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Bloodred – Colours of Pain Review By Mark Z.Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.
With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.
On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.
Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).
Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.
Rating: 3.0/5.0
#2026 #30 #AmonAmarth #Belphegor #BlackMetal #BlackenedDeathMetal #Blasphemy #Bloodred #ColoursOfPain #DeathMetal #Feb26 #GermanMetal #HarakiriForTheSky #MassacreRecords #Review #Reviews #Satyricon #WoodsOfDesolation
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026 -
Bloodred – Colours of Pain Review By Mark Z.Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.
With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.
On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.
Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).
Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.
Rating: 3.0/5.0
#2026 #30 #AmonAmarth #Belphegor #BlackMetal #BlackenedDeathMetal #Blasphemy #Bloodred #ColoursOfPain #DeathMetal #Feb26 #GermanMetal #HarakiriForTheSky #MassacreRecords #Review #Reviews #Satyricon #WoodsOfDesolation
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026 -
Bloodred – Colours of Pain Review By Mark Z.Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.
With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.
On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.
Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).
Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.
Rating: 3.0/5.0
#2026 #30 #AmonAmarth #Belphegor #BlackMetal #BlackenedDeathMetal #Blasphemy #Bloodred #ColoursOfPain #DeathMetal #Feb26 #GermanMetal #HarakiriForTheSky #MassacreRecords #Review #Reviews #Satyricon #WoodsOfDesolation
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026 -
Bloodred – Colours of Pain Review By Mark Z.Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.
With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.
On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.
Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).
Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.
Rating: 3.0/5.0
#2026 #30 #AmonAmarth #Belphegor #BlackMetal #BlackenedDeathMetal #Blasphemy #Bloodred #ColoursOfPain #DeathMetal #Feb26 #GermanMetal #HarakiriForTheSky #MassacreRecords #Review #Reviews #Satyricon #WoodsOfDesolation
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026 -
Your gaze steals time,
my heart beats in echo.
Loving you is simple and eternal. ❤️#Love #ShortPoem #Feelings #Mastodon #Heart
Tu mirada roba el tiempo,
mi corazón late en eco.
Amarte es sencillo y eterno. ❤️ -
FALLOUT – In Hell I’ll Be in Good Company (S01E02)
Le wasteland ne pardonne pas!
A peine sortis de l’abri 37, Indiana, Mr Handy 2.0, Willy et Christopher assurent une mission de sauvetage et se retrouvent aux prises avec un groupe de pillards sanguinaires.
Echange de bourre-pifs et de punch lines au menu du jour!
L’occasion pour nous d’assouplir légèrement les règles de combat voulues par Modiphiüs dans le JDR officiel Fallout 111.Joueurs: Artémis, Melanaer, Riley et Flynn
MJ et monteur: Spidergrô.Retrouvez la suite des aventures des héros de l’abri 37 sur: www.jdracademy.com
Lâchez des caps sur : www.patreon.com/JDRAcademyRetrouvez la playlist musicale de la campagne sur Deezer : https://link.deezer.com/s/31KHmiUYtb9LvOBzT2Uin
Retrouvez la playlist musicale de la campagne sur Spotify : https://open.spotify.com/playlist/4o5FZgp7Pqvtt8uoC9qM7k?si=59043d0e5af24d2fPlaylist:
-Happy times
-Metro 2033 redux atmosphere – Ghosts tunnels
-AC/DC – TNT (instrumental)
-Megadeth – psychotron (instrumental)
-Amon Amarth – Guardian of Asgaard (instrumental cover)
-Amon Amarth – War of the gods (instrumental cover)
-Avenged Sevenfold – Natural born killer (instrumental)
-Megadeth – 99 ways to die (instrumental)
-Megadeth – Blood of heroes (instrumental)
-Maximum the hormone – Frieza (instrumental)
-Désir et brise marine
-Hook – the you are Peter
-Homeward bound & the scouring of the shire
-The dead south – In hell I’ll be in good companyhttps://jdracademy.fr/fallout-in-hell-ill-be-in-good-company-s01e02/
#ActualPlay #actualplay #alternative #Amérique #arkhaneAsylum #chien #Création #danger #drône #fallout #jdr #jeuDeRôle #liveplay #machine #miami #mystères #pacifica #partie #PartiesPartagées #personnages #podcast #robots #rpg #session0 #technologies #trophée #violence #VR
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FALLOUT – In Hell I’ll Be in Good Company (S01E02)
Le wasteland ne pardonne pas!
