Evermore |Mournbraid |Scarlet Records

Release Date 20.03.2026
Format CD/Digital/Vinyl
Genre Power Metal
Country Sweden

Sweden’s power metal scene is usually a coin toss between over-produced pop masquerading as metal or genuine, fire-breathing anthems. With their third outing, "Evermore", the trio known as Mournbraid firmly plants their boots in the latter camp. This isn't some basement project; the production is massive and gives the aggressive riffs the space to actually sting. Johan Haraldsson possesses a set of pipes that can hit those soaring heights without sounding like he’s stepped on a Lego, providing a serious backbone to the melodic chaos unfolding behind him.

The guitar work on tracks like "Underdark" and "Nightstar Odyssey" is where the dirt lives. Johan Karlsson isn't just noodling around but layering thick, crunchy rhythms against orchestrations that actually add muscle instead of just fluff. It’s got that classic Judas Priest or Helloween DNA but stripped of the cheesier tropes that usually plague the genre. The drums from Andreas Viklands are relentless, driving "Titans" and "Armored Will" with a mechanical precision that keeps the energy from dipping into boring territory.

What actually works here is the songwriting. "Mournbraid" moves away from singing about dragons and wizards to focus on the grit of human struggle and personal hells. You can hear the bite in "Oath Of Apathy" and the haunting atmosphere of "Ravens At The Gates". It’s heavy, it’s melodic, and it’s catchy enough to get stuck in your head after one spin. They’ve refined the formula to a point where the hooks in "The Illusionist (Raise The Curtain)" feel like a punch to the jaw rather than a polite suggestion.

Is it the most revolutionary thing to ever come out of Scandinavia? No, but it’s a damn fine display of how power metal should be played in 2026. It’s loud, it’s proud, and it’s got enough attitude to satisfy anyone who misses when this genre had some actual teeth. If you want soaring vocals and riffs that demand a speeding ticket, Evermore delivers the goods without any unnecessary filler or pretentious nonsense.

Score: 7.5

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Mystfall |Embers Of A Dying World |Scarlet Records

Release Date March 20^th, 2026
Format CD
Genre Symphonic Metal
Country Greece

Mystfall formed in Greece to blast out gigantic symphonic metal. The band returns with their second full-length album, "Embers Of A Dying World". Marialena Trikoglou handles the soprano vocals, joined by Aris Baris on guitar, Stelios Vrotsakis on bass and vocals, and Dimitris Miglis on drums. The quartet constructs huge cinematic soundscapes layered over crushing metal instrumentation.

"Embers Of A Dying World" paints a bleak picture of a totally ruined planet. The songs plunge into an alternate dimension where nightmares rip into human survival. The lyrics drag the listener through the brutal aftermath of humanity wrecking the earth. The album asks if any organic life will survive the apocalypse we unleashed.

The music balances extreme orchestral madness and shredding guitars. Aris Baris lays down destructive riffs under the operatic singing. Dimitris Miglis and Stelios Vrotsakis hammer out a steady, thunderous rhythm section throughout the entire playtime. Producer Dionisis Christodoulatos ensures the mix sounds huge and punishing at CFN Recordings Studios.

The stunning cover art by Giannis Nakos visualizes the ruined world perfectly. Symphonic metal requires epic scope, and Mystfall delivers huge scale. The Greek quartet executes their dark vision with total aggression. Fans of huge choirs and heavy riffs will completely devour "Embers Of A Dying World". This second album rules.

Score: 8.0

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Aeon Gods |Reborn To Light |Scarlet Records

Release Date February 20^th, 2026
Format CD/Digital/Vinyl
Genre Epic/Power Metal
Country Germany

Aeon Gods roared out of the German scene with a heavy fixation on ancient myths and a lineup that sounds like they just stepped off a chariot. Led by Alex ‘Sol'ra-Tu’ Hunzinger, this crew operates under a "myth-driven" banner, adopting god-like personas and theatrical flair. Their previous work established a foundation of symphonic weight, and now they’re pivoting their focus toward the scorching sands and cryptic underworlds of ancient Egypt.

