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Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s¹ death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir² (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

The post Power Paladin – Beyond the Reach of Enchantment Review appeared first on Angry Metal Guy.

Buy tickets: https://linktr.ee/SaekoLive2026

Japanese power metal vocalist Saeko is set to return to the stage with two exclusive shows in Japan this May, under the banner “SAEKO LIVE IN JAPAN 2026”, while also revealing the upcoming release of her new EP, Back to Life, scheduled for July 18, 2026.

The two special events will take place in Osaka (May 12, Panhead Groove) and Tokyo (May 14, SUNRIZE) and will feature a unique format combining a talk session and an exclusive live showcase, including the performance of two songs from the upcoming EP.

These concerts represent a rare and exciting collaboration between artists from different musical traditions, bringing together European melodic power metal and the rich heritage of Japanese neoclassical metal.

The live line-up for these shows includes: Saeko Kitamae on vocals, Guido Benedetti (Trick or Treat) on guitars, Masashi Okagaki on keyboards (Terra Rosa, Jill’s Project, Aphrodite) and Kaz Nakamura on bass (Kelly Simon’s Blind Faith, Rachel Mother Goose).

The presence of legendary keyboardist Masashi Okagaki, a key figure in Japan’s neoclassical metal scene and leader of Terra Rosa, adds a distinctive and historically significant element to the performances, while bassist Kaz Nakamura brings his experience and technical mastery to complete a powerful and dynamic line-up.

Saeko is widely recognized as a pioneering artist in the international metal scene. Originally from Osaka, she moved to Germany in the early 2000s to pursue her musical career, collaborating with prominent European musicians and releasing her debut album Above Heaven Below Heavenin 2004. That same year, she toured Europe with metal icon Doro Pesch, and in 2005 she made history as the first Asian female artist to perform at Wacken Open Air, the world’s largest heavy metal festival. Following her second album Life (2006), Saeko returned in 2021 with Holy Are We Alone, marking a powerful comeback after a long hiatus and reaffirming her unique artistic identity: Melodic Power Metal with emotional depth and a cross-cultural perspective.

Now, with the upcoming EP Back to Life, Saeko continues to build on her legacy, connecting past and present through a renewed creative vision.

EVENT DETAILS

OSAKA
May 12, 2026
Panhead Groove

Open: 18:30 / Start: 19:00

TOKYO
May 14, 2026
SUNRIZE

Open: 18:30 / Start: 19:00

Buy tickets: https://linktr.ee/SaekoLive2026

SAEKO ON THE WEB:

https://saekometal.info

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Last night, Hayley Williams kicked off her first-ever solo tour after her 2020 run for Petals For Armor was canceled because of the pandemic. At the Tabernacle in Atlanta, the singer-songwriter performed all of her latest record Ego Death At A Bachelorette Party, giving live debuts to most of the tracks.

The post Hayley Williams Performs All Of <em>Ego Death</em> & Brings Out Josh Scogin At First Solo Tour Opener appeared first on Stereogum.

Hannah James and Toby Kuhn [Release date 27.03.26] The duo’s second album, featuring Hannah James on vocals, accordion and sansula, Toby Kuhn on cello, revolves around the theme of belonging. Hannah is part of the talented trio Lady Maisery and … Continue reading →

The post Album review: HANNAH JAMES & TOBY KUHN – Where All Our Names Belong appeared first on Get Ready to ROCK!.