Power Quest's 'Sixth Dimension' - Album Review

As I have said on here many times, power metal really is not much of a British thing. It is something that has never really caught on over here, with most of the European exponents of the genre playing token London shows in small venues as part of much larger European tours. There are a few well-known power metal acts from these shores however, and Power Quest are probably one of the most famous. The band was formed in 2001 by keyboardist Steve Williams after leaving the genesis of what would become DragonForce and an album, Wings of Forever, was released a year later. Due to his DragonForce connections, members of that band have appeared on Power Quest albums over the years along with a revolving door policy of official members with many people coming and going from Power Quest over the years. Williams is the sole-remaining original member of Power Quest, but it really is his band in every sense of the word as he has single-handedly written the majority of the band's songs over the years and his signature keyboard playing is a huge part of the band's upbeat sound. Fans of the band were sad however when, in 2013 and after five studio albums, Williams decided to end Power Quest for financial reasons. It seemed that the band were truly over for good, and Williams went on to join the multi-national melodic rock band Eden's Curse and played on their 2013 studio album Symphony of Sin and their 2015 live album Live with the Curse. It seemed that this time with Eden's Curse forced him to reconsider his decision to put Power Quest on ice, and last year he announced that he was putting the band back together with a new line-up and an album in the works. Joining Williams this time are bassist Paul Finnie and drummer Rich Smith, who had both previously been members of Power Quest and contributed to 2011's Blood Alliance, along with new members frontman Ashley Edison (Dendera), and guitarists Glyn Williams (Triaxis) and Andy Kopczyk (I AM I). A three-track EP called Face the Raven was released last year, featuring twins Gavin and Dan Owen on guitars who were originally part of the revived Power Quest before being replaced earlier this year, to excellent reviews and it only heightened people's interest in the band's upcoming sixth studio album. This album, titled Sixth Dimension, was finally released a couple of weeks ago and it is the band's first album for six years. In contrast to the heavier, more progressive Blood Alliance, Sixth Dimension definitely sees the band return to the more pure power metal sound found on their earlier albums, with a little of the AOR tinges found on 2008's Master of Illusion. As far as power metal goes, this is a great example of the genre, and shows that top quality melodic metal can come out of Britain. As is usually the case with a Power Quest album, there are quite a few guest musicians that contribute their individual skills to certain songs.

The album opens with the fast-paced power metal anthem Lords of Tomorrow, which is led by a jaunty keyboard lead that sits atop some crunchy guitar rhythms. All of the tropes of the power metal genre are present here, with soaring melodies provided by the keyboards and Edison's vocals taking centre stage, with a tough rhythm beneath led by Smith's varied drum performance. As suspected, the song's chorus is the centrepiece of the song and is where the biggest hooks can be found. Edison's vocals soar, and the mix of slower and heavier riffs really helps to create a memorable atmosphere. The majority of the guitar solos here seem to be played by Glyn Williams, and he impressed here with a lengthy solo section which also sees him trading licks with his namesake Steve Williams (no relation). Starlight City opens with Smith's powerful drumming, before a heavier guitar riff kicks in that is instantly memorable. Despite the overall slightly heavier feel, this is one of the songs where the band's AOR influences can be heard. While the guitars chug away throughout the song, the keyboards are always high in mix and help to provide a melodic sheen at all times. The song's chorus again reflects that AOR influence, with simple but extremely catchy vocal melodies that really jump out of the speakers. While there is some excellent guitar work in the instrumental mid-section, it is Steve Williams' keyboard solo that really stands out for me. Keyboards are always a big part of any power metal album, and it is great to hear so many fluid leads throughout. Kings and Glory, one of the album's singles along with the opening number, picks up the pace again despite a slower, keyboard-heavy intro. The verses steam along at a good pace, with some excellent drumming from Smith and Edison really racing to get the vocals out in time! Edison is a real find for Power Quest, as he has a very slightly lower voice than average for the genre which fits in with the type of vocalists the band have had in the past but he can still unleash plenty of extremely high screams when necessary. His performance on this song is excellent, as he sings the fast-paced vocals extremely clearly before fully expressing himself in the melodic chorus. It is on the next number, Face the Raven, however which really allows Edison to really showcase his abilities. This a new version of the song that appeared on last year's EP and it is easily the heaviest song here with tough guitar riffs and some ear-splitting vocal screams. The keyboards are less dominant here, instead letting the guitars really fill the speakers which is definitely the right choice to allow the song to pack the punch that it does. This is the song that really got me hooked on Power Quest after being a casual fan for a few years, and it is still my favourite song on this album. The chorus is truly potent, and shows that Edison really is an extremely powerful vocalist. No More Heroes is another AOR-inspired piece with a really smooth overall sound, and an even smoother vocal performance. Steve Williams' keyboards really dominate the song, including contributing a playful melody during the song's intro, and just help to aid the atmospheric feel. Even the guitar solos, which often are speed-fests in power metal, are much slower and more melodic on the whole here which again just helps to contribute to the overall mood perfectly.