If you’re hunting for a journey through the “Amduat” without the dry history lecture, "Reborn To Light" is the ticket. Aeon Gods take the legend of the sun-god Re and turn it into a high-speed chase through the night. The production is massive, thanks to Simone Mularoni’s desk work, ensuring the guitars and keyboards fight for dominance without one killing the other. It’s got that big, cinematic energy that fans of the epic style crave, trading the usual European forests for desert temples and divine warfare.

The songwriting leans heavily into the "Amduat" and "Re's Dying Reign" multi-part sagas. Instead of just throwing random tracks together, the band links these chapters to tell a story of solar cycles and rebirth. "Barque Of Millions" and "Soldiers Of Re" bring that classic power metal gallop, fueled by grand choirs and a lot of melodic firepower. It’s the kind of stuff meant for a big stage, which makes sense considering their upcoming tour with Victorius.

While the album stays firmly in the lane of bands like Sabaton or Wind Rose, it packs enough orchestral muscle to stay interesting. "Feather Or Heart" and "Blood And Sand" provide a balance between aggressive riffing and those huge, soaring hooks that stay stuck in your skull. The Egyptian theme isn't just a gimmick but baked into the atmospheric passages and the way the keyboards layer over the percussion. It’s a loud, proud display of heroic metal that plays to the back of the room.

Score: 8.0

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Ancient Settlers |Autumnus (Revisited) |Scarlet Records

Release Date: November 28^th, 2025
Format: Digital EP
Genre: Melodic Death Metal
Country: Spain

Ancient Settlers are a melodic death metal band from Spain, active since the late 2010s and known for blending harsh intensity with strong melodic lines. After early releases that built their identity, the band entered a new phase in 2025 with the addition of vocalists Nia Creak and Noelia Fernández Jiménez, expanding their expressive range and live presence.

“Autumnus (Revisited)” marks the first studio release with the new vocal lineup and revisits material from the band’s debut EP through a renewed lens. This is not presented as a nostalgic exercise, it works as a refined reintroduction of Ancient Settlers at a moment of internal change. The production is heavier and clearer, giving the songs a sharper outline and a stronger emotional pull, without drifting into excess.

The core of the EP lies in the reworked versions of “A Monument Restored”, “Die Around Me” and “Diamond Eyes”. These songs gain depth through updated arrangements and a more pronounced dynamic range. The dual vocal approach plays a central role, alternating harsh deliveries with melodic passages that add tension and contrast. The writing focuses on momentum and atmosphere, keeping the listener engaged through shifts in pace and intensity. 

Lyrically, “Autumnus (Revisited)” deals with decay, betrayal, renewal and inner conflict. The themes are direct and introspective, matching the darker tone of the music. The inclusion of full lyrics reinforces the conceptual side of the EP and invites closer attention to the emotional layers behind the aggression and melody.

Visually, the cover artwork by Khalipse mirrors the music’s darker elegance, highlighting vulnerability and resilience without exaggeration. Overall, “Autumnus (Revisited)” presents Ancient Settlers as a band reshaping its own material with focus and clarity, offering a concise and well defined release that reflects their current identity.

Score: 8.0

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Sun Of The Suns | Entanglement | Scarlet Records

Release Date: 12 December 2025

Format: CD/Digital

Genre: Progressive/Technical/Death Metal

Country: Italy

Sun Of The Suns emerged in 2021 with “Tiit”, an introduction that placed them among the more adventurous names in modern extreme metal. The Italian band built their identity on cosmic themes, heavy rhythmic patterns, and a futuristic sonic palette. “Entanglement” continues that path with a much broader scope, shaped by a strengthened lineup and a stronger narrative core. The production by Simone Mularoni keeps every element sharp and readable, giving the album a steady pulse that suits its vast atmosphere.

The band leans into cosmic existential aggression with determination, pairing brute force with melodic lines that carry emotional weight without softening the impact. Luca Scarlatti delivers vocals that cut through the mix with control, sometimes harsh and other times strained in a way that matches the album’s tension. The guitar work from Marco Righetti and Ludovico Cioffi moves between heavy rhythmic stomps and spiraling leads that lift the songs into a more otherworldly zone. Francesco Paoli’s drumming brings a high technical level, fast enough to keep the energy strong and precise enough to maintain order inside the chaos.

