Continental 2004
Review by Urban "Wally" Wallstrom,
9 May 2004

Powder's new self titled album is a mixture of girl power, catchy beats, and modern power rock. They exploded onto the LA music scene in early 2001 and were awarded as "Best Rock/Pop Artist", and "Best Live Show", only six months later at the LA Music Awards. They were also the first unsigned act ever to be included on the A&M Record compilation. Not to mention that the video of the single "Up There" is starting to make waves on MTV. The ultimate schmuck Jay Mewes (Jay & Silent Bob), and one of Frank Zappa's kids (Ahmet - Song Search) do cameo roles in it by the way.

Ninette Terhart (vocals) is a real femme fatale and probably the cause of a fender bender or two in her life. Oh yeah, she could easily stop any meeting traffic with those dangerous curves. Not just a pretty face though as she's responsible for co-writing all twelve tracks included. Her whole attitude reminded me of Wendy O'Williams (R.I.P.), while her voice is closer to Shakira, Debbie Harry (Blonde), with a touch of Dale Bozio (Missing Persons).

Now & Then Records 2004
Review by Jorge Antonaya,
19 February 2004

Neverworld is the follow up to Wings Of Forever, the Power Quest debut. This Anglo/Italian band has suffered a few changes on its line up since then. To be honest when I put this CD on my player for the first time I thought, ok, just another trottel metal project that will lead us nowhere. Well, it wasn't necessary to finish the first spin to know I was wrong. Power Quest sure is a power metal band, but there's more than meets the eye here and they turn to be an interesting band.

The band play a well balanced mix of Euro-styled power with melodic rock. Not the usual category of "melodic metal" but melodic as in AOR / Melodic Hard Rock with plenty of melody, catchy choruses, layers of backing vocals and 80's flavoured keyboards (in fact a bit too 80's as you'll find out later). You can hear the power side on tracks like the opener "NeverWorld", a song a bit too long for me to work as an introduction, Temple Of Fire, where vocalist Alessio Garavello becomes a dead ringer for Kottipeltto, the galloping, happy Sacred Land, Into The Light, or the yet again Stratovarius tributary Well Of Souls. Interestingly enough, both Temple Of Fire And Well Of Souls are the tracks I like the most among the power-ish tracks, and the funny thing is that I never was a Stratovarius fan at all... well, life has these things... There's also a mellower, more melodic side in Power Quest music, and that is the one I like the most, with lots of influences from 80's British bands. Highlights here are Edge Of Time, my fave track of the album, and For Evermore, both with lots of 80's fluffy keyboards and catchy hooks, reminding of Shy at places. Then we have the ballad When I'm Gone which has a scandoo feeling over it, and the final track Lost Without You, that melts both sides of Power Quest music into one with good results but a bit too long again. Special guest appearances were Sabine Edelsbacher(vocals) and Julie Laughton (cello and flute).

Massacre Records 2002
Review by 2 July 2002

Powergod is a perfect example of German metal. They’re powerful, but sometimes cheesy. They’ve been around for quite a while and have improved during the years, this being their fourth album. The opener “Dead Serious” starts the album with a really heavy, Judas Priest-like threat to all mindkind. This is one of the best tracks here. On the second track “Call Of Freedom” the singer President Evil (now what kind of a name is that?!) sounds a lot like Andi Deris of Pink Cream 69. Gives a strange feeling when the music is really heavy,but the singer sounds like someone from a hard rock band. Still, Evil has a wide vocal range which is good and he uses it on every song here.

Most of the songs are really heavy and straightforward, but “Parting Gift” is more melodic with cleaner vocals. The follower “Reduced To The Maximum” doesn’t really fit to follow such a nice song, as “Reduced” is again really heavy song that could easily be something from S.O.D. (except longer than their 30-90 second bursts). “Monsterman” has a bit of a Prong-like influence, but has both clear and grunt vocals. There’s great parts and some really foolish grunts I would definitely leave out.

The last song “Evilution Part III” starts with clear female vocals, with a serene, celtic kind of feeling and is followed by demon vocals. The song of course from there goes into heavier direction, but also has slower parts. But still it doesn’t do much for me. Except for the varying vocals, as there’s also choirs.

