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Albert Meijer – Tim in een tasje
Theater de Richel, Thursday, October 15 at 08:00 PM GMT+2
Het weinig succesvolle cabaretduo Het Verdriet van Drenthe is uit elkaar. Tim en Albert gaan elk huns weegs – of nou ja, Tim sterft plotseling. En nu gaat Albert noodgedwongen solo.
Albert Meijer (winnaar jury- en publieksprijs Amsterdams Studenten Cabaret Festival 2024) maakt met Tim in een tasje een ode aan eigenzinnig rouwen. Hij maakt liedjes en verhalen over de dood, rouw, verlies en de vreemde maar constante drang om daar grapjes over te maken. Wat moet je doen als je beste vriend ineens doodgaat? Hoe ziet een queer uitvaart er uit? En hoe kies je in hemelsnaam een mooie grafkist uit?
De Theaterkrant noemde Albert “tegelijkertijd ontwapenend grappig en immens treurig”. Zijn debuutvoorstelling Tim in een tasje schuurt en raakt, en werkt net zo hard op je lachspieren als op je traanbuizen.
Credits:
Tekst, muziek, spel: Albert MeijerRegie & dramaturgie: Bertram van AlphenArtistieke begeleiding: Wilhelmer van EfferinkMuzikale ondersteuning & backing tracks: Hendrik Behnen, Joni de GrootDecor, kostuum: Timo ArlingTechniek: Ira HelfferichFoto: Anne van ZantwijkPosterdesign: Sammy HemerikGenre: cabaret/kleinkunst
Mede mogelijk gemaakt door Amarte Fonds, NORMA fonds, Fentener van Vlissingenfonds & Ramses Shaffy Fonds
https://offbeat.amsterdam/event/albert-meijer-tim-in-een-tasje
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Vansind – Hævnen Review By ClarkKentIf these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.
Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.
Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.
Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.
Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #Bathory #Coronatus #DanishMetal #Epica #Finntroll #FolkMetal #Hævnen #May26 #MightyMusic #Review #Reviews #Thyrfing #Vansind
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026 -
Vansind – Hævnen Review By ClarkKentIf these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.
Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.
Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.
Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.
Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #Bathory #Coronatus #DanishMetal #Epica #Finntroll #FolkMetal #Hævnen #May26 #MightyMusic #Review #Reviews #Thyrfing #Vansind
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026 -
Vansind – Hævnen Review By ClarkKentIf these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.
Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.
Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.
Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.
Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #Bathory #Coronatus #DanishMetal #Epica #Finntroll #FolkMetal #Hævnen #May26 #MightyMusic #Review #Reviews #Thyrfing #Vansind
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026 -
Vansind – Hævnen Review By ClarkKentIf these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.
Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.
Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.
Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.
Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #Bathory #Coronatus #DanishMetal #Epica #Finntroll #FolkMetal #Hævnen #May26 #MightyMusic #Review #Reviews #Thyrfing #Vansind
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026 -
Vansind – Hævnen Review By ClarkKentIf these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.
Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.
Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.
Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.
Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #Bathory #Coronatus #DanishMetal #Epica #Finntroll #FolkMetal #Hævnen #May26 #MightyMusic #Review #Reviews #Thyrfing #Vansind
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026 -
Evermore – Mournbraid Review By Holdeneye
When last we saw Sweden’s Evermore, they arrived within these halls, wielding a platter of power metal that was as muscular as it was melodic. The songs on 2023’s In Memorium hit me right in the feels, the crunch of its guitars hit me right in the nuts, and overall, I really enjoyed the record and its beefy, Avantasia-with-the-fat-trimmed-off vibe. While I had some issues with the vocal performance on In Memorium, I saw enough potential in Evermore to be legitimately excited when I saw the promo for follow-up Mournbraid splash into the sump. Once again sporting a be-womaned cover, said promo touts a “sound made of aggressive guitar riffs, soaring epic vocals, and unforgettable hooks—all amplified by a massive, neat production.” It’s a bold claim, but can the music live up to it?
