Isn’t it incredible how in the short span of a decade, Ritchie Blackmore managed to be part of not one, but two bands who pioneered multiple metal subgenres and whose influence can still be heard today? Look no further than Leverage. While they boast euro power and progressive metal flavors, the core of their sound can be described as “Rainbow metal”: Virtuosic soloing, superhuman vocals, songs that stride the line between genuine ambition and pomp overdose. You get the idea. It’s the type of metal that could A. Only come from Europe, and B. Only be released via Frontiers.
Now despite a history going back to 2002, I haven’t kept the closest eye on Leverage. In fact, when I received the promo for their latest album, Gravity, I asked myself, “Have I heard these guys before?”, only to realize I own their debut album, Tides (2006), on CD. What can I say? I too can be a dumbass from time to time. Upon revisiting Tides, it became apparent that these guys specialize in that grandiose Rainbow/Yngwie pomp metal sound I can only take in doses (unless when done by said aforementioned acts), but boy do they execute it so well. Fast forward nearly two decades later to Gravity, and this band of refined Finns haven’t lost their touch at all.
Gravity wastes no time at all getting down to business, kicking things off with the over the top “Shooting Star”: A gargantuan headbanger reminiscent of the proto-euro power metal fare that acts like Pretty Maids and Europe specialized in circa ’83/’84. It sets the stage for an album that’s unabashedly retro, in fact, defiantly so, as evidenced by the metallized AOR of “Tales of the Night”, a song that’s as catchy as it is ominous. “Hellbound Train” (not to be confused with the Savoy Brown classic of the same name) goes for the jugular with pomp metal vigor, while “All Seeing Eye” lumbers around like the colossal symphonic power-doom crusher it is.
Speaking of monsters, which one of you summoned “King Ghidorah”? Although not as hellish as the kaiju fiends in Oxygen Destroyer, Leverage pay homage to the three headed beast with a rapid fire rager that captures its ferocity. Come the closing title track, it becomes apparent that Leverage can even make Queensrÿche-esque prog metal sound entertaining, which is no easy feat in 2025. All in all, the only two cuts that fall short for yours truly are “Moon of Madness” (A little too deep in the euro symphonic metal pool) and “Eliza” (Is death by pomp a thing? This makes Styx sound kosher!), but that’s more a matter of personal taste than anything. Neither sound outside the musical wheelhouse on display.
It’ll probably be another 3-6 months before I review a release of this nature, because not only does Gravity meet my euro cheese metal quota, but it satisfies my hunger for such too! The songs, simple and melody-centric as they are, hit the spot, and the performances are something to be marveled. The MVP trophy goes to new singer Paolo Ribaldini, who delivers one of the most impressive vocals I’ve heard on a melodic metal/hard rock release in a long time, sending the likes of peers named Ronnie (not Dio) and Dino home on a stretcher. Yngwie Malmsteen, if you’re listening, do yourself a favor: Swallow your pride and hire this man RIGHT NOW. That way we can get the Yngwie/Leverage double bill we all deserve!
7 out of 10
Label: Frontiers Records
Genre: Melodic Heavy Metal
For fans of: Rainbow, Pretty Maids, Yngwie Malmsteen