORION’S REIGN seemingly disappeared from the scene as quickly as they emerged however a more careful analysis will find that in the decade gap between their debut and their 2018 long-awaited sophomore release SCORES OF WAR, the band were undergoing a series of lineup changes and most surprisingly of all an endless series of Christmas music singles that includes all the classics such as “We Wish A Merry Xmas,” “Rudolph The Red Nosed Reindeer (Heavy Metal Version),” “Carol Of The Bells (Symphonic Heavy Metal Version), “Deck The Halls,” “Jingle Bells (Heavy Metal Version)” and “Santa Claus Is Coming To Town (Symphonic Heavy Metal Version.)”

While such a path may not sound like the logical way for a metal band to find their way to their next album, somehow ORION’S REIGN made all the right decisions over the decade long period and finally release one of the most compelling displays of modern power metal that i’ve heard in a long time, a true surprise considering that the debut “Nuclear Winter” found a fledgling band checking off all the proper symphonic / power metal boxes but failed to coalesce the proper elements into totally convincing slices of modern metal that stood out from the pack. Hampered by an adequate but less than outstanding vocalist as well as a shoddy production and mixing job, “Nuclear Winter” served more as a demo that advertised the band’s potential rather than fully realized prowess. SCORES OF WAR on the other hand finally delivers on the promises of that very potential only touched upon.

Stylistically ORION’S REIGN doesn’t deviate significantly from where they started a decade ago. They continue their mix of symphonic and power metal with the expected operatic and melodic vocal performances accompanied by twin guitar metal attacks in the perpetual dance with the rhythmic bombast of bass and drum action with extra attention paid to lavish symphonic backdrops and rich vocal tapestries from the addition of several guest vocalists that form a choir. On paper, the two albums are identical, however SCORES OF WAR actually succeeds in placing all the required elements into the proper places and with the arrival of the outstanding vocalist Daniel Vasconcelos, the band is truly ready for primetime as not only to they find the proper vocalist but took the required studio time for the intricacies of production and mixing. The result is a perfect power metal specimen that stands proudly above the modern day competition.

In addition to the change of guard for vocal duties, bassist Kostas was replaced by guitarist Michael Batistatos who adopted the secondary bass duties for SCORES OF WAR and rhythm guitarist Themis found a replacement by George Thanasoglou. In addition to the five official members, the cast is joined by the additional keyboard works of Bob Katsionis and four guest vocalists which include Norwegian born Marit Minniva Børresen (who participated in most of the Christmas covers), Tim “Ripper” Owens (Judas Priest, Ice Earth etc), Mark Boals (Dramatica, Holy Force etc) and Irene Chrysostomidi. The new talent on board in conjunct with the excellent compositional arrangements and perfectly placed individual elements in relation to one another guarantees one of the best power metal experiences of 2018.

As “Elder Blood” introduces the album, we are treated to a substantially improved choir experience, a Celtic jig melody and the phenomenal vocal range of newbie Daniel Vasconcelos, who whizzes up and down the scale shattering glass with notes so high only your dog can hear them. With introductions unleashed, the track wastes no time jumping into a superb mix of thundering guitar riffs, pummeling bass and drums, symphonic backdrops and an excellent arrangement of Vasconcelos’ powerful operatic vocal style and the even more outstanding mix of the choral vocalists who often initiate a call and response effect. The track finds a satisfying climactic resolution with the twin guitar ferocity of neoclassical shredding as George Thanasoglou and Michael Batistatos trade off Maiden-esque guitar inspiration as well as pure neo-wankery. A perfect power metal track that cedes into the magnanimous nature that constitutes the entire SCORES OF WAR experience.

The album continues its symphonic metal bombast with a collection of eleven tracks that deliver the expected rampage expected from an album titled SCORES OF WAR. Whereas “Nuclear Winter” often felt like an exercise in futility, SCORES OF WAR is graced with a sense of self-assurance and epic perfection. Guitars gallop in a fiery power metal fury, bass and drums follow suit and the intricate melodies which are clearly fueled by power metal standards are infused with Celtic folk and other ethnic influences that offer tastier than usual forays into the melodic metal camps. Perhaps one of the most prominent of these Celtic folk outbursts comes int he form of “Nostros.” Like any great album SCORES OF WAR isn’t always on the rampage but has near ballad tenderness in the form of “Withering Heart” but for the most part the album sallies forth like a cannonade of soldiers on the battlefield.

Modern power metal is very hit and miss with me as i require the high standards of the genre to be up to par on every detailed level. The vocals have to be powerful and epic, the guitars have to smack you in the face and the rhythmic groove has to be incessantly powerful while the symphonic elements swoosh and swirl into atmospheric perfection. ORION’S REIGN somehow despite all odds got their act together and crafted an album that takes all of the best aspects of bands like Rhapsody of Fire, Kamelot, Nightwish, Iron Maiden, Helloween, Gamma Ray and other top power metal dogs and constructs a true slice of heavy metal perfection on SCORES OF WAR. The album is dramatically paced as it deviates just enough from the epic bombast in favor of interludes of sensual softness. In all honesty, the vocals of Vasconcelos in cahoots with the choral arrangements are what put this album in top league status for me. This is an outstanding example of modern symphonic power metal and one not to be missed.

more than 2 years ago
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siLLy puPPy wrote:

more than 2 years ago

Thanks :) What's not to like? Everything done is performed perfectly. If someone doesn't like this album then they simply don't like symphonic power metal. Not sure if you've heard the debut but it's almost a miracle this was created!