A peine sortis de l’abri 37, Indiana, Mr Handy 2.0, Willy et Christopher assurent une mission de sauvetage et se retrouvent aux prises avec un groupe de pillards sanguinaires.
Echange de bourre-pifs et de punch lines au menu du jour!
L’occasion pour nous d’assouplir légèrement les règles de combat voulues par Modiphiüs dans le JDR officiel Fallout 111.Joueurs: Artémis, Melanaer, Riley et Flynn
MJ et monteur: Spidergrô.Retrouvez la suite des aventures des héros de l’abri 37 sur: www.jdracademy.com
Lâchez des caps sur : www.patreon.com/JDRAcademyRetrouvez la playlist musicale de la campagne sur Deezer : https://link.deezer.com/s/31KHmiUYtb9LvOBzT2Uin
Retrouvez la playlist musicale de la campagne sur Spotify : https://open.spotify.com/playlist/4o5FZgp7Pqvtt8uoC9qM7k?si=59043d0e5af24d2fPlaylist:
-Happy times
-Metro 2033 redux atmosphere – Ghosts tunnels
-AC/DC – TNT (instrumental)
-Megadeth – psychotron (instrumental)
-Amon Amarth – Guardian of Asgaard (instrumental cover)
-Amon Amarth – War of the gods (instrumental cover)
-Avenged Sevenfold – Natural born killer (instrumental)
-Megadeth – 99 ways to die (instrumental)
-Megadeth – Blood of heroes (instrumental)
-Maximum the hormone – Frieza (instrumental)
-Désir et brise marine
-Hook – the you are Peter
-Homeward bound & the scouring of the shire
-The dead south – In hell I’ll be in good companyhttps://jdracademy.fr/fallout-in-hell-ill-be-in-good-company-s01e02/
#ActualPlay #actualplay #alternative #Amérique #arkhaneAsylum #chien #Création #danger #drône #fallout #jdr #jeuDeRôle #liveplay #machine #miami #mystères #pacifica #partie #PartiesPartagées #personnages #podcast #robots #rpg #session0 #technologies #trophée #violence #VR
-
FALLOUT – In Hell I’ll Be in Good Company (S01E02)
Le wasteland ne pardonne pas!
A peine sortis de l’abri 37, Indiana, Mr Handy 2.0, Willy et Christopher assurent une mission de sauvetage et se retrouvent aux prises avec un groupe de pillards sanguinaires.
Echange de bourre-pifs et de punch lines au menu du jour!