Frontiers 2003
Review by Kimmo Toivonen 30 March 2003

UK Veteran rockers Praying Mantis are at it again with a brand new album. The line-up has changed again, and nowadays the band is more clearly a project of the Troy brothers Chris and Tino and Dennis Stratton (of Iron Maiden/Lionheart-fame). For lead vocal duties they have hired some well-known faces, namely Doogie White (Cornerstone, Rainbow) and John Sloman (Uriah Heep). The drummer on the album is Martin Johnson, while the the PM trio take care of the remaining duties, including some lead vocals.

The style of the band hasn't changed too much: melodic rock with a British edge. Despite the various vocalists the album seems to have a common thread running through it. There's nothing wrong with the production either, so why only a "7"? The songs are the reason for that. Some of them are very good, like "Silent War" and the pop-rocking "Hold On For Love", but the rest of them are merely good or in couple of cases, less than that. Especially "Beast Within" seems to drag on and on, and doesn't have the hooks to catch the listener's attention. And, to sum it up, songs that are mainly "ok" doesn't get you more than a "7", an "ok" rating.

Perris 2003
Review by May 18, 2003

My generation (around and above 30) was pretty much the victim of the CD era. Most of us had quite a considerable tape and vinyl collection before CD made them all history. Basically the 90s were all about trying to hunt your favorite albums down on CD. "Leather Boyz with Electric Toyz" by Pretty Boy Floyd was one of those obscure, out of print items that was almost impossible to find and when it popped up on Ebay or any similar source, the price demanded for it was outrageous. Especially taking into account that we are talking about a 10-track, less than 40 minutes long album here. However this is probably THE pure glam rock album to reissue and Perris Records were wise enough to come up with it.

Lately when I hear the word "reissue" I mostly get very cautious. Who wants a fifteenth reissue of the whole Motley Crue or Kiss backing catalogue?! However "Leather Boyz with Electric Toyz" was long-long due by now, and with this reissue you really get value for your money. There are five (5!) bonus track included here and they aren't the "usual" leftovers thrown in, three of them would have easily made it to the album. Out of the five bonus tracks "Slam Dunk" is one of the real winners with its uptempo happy-rock groove and cool horn section (yeah, I'm not crazy, horns on a Pretty Boy Floyd album!). "She's My Baby" is rather a filler of the bonus tracks but the piano arranged "Two Hearts" is a nice ballad that could have made the album as it is pretty much in the vein of "I Wanna Be With You". "Over The Edge" is the typical uptempo PBF glam rock anthem, not as memorable as the ones on the original album but it would still stand my quality test, unlike the closing "I Just Wanna Have Something To Do" that is way too simple as it is. That makes three of the five bonus tracks a welcome addition but after all those who don't have the album buy it for the originals anyway. And those are all classy.

Perris Records 2003
Review by 28 May 2003

Pretty Boy Floyd is back with yet another retrospective look at their career. After the smashing sales for "Vault I", the high demand for more songs was too strong to resist. Therefore "Vault II" comes as no suprise and guitarist Kirsty Krash Majors picked out 13 unreleased tracks or alternate versions never(?) heard by any glam fans before.

PBF always recorded tons of extra material and die-hard fans may have already heard some of these demos. I actually miss some goodies here and my guess would be, there's probably a # III already in the works somehow? The sound quality differs a lot from track to track. However, I'm sure Glam/PBF fans will enjoy this as the music is very uplifting.

Perris Records 2004
Review by Petri Kautto,
16 February 2004

"Tonight Belongs to the Young” is a compilation of previously unreleased Pretty Boy Floyd demos. This could be nostalgic for some, at least for me it was a bit. Remember your crappy cassette recorder and the tape that was a copy of a copy of a copy of a… the quality was somewhere between shitty and terrible but still you played it and enjoyed it. This CD sounds exactly the same and if you still enjoy the same quality then this could be something for you. If not, you better give this one a pass.

Production aside, this is a trip down memory lane right to 1989. I was singing along to a few songs the first time I heard them and there are a few damn good songs here. This is party rock with all the necessary ingredients; sing-along lyrics, catchy riffs, good guitar solos, positive attitude and good fun in general. Those who like to hold hands with that special someone will be happy to know that this CD contains also power ballads.

Massacre Records 2002
Review by 30 May 2002

Pretty Maids ha always been a synonym for quality melodic metal, but with "Planet Panic" the emphasis has slowly changed from "melodic" to "metal". It might please some of their fans, but it doesn't please me, and I think I'm not alone in this.