The writing takes a journey through destruction, introspection, and cosmic isolation, and the band approaches these ideas with a sense of scale that fits the theme. The shorter tracks work as bursts of intensity, while the longer ones let the narrative expand. The title track, “Entanglement”, unfolds like an entire story by itself, climbing gradually into a massive section that ties together everything the band explores throughout the album. Despite the celestial angle, the music always stays grounded in aggression, offering plenty of moments that hit hard without sacrificing atmosphere.

“Entanglement” shows Sun Of The Suns growing into their own identity. The album brings modern death metal brutality with a cosmic twist, delivered with seriousness and a commitment to world building. Every section feels intentional and tightly shaped, always pushing the album forward without losing focus. It is a strong continuation of their path and a clear sign that the band aims high.

Score: 7.5

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Darktribe | Forgotten Reveries | Scarlet Records

Release Date: 21 November 2025

Format: Digital / CD

Genre: Progressive Power Metal

Country: France

Formed in the mid-2000s in southern France, Darktribe built their name through a distinct approach to progressive power metal, technical yet emotional, complex and direct. Their previous releases, including “The Modern Age” and “Voici L’Homme”, showed a band with a strong philosophical streak, where melody and introspection walked hand in hand. Known for their meticulous production and lyrical storytelling, Darktribe has evolved into a thoughtful voice within the European metal landscape.

With “Forgotten Reveries”, Darktribe returns after five years of silence, and the result is a mature, cinematic, and deeply human work. The album moves through intricate structures and rich harmonies, combining the rhythmic punch of modern power metal with the elegance of progressive ideas. There’s a constant dialogue between the reflective and the triumphant, between the storm and the light that follows it.

Anthony Agnello’s vocals remain the emotional core, soaring with clarity and determination while retaining a distinctly personal tone. His delivery has a struggle and resilience, which fits perfectly with the album’s recurring themes of fear, solitude, and inner discovery. The guitars of Loïc Manuello weave between heavy riffs and expressive melodies, shaping the songs with aggression and grace. Behind them, the rhythm section of Bruno Caprani and Guillaume Morero provides drive and cohesion, pushing the dynamics without losing balance.

Production-wise, Simone Mularoni’s touch is immediately recognizable, crisp and powerful, giving every instrument room to stand on its own while keeping the energy constantly alive. The result is an album that sounds vibrant and immersive, offering the listener a journey rather than a sequence of songs.

Lyrically, “Forgotten Reveries” travels through human emotion and memory, asking questions about identity, time, and the traces we leave behind. Tracks like “The Fallen World” and “Eden And Eclipse” balance introspection with momentum, while “Kings In The Sand” expands that sense of searching into something almost mythic. There’s a clear narrative running beneath the surface, one that speaks to the fragility of existence but also to its beauty.

This is music written with care, precision, and a rare kind of sincerity. It’s ambitious without becoming overblown, thoughtful without losing accessibility. “Forgotten Reveries” confirms Darktribe as a band that values depth over flash, crafting metal that is as engaging to the heart as it is to the mind.

Score: 8.0

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Glasya | Fear | Scarlet Records

 

Release Date: 24 October 2025

Format: Jewel Case CD

Genre: Symphonic Metal

Country: Portugal

Three albums in, Glasya has secured a steady place in the symphonic metal landscape of Southern Europe. Formed in Lisbon, the band blends cinematic arrangements, strong melodic sensibilities, and a theatrical flair that recalls both the grandiosity of film scores and the emotional power of traditional metal storytelling. Led by frontwoman Eduarda Soeiro, whose background includes performances with Moonspell on tour, the band has become known for their detailed narratives and orchestral arrangements. After “Heaven’s Demise” and the ambitious “Attarghan,” they now return with “Fear,” an album that continues their fascination with personal transformation and inner conflict.