L’occasion pour nous d’assouplir légèrement les règles de combat voulues par Modiphiüs dans le JDR officiel Fallout 111.Joueurs: Artémis, Melanaer, Riley et Flynn
MJ et monteur: Spidergrô.Retrouvez la suite des aventures des héros de l’abri 37 sur: www.jdracademy.com
Lâchez des caps sur : www.patreon.com/JDRAcademyRetrouvez la playlist musicale de la campagne sur Deezer : https://link.deezer.com/s/31KHmiUYtb9LvOBzT2Uin
Retrouvez la playlist musicale de la campagne sur Spotify : https://open.spotify.com/playlist/4o5FZgp7Pqvtt8uoC9qM7k?si=59043d0e5af24d2fPlaylist:
-Happy times
-Metro 2033 redux atmosphere – Ghosts tunnels
-AC/DC – TNT (instrumental)
-Megadeth – psychotron (instrumental)
-Amon Amarth – Guardian of Asgaard (instrumental cover)
-Amon Amarth – War of the gods (instrumental cover)
-Avenged Sevenfold – Natural born killer (instrumental)
-Megadeth – 99 ways to die (instrumental)
-Megadeth – Blood of heroes (instrumental)
-Maximum the hormone – Frieza (instrumental)
-Désir et brise marine
-Hook – the you are Peter
-Homeward bound & the scouring of the shire
-The dead south – In hell I’ll be in good companyhttps://jdracademy.fr/fallout-in-hell-ill-be-in-good-company-s01e02/
#ActualPlay #actualplay #alternative #Amérique #arkhaneAsylum #chien #Création #danger #drône #fallout #jdr #jeuDeRôle #liveplay #machine #miami #mystères #pacifica #partie #PartiesPartagées #personnages #podcast #robots #rpg #session0 #technologies #trophée #violence #VR
-
FALLOUT – In Hell I’ll Be in Good Company (S01E02)
Le wasteland ne pardonne pas!
A peine sortis de l’abri 37, Indiana, Mr Handy 2.0, Willy et Christopher assurent une mission de sauvetage et se retrouvent aux prises avec un groupe de pillards sanguinaires.
Echange de bourre-pifs et de punch lines au menu du jour!
L’occasion pour nous d’assouplir légèrement les règles de combat voulues par Modiphiüs dans le JDR officiel Fallout 111.Joueurs: Artémis, Melanaer, Riley et Flynn
MJ et monteur: Spidergrô.Retrouvez la suite des aventures des héros de l’abri 37 sur: www.jdracademy.com
Lâchez des caps sur : www.patreon.com/JDRAcademyRetrouvez la playlist musicale de la campagne sur Deezer : https://link.deezer.com/s/31KHmiUYtb9LvOBzT2Uin
Retrouvez la playlist musicale de la campagne sur Spotify : https://open.spotify.com/playlist/4o5FZgp7Pqvtt8uoC9qM7k?si=59043d0e5af24d2fPlaylist:
-Happy times
-Metro 2033 redux atmosphere – Ghosts tunnels
-AC/DC – TNT (instrumental)
-Megadeth – psychotron (instrumental)
-Amon Amarth – Guardian of Asgaard (instrumental cover)
-Amon Amarth – War of the gods (instrumental cover)
-Avenged Sevenfold – Natural born killer (instrumental)
-Megadeth – 99 ways to die (instrumental)
-Megadeth – Blood of heroes (instrumental)
-Maximum the hormone – Frieza (instrumental)
-Désir et brise marine
-Hook – the you are Peter
-Homeward bound & the scouring of the shire
-The dead south – In hell I’ll be in good companyhttps://jdracademy.fr/fallout-in-hell-ill-be-in-good-company-s01e02/
#ActualPlay #actualplay #alternative #Amérique #arkhaneAsylum #chien #Création #danger #drône #fallout #jdr #jeuDeRôle #liveplay #machine #miami #mystères #pacifica #partie #PartiesPartagées #personnages #podcast #robots #rpg #session0 #technologies #trophée #violence #VR
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Unleashed – Fire Upon Your Lands Review
By Steel Druhm
One of the most amusing stories in metal lore is how every single member of influential Swedish death metal act Nihilist left because they didn’t want to work with Johnny Hedlund any longer. These wayward musicians then formed Entombed, leaving Hedlund to his own devices to create Unleashed and chart his own course into Swedish metal history. That course often involved tales of Viking raids and drunken toasting to the Norse Gods, beating Amon Amarth to those now well-worn tropes by some 5 years. The typical Unleashed sound is riffy, hooky, and a touch anthemic, but heavy enough to leave hammer marks. It’s been a long, strange voyage since 92, and they’ve had their share of ups and downs, but they’ve been trending in the right direction since 2012s Odalheim. It’s been almost 4 years since they dropped 2021s No Sign of Life, but here they come again with 15th album, Fire Upon Your Lands. Are the longships still seaworthy? Does the fire still burn in Eitri’s foundry? Let us test the runes.
