Review by Yener on February 26, 2020.

I remember it like it was yesterday, The Isle of Disenchantment had just released, taking the extreme metal community by storm. Here was a band all the way from Australia - and while I’m sure there were other extreme bands from Australia, Psycroptic was in my opinion, the first one to make an actual impact.

Listening to that first album now, then listening to As the Kingdom Drowns is like listening to two entirely different bands. They literally have nothing to do with each other in terms of sound and general approach. While the first two records were both great offerings, it was arguably Symbols of Failure which really put them on the map. Their sound changed from being a raw, technical death metal band, to just being a kick ass death metal band. The following release - Ob(Servant), was huge. A monumental step forward for the band, it was just a collection of kick ass metal which a lot of people seemed to love, and Psycroptic really solidified themselves as one of the big players in the genre.

Then they just kind of disappeared for me.

Sure they were still around, touring and making albums, but The Inherited Repression and even their self-titled 6th album went unnoticed for the most part. Going back and listening to those albums again now, I’m not quite sure why. They both feature great material with fantastic musicianship. Maybe it was only me. My attention was probably focused on other bands.

I wasn’t even aware this album was released in 2018, I just completely missed it. I ran into it not long ago and decided that Psycroptic were a band that at least deserved a proper listen. Right? I mean the guys have been around forever, they’ve been at this for 21 years now. So, it was time reach for some good headphones.

Not sure why I was so stunned by opening track 'We Were the Keepers', but it just felt so damn good. The energy that somehow seemed to be missing from these guys is back, and they’re at it again with full force with tasteful guitar riffs, excellent drumming and completely unexpected vocals in the chorus sections. What the hell is going on? I wasn’t exactly ready for this. The second track then rips through your speakers and your skull, and if you’re not smiling at this point, then you should just turn this off. But goddamn, these guys sound absolutely killer right now. The mix is organic yet still tight as can be, and the energy is just straight through the roof.

I suppose I had sort of written them off in my head, and I apologize for that. Guys, I was wrong for ever doubting you.

Because this stuff is excellent.

While they still sound like themselves (those trademark Joe Haley riffs are still there, completely unique guitar player, dude is totally doing his own thing), they’ve also made some adjustments. This version of the band seems to be more compact, straighter to the point. It’s mostly to do with arranging. In the past, they were never sloppy, but their arrangements were perhaps a bit more challenging. Not so much here - this is more stuff that just grinds and grinds well. I feel that this is yet another big step for the band, their second biggest step, Symbols of Failure being their first. I feel like the band has somehow regained some lost passion, I feel like they’re more focused than they were before.

I must make note of the musicians on here, as it would be criminal not to do so. The Haley brothers (Joe and David) are both renowned, respected musicians, and have been for a long time. So, coming into this album, it would be understandable for you to expect some outstanding guitar playing and drumming, and you wouldn’t be wrong or let down. Joe Haley, while being a respected guitarist, is still a very underrated one in my opinion, which is a shame. More people should know about this guy as his style is pretty unique and he always brings the goods to the table. The last thing you should expect from a Psycroptic album is weak guitar work. It just doesn’t happen. Second, David Haley is still a beast on the drums, no sweat. He’s just getting tighter and better and that’s a bit worrying. The guy sounds like a fleet of panzers. Armed, well oiled, and ready to dominate. There’s so messing around with the drum work, it’s superb. Todd Stern’s bass thankfully isn’t just thrown to the bottom of the mix like so many people are (unfortunately) accustomed to. The bass work is interesting, and it makes the songs gel together well. Those familiar with this band should already be familiar with Jason’s vocals. They’re a bit different from your standard death metal fare, but I quite enjoy them. He fits the music well, and actually knows how to use his voice, as opposed to just providing monotonous yelling.

This album really puts Psycroptic back on the radar for me. I wasn’t expecting it to be this good, but it is, and I am really glad that it is. It’s filled with good musical ideas, good song writing, perfectly decent lyrics and the overall presentation is just very satisfying. Fans of extreme metal, this will not let you down.

Rating: 8.5 out of 10

Review by Jack on April 12, 2002.

You know when you were a kid and used to have so much from everyday activities? Absolutely everything you did was fun; going to the toilet was fun; throwing your peas from your plate to the dogs was fun; beating up your younger brother was fun (not so fun anymore, because he would now, frankly kick your ass) and so on, you get the general picture. All great, childhood moments and all fun. Rhapsody is this type of fun. “Power of the Dragonflame” is this type of fun.

Continuing the ‘Emerald Sword Saga’ from past albums Rhapsody has again raised the ‘power’ bar another notch, improving on last year’s specially priced album in “Rain of a Thousand Flames”. However, “Power of the Dragonflame”, while continuing the ‘Emerald Sword Saga’ also culminates the 'Emerald Sword Saga', leaving Rhapsody with a thirst to discover more untouched fantasy symphonic metal in other realms.

However, when it comes to metal, Rhapsody is about as metal as a paper factory/wood mill. Sure Rhapsody has all the metal elements, ie thundering guitars, ball-busting drums, but whereas many a power band starts off with the metal base and then adds non-metal elements (or no elements), Rhapsody seem to start off with a very strong operatic/classical base and then add their ‘epic Hollywood metal’ over the top. They take a different approach unlike many other ‘carbon copy’ power metal bands. It may be this different approach that Rhapsody has taken that may propel them further and further into the spotlight.

“Power of the Dragonflame” is a great album, yet it is hardly revolutionary, and it is clear that Rhapsody has stuck by their guns. The same trademark ‘epic’ choir sections and galloping guitar riffs, Rhapsody are not going to win the originality stakes, musicianship, however is another matter. Rhapsody has gone to length of including a classical choir and a classical ensemble with violins, flutes and other ‘classical’ instruments to make the end of the ‘Emerald Sword Saga’ a truly memorable one. And memorable it is, not really mind-blowing, but definitely memorable.

Of special note is the final 19 minute track; ‘Gargoyles, Angels of Darkness’, which is one of the most fantastic power metal tracks ever. Move over ‘And there was Silence’ ala Blind Guardian, we have a new contender for epic greatness! Like a hunter marking his game, ‘Gargoyles, Angels of Darkness’ carefully skirts around for most of the 19 minutes, before finally lining up its final shot and nailing the listener right between the eyes... BAM! Wall to wall power metal greatness looking you straight up and down.

Bottom Line: Definitely not exceeding the limits of what Rhapsody can muster, “Power of the Dragonflame” is not the most unpredictable album ever released, nor does it try to be. Rhapsody has never been about being unpredictable and falling flat on their face like other acts around the metal scene. Uniqueness can be a curse. Instead we have a brilliant culmination to the end of a saga. I cannot heap enough praise upon “Power of the Dragonflame”. It is just plain, good old FUN.

Categorical Rating Breakdown

Originality: 7
Musicianship: 10
Atmosphere: 8
Production: 9
Overall: 9

Rating: 8.6 out of 10