It doesn’t take long for that question to be answered. On first proper track “Underdark,” Evermore sounds heavier than ever and hookier than one of those full-body Velcro suits that sticks you to the wall. In the review for In Memorium, I pointed out that that album’s lead single recycled elements of an Amon Amarth song, and interestingly enough, I can make a similar claim this time around, albeit with even more brutal source material; both “Underdark” and its preceding instrumental intro seem to rehash a melody from The Lion King soundtrack. But no worries! Once again, the pieces work so well together to kick things off that I can’t even be mad.
If you’re like me, when you saw the color palette used for Mournbraid’s cover art, you expected the music to take a turn for the darker, and if you’re like me, you were right. Each iteration of Evermore gets heavier, while still residing squarely within the confines of “melodic power metal,” and they are undoubtedly at their best when they lean into that heft. The more aggressive tracks, like “Mournbraid,” the aforementioned “Underdark,” “Ravens at the Gates” (whose melo-death riffing places the emphasis on ‘At the Gates’), and my personal anthem for 2026, the Dream Evil-esque “Armored Will,” are Evermore’s sweet spot, and they are only made more powerful by Mournbraid’s stellar production—I can’t remember the last time I’ve heard a guitar tone this mighty.
But the deliciousness of the beef makes the blandness of the more subdued side dish all the more glaring. Plopped right in the middle of Mournbraid is “Oath of Apathy,” an unfortunately titled, 7-minute slog of emotion that fails to grab my heartstrings and pulls the emergency brake on the album’s momentum. I won’t count closer “Old Man’s Tale” against Evermore since it’s labeled as a bonus track, but it suffers the same fate, even if it did manage to bring a tear to my eye once when I realized that I am officially the old man in the tale. Fortunately, every other song here is a banger, so I found it relatively easy to overlook this one blunder, although it did keep me from whipping out and slapping down my 4.0.
With Mournbraid, Evermore did just about everything I asked them to do. The vocals seemed to work much better this time around, the band dialed up the heaviness, and that guitar tone, oh God, the guitar tone! These guys have struck the perfect balance between savory and sweet in the world of power metal, and not even a mid-album detour from said balance could keep me from enjoying the hell out of this record. Greatness is coming for these guys. I can feel it in my old bones.
Rating: 3.5/5.0
#2026 #35 #AtTheGates #Avantasia #DreamEvil #Evermore #Mar26 #Mournbraid #PowerMetal #Review #Reviews #ScarletRecords #SwedishMetal
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Website: facebook.com/evermoremetal
Releases Worldwide: March 20th, 2026 -
Evermore – Mournbraid Review By Holdeneye
When last we saw Sweden’s Evermore, they arrived within these halls, wielding a platter of power metal that was as muscular as it was melodic. The songs on 2023’s In Memorium hit me right in the feels, the crunch of its guitars hit me right in the nuts, and overall, I really enjoyed the record and its beefy, Avantasia-with-the-fat-trimmed-off vibe. While I had some issues with the vocal performance on In Memorium, I saw enough potential in Evermore to be legitimately excited when I saw the promo for follow-up Mournbraid splash into the sump. Once again sporting a be-womaned cover, said promo touts a “sound made of aggressive guitar riffs, soaring epic vocals, and unforgettable hooks—all amplified by a massive, neat production.” It’s a bold claim, but can the music live up to it?
It doesn’t take long for that question to be answered. On first proper track “Underdark,” Evermore sounds heavier than ever and hookier than one of those full-body Velcro suits that sticks you to the wall. In the review for In Memorium, I pointed out that that album’s lead single recycled elements of an Amon Amarth song, and interestingly enough, I can make a similar claim this time around, albeit with even more brutal source material; both “Underdark” and its preceding instrumental intro seem to rehash a melody from The Lion King soundtrack. But no worries! Once again, the pieces work so well together to kick things off that I can’t even be mad.