I’ll say this for the 2025 version Unleashed: they still pack a lot of vim and vigor in their raiding kit. Opener “Left for Dead” gives no quarter, coming for your head like a rabid berserker. It’s heavy, mean, and reminds me of the extra-nasty stuff on their Where No Life Dwells debut, before they adopted the whole Viking schtick. Hedlund sounds large and pissed off, and the riffs have weight and teeth. “A Toast to the Fallen” keeps the heaviness flowing while shoehorning in lines about toasting the fallen and hailing Thor at every possible opportunity. Since I’m never opposed to hailing and toasting Thor, I have no beef, and it’s a fun, beer-swigging tune for the bold. From there, Unleashed run like an everflowing stream from one ballsy beat down to another like “War Comes Again,” with aggression and urgency balanced adroitly with nods to macho melodeath. It’s a classic Unleashed cut and hits the spot like the blood of one’s enemies. The burly, battle-hardened title track feels like it came from their Midvinterblut album, which is one of my personal favorites, so I enjoy it plenty.1
The best part about Fire Upon Your Lands is the overall consistency of the material. There’s a pornucopia of raw energy and sizzle over the album’s 38 minutes, with pretty much every song delivering body blows. Even cheese-stuffed anthem “Hold Your Hammers High” works due to sheer caveman death metal seduction. Are there issues? Well, the track “To My Only Son” is like a shameless reboot of Manowar’s classic gem “Defender,” about a warrior’s letter to his son telling him how to live proudly. Hell, they even borrow the line, “As you read these words, I want you to know…”. Since I grew up blasting “Defender” a zillion times in my formative years, my brain autofills with “…that I would have been there to watch you grow. But my call was heard, and I did go.” It’s not a bad song, but it cuts way too close to a legendary moment in metal.2 Closing cut “Unknown Flag” is a bit odd, since it seems to be about pirates and therefore conflicts with the whole Vikings ethos. It’s the weakest track here, but it isn’t a dead loss, just a touch underwhelming. With all the songs in the 2-4 minute window, things blast along at a frantic pace, their tried-and-true style sounding refreshed, reborn, and badass. It’s one of the most lively Unleashed platters, and it all hangs together well.
With the same lineup in place forever, the playing is tight, crisp, and effectively minimalist when needed, maximalist when it helps. Johnny Hedlund’s booming death vocals sound surprisingly ageless. He’s found the Fountain of Death Youth and snarls and roars like a much younger man throughout the Viking blitz. He’s always had a certain Neanderthal charm to his delivery, and it’s still present as he regales you with yarns about conquest and chronic mead abuse. Long-time axe tandem Tomas Olsson and Fredrik Folkare bring their riffy, gritty style to the field, delivering thuggy grooves, vicious leads, a touch of classic d-beatery, and interestingly fluid and melodic solo work. The riff quality is above average, and they drive the material hard. I’m especially fond of their work on “Left for Dead” and “A Toast to the Fallen,” and they bring just enough blackened rage to the party to spice up the more typical death lines.
After some 33 years in the raiding game, Unleashed don’t show their age on Fire Upon Your Lands. All the classic Unleashed trademarks are present, the writing is sharp, and the attitude is appropriately beastial and unyielding. I didn’t expect this much fire, and I’m very happy to be burned by it. Now it’s your turn to gird thy loins and push that enemy shield wall into the sea. Do it for Johnny!
Rating: 3.5/5.0
DR: NA | Format Reviewed: Damn This Goddamn STREAM to Hades!!
Label: Napalm
Websites: unleashed.se/website/index.php | facebook.com/unleashed | instagram.com/unleashed_official
Releases Worldwide: August 15th, 2025#2025 #35 #AmonAmarth #Aug25 #DeathMetal #Entombed #FireUponYourLands #NapalmRecords #Review #Reviews #SwedishMetal #Unleashed
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#ThursdayFiveList #StreamsOfDreams ......
