They come close to social commentary on ‘Midnight Madness’ with a mention of “ mass starvation in every nation”, but the song is hauled back into the realms of fantasy with the beyond triumphant chorus, which invites the listener to “ Fly tonight towards the angels, see our stars shine brightly in the sky”. If they started speaking about real-world problems, they would cease to be DragonForce. Ride through the night and one day you’ll be free.” Or this from Astral Empire, which enables the listener to imagine their own hassles as a raging storm: “ Fly far away through the raging storm, to the end with the rise of the sun… Break the chains now this war shall be won.”īut fans will say this sort of pep-talk lyricism makes DragonForce what it is: people listen to it because it is escapism. Like this from ‘Curse of Darkness’: “ Ride on your wave, this is your curse of darkness. Indeed, if they were printed in fancy font over seascapes they could serve as motivational posters for psychotherapists’ offices. The lyrics are cheesier than a fat man’s pizza and as vague as a horoscope. This is still instantly recognisable as a DragonForce album. Hudson gets to show some more aggressive style on ‘WAR!’, in which he barks angrily over some thrash-style riffing, before the familiar melodic pleasantness returns for the chorus.īut fear not. It’ll be interesting to see what fans make of it, but the aggression gives a welcome extra texture. It begins in familiar enough territory, with an acoustic intro leading into a mid-tempo power ballad, but then riffs and a martial beat take over and Hudson’s voice takes on a guttural growl. ‘The Edge of the World’ provides the strongest evidence that, as bassist (and chief songwriter for this album) Frédéric Leclercq says, the band “wanted to bring even more diversity into our music”. Also, get this: one song, ‘The Edge of the World’ breaches the 10-minute barrier for the first time in their metacular career and in the midst of it the vocalist, Mark Hudson, gets a chance to show off a death growl or two. And – gasp – they even slow down in some passages. There are not quite as many quasi-classical zillion-notes-a-second guitar solos as we have become used to, for a start. In fact some of them are absolutely necessary they form the basis for power metal.īut it is not completely the case of “more of the same” from the band. Sugar-sweet tunes, some complete with “woah-woahs” or “ooh-aahs”, sticky enough to get glued in your ears for weeks.Īll these elements are present and correct in the new album, you’ll be pleased to hear.Keyboards that invoke images of fairies, dragons (obvs) and magic kingdoms.Dizzyingly rapid guitar solos that seem to require 12 fingers per hand to carry off.Songs about fire – usually playing with it.Since this is Dragonforce’s seventh album, it is worth going back over what we have come to expect from the band’s previous six: It is with the intention to broadcast a call to the global metal family, imploring people to listen to more of that sub-genre known as “power” that I review DragonForce’s latest offering. What’s not to like? It is fast, cheerful sounding, crowd-pleasing and damn catchy. And the joy (or hilarity) it gave to the passengers was further evidence that this much-maligned branch of metal deserves to have its broadsword glint in the sun. Given that we were listening to Manowar, I probably was. I may have even been stripped to the waist.
#Dragonforce judgement day lyrics windows
The windows were down, the sun was setting, the lights of our destination were twinkling in the distance and I was drinking beer. I was travelling towards Tokyo in a van equipped with enormous house speakers blasting out Manowar’s Anthology. I can remember exactly what I was doing when I discovered that power metal does in fact rule.
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