America, you wanted a female-fronted symphonic power metal band that would make waves in the business. Well, now you have one: HolyHell. This quintet out of New York State boasts a virtuosic line-up that includes classically trained singer Maria Breon, former Manowar drummer Rhino, and world-renowned "shred lord" Joe Stump. HolyHell also has the ultimate star-powered support: Its music is produced by current Manowar bassist Joey DeMaio, and most of HolyHell’s shows have been opening gigs for (drum roll, please) the legendary power metal band Manowar. (Shocking, huh?) All of this should add up to a promising debut by a band that could someday be one of the most popular of its kind. So, after listening to "HolyHell" all the way through, how much of that statement actually holds up?

Maybe I’ll wait a bit before I answer that question. Right now, I want to point out that HolyHell is no copycat of European female-fronted power metal bands such as Nightwish or Edenbridge. Instead, HolyHell uses the "American" style of power metal: a more straightforward, guitar-driven approach that relies heavily on catchy melodies and solos. Stump’s slice-and-dice guitar solos in particular are the trademark of HolyHell’s sound. As for Breon, she is a competent vocalist for a band of this kind. She has the power and the classical technique, but her range is limited. Her low voice is too robotic and her high notes make you cringe, leaving her clear midrange vocals as her only strength.

And on "HolyHell," the band loves to play to its strengths. Virtually all 13 tracks feature two common elements: Joe threading his way through each and every breakdown, and choruses that stick like superglue in your memory. Good examples of the latter are the ominous "Eclipse" and the coasting "Prophecy," which has a slights 80s feel thanks to soft keyboards. Opening track "Wings of Light" lifts off with its own irresistible refrain and a blistering duel between Stump’s shredding and Francisco Palomo’s quick-fingered skills on keyboards. "Gates of Hell" and "Revelations" also have some good melodies, though neither song is meaty enough to truly stand out.

"HolyHell" keeps a fervent pace most of the time, but it slows down for a few ballads. The strongest one by far is "The Fall." The lyrics in its chorus may be trite ("Fall down on me / Fly into the night"), yet there’s a hint of despair in Breon’s voice as she belts them out. It’s just enough to stir the listener to tears. "Resurrection" also has an affecting refrain – but once you start wondering when the song will end with 1 minute left to go, you almost forget about it.

"Resurrection" isn’t the only polarizing song on "HolyHell." In fact, the entire album is enjoyable yet frustrating. You want to like the impressive talent that HolyHell showcases – but you can’t. Stump and Palomo cram so much flair into each song that that most of the tracks are structured too simply and drag on too long. This gives the album a stale, mechanical feel that wears on the listener over time. Then, there’s the glaring fact that "HolyHell" is a concept album. Wait – you didn’t know that earlier? Consider that a good thing, because "HolyHell" is a terrible concept album. Its "struggle between good and evil" story is a tired tale that we’ve all heard before from other metal bands. Not only that, but the concept is beaten to a pulp in every possible way. The same motifs and lyrical phrases appear song after song. So, by the time you’ve listened to "HolyHell" in its entirety, you a) don’t want to hear the album’s most overused words ("hell," "heaven," "dark," and "light," for starters) ever again, and b) will hear those omnipresent bells of doom tolling in your sleep. Not even Epica’s "The Divine Conspiracy" or After Forever’s "Invisible Circles" beat their respective topics over our heads to this extent.

So, let me now answer – in two parts – the question I posed earlier. First, is "HolyHell" a promising debut album? Well, it’s not bad, but it’s not one of the best of all time. The band’s musicality is first rate, and Breon’s melodies are terrific – but the amount of repetition on this album is almost epic. This is what can happen when a band opts for style over substance, though. Second, could HolyHell someday be one of the most popular bands of its kind? I think so. Between the symphonic bombast, Breon’s likeable presence as a singer, and Stump’s exceptional solos, there’s no reason why this band won’t appeal to the masses. And, I’m sure there will be plenty of fans who will wholeheartedly embrace "HolyHell" the album and overlook its flaws. That said, HolyHell cannot afford to repeat the mistakes of its debut on future releases. If it does, this band could be in danger of fading out of the spotlight as quickly as it burst onto the scene.

7 / 10

Best Songs: "The Fall," "Prophecy"

Recommended for fans of female-fronted symphonic power metal or bands such as Within Temptation, Amberian Dawn, and Delain. HolyHell" is currently available in the Sonic Cathedral Store.