(thanks @jessica for coming up with this epic theme!!)1. Green Day - Boulevard Of Broken Dreams
https://tidal.com/browse/track/68638838?u2. Five Finger Death Punch - Living The Dream
https://tidal.com/browse/track/127528748?u3. Eurythmics - Sweet Dreams
https://tidal.com/browse/track/86183177?u4. Amon Amarth - Prediction Of Warfare
https://tidal.com/browse/track/22771091?u5. (hed) p.e. - This Dream
https://tidal.com/browse/track/319902285?u -
BATTITI A GAZA. La solidarietà come forma di resistenza • 100x100Gaza
CSOA Forte Prenestino, venerdì 11 aprile alle ore 19:00 CEST
CSOA Forte Prenestino
venerdì 11 aprile 2025
BATTITI A GAZA
la solidarietà come forma di resistenza
serata a sostegno della campagna 100x100 GAZA
https://www.100x100gaza.it/
Gaza non finirò di amarti mai•••
PROGRAMMA
• ore 19:00
lancio della campagna 100x100 Gaza con aggiornamenti dalla Palestina• a seguire
presentazione con i curatori del libro di poesie da Gaza
“IL LORO GRIDO È LA MIA VOCE” (Fazi, 2025)
a cura di Antonio Bocchinfuso, Mario Soldaini, Leonardo Tosti
con intervento musicale di Emanuele Schillaci• ore 21:30
presentazione col regista del documentario
"VIAGGIO A GAZA" (2024, 68')
di Piero Usberti• dalle 23:00
GAZA BEATS conscious djs for the Palestinian cause
- Niente da Vendere (ROR)
- PolG•••
https://www.forteprenestino.net/39-iniziative/concerti/3338-battiti-per-gaza
•••
CSOA Forte Prenestino
via Delpino, 100Celle, Romahttps://roma.convoca.la/event/battiti-a-gaza-la-solidarieta-come-forma-di-resistenza-100x100gaza
-
BATTITI A GAZA. La solidarietà come forma di resistenza • 100x100Gaza
CSOA Forte Prenestino, venerdì 11 aprile alle ore 19:00 CEST
CSOA Forte Prenestino
venerdì 11 aprile 2025
BATTITI A GAZA
la solidarietà come forma di resistenza
serata a sostegno della campagna 100x100 GAZA
https://www.100x100gaza.it/
Gaza non finirò di amarti mai•••
PROGRAMMA
• ore 19:00
lancio della campagna 100x100 Gaza con aggiornamenti dalla Palestina• a seguire
presentazione con i curatori del libro di poesie da Gaza
“IL LORO GRIDO È LA MIA VOCE” (Fazi, 2025)
a cura di Antonio Bocchinfuso, Mario Soldaini, Leonardo Tosti
con intervento musicale di Emanuele Schillaci• ore 21:30
presentazione col regista del documentario
"VIAGGIO A GAZA" (2024, 68')
di Piero Usberti• dalle 23:00
GAZA BEATS conscious djs for the Palestinian cause
- Niente da Vendere (ROR)
- PolG•••
https://www.forteprenestino.net/39-iniziative/concerti/3338-battiti-per-gaza
•••
CSOA Forte Prenestino
via Delpino, 100Celle, Romahttps://roma.convoca.la/event/battiti-a-gaza-la-solidarieta-come-forma-di-resistenza-100x100gaza
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#AFLSwansLions caught the second half on the radio driving back to the festival. Sounds like some of the newies are looking good, there’s still heart and pluck in the team, but we’re two keys short and unless Logan is back anytime soon, and even if he is, we have an Amartey issue. Hopefully the Pelican’s injury isn’t major. Could really do with Millsy being back on time with Errol out long term.
Broader picture, we’ll still be there or there abouts, let’s not throw the baby out with the bathwater. Trust the culture, it’s not the end of the world if we don’t get right back to the big dance this year but as always the clock is ticking with this core.
