A little over a year ago, my dear friend and roommate visited her home country of Norway for a month. Obviously, I insisted that she visit Neseblod Records, the infamous record store originally opened by Euronymous (as Helvete) back in the 90s, located in Oslo. While she was there, frightened by its certainly haunted basement section, she found physical copies of both The Road Less Traveled and The Heart of the Matter, Norwegian heavy/power metal troupe Triosphere’s prior two albums—and bought them for me at my enthusiastic request. Both of these records hold a special place in my catalog, memorializing an accidental discovery of what would quickly become one of my favorite power metal discographies ever, small though it is. 12 years since the release of The Heart of the Matter, which slots at #1 on my personal list of favorite power metal albums, I feared that nothing would be able to fill its shoes, even if it was penned by Triosphere themselves. In fact, I feared I would never hear another record like it in my lifetime. Mercifully, Oceans Above, Stars Below is soon upon us, and I couldn’t be happier with it.
Occupying a nifty space where Heart meets Symphony X and taking a few notes from Nevermore, Triosphere’s current sound feels like a significant evolution of what The Heart of the Matter offered, fortified by the same gutsy crunch The Road Less Traveled boasted. Ida Haukland, a criminally undersung power metal icon if there ever was one, delivers a fierce vocal performance here that blows her own past work out of the water. Simultaneously, she delivers lots of low-end bass beef behind T.O. Byberg’s hefty riffs and Marius Silver Bergesen’s screaming leads and inspired solos. Not to be outdone, drummer Kenneth Tårneby outputs a level of percussive ass-kickery hitherto unheard as his reliably excellent cymbal work somehow levels up again and his rhythmic muscularity reaches new PRs. This is a band at their pinnacle, supporting a sound that nobody else currently in the scene replicates, releasing an album of romantically inclined inspirations, soulful exuberance, and an execution so vibrant that it makes my heart and soul soar into the stratosphere.
The best part is that I don’t have to wait long before that skyborne launch sends me alight, and at no point does Oceans Above, Stars Below let me down. First track proper, “Of Tyrants,” is a massive triumph, replete with heavy riffs and a chorus that short-circuits my whole nervous system every time as Ida belts high notes with a brassy fullness no other vocalist in this category approaches. From that point, banger after banger fires out of Triosphere’s chamber. “Oceans Above, Stars Below,” “Monster’s Ball,” and “Through the Phantom Wall” in particular burn barns down to cinders with high-octane lead melodies, effervescent vocal lines, and satisfying chuggy crunches. Mid-album stingers “Lightning in a Bottle,” “Shorelines,” and “Embers” bring more upbeat verve and heart to the affair, while also reintroducing Marius’ trademark bluesy solos that bleed with an emotive quality few guitarists in this scene achieve. The hits keep coming, with closing duo “Orpheus’ Bane” and “Cadence of Chaos” pushing the limits of what I expect from Triosphere’s sound. In the former example, Nevermore’s influence is felt in its chromatic, staccato riffing and full-bodied tones, while the latter offers a tempo switch-up between verse and chorus that abnormally activates my salivatory glands like only the best prog-power writing can.
Memorable, immediate, and sticky, Oceans Above, Stars Below is more than just a collection of great songs. It transcends the standards set by the heavy/prog/power blueprint. Through the use of melodies that would feel at home on any 80s album, metal or otherwise, Triosphere nail the nostalgia that tugs the ears of those who pine for the ways of olde. With their soulful soloing, powerful vocal payloads, and tight transitions, Triosphere exude theatricality that attracts folks drawn to epic cinematics and righteous pyrotechnics. Clever layering and deceptively sophisticated complexities woven into familiar frameworks permit accessible entry points for audiences scouting for intelligent writing and extended staying power. Even the central ballad “Encore” and closer “Gjenklang,” a cello/violin-led instrumental reprisal finale, offer compelling contributions to the whole that those who crave music that touches the heart will surely appreciate.
Oceans Above, Stars Below has more than just something for everyone. If enough people listen and take notes, as they should, it possesses the power to shift the scene, to move the needle. Even if it somehow fails at that, it’s more than I could’ve asked for from one of the most anticipated follow-ups in my rotation. I was sure 12 years was too long to wait, and that nothing Triosphere offered would make me fall in love with them all over again. I was wrong, and I’ve never been happier to be wrong. An album this excellent, this passionately performed, this finely honed, deserves a universal audience. Forget the trappings of genre or category. Oceans Above, Stars Below is a record I’ll be recommending to anyone and everyone. It is the embodiment of everything I love about music, heavy or otherwise. By sharing it, I share a piece of my bleeding heart that Triosphere somehow captured in vivid detail. Thank you, Triosphere, for this gift. I will cherish it forever!
Rating: Iconic!1
DR: N/A | Format Reviewed: Stream HELL2
Label: Frontiers Records
Websites: Official | Facebook
Releases Worldwide: August 28th, 2026
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