Seven Kingdoms - The Square
Anyone who’s followed me or asked about my taste in metal knows that I am not a fan of Power Metal. I’m not drawn to the typical themes, and the vocal stylings usually make me feel like I’m attending the opera—only with better music. And then there’s the music itself, which always makes me feel like I should have Link by my side, a troupe of dwarves behind me, or be riding a dragon on some mystical quest.
I felt none of this while listening to the latest release from Seven Kingdoms, The Square. This EP, released on November 8th, is anything but your quintessential Power Metal album. The band may still have its roots in Power Metal, and traces of that background are evident in the song compositions, but they take the genre in a new direction here.
The key difference is that the music feels grounded in personal experience rather than fantastical journeys filled with sorcery, faraway lands, and mystical creatures. I think the reason I struggle with this genre isn’t the music itself—Power Metal musicians are incredibly talented—but the subject matter, which I often can’t connect with. That wasn’t the case with this release.
I had the chance to email the band and ask some questions about the album; you can read that interview here. Their responses to my questions revealed this album as a personal journey set to music, and that’s something I can fully get behind. While there are still hints of mythology, mysticism, and otherworldly elements in the lyrics, they’re not as in-your-face as with other bands in the genre.
The opening track, The Square, kicks things off with a powerful mix of high-speed licks and drums. When the vocals kick in, Sabrina Valentine gives us just a glimpse of her range within the first few lines, but that glimpse is enough to promise an incredible journey on this five-track EP.
Moving into Through The Waves, I have to keep reminding myself that this is a Power Metal band. Yet, Sabrina’s vocal stylings and the fast-paced guitar work keep pulling me back, reminding me that this is indeed Power Metal—but it’s also an album that makes you nod along and air-guitar to every song.
Wilted Pieces, the third track, slows things down a bit. It’s reminiscent of the best '90s metal ballads: not too slow, but powerful enough that you want to get out of your chair, hold a single fist out in front of you, and sing along. This is the kind of song that, if you’re listening during your morning commute, might make you forget where you are until the light turns green, as you belt out the chorus.
The Serpent And The Lotus brings the tempo back up. While this track has a few elements closer to typical Power Metal, there’s still something about it that makes it stand out from the usual fare, and for me, that’s a good thing.
Closing out what has been a surprise hit of the year for me is a song that takes me back to calling in song requests on Friday nights, junior high dances with the boys on the bleachers, and making mixtapes for my first crush—a cover of Kyrie, originally released by Mister Mister in 1985. While they keep this song close to the original, making it a true cover rather than a remake, they’ve found a way to add their unique style to it. Once again, I’m completely drawn in by Sabrina’s powerful vocals. Even in the more restrained sections, there’s an energy in her voice that’s mesmerizing.
As you know, I don’t like assigning meaningless number values to albums, but if I had to, I’d give this EP a 10 out of 10—and with my aversion to Power Metal, that’s really saying something. I’d recommend this EP for Power Metal fans looking for something that still checks the genre’s boxes but does so in its own way. Fans of Dream Theater, Queensrÿche, and Savatage should find a welcome addition to their regular rotation with this release.