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New Fandom Friending Meme!! in two-parts bc i talk too much LOL.
▪ Names I go by and preferred pronouns:
Samifer, Sam, he/they (il/yl in french, masc agreement)
▪ My main contribution(s) to fandom is/are:
drawing, writing, hosting events (sometimes), encouraging other people to be more unhinged
▪ Link(s) to my Masterlist(s):
i don't rly have a place that works as an aggregate for my art anymore since i've mostly been posting it on social media in the last few years... but there is my tumblr art tag:
https://insecateur.tumblr.com/tagged/samart
and i crosspost some of my NSFW art on AO3. otherwise there's actually quite a lot of that in my gallery here!
as for fic, i post it on AO3 and crosspost it to dreamwidth:
https://ao3.org/users/Samifer/works
https://teamflare.dreamwidth.org/▪ Fandom(s) I enjoy:
Pokémon X&Y (main fandom, forever fave)
Pokémon in general, Mob Psycho 100, Yakuza/龍が如く, BEASTARS, Yume Nikki, .flow, The Legend of Zelda, Petscop, Ace Attorney (not as much as i used to, but i'm still fond of the OG trilogy and the first Apollo Justice), Stardew Valley, Undertale/Deltarune, musicals (mostly French ones but i'm also fond of Jesus Christ Superstar among other things) Assassin's Creed (2 and Unity mostly) Final Fantasy (7, 9, 15) and i guess i'm getting into Arcane a little bit but we'll see where that goes lol.
i'm putting the fave characters/ships in a reply to save space!
▪ The type(s) of fanwork(s) I consume the most is/are:
mostly art and fic, i think? some animatics/animated videos/animations. i've been getting into podfic slowly... and i can always enjoy cool graphics, especially old-school 100x100 icons.
▪ Fanwork tropes/clichés I enjoy are:
Dom/sub, BDSM as therapy, Trust & Betrayal, Lovers to Enemies, Redemption Arcs...
▪ Non-fandom things I enjoy:
cooking :^) going on walks! animols. kink.
▪ I post mostly about:
my life and thoughts, my blorbos (this is blorbo.social after all), kinky/horny thoughts and scenarios, fanworks exchanges
▪ Things I am interested in seeing on my feed:
cool art, people having a good time being passionate about what they like :)
▪ My follow/follower policy is:
i tend to follow people i feel like i will vibe with. sometimes that doesn't work out and that's okay. i don't have any requirements to follow me. make yourself at home as freely and loosely as you'd like.
▪ Other things I want to share about myself:
i'm French so there will be French words on your feed sometimes
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For today's #ThursdayFiveList , #TheWorkout, @neurothing wants some of my training playlist. Fuck yeah.
Arnocorps - Pumping Iron
https://arnocorps.bandcamp.com/track/pumping-iron
https://songwhip.com/arnocorps/pumping-ironAngus McSix (@AngusMcSix apparently) - Amazons of Caledonia
https://songwhip.com/angusmcsix/amazons-of-caledoniaSabaton - Metal Machine
Video: https://www.youtube.com/watch?v=0l-cJ-206iQ
https://songwhip.com/sabaton/metal-machine
(My road bike is named after this track.)Amon Amarth - Twilight of the Thunder God
https://amonamarth.bandcamp.com/track/twilight-of-the-thunder-god
https://songwhip.com/amon-amarth/twilight-of-the-thunder-godDark Tranquillity - The Sun Fired Blanks (Live in Krakow 2002)
https://songwhip.com/dark-tranquillity/the-sun-fired-blanks-live-in-krakow-2002
(This version, rather than the one from Projector, because of the different guitar arrangement that emerged in live performances.) -
#ThursdayFiveList #TheFire by @neurothing
Headbangers! Ready? Go!