The album opens with "Virtual Brutality", which is a good opener, although the use of effects and scratching might alienate a few purists. "Playing God" is more like the old Pretty Maids, a frantic rocker with a good, if not great chorus. But then...the next three songs are much heavier, owning more to Metallica than the old PM. Disappointing.

Things look brighter again when "Natural High" comes blasting thru the speakers. It represents the melodic side of PM, which unfortunately seems to be an "endangered species" in the world of Pretty Maids. Having said that, the next song "Who's Gonna Change" isn't too bad either...but then again, "Worthless" features admittedly melodic verses but it is graced with a very agressive chorus with vocalist Ronnie Atkins screaming on top of his lungs.

The cover of Sammy Hagar's "One Way To Rock" is one of the better tracks here. It simply rocks, but at the same time it does raise a question about the state of songwriting in the PM family. Like..."Where have the hooks gone?". The last song, balladic "Enter Forevermore" doesn't answer that, as it is hardly one of the most memorable songs of theirs.

Point Music/Rock Inc 2003
Review by martienkoolen 29 July 2003

I never knew that these guys had made an album already, but their debut called “Far From The Edge” was well received by fans of melodic rock music and after listening to their second album I can imagine why. This is really good stuff, English melodic power rock with AOR influences like I have seldom heard from a British band.

A lot of songs on this album kick off with a phenomenal guitarsolo and then turn into great melodic rock tracks with excellent vocals of Mart Mitchell. Just check out tracks like “Could You Believe”, “It’s Just Me” or the explosive “I.O.U.”, with magic guitarsolos. If you like your powerballads then Pride offers you “No Reasons Why” or the magnificent “Still Raining”. Ofcourse, better said unfortunately, there are some disappointing songs on this album. “Somewhere, Someway” is rather boring, “Story Of Our Lives” is too poppy and the acoustic ballad “Heaven’s Waiting” is a nightmare…

Frontiers 2003
Review by 21 September 2003

Veteran rocker Jim Peterik (Survivor, Ides Of March) has joined forces with a new young vocalist, the highly talented Toby Hitchcock. This alliance is called Pride Of Lions, and their first album is one of the best pure AOR albums of 2003. The sound is naturally quite close to Survivor, but more powerful than most of their material. Hitchcock is a real discovery, he actually sounds like one of the most missed AOR vocalists, Mark Free. Not to be underestimated are the vocals of Jim Peterik either.

The album opens strongly with four killer tracks: the urgent, uptempo "It's Criminal", midtempo AOR gem "Gone" and the very Survivor-like "Sound Of Home". Inbetween the last two there's "Interrupted Melody", a fine ballad, although the verses bear a striking resemblance to Europe's "Carrie".

The next three tracks aren't quite as good, although "Unbreakable" contains some very familiar, but updated elements of a certain Survivor hit, but the chorus doesn't work for me. "Prideland" is a decent, balladic track, but the Toto-like "First Time Around The Sun" sounds out-of-place and fails to impress.

"Turn To Me" is better again, a real rocker. The big, make that BIG ballad "Message Of Love" is played surprisingly heavy-handed, while "Love Is On The Rocks" is another Totoesque track, although heavier and definitely better than "First Time...". The last of the ballads is "Last Safe Place", which sounds a lot like Journey and very good at that. Last but certainly not least, there's "Music And Me", which again very much like classic Survivor, starting with lovely eighties'styled keyboard sounds...this could be the sequel to "It's The Singer Not The Song" from Survivor's "Vital Signs".

Nuclear Blast 2004
Review by Martien Koolen,
5 January 2004

In 2002 German heavy metal band Primal Fear made their best album(“Black Sun”) so far. Then in 2003 drummer Klaus Sperling left the band and he was replaced by Randy Black(Annihilator), and with him Primal Fear made their first US tour. With this new album called “Devil’s Ground” I think that this band will become even more popular among the heavy metal scene.

This is without any doubt the heaviest record Primal Fear has made so far and I think that this is how the new Judas Priest album could(should?) sound…. Singer Ralf Scheepers sounds more and more like Rob Halford in his good “old” days; in “Metal Is Forever” his high-pitched vocals are all over the place; just listen to the initial scream!!! This track will be the new metal hymn for Primal Fear for years to come; this is heavy, this is good, this is like Judas Priest in their “Painkiller-days”. Just listen to those drilling guitar riffs in “Visions Of Fate”, “Sea Of Flames” or the fast as hell song “Heart Of A Brave”.

