There’s no denying the fervour Krilloan brings to the table, and their sophomore effort Return of the Heralds stands as another restatement of their deep-rooted passion for classic sword-and-sorcery inspired power metal. But where their debut, Emperor Rising, showed hints of a fresh take on the genre, Return of the Heralds feels like a step back into familiar, sometimes overly trodden ground.

The album opener, `, wastes no time getting into the thick of things. Blistering riffs, blazing solos, and a chorus that sounds as if straight out of the power metal 101 playbook set the tone. It’s Krilloan doing what they do best—breakneck power metal that comes at you like a well-oiled machine, but there’s little new here. We’ve heard this frantic style before, and though the duelling guitar and keys combo is exciting, it lacks the punch of innovation.

Kings of the Iron Hill follows in similar fashion, slightly toned down but still unrelenting in its energy. There’s a clattering wall of sound at play here, almost as if the band wants to cram in as much as possible. Sometimes, it works against them, clouding the melodies and intricacies hidden within the storm of riffs.

Where Blood & Fire (Born on a Battlefield) shines, however, is in its restraint. In a welcome break from the relentless speed, the verses find Krilloan exploring a more mid-tempo, crunchier vibe. The track’s slower pace allows Marco Ignacio Toba’s bass to finally breathe, his driving lines punching through with a satisfying roar. It’s the album’s standout moment, showing that when Krilloan ease off the gas, their sound develops far more dimension. This track is an absolute winner—a rare instance in the world of power metal where less is, in fact, more.

Sadly, Hammer of Wrath doesn’t quite manage to keep that momentum going. Aiming to bridge the gap between the flamboyance of Italian power metal and the icy precision of Northern European acts, the track ends up feeling a little disjointed. There’s an anthemic quality to the chorus, but overall, it doesn’t pack the epic punch it clearly aspires to deliver.

Avenging Son is where Krilloan’s Blind Guardian worship starts to become problematic. While the track is undoubtedly dramatic and well-performed, it’s hard to shake the feeling that it’s a little too derivative. With Blind Guardian still active and very much in top form, this kind of homage feels redundant, offering nothing new to the conversation.

The Oathpact serves as a cinematic interlude with lofty aspirations. Yet it’s frustratingly brief, teasing the listener with promise but never developing into anything more. It feels more like a missed opportunity than a true break in the action.  The title track, Return of the Heralds, doubles down on the Blind Guardian influence, but like Avenging Son, it doesn’t carve out its own identity. The song works, sure, but it’s ultimately forgettable in the grand scheme of things.

Then there’s The Kingkiller’s Tale, the album’s attempt at a power ballad. Unfortunately, it falls flat. There’s no denying the ambition, but the result feels like a regression for Krilloan. Instead of reaching for something new, they retreat to the safety of well-worn formulas. It’s a shame because this is the kind of track where you’d expect to see real growth from the band.

But just as things seem to be settling into the mundane, We Burn arrives and offers a glimmer of hope. Although traces of Blind Guardian’s influence remain, Krilloan injects far more of their own personality into this song. The chorus is vibrant and catchy, the track brimming with a vitality that’s been missing from much of the record. It’s not groundbreaking, but it’s definitely the most “Krilloan” track on offer.

Finally, Beyond the Gates closes the album in fine power metal tradition. The slow build gives way to a climactic rush, culminating in a chorus that feels epic and multi-layered, bringing things to a satisfying conclusion.

So, where does Return of the Heralds leave us? There’s no question Krilloan can deliver power metal with the best of them, but too often they seem content to play it safe. While individual performances, particularly from guitarist Klas Holmgren and Steve Brockman and bassist Marco Ignacio Toba, are impressive, the band hasn’t quite found a way to make their sound distinct. Their Blind Guardian adoration, while well-executed, dominates the album to the point where Krilloan’s own identity gets lost. It’s still a fun, sword-waving romp through the power metal landscape, but one that doesn’t push enough boundaries.

Return of the Heralds releases on September 20th.