Arch Enemy "Burning Angel"
https://www.youtube.com/watch?v=KgMUmXHAdAMGojira "Fire is everything"
https://www.youtube.com/watch?v=XQoPOOH0ZRkAmon Amarth "Death in Fire"
https://www.youtube.com/watch?v=HkvjQF1m5SgImminence "Moth to a Flame"
https://www.youtube.com/watch?v=cs4BUPZZOTwBeartooth "Fire"
https://www.youtube.com/watch?v=Yrac9iHZeOU -
My musical journey over the years has taken me through more than a few genres, but metal has long been my home. Here's my primary journey. Overlap happens of course, and I never abandoned any of these genres, my focus just shifted
Rock (mostly Linkin Park) -> groove metal -> death metal -> nu metal -> black metal -> folk metal -> melodeath -> aggrotech -> industrial-> horrorcore -> rap -> darkwave -> blackened deathcore -> 2nd wave deathcore (both melodic and technical)
I usually sum up my tastes as "black clothes music"
Reccs:
#groovemetal
Lamb of God
Otep
#deathmetal
Fleshgod Apocalypse
Amon Amarth
#numetal
Slipknot
SOAD
#blackmetal
Carach Angren
Møl
#folkmetal
Equilibrium
Finntroll
#melodeath
Nekrogoblikon
#aggrotech
Psyclon nine
Angelspit
Grendel
#industrial
Aesthetic Perfection
Faderhead
Combichrist
Kmfdm
#horrorcore
Necro
Vinnie Paz
#rap
Tech N9ne
Dax
Hopsin
#darkwave
Pertubator
Carpenter Brut
#blackeneddeathcore
Lorna shore
Shadow of Intent
Mental cruelty
#deathcore
Whitechapel
Brand of sacrifice -
Creare capacità. Liberarsi dalla dittatura del PIL, di Martha C. Nussbaum.
Interessante lettura, parte dalla base teorica di Amartya Sen e la sviluppa oltre la sola sfera economica.
Ci sono tanti spunti interessanti. -
I really dig this band. Although most of their songs are a bit too fast for a #DoomHead like me, their slower stuff is really amazing.
This song from their current record is one of the best songs I've heard this year.Strangely, it somehow reminds me of old Amon Amarth stuff. What's your impression, #Metal feediverse?
#Goatwhore - Angels Hung from the Arches of Heaven
https://youtu.be/g4JZft_lr0c -
I really dig this band. Although most of their songs are a bit too fast for a #DoomHead like me, their slower stuff is really amazing.
This song from their current record is one of the best songs I've heard this year.Strangely, it somehow reminds me of old Amon Amarth stuff. What's your impression, #Metal feediverse?
#Goatwhore - Angels Hung from the Arches of Heaven
https://youtu.be/g4JZft_lr0c -
I really dig this band. Although most of their songs are a bit too fast for a #DoomHead like me, their slower stuff is really amazing.
This song from their current record is one of the best songs I've heard this year.Strangely, it somehow reminds me of old Amon Amarth stuff. What's your impression, #Metal feediverse?
#Goatwhore - Angels Hung from the Arches of Heaven
https://youtu.be/g4JZft_lr0c -
I really dig this band. Although most of their songs are a bit too fast for a #DoomHead like me, their slower stuff is really amazing.
This song from their current record is one of the best songs I've heard this year.Strangely, it somehow reminds me of old Amon Amarth stuff. What's your impression, #Metal feediverse?
#Goatwhore - Angels Hung from the Arches of Heaven
https://youtu.be/g4JZft_lr0c -
I really dig this band. Although most of their songs are a bit too fast for a #DoomHead like me, their slower stuff is really amazing.
This song from their current record is one of the best songs I've heard this year.Strangely, it somehow reminds me of old Amon Amarth stuff. What's your impression, #Metal feediverse?
#Goatwhore - Angels Hung from the Arches of Heaven
https://youtu.be/g4JZft_lr0c -
Abandon Agony – Endbringer Review By Tyme
In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?
Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.
Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4
What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.