If you’re like me, when you saw the color palette used for Mournbraid’s cover art, you expected the music to take a turn for the darker, and if you’re like me, you were right. Each iteration of Evermore gets heavier, while still residing squarely within the confines of “melodic power metal,” and they are undoubtedly at their best when they lean into that heft. The more aggressive tracks, like “Mournbraid,” the aforementioned “Underdark,” “Ravens at the Gates” (whose melo-death riffing places the emphasis on ‘At the Gates’), and my personal anthem for 2026, the Dream Evil-esque “Armored Will,” are Evermore’s sweet spot, and they are only made more powerful by Mournbraid’s stellar production—I can’t remember the last time I’ve heard a guitar tone this mighty.
But the deliciousness of the beef makes the blandness of the more subdued side dish all the more glaring. Plopped right in the middle of Mournbraid is “Oath of Apathy,” an unfortunately titled, 7-minute slog of emotion that fails to grab my heartstrings and pulls the emergency brake on the album’s momentum. I won’t count closer “Old Man’s Tale” against Evermore since it’s labeled as a bonus track, but it suffers the same fate, even if it did manage to bring a tear to my eye once when I realized that I am officially the old man in the tale. Fortunately, every other song here is a banger, so I found it relatively easy to overlook this one blunder, although it did keep me from whipping out and slapping down my 4.0.
With Mournbraid, Evermore did just about everything I asked them to do. The vocals seemed to work much better this time around, the band dialed up the heaviness, and that guitar tone, oh God, the guitar tone! These guys have struck the perfect balance between savory and sweet in the world of power metal, and not even a mid-album detour from said balance could keep me from enjoying the hell out of this record. Greatness is coming for these guys. I can feel it in my old bones.
Rating: 3.5/5.0
#2026 #35 #AtTheGates #Avantasia #DreamEvil #Evermore #Mar26 #Mournbraid #PowerMetal #Review #Reviews #ScarletRecords #SwedishMetal
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Website: facebook.com/evermoremetal
Releases Worldwide: March 20th, 2026 -
Evermore – Mournbraid Review By Holdeneye
When last we saw Sweden’s Evermore, they arrived within these halls, wielding a platter of power metal that was as muscular as it was melodic. The songs on 2023’s In Memorium hit me right in the feels, the crunch of its guitars hit me right in the nuts, and overall, I really enjoyed the record and its beefy, Avantasia-with-the-fat-trimmed-off vibe. While I had some issues with the vocal performance on In Memorium, I saw enough potential in Evermore to be legitimately excited when I saw the promo for follow-up Mournbraid splash into the sump. Once again sporting a be-womaned cover, said promo touts a “sound made of aggressive guitar riffs, soaring epic vocals, and unforgettable hooks—all amplified by a massive, neat production.” It’s a bold claim, but can the music live up to it?
It doesn’t take long for that question to be answered. On first proper track “Underdark,” Evermore sounds heavier than ever and hookier than one of those full-body Velcro suits that sticks you to the wall. In the review for In Memorium, I pointed out that that album’s lead single recycled elements of an Amon Amarth song, and interestingly enough, I can make a similar claim this time around, albeit with even more brutal source material; both “Underdark” and its preceding instrumental intro seem to rehash a melody from The Lion King soundtrack. But no worries! Once again, the pieces work so well together to kick things off that I can’t even be mad.
If you’re like me, when you saw the color palette used for Mournbraid’s cover art, you expected the music to take a turn for the darker, and if you’re like me, you were right. Each iteration of Evermore gets heavier, while still residing squarely within the confines of “melodic power metal,” and they are undoubtedly at their best when they lean into that heft. The more aggressive tracks, like “Mournbraid,” the aforementioned “Underdark,” “Ravens at the Gates” (whose melo-death riffing places the emphasis on ‘At the Gates’), and my personal anthem for 2026, the Dream Evil-esque “Armored Will,” are Evermore’s sweet spot, and they are only made more powerful by Mournbraid’s stellar production—I can’t remember the last time I’ve heard a guitar tone this mighty.