“Fear” unfolds as a journey through self-doubt, discovery, and triumph. It’s an album that walks through shadowed corridors of the mind, lit by the glow of orchestral strings and powerful choruses. The title track opens with a duet between Soeiro and Moonspell’s Fernando Ribeiro, immediately setting a dramatic atmosphere. The chemistry between them is striking, both voices pushing and responding to each other with tension and resolve. The story deepens in “In Debris,” another collaboration with Ribeiro, which expands the cinematic scale while keeping a strong sense of melodic focus.

Across the album, Glasya merge heavy riffs with lush orchestrations and vocal harmonies that would not feel out of place in a fantasy soundtrack. “Glimpse Of Memory” brings in Michele Guaitoli from Visions Of Atlantis, creating a soaring symphonic moment filled with melodic richness. “Rising Wildfire,” featuring Sara Leitão of Dark Oath, takes a more heroic tone, almost like a rallying call within the album’s narrative. “Rescue,” with tenor Filipe de Moura, adds a different texture, its operatic elements give it a grand theatrical flavor.

Soeiro dominates the album with a commanding range, moving from intimate whispers to powerful high notes without losing emotional depth. Her storytelling voice remains central to Glasya’s identity, supported by a band that knows how to balance heaviness and cinematic detail. Guitars from Hugo Esteves and Bruno Prates bring rhythm and melody together with precision, while Davon Van Dave’s keyboards build the orchestral backdrop that defines the album’s tone. The rhythm section, with Ivan Santos and Pedro Correia, anchors the songs firmly, keeping the cinematic elements from floating too far into fantasy territory.

Production-wise, the sound is spacious and dynamic. Fernando Matias (known for his work with Sinistro) delivers a mix that allows each layer of the arrangement to breathe. Mastering by Jaime Gomez Arellano (Ghost, Behemoth, Paradise Lost) adds a professional finish that suits the album’s scale. The artwork by Phobos Anomaly Design reflects the inner battle at the heart of the story, combining elegance with tension. “Fear” is an album made for those who enjoy theatrical, melodic, and cinematic metal. It does not rush to impress with technical fireworks; instead, it draws the listener into a story and keeps them there until the end. Glasya’s narrative approach, combined with their musical discipline, makes “Fear” a satisfying continuation of their path.

Score: 7.8

 

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Elettra Storm | Evertale | Scarlet Records

 

Release Date: 24 October 2025
Format: CD, Digipack, Vinyl
Genre: Power Metal
Country: Italy

“Evertale” is the sophomore album from Elettra Storm, weaving through heroic journeys, battles, and mystical adventures. The album balances speed-driven passages with melodic stretches, giving space for each instrument to express itself while keeping the songs memorable. Crystal Emiliani’s voice shines throughout, delivering emotion and energy that matches the narratives in every track.

The songs vary in style without losing cohesion, and moments explore prog-infused sections with intricate arrangements, while others hit with the energetic pulse of fast power metal. Keyboards and keytar textures add depth, while dual guitars and drums give the album a dynamic edge. Tracks like “If The Stars Could Cry” show the band exploring longer, dramatic structures, whereas “Ride The Rainbow” and “Hero Among Heroes” capture the uplifting and epic essence typical of the genre. Lyrically, the album reads like a collection of stories, offering adventure, mystery, and the triumphs of its characters.

Production is sharp and well-balanced, thanks to Simone Mularoni at Domination Studio, with the mix and mastering highlighting both the melodic and technical sides of the band. For fans of melodic and fast-paced power metal, “Evertale” offers a satisfying and engaging experience, with songs that stick to your memory and performances that command attention. The album can be a strong addition to any collection of modern European power metal.

Score: 7.8

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Terra Atlantica | Oceans | Scarlet Records

    Formed in Kiel, Germany, Terra Atlantica have been sailing the seas of power metal since 2014. Inspired by myths, adventures, and grand storytelling, the band combines driving riffs with orchestral elements and strong melodic hooks. Over the years, they’ve built a reputation as one of the more imaginative names in the new wave of European power metal, blending the fantasy-driven traditions of Rhapsody Of Fire with seafaring tales reminiscent of Alestorm, yet always keeping a more classic, heroic edge. “Oceans” marks their fourth studio album and continues their voyage into epic storytelling and maritime myth. The album was mixed and mastered by Eike Freese at Chameleon Studios, with cover art by Dusan Marcovic, and even features Piet Sielck of Iron Savior as a guest on “Through The Water And The Waves.”

