Victory’s in Sight (Savers Album)

Victory’s in Sight is a debut album by German Power Metal band, Savers released in 1999

An almost, but not quite metal offering from the depths of the underground

It’s been somewhat puzzling that, over the past few months, a number of releases have emerged from bands that can only be described as “not quite there.”

There are acts that seem to have all the makings of greatness; decent production, technical ability, a whiff of ambition; yet somehow fail to ignite. They hover in a liminal space: not bad enough to mock mercilessly, but not good enough to celebrate either.

One label where this trend has been particularly noticeable is Dark Angel. Once a trusted name for curating underground metal gems to Thai Metal Head. particularly the transcendent Lux Occulta, whose work still gleams with near-mystical brilliance; it seems the enchantment has worn a little thin lately.

Victory’s in Sight

While the label still deserves credit for unearthing obscure acts and rarely dips below an acceptable threshold of quality, the thrill of discovery has grown quieter, more muted — as though the vaults of the underworld now echo with mere whispers rather than war cries.

Enter Savers, another unknown quantity summoned from the dark recesses. Who are they? Where are they from? The liner notes are sparse, offering only the members’ names:

• Marco Moretti – vocals
• Francesco Marelli – guitars and keyboards
• Alberto Sempriboni – bass
• Piero Pirantossy – drums

That’s it. No mythos. No mood-setting artwork. Just four names and a thick slab of undistilled heavy metal.

Musically, Saver plant their battle flag firmly in the realm of traditional power metal.

With all the tropes that entails: galloping rhythms, anthemic choruses, mythic imagery, and a not-so-subtle longing to ride shirtless into Valhalla.

If you’re the kind who’s been known to chant along to Manowar while flexing imaginary biceps in the mirror.

This might pique your interest. That said, Saver don’t quite command the same barbaric grandeu. the kind of bombast that makes you want to lift a sword skyward and shout into the void.

Way to Asgard

They open with “Way to Asgard”, which… let’s be blunt… is mixed so poorly it almost makes you want to punt your stereo into the abyss.

It’s not that the song is entirely unredeemable, but the vocals are buried beneath the riffage like a lost soul clawing from beneath the ice. 

Whether this is due to a dodgy cassette dub or just amateur mixing is unclear, but it’s a jarring start. Fortunately, subsequent tracks aren’t plagued by the same issue.

Vocally, Moretti does an adequate job; certainly not a disaster, but nothing that sears itself into your memory either. His high-note shrieks show promise, but there’s a strange inconsistency in his phrasing.

At times he refuses to push a note higher, nor does he anchor it lower, leaving melodies adrift and unresolved. It’s the vocal equivalent of building tension, then walking away without a climax — like an actor brandishing a sword at the climax of a duel, only to turn and exit stage left. Anti-theatrical, in the worst way.

Guitar-wise, things are a bit more robust. The tone is thick, bordering on sludge, but the riffcraft doesn’t quite reach the melodramatic heights required for classic power metal. You need riffs that thunder with divine purpose; think Ross the Boss in full warlord mode, or the kind of ceremonial gallops that summon the spirit of Conan the Barbarian in leather pants. Here, Saver only half-raise their axe.

Let’s pause a moment to revere Manowar, shall we? They may never have quite reached Grade A status in the wider metal hierarchy, but they embody power metal’s unapologetic grandeur. Every track feels like a call to arms. 

When Manowar hit, they hit hard; it’s pomp, it’s pageantry, it’s testosterone-fuelled theatre, and it works.

Sadly, Saver, despite aiming for similar territory, deliver more of a theatrical rehearsal than the actual show.

What’s about Victory’s in Sight

Take the track “Colosseum (Enter the Arena)”; structurally, it should be their crown jewel. The double-kick drumming is tight, thundering with martial urgency. 

But Moretti’s vocals sound awkward, possibly due to unfamiliarity with the nuances of English pronunciation. That lack of vocal articulation is especially noticeable in a genre that demands grand declarations, not mumblings from behind the helm.

The guitar solo in this track? It shows up, mumbles a few lines, then slips back into the crowd.

A wasted opportunity!

For me, Guitar solos in power metal are supposed to soar, to scream, to proclaim, not just occupy time between verses.

So where does that leave us?

Saver’s debut isn’t a bad album. In fact, for fans who already swim in the deep end of power metal’s oversized pool, this is likely to be a satisfying enough dip. It’s got the blood, sweat, and ambition — just not enough fire. But for the casual listener, or the battle-worn warrior seeking glory? This one might leave your sword unsheathed.

My Thoughts:

A promising entry from a band that clearly understands the rulebook, but hasn’t quite figured out how to write their own legend.

Victory’s in Sight is worth a listen for die-hard genre fans, but don’t expect your bones to rattle with ecstasy.