When you have a metal heart but a strong melodic sensibility, your sound can go one of two ways. And it may take a while to choose which of those you prefer – heavier or lighter. Madrid's COFFEINNE seems to still be in that deciding phase on "Requiem," their second album and the follow-up to 2016's "Circle of Time." "Frozen Seas" definitely sounds oceanic at the start and the finish, with hints of waves and wind. Bold chords, Inaki's upper-register gritty rasp, and plenty of memorable melody establish the band's vibe. The atmospheric chorus is a standout, and not just lyrically – that little guitar punch at the end of it gives it texture and interest.

While it might be tough to pin down the exact sentiment of "Back to the Light," that seamless work between David's rhythm and lead guitars is notable. And there is a definite change from the beginning of the song to the end – from being lost and wanting to get back, to gradually forgetting, to finally accepting one's fate – which is well done. "One More Day" shows their definite command of melody and drama. Pako's drumming is varied and tasty, with lots of ear-catching things going on.

"Forevermore" is arguably the best track here. Reminiscent of HAMMERFALL or STRATOVARIUS (think "Hunting High and Low"), it's filled with David's combination of big power chords, punchy, chugging riffs, and solo melodies soaring over all. The terse verses are punctuated by super-precise drumming, and the chorus is sing-along fun. The nice fat solo in the bridge leads back into the chorus, which briefly modulates – of course it does.

"The Showdown" is similar in key to "Forevermore" and has a similar sound. So far, COFFEINNE checks all those power metal boxes – their songwriting is never awkward nor excessive, their transitions between verses and choruses are effortless, and they keep solos succinct. But it's with the next several songs that the album, for some reason, lightens up. That's not bad necessarily, but it's perhaps misplaced in this context. "Never Again" treads awfully close to midtempo ballad territory. I kept hearing DEF LEPPARD in that jangly little main guitar riff in the verses, the bridge, and the solo – replace Inaki's slightly breathy vocal and it very well could be.

The seize-the-moment track "Wake Up" too has that lighter feeling, but has some tough, beefy riffing as well. It's tightly constructed, if a little repetitive, and the band certainly gets the importance of being catchy. "Open Your Eyes" has a techno-y keyboard touch that runs throughout and that gives it an appealing edginess. The crisp, pummeling riffing is a nice contrast to Inaki's smooth rasp and the think-for-yourself chorus is nice, but it's very reminiscent of that late-80's-early-90's time period. "Crash and Burn" too is inoffensive, but I've already been through this period and I've moved on. And Inaki's voice changes little throughout – consistent, sure, but a little reaching wouldn't hurt.

We get back on track in fine style with the title track, which features guest Timo Tolkki (formerly of STRATOVARIUS). It's decidedly heavier, with terrific drumming and a grand chorus. Inaki at last breaks out of his vocal rut with some rougher, deeper singing, and the keyboards at the end add drama and tension. "Requiem" seems to be a case of the old "Sesame Street" song, "One of These Things is Not Like the Other." Again. be heavier or be lighter – and either way would be fine – but trying to be both at the same time risks not doing either as well as you could.