Rating: 3.56/5.0
#2026 #35 #AbandonAgony #AmonAmarth #DarkTranquility #Endbringer #InFlames #May26 #MelodicDeathMetal #MorsPrincipiumEst #Review #SelfReleased #Sweden
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026 -
Abandon Agony – Endbringer Review By Tyme
In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?
Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.
Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4
What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.
Rating: 3.56/5.0
#2026 #35 #AbandonAgony #AmonAmarth #DarkTranquility #Endbringer #InFlames #May26 #MelodicDeathMetal #MorsPrincipiumEst #Review #SelfReleased #Sweden
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026 -
Abandon Agony – Endbringer Review By Tyme
In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?
Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.
Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4
What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.
Rating: 3.56/5.0
#2026 #35 #AbandonAgony #AmonAmarth #DarkTranquility #Endbringer #InFlames #May26 #MelodicDeathMetal #MorsPrincipiumEst #Review #SelfReleased #Sweden
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026 -
Abandon Agony – Endbringer Review By Tyme
In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?
Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.
Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4
What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.
Rating: 3.56/5.0
#2026 #35 #AbandonAgony #AmonAmarth #DarkTranquility #Endbringer #InFlames #May26 #MelodicDeathMetal #MorsPrincipiumEst #Review #SelfReleased #Sweden
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026 -
Abandon Agony – Endbringer Review By Tyme
In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?
Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.
Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4
What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.
Rating: 3.56/5.0
#2026 #35 #AbandonAgony #AmonAmarth #DarkTranquility #Endbringer #InFlames #May26 #MelodicDeathMetal #MorsPrincipiumEst #Review #SelfReleased #Sweden
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026 -
Mika de Pee – De Lente vatte vlam
Theater de Richel, Friday, October 9 at 08:00 PM GMT+2
Hoe ver ben je bereid te gaan voor je idealen, als ze je vervreemden van de mensen van wie je het meest houdt?
Het is 1968: het jaar van wereldwijde revolutie. Van Parijs tot Washington, en van Mexico-Stad tot Praag: overal staan jongeren op om de wereld te veranderen. Gewapend met idealen, kunst en bakstenen gaan studenten in Praag de strijd aan met het Sovjetregime. De jonge, onhandige student Jan Palach arriveert in Praag om geschiedenis te studeren. Dansend op de opzwepende klanken van westerse vrije jazz, verboden muziek onder het regime, ontwikkelt hij zich in rap tempo tot een vurige voorvechter van de vrijheid. Maar de revolutie kent een prijs. Terwijl de spanningen oplopen en Russische troepen de opstand met harde hand neerslaan, komt Jan lijnrecht tegenover zijn dierbaren te staan. Wat begint als een strijd voor een betere wereld, verandert in een innerlijk conflict dat alles op het spel zet. Hoe ver ben je bereid te gaan voor je idealen, als ze je dreigen te vervreemden van de mensen van wie je het meest houdt?
Maker Mika de Pee laat zich inspireren door zijn eigen ervaringen. Toen hij in 2018 begon aan de Arnhemse Toneelschool, botste zijn nieuwe, progressieve omgeving met de wereld waar hij vandaan kwam. In De Lente Vatte Vlam verweeft hij dit persoonlijke verhaal met het aangrijpende verhaal van Jan Palach, een van de 10 studenten die zichzelf in brand stak uit protest tegen het Sovjetregime. Het resultaat is een muzikale voorstelling waarin jazz en revolutie samensmelten tot een meeslepende theaterervaring. Een verhaal over idealen, opoffering en de vraag: wat als datgene waar je voor vecht, je uit elkaar drijft?
Credits
Spel: Mika de Pee
Tekst: Mika de Pee
Muziek: Adriaan Koster
Tekst begeleiding: Elly Scheele
Met speciale dank aan: Gemeente Utrecht, Amarte Fonds, Janivo en ZOZ Fonds
https://offbeat.amsterdam/event/mika-de-pee-de-lente-vatte-vlam