With “Oceans”, Terra Atlantica throw their anchor firmly into the waters of classic power metal and set course for an adventurous journey. Across eleven tracks, the band sails through stormy battles, mysterious depths, and triumphant horizons, always backed by a bright and energetic sound. From the symphonic intro “Ocean Fever” straight into the galloping “Back To The Sea,” it’s clear that this is an album made to sweep listeners away into its world.

The music balances fast, double-bass-driven power metal with uplifting choruses that feel tailor-made for festival crowds. Songs like “Hoist The Sail” and “Caribbean Shores” radiate pure pirate energy, while “Turn Of The Tide” and “Where My Brothers Await” offer more melodic, emotional passages. The collaboration with Piet Sielck on “Through The Water And The Waves” adds extra strength, bringing a veteran’s presence to the album. The closing epic, “Oceans Of Eternity,” stretches past ten minutes and ties the journey together with symphonic grandeur and a sense of finality.

Although Terra Atlantica are often labeled as another “pirate” power metal act, they clearly aim to bring something more theatrical and story-driven than the tongue-in-cheek style of Alestorm. Running Wild may have been the original pioneers of pirate-themed heavy metal, but Terra Atlantica carry the torch in a modern, more symphonic way—less beer and chaos, more legends and adventure.

Overall, “Oceans” is crafted with a sense of fun, energy, and imagination that fits well within the world of European power metal. Fans of Sabaton, Gloryhammer, Rhapsody Of Fire, Edguy, Avantasia, Dragony, and of course Alestorm will easily find a new companion for their playlist. The production is strong, the performances tight, and the atmosphere transports the listener straight into the world the band wants to paint.

Score: 6.5

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Reinforcer | Ice And Death | Scarlet Records

 

Reinforcer is a German melodic power metal band formed in Paderborn. Emerging on the scene with their 2021 debut “Prince Of The Tribes,” the group quickly caught attention for their epic sound rooted in classic power metal traditions. Their style blends galloping riffs, driving rhythms, and anthemic choruses, carried by a flair for storytelling inspired by myths and history. With Logan Lexi on vocals, Niclas Stappert and Tobias Schwarzer on guitars, Fabiàn Rodriguez on bass, and Lasse Schmiedel on drums, Reinforcer delivers music that appeals to fans of Blind Guardian, Running Wild, Iced Earth, and Manowar. “Ice And Death” marks their second full-length release, once again channeling themes of legends, folklore, and the eternal clash of heroes and villains.

 “Ice And Death” is a fast-paced and adventurous journey into epic landscapes of myth and history. The album captures the essence of heroic power metal through driving double bass, fiery guitar harmonies, and choruses designed for mass sing-alongs. From the opening anthem “Heir Of The Bear,” Reinforcer establishes a storm of riffs and sweeping melodies that set the stage for what follows.

The band draws inspiration from both history and dark folklore. Songs like “Bring Out Your Dead” and “The Piper” reflect tales of plague and superstition, while “Skogamor” and “The Witch Mayor” dive into mysterious and eerie storytelling. The title track “Ice And Death,” referencing the Norse frost giant Ymir, feels like the towering heart of the album, combining strength with cold grandeur.

Musically, the album moves with energy and precision across its nine tracks, balancing speed-driven passages with more melodic moments. Logan Lexi’s voice has a strong presence, cutting through the mix with clarity and passion, while the twin guitar attack of Stappert and Schwarzer keeps the songs dynamic and memorable. The rhythm section holds steady power, driving the pace forward without hesitation.

At 37 minutes, “Ice And Death” is compact yet full of character, avoiding unnecessary filler and delivering one story after another with intensity. It has the kind of straightforward power metal appeal that works both for longtime fans of the genre and for listeners looking for music steeped in adventure and myth.

