I love discovering new bands, particularly smaller bands that should be more known. Such is the case with Madison, Wisconsin, symphonic power metal band Queen of Dreams, who released their latest full length, “Subnivium,” back in January of this year. Melodic, powerful, heavy, technical, and with some progressive tapestry woven in, this is a really fun release. Vocalist Lnz Prazak is fabulous, with a nice pointed vocal attack and a broad range. The dueling guitars produce great riffing, leads, and harmonized solos, and the bass absolutely slaps with some nice technical proficiency. The drumming is speedy and powerful, and the use of keyboards adds some additional atmosphere and a nice complement to the guitars. In particular, the band uses dueling keys and guitars to great effect, which I think adds a nice texture to the compositions. The melodies are catchy and memorable, and the band keeps things interesting with various rhythmic and dynamic shifts to add some progressive flair to their power metal offering. I am reminded a bit of older Seven Kingdoms or Unleash the Archers, with some Symphony X overtones. 

Things kick off in blazing glory with “Radiant,” with an intro composed of speedy guitars followed by keyboards, before settling into a chunky power metal groove. The chorus is super catchy, and the dueling guitars followed by the nice guitar solo heads into a thrashy groove that fakes the listener out thinking the song is done, before diving headlong into the chorus one final time and an incredible guitar / keyboard-driven outro featuring amazing vocals by Prazak. “When Iron Chariots Prevail” is more of a progressive power melding, with nice rhythmic guitar riff and timing shifts, and some slapping bass work that is front and center. The more subdued middle with the trade offs between guitars and keys serves as a nice transition to the guitar solo before closing things out.

“Shield Anvil” has a bit of a more throwback feel, with a nice blend of power riffing, bass, and keys, and makes great use of dueling keys and guitars to drive the melody. You get introduced to some mild extreme vocals from guitarist Caleb Scott for the first time midway, reminding me a bit of Unleash the Archers, adding some texture that works well. This song is a great showcase for how to have guitars and keys complement each other, and it is easily a standout track.

“Kiln of the Forgotten Flame” is a killer instrumental track that also allows the band to experiment a bit. It starts out with ethereal synths that are pervasive and takes turns showcasing nice technical chops from the bass and guitars. The melody and atmosphere are fun and catchy, and honestly I could see this song being part of a video game or movie soundtrack. It has a bit of an abrupt ending, throwing you right into the speedy harmonized guitar forward intro for “Call to Shadow.” This song reminds me a lot of older Seven Kingdoms, with its speedy pace, big melodies, soaring vocals, and great guitar and keyboard solos. We also get a small taste of Scott’s gruffer vocals which work really well. “The Shape of Our Lives” is a fast-paced power metal banger that does a great job featuring keyboards, both as a critical melody driver and solo instrument, and the drums really let loose.

“Beneath the Ice and Snow” is the first time the album really slows down, featuring a somber piano-driven melody over bass guitar. It picks up the pace with a harmonized guitar melody over a keys underbelly and adds a symphonic touch with a brief choir. The meandering in this song is a lot of fun and highlights a bit more of the progressive side of the band. “Untethered” is the fastest and heaviest song on the album, returning to a thrashy power metal pace, while still weaving in some progressive elements. The guitar and keyboards are phenomenal, the drumming is powerful, and the vocals are big and anthemic, including some complementary thrash vocals. This is another favorite for me.

Closing track “End of the Road” is the longest and most unique track on the album. It definitely sees the band branching out a bit more, rarely taking their foot off the gas while constantly impressing with their musical proficiency. The nearly 90 second intro alone is worth the price of admission, with all its layers and technical gymnastics across every instrument. What really makes this song different is the vocal dueling between Prazak and Scott, with a raspy theatrical clean approach from Scott rather than the gruffer thrash delivery from previous songs. It complements Prazak’s soaring delivery better than expected, and it would be interesting to see the band explore this more in the future. The song delivers a lot of cool surprises throughout, like the phenomenal keyboard / bass / lead guitar transition halfway, or the mini bass solo / throwdown that comes out of nowhere as a lead-in to the second extended guitar solo. This song is so much fun, and it is a perfect way to close out an amazing album.

I don’t know how much this band is known outside of Wisconsin, or even how much they play live, but I definitely want to experience them in a live setting. This is an indie release that doesn’t sound indie in any way, and it does such a great job delivering impressive power metal while adding tons of creativity. You should definitely give this a listen!

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