Indie 2003
Review by 14 October 2003

Italian vocalist Guido Priori is no stranger to tributes: he has sung in a Bryan Adams tribute band as well as an AC/DC tribute band. Now he has chosen to record a solo tribute for one of his favourites, Journey. He found the backing musicians via the internet, and within a few weeks from the first contact, they had provided him full backing tracks to 11 songs. Don't ask me who they are, as they wish to remain anonymyous, due to contractual reasons or something. Anyway, their work is competent enough, although they used probably only a fraction of the time and money spent on the orginal Journey recordings.

Guido himself does a good work as Steve Perry. More than his lead vocals, I'm impressed of the quality of the backing vocals - some excellent work here! As good a vocalist Guido is, his lead vocals tend to lack that depth and warmth that Mr. Perry has. It's more apparent when Guido hits those high notes, the "mouse effect" starts to crawl in. Still, there aren't many vocalists who can compete with Perry, and Guido is far from the worst Perry "imitators".

The tracklisting is quite good, with many of my personal favourites included. Guido has concentrated on the less hard rocking Journey tracks, like "Girl Can't Help It", "Only The Young" and "Open Arms", but a few more rocking tracks have found their way to the album as well, like "Stone In Love" and "Anyway You Want It".

Bad Habits Records/Playground 8
Review by Petri Kautto 23 May 2004

Private Line is good news for those who like their rock music delivered loud and with a cocky attitude. The band is from Finland and this is their 1st full length album. The band does not hide the fact that they take their influences from bands like WASP, GNR and Hanoi Rocks. All in all this is a solid effort by a band that stays true to what was typical for that era; catchy hooks, refrains, loud guitars and judging by the album cover, looks.

1-800-Out-of-Nowhere is the first song and I was pretty impressed with the opener. It kicks off with a nice rowdy riff that soon builds up to a catchy chorus and it’s just a fun rock song. Third song “Forever and a Day” was their first single in Finland and it peaked at # 3 in the Finnish charts. It’s a mid tempo song that again focuses on a catchy chorus and melodic guitars. Lead singer Sammy has a voice that dominates many of the songs, thou the guitars have been given the space they need to really come out. A few songs are a bit too polished for my taste which does not suit the “decadent” image that I feel they are trying to create around them.

Continental 2004
Review by Urban "Wally" Wallstrom,
4 June 2004

One of few influencial and major hardcore acts (others: Biohazard, Life Of Agony, Sick Of It All, etc), now returns with a "Fistful Of Hate". Pro-Pain has always been a ruthless onslaught of edgy melodies and brutal riffs in the past. No need to drift away from their usual deliverence of chugga-chugga material either... since they're now merley a tool in the hands of their old image and fans.

I honestly believe they're mostly bringing us the crap we expect them to... by now. The unmistakable sound and feel of the album, hardly differs anything from their recent albums. It's blunt, brutal, aggressive, and most certainly to the point of being ridiculous. They're (still) trying to convince us that Pro-Pain is a bunch of young, poor, mislead musicians, with hatered and anger as their only motivation and religion. Something which obviously did work in the past... when they were still young, poor, and full of themselves.

Promo 2003
Review by 5 April 2003

Profane Omen hails from Lahti, Finland and was formed back in 1999. After four demo releases and one single and the founding members leaving the band Profane Omen decided to record a five-song mini-cd „Label Of Black” with time and patience. They chose Sonic Pump Studios and the team of Nino Laurenne (of Thunderstone)and Mika Jussila to work on it with mixing, recording etc and the result of course sounds good, though PO’s music isn’t exactly something that would please everyone.

The guys (Jules Näveri-voc, Williami Kurki-lead gtr, Jukka Keisala-bass, Antti Kokkonen-gtr, Mika Tanttu-drums) are fairly young, born in the early eightees, so there’s still that certain rebel attitude that comes alive in the music. It’s metal with many influences with both clear and growling vocals and this is where some of you might lose the interest. This was the first time for me to hear this band and I was a bit suspicious at first, because I haven’t been into growling vocals or death/thrash metal much anymore, but sometimes it can still work for me. Take Children Of Bodom for instance, they’ve got hooks along with the death metal attitude and Profane Omen has both too.