But the deliciousness of the beef makes the blandness of the more subdued side dish all the more glaring. Plopped right in the middle of Mournbraid is “Oath of Apathy,” an unfortunately titled, 7-minute slog of emotion that fails to grab my heartstrings and pulls the emergency brake on the album’s momentum. I won’t count closer “Old Man’s Tale” against Evermore since it’s labeled as a bonus track, but it suffers the same fate, even if it did manage to bring a tear to my eye once when I realized that I am officially the old man in the tale. Fortunately, every other song here is a banger, so I found it relatively easy to overlook this one blunder, although it did keep me from whipping out and slapping down my 4.0.
With Mournbraid, Evermore did just about everything I asked them to do. The vocals seemed to work much better this time around, the band dialed up the heaviness, and that guitar tone, oh God, the guitar tone! These guys have struck the perfect balance between savory and sweet in the world of power metal, and not even a mid-album detour from said balance could keep me from enjoying the hell out of this record. Greatness is coming for these guys. I can feel it in my old bones.
Rating: 3.5/5.0
#2026 #35 #AtTheGates #Avantasia #DreamEvil #Evermore #Mar26 #Mournbraid #PowerMetal #Review #Reviews #ScarletRecords #SwedishMetal
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Website: facebook.com/evermoremetal
Releases Worldwide: March 20th, 2026 -
Evermore – Mournbraid Review By Holdeneye
When last we saw Sweden’s Evermore, they arrived within these halls, wielding a platter of power metal that was as muscular as it was melodic. The songs on 2023’s In Memorium hit me right in the feels, the crunch of its guitars hit me right in the nuts, and overall, I really enjoyed the record and its beefy, Avantasia-with-the-fat-trimmed-off vibe. While I had some issues with the vocal performance on In Memorium, I saw enough potential in Evermore to be legitimately excited when I saw the promo for follow-up Mournbraid splash into the sump. Once again sporting a be-womaned cover, said promo touts a “sound made of aggressive guitar riffs, soaring epic vocals, and unforgettable hooks—all amplified by a massive, neat production.” It’s a bold claim, but can the music live up to it?
It doesn’t take long for that question to be answered. On first proper track “Underdark,” Evermore sounds heavier than ever and hookier than one of those full-body Velcro suits that sticks you to the wall. In the review for In Memorium, I pointed out that that album’s lead single recycled elements of an Amon Amarth song, and interestingly enough, I can make a similar claim this time around, albeit with even more brutal source material; both “Underdark” and its preceding instrumental intro seem to rehash a melody from The Lion King soundtrack. But no worries! Once again, the pieces work so well together to kick things off that I can’t even be mad.
If you’re like me, when you saw the color palette used for Mournbraid’s cover art, you expected the music to take a turn for the darker, and if you’re like me, you were right. Each iteration of Evermore gets heavier, while still residing squarely within the confines of “melodic power metal,” and they are undoubtedly at their best when they lean into that heft. The more aggressive tracks, like “Mournbraid,” the aforementioned “Underdark,” “Ravens at the Gates” (whose melo-death riffing places the emphasis on ‘At the Gates’), and my personal anthem for 2026, the Dream Evil-esque “Armored Will,” are Evermore’s sweet spot, and they are only made more powerful by Mournbraid’s stellar production—I can’t remember the last time I’ve heard a guitar tone this mighty.
But the deliciousness of the beef makes the blandness of the more subdued side dish all the more glaring. Plopped right in the middle of Mournbraid is “Oath of Apathy,” an unfortunately titled, 7-minute slog of emotion that fails to grab my heartstrings and pulls the emergency brake on the album’s momentum. I won’t count closer “Old Man’s Tale” against Evermore since it’s labeled as a bonus track, but it suffers the same fate, even if it did manage to bring a tear to my eye once when I realized that I am officially the old man in the tale. Fortunately, every other song here is a banger, so I found it relatively easy to overlook this one blunder, although it did keep me from whipping out and slapping down my 4.0.