Score: 7.0

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Black Majesty | Oceans Of Black | Scarlet Records

 

 Black Majesty formed in Melbourne, Australia, in 2001, quickly establishing themselves within the global power metal scene with their debut album, “Sands Of Time” (2003). Known for their energetic compositions, melodic guitar leads, and soaring vocals, the band has built a loyal following across Europe and Australia. Over the years, they have shared stages with heavyweights of the genre and consistently delivered albums rooted in traditional metal foundations. “Oceans Of Black” marks their eighth full-length release and reflects the band’s ongoing commitment to melodic power metal, bringing both experience and intensity to the fore.

“Oceans Of Black” continues Black Majesty’s trajectory with confidence and clarity. The album plays with a balance of aggressive rhythm work, high-pitched melodic vocals, and anthem-like choruses that feel purpose-built for live performances. From the opening charge of “Dragon Lord” to the expansive closer “Ghost In The Darkness,” the band embraces a consistent tone and pacing that fans of the genre will immediately recognize and appreciate.

John Cavaliere’s vocals remain one of the band’s key assets. His delivery on songs like “Lucifer” and “Only The Devil” blends theatrical flair with precision while never overwhelming the structure of the compositions. The dual guitars of Hanny Mohamed and Clinton James Bidie bring harmonic runs and memorable leads, driving forward tracks like “Set Stone On Fire” and “Hell Racer” without veering into self-indulgence. The production—courtesy of Ricardo Borges and final mastering by Jens Bogren—ensures that each element is audible without smothering dynamics.

The title track, “Oceans Of Black,” strikes a strong midpoint, setting a tone of perseverance amid darkness, consistent with the album’s themes. Elsewhere, songs like “Raven” and “Astral Voyager” offer quick bursts of speed and classic power metal flair, firmly rooted in the genre’s traditions. The inclusion of keyboards, subtly integrated by Mohamed, gives occasional atmospheric breadth without dominating the sonic space.

Throughout the album, Zain Kimmie on drums and Evan Harris on bass provide tight, driving momentum, giving weight to even the more mid-tempo moments. There’s a clear sense of purpose in how the rhythm section supports each track, pushing forward without unnecessary complexity.

“Oceans Of Black” does not stray far from the path Black Majesty has carved across two decades, but it doesn’t need to. The songwriting remains direct and effective. The album is cohesive, energized, and fully aware of its audience—delivering an experience steeped in power metal tradition without relying on excess or overwrought embellishment.

Score: 7.8

Game Over | Face The End | Scarlet Records

 

 Formed in 2008 in Ferrara, Italy, Game Over emerged as one of the most persistent acts in the modern European thrash metal circuit. Built on a foundation of breakneck riffing, streetwise energy, and a strong DIY ethic, the band quickly made a name through relentless touring and a string of independent and label-backed releases. Inspired by the genre’s late '80s aggression and attitude, they cultivated a loyal fanbase across Europe and beyond.

2025 marks a turning point with the arrival of Danny Schiavina on vocals and Leonardo ‘Leo’ Molinari on bass, transitioning Game Over into a five-piece format. This lineup change signals not only a fresh direction but a broadening of the band’s sonic palette while staying anchored in their thrash metal roots.

“Face The End” is a sharp and focused outing that continues Game Over’s commitment to straightforward thrash, now delivered with an expanded sense of atmosphere and density. The addition of synth textures and horror-inspired interludes gives the album a cinematic dimension that doesn’t disrupt the band’s traditional punch but rather complements it.

Fast-paced and relentless in nature, tracks like “Lust For Blood” and “Neck Breaking Dance” carry an infectious momentum, bolstered by tight rhythm work and pummeling double-bass. The band comfortably navigates shifts from acceleration to groove without losing their grip on intensity. Danny Schiavina brings a sharper vocal character—gritty and aggressive, yet articulate—fitting well with Game Over’s modernized approach. The guitars of Luca ‘Zeero’ Zironi and Alessandro ‘Sanso’ Sansone remain front and center, churning through fast riffs, tight palm-muting, and melodic interjections that avoid excess.