The singer is good at what he’s doing and he really nails you down to the seat with all those growls that sometimes sound pretty scary. Let the demons free! I hear myself thinking.. damn, he’s got some of that great Phil Anselmo rage in him though he’s in a bit more lower and deeper range. You will already get to hear this on the first song „Are You A God ?”, „Throw Your Stones” and „Label Of Black”. But he can also be very melancholic and that shows in the two songs „Burial Hymn (Gravelands)” and „Father”. But don’t expect any easy songs here, they’ve all got angst and power.

The music is quite simple, yet the musicians aren’t your average „I know a few notes”-kind of guys in the grunge field either. But still you don’t have to be a graduate from a musical institute to be a fan of this band. And that is only good for the band, Profane Omen will definately work for those fans who love the attitude metal that has great hooks in it and the brains as well, yet leaving the too technical stuff to others. Add some melody in there, well-thought arrangements and some cool guitar parts and this band will get even more variation to their fan base. PO will for sure give you that few inches of space for dreaming and immediately raise the adrenalin levels and get those heads moshing !

Frontiers 1999

These UK AORsters have kept a low profile for a few years, but now they're back with a new album. I haven't heard their first album, only a couple of songs, but I think I am safe to say that this is an improvement. The production is very good, and the band have written some excellent tunes.

Opener "Let's Talk About Love" is a powerful yet melodic rocker, just like "Kiss Me And Kill Me", which has the catchiest chorus of the album. "Hold On To Love" is a midtempo AOR track much in the vein of The Storm or Alias. A very good track, despite its' clicheed title..."There Goes My Heart" is an OK ballad, and "When love Takes A Hand" is a good heavier track, but after that the band seem to lose the plot somewhat. They offer us a couple of average rockers and a wimpy ballad "Let The Night Go On Forever", which sounds a bit out of place here. Somewhere between them is the "epic" "Only A Woman", which is a bit better. Thankfully they find the plot again with the other "epic" "Arms Of A Stranger" (8:45...).It is a good song, a bit in the Ten mould, and it leaves one a good impression of the whole album.

Locomotive Music/Rock Inc 2003
Review by 14 July 2003

After excellent albums like Prove You Wrong (91), Cleansing (94) and Rude Awakening (96), my expectations for this new Prong album were very high.

The first disappointment however was the fact that Tommy Victor was the only original Prong member. The second disappointment was the very “weak” production of this album; it sounds like a demo recording!! And finally the third disappointment was the choice of new songs. Fourteen in a whole, but in my humble opinion there is only one REAL Prong song on Scorpio Rising.

Puls 2002
Review by 16 December 2002

All I have known about Brno before was that it's an ugly industrial town in the Czech Republic with heavy industry and heavy beer drinking habits. Now there's some Heavy Metal coming from the city too. Having grown up among Eastern European metal musicians in Hungary (playing "American sell-out" melodic rock much to their hatred) I exactly know all the downsides of Eastern European metal. And sorry to put it this way: Puls is everything that has ever been bad around here!

The album seems to be a compilation of their songs from 1985 to 1999, I say "seems to be" cuz the photocopied art(?)work of the CD-R I received contains only some words in Czech language that I don't understand a word of. They also sing in that weird language that sounds like taken out of a Tolkien book. Add some heavy early Helloween and Judas Priest clone riffing, some screaming high-pitched vocals in a strange language, awfully weak production, and extremely boring songwriting and you get a result that made people laugh at heavy metal in Eastern Europe (or all over the world??).

Frontiers 2002
Review by 22 January 2002

The press release states that Pulse have created "a classic UK AOR album", and indeed, they seem to draw their influences from such "classic" UK bands as Heartland, Atlantic and Ten. I'm not so sure about this album being a "classic" though, because at times the song material is just plain ordinary.

The mastermind behind Pulse is Vince O'Regan, a veteran of the UK rock scene and the guitarist of Bob Catley's live band. His partner is a vocalist called Simon Abbots, with whom he wrote most of the songs. Abbots has a great voice, and even if Pulse doesn't make it, I'm sure we haven't heard the last of him.