Revolution Fighters starts off quite gloomily with some swirling keyboards and delicate acoustic guitar melodies, but this peace is soon shattered with a muscular riff and the soon morphs into another mid-paced slab of melodic metal. As with many of the band's songs, the keyboards provide the main melodic focus during the intro sections. In many bands, the lead guitarist fills this role, but Steve Williams often uses his keyboards to lead the charge. This makes a Power Quest song stand out, as the keyboards have such a specific sound that Steve Williams likes to make use of. There is another really excellent chorus here, which again relies on simple melodies to really soar, and the band's former guitarist Andrea Martongelli, who was a member of Power Quest between 2003 and 2009, contributes the song's shredded guitar solo. Pray for the Day opens with quite a bouncy main riff, but this soon gives way to a fairly sparse verse which allows Edison's vocals to really shine. Far too often, vocalists in metal get drowned out by claustrophobic productions that are packed to the hilt with layers and layers of guitars, so Power Quest, and producer Alessio Garavello (who also was the band's original frontman), should be congratulated on the streamlined and clear production job throughout this album. Edison is always the appropriate chance to shine in each song, and this one is no different as his extremely melodic vocals really are front and centre. Power Quest have not gone for the choral effect when it comes to backing vocals either, instead opting for more subtle harmonies, and I feel this works well and really allows Edison to stamp his authority on the songs. That being said, there is still plenty of crunch in this song, with Smith's drums and Finnie's bass really cutting through the mix with powerful precision. Coming Home is the second song reworked from last year's EP, and it is one of the album's more instantly memorable pieces with a hugely anthemic chorus and a dramatic keyboard-led intro. Another guest, Lars Rettkowitz (Freedom Call), contributes the song's guitar solo, but this is a piece that is all about the chorus. Not since the band's early days have they had a chorus which is this memorable and this really is a piece that is meant to be heard live. This is truly what power metal is supposed to sound like, and it is great to hear a song like this coming out of Britain! The album's final number is the lengthy title track, which harks back a little to the more progressive feel found on Blood Alliance. Steve Williams wrote this song with Richard West (Threshold), which may explain the lengthier, more progressive feel, but it is still packed with plenty of Power Quest's signature sounds. A synth-heavy intro soon gives way to a slower, crunchier guitar-led section and then a downbeat verse with chiming clean guitar melodies and Edison's vocals. The song moves through a few different sections during it's lengthy run time, with heavier choruses with plenty of harmony vocals interspersed within the quieter moments. Towards the end the song really picks up however, and features some guest vocals from Anette Olzon (Alyson Avenue; Nightwish; The Dark Element) who puts in a strong performance as always. In amongst all of this, there are soaring guitar solos aplenty, and the song really feels like one of the band's true masterpieces. Overall, Sixth Dimension is a great comeback from Power Quest after a few years away. The band's new line-up seems to have gelled together already, and I hope these six guys and stick together as I would love to hear more of what they have to offer.

The album was released on 13th October 2017 via Inner Wound Recordings. Below is the band's promotional video for Lords of Tomorrow.