The production from Simone Mularoni is weighty but spacious, giving each instrument room to move without muting the album’s direct attack. Songs such as “Veil Of Insanity” and “Crimson Waves” introduce subtle, eerie backdrops drawn from vintage horror soundtracks—an effective touch that adds drama without taking away from the riffcraft.

Tracks like “Tempesta” and “Gateway To Infinity” show Game Over taking small creative risks with structure and pacing, offering contrast through brief atmospheric moments, Italian-language sections, and guitar arrangements that lean toward heavy metal harmony.

Lyrically, “Face The End” carries an undercurrent of urgency and disillusionment—social collapse, personal reckoning, and the fractures of time all figure prominently. Without preaching or turning overly abstract, the album confronts unease through direct and biting lines, delivered with conviction.

From start to finish, “Face The End” sounds like the product of a band with renewed cohesion. The interplay between the five members is tight, the arrangements are efficient, and the sound feels purposeful. The album’s pacing keeps things engaging through its final moments, avoiding fatigue while offering plenty for listeners who favor both speed and atmosphere.

Game Over remains committed to thrash, and “Face The End” confirms their place in the current wave of bands pushing the genre forward without abandoning its core spirit.

Score: 8.3

Trick Or Treat | Ghosted | Scarlet Records

 

 Trick Or Treat was formed in 2002 in Modena, Italy, originally as a Helloween tribute band. Over the years, the group carved its own identity within the melodic power metal landscape, combining fast-paced rhythms, vibrant guitar harmonies, theatrical themes, and a distinct humorous tone. The band gained recognition with albums like “Tin Soldiers” and “Rabbits’ Hill Pt. 1 & 2”, blending epic narratives with an energetic and positive musical approach often referred to as "happy metal". Fronted by Alessandro Conti—also the vocalist of Twilight Force and formerly of Luca Turilli's Rhapsody—the band has been a consistent creative force in European melodic metal, building a dedicated fanbase through their theatrical stage presence and well-crafted anthems.

“Ghosted” is a conceptually fun and sonically crisp album that fuses classic power metal with humorous and spooky horror motifs. As with earlier releases, Trick Or Treat relies on high-speed rhythm sections, catchy choruses, layered melodies, and theatrical vocal work, but this time it filters it all through a deliberately campy haunted house aesthetic. There’s a noticeable embrace of nostalgia—not only in musical references but also through pop culture homages that span horror films, cult video games, and European comic books.

The atmosphere of the album is crafted to be both eerie and lighthearted, something Trick Or Treat has experience balancing without becoming parody. Tracks like “Evil Dead Never Sleeps” and “The 13th” are clearly influenced by genre icons, not just in their lyrical content but also in the way the music amplifies the drama, tension, and tongue-in-cheek dread of their cinematic inspirations.

Guest vocalists Chris Bowes (Alestorm) and Adrienne Cowan (Avantasia/Seven Spires) bring variety without interrupting the album’s cohesiveness. Bowes contributes his recognizable pirate-infused style, while Cowan offers theatrical range that complements Conti's dramatic delivery. These appearances feel integrated rather than ornamental.

Production by Simone Mularoni is tight and balanced, giving the instruments space while ensuring the vocal harmonies remain prominent. The guitars—handled by Guido Benedetti and Luca Venturelli—shift fluidly between speedy leads and melodic twin harmonies. The rhythm section, with Leone Villani Conti on bass and Dario Capacci on drums, stays true to genre traditions, never experimental but consistently driving.

While there is no shift in musical direction, “Ghosted” works as a celebration of the band’s strengths. The references to “Monkey Island”, “Nightmare On Elm Street”, and “Dylan Dog” are presented with a sense of playfulness and affection, never feeling forced. The thematic cohesion is matched by the visual artwork created by Alessandro Conti himself, which reinforces the album’s cartoonish gothic tone.

“Ghosted” won’t surprise longtime fans, but it does reinforce Trick Or Treat’s identity with consistency and character. This is an album meant to be fun, melodic, and dramatic in equal parts, succeeding most where energy, clarity, and concept intersect.

Score: 7.5