The album starts with a slightly Bad Company-flavoured "Talking About Love", which has a "strong pulse", although I think the song could've used a stronger hook. "Inspiration" is very much in the vein of Heartland, a decent AOR track, and the same goes for "Don't Wanna Lose You", which sounds like a cross between Ten and Heartland. "Waiting" is a mellow, kind of bluesy track that doesn't really do it for me, while "Star" is a nice, poppy number that reminds me of RTZ and Firehouse's more laid-back tracks.

The next few tracks are a bit heavier than the previous ones. "Crazy" is one of the less memorable tunes here, a dull rocker, while "Lady" is more in the vein of Ten again, an OK edgy melodic rock track. "Hearbeat" is a balladic track with a heavier, uptempo chorus. "Just For The Moment" and "Believe" are both somewhat AOR-by-the-numbers kind of tracks, not too bad but nothing to write home about either. "After Midnight" must be mentioned if only for the fact that it has an intro that sounds very much like Ten's "After The Love Is Gone". The closing track is a ballad called "Without You", which features a fine vocal performance from Abbots but that's about it.

So, what we have here is a dozen of standard AOR tracks, some decent enough but mostly desperately missing that all-important "something special". And in my books, "decent enough" just isn't enough.

Block Chord Music 2003
Review by Endre "Bandi" Hübner 20 August 2003

Now this is a royal pain in the ass album to review. And that’s all in a good sense. Before beginning to write my review I went to the band’s website and checked out what other reviewers said about the album. Depending on what kind of musical background the reviewer had there were comparisons to 10cc, Elvis Costello, Genesis, Beach Boys, ELO, Klaatu, Beatles, Talking Heads, Journey, The Darts, Broadway musicals, Partridge Family, Supertramp, Queen, Joe Jackson, Blondie, etc. etc. etc. I’d say this is a really good sign meaning that the band’s sound can’t really be characterized by comparing it to anyone, they have their own. It is really a weird, progressive mix of several genres (and rock is just one of the many).

The project seems to be the brainchild of Steve Herrig (keys, vox) who wrote the songs and shares vocal duties with some guest vocalists while Rich Gaglie (guitars, vox) was responsible for the engineering and the production that leaves nothing to be desired for. Rich Chapple on bass and John DiGiulio on drums provide a decent rhythm section and the musicianship on the album is top-notch. At best the music is like Styx or Queen, at worst like the most boring parts of West Side Story but every moment there’s something to watch for, some surprising arrangement, not to mention the weird but sometimes very funny lyrics.

Kivel Records 2003
Review by 27 October 2003

It would be easy to confuse Pyn Siren’s “Slave to Your Master” with Skid Row’s “Slave to the Grind”. Danny Mariano’s vocals are amazingly similar to Sebastian Bach’s and their kick ass rock is very much in the vein of Skid Row. This is their debut album and the aggressive attitude and good delivery in general makes me eagerly wait for their next album.

This is the kind of music that doesn’t get a lot of radio air play these days. It’s really been a while since I’ve had a CD in my hand with such a sound. And it would be easy to rave about this because you don’t get to hear this kind of uncompromised rock that often. And the album is good, no doubt about it. The opener “Cry Me a River” is a great piece and “Sister Whiskey” is everything you’d expect from a great rock song. The sound is tight and the guys know what they are doing. But I still think that this album needs a few killer songs. And I think in that lies the strength but at the same time a minor weakness of this album. There are no fillers but then again it’s hard to find a true killer either.

Nothing To Say 2004
Review by Martien Koolen,
19 April 2004

Pyramaze is a young band. It was formed in the winter of 2001/2002 by the 24-year young guitar player Michael Kammeyer (ex-Damion). He started to compose songs for his new band and six months later he had enough material and he started searching for other band members. So he found Morten Gade (drums), Niels Krist (bass guitar) and Jonah Weingarten (keyboards). Jacob Hansen was asked to be the producer and in January 2003 Pyramaze actually started to record their debut album. Michael was supposed to be the lead singer, but they decided that it would be better to find a pro-singer. Lance King, former vocalist of Balance Of Power and Gemini was found as the perfect man for the job.

The debut album "Melancholy Beast" is a true and pure power metal album, with influences from Kamelot, Iced Earth and also Iron Maiden. Those typical Maiden riffs and rhythms can be heard in the excellent opener "Sleepy Hollow". Iced Earth trademarks are obviously used in a song called "The Journey", while "Mighty Abyss" is faster and features some typical Helloween characteristics.