With Mournbraid, Evermore did just about everything I asked them to do. The vocals seemed to work much better this time around, the band dialed up the heaviness, and that guitar tone, oh God, the guitar tone! These guys have struck the perfect balance between savory and sweet in the world of power metal, and not even a mid-album detour from said balance could keep me from enjoying the hell out of this record. Greatness is coming for these guys. I can feel it in my old bones.
Rating: 3.5/5.0
#2026 #35 #AtTheGates #Avantasia #DreamEvil #Evermore #Mar26 #Mournbraid #PowerMetal #Review #Reviews #ScarletRecords #SwedishMetal
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Website: facebook.com/evermoremetal
Releases Worldwide: March 20th, 2026 -
Evermore – Mournbraid Review By Holdeneye
When last we saw Sweden’s Evermore, they arrived within these halls, wielding a platter of power metal that was as muscular as it was melodic. The songs on 2023’s In Memorium hit me right in the feels, the crunch of its guitars hit me right in the nuts, and overall, I really enjoyed the record and its beefy, Avantasia-with-the-fat-trimmed-off vibe. While I had some issues with the vocal performance on In Memorium, I saw enough potential in Evermore to be legitimately excited when I saw the promo for follow-up Mournbraid splash into the sump. Once again sporting a be-womaned cover, said promo touts a “sound made of aggressive guitar riffs, soaring epic vocals, and unforgettable hooks—all amplified by a massive, neat production.” It’s a bold claim, but can the music live up to it?
It doesn’t take long for that question to be answered. On first proper track “Underdark,” Evermore sounds heavier than ever and hookier than one of those full-body Velcro suits that sticks you to the wall. In the review for In Memorium, I pointed out that that album’s lead single recycled elements of an Amon Amarth song, and interestingly enough, I can make a similar claim this time around, albeit with even more brutal source material; both “Underdark” and its preceding instrumental intro seem to rehash a melody from The Lion King soundtrack. But no worries! Once again, the pieces work so well together to kick things off that I can’t even be mad.
If you’re like me, when you saw the color palette used for Mournbraid’s cover art, you expected the music to take a turn for the darker, and if you’re like me, you were right. Each iteration of Evermore gets heavier, while still residing squarely within the confines of “melodic power metal,” and they are undoubtedly at their best when they lean into that heft. The more aggressive tracks, like “Mournbraid,” the aforementioned “Underdark,” “Ravens at the Gates” (whose melo-death riffing places the emphasis on ‘At the Gates’), and my personal anthem for 2026, the Dream Evil-esque “Armored Will,” are Evermore’s sweet spot, and they are only made more powerful by Mournbraid’s stellar production—I can’t remember the last time I’ve heard a guitar tone this mighty.
But the deliciousness of the beef makes the blandness of the more subdued side dish all the more glaring. Plopped right in the middle of Mournbraid is “Oath of Apathy,” an unfortunately titled, 7-minute slog of emotion that fails to grab my heartstrings and pulls the emergency brake on the album’s momentum. I won’t count closer “Old Man’s Tale” against Evermore since it’s labeled as a bonus track, but it suffers the same fate, even if it did manage to bring a tear to my eye once when I realized that I am officially the old man in the tale. Fortunately, every other song here is a banger, so I found it relatively easy to overlook this one blunder, although it did keep me from whipping out and slapping down my 4.0.
With Mournbraid, Evermore did just about everything I asked them to do. The vocals seemed to work much better this time around, the band dialed up the heaviness, and that guitar tone, oh God, the guitar tone! These guys have struck the perfect balance between savory and sweet in the world of power metal, and not even a mid-album detour from said balance could keep me from enjoying the hell out of this record. Greatness is coming for these guys. I can feel it in my old bones.
Rating: 3.5/5.0
#2026 #35 #AtTheGates #Avantasia #DreamEvil #Evermore #Mar26 #Mournbraid #PowerMetal #Review #Reviews #ScarletRecords #SwedishMetal
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Website: facebook.com/evermoremetal
Releases Worldwide: March 20th, 2026 -
Monstrosity – Screams from Beneath the Surface Review By Steel Druhm
Monstrosity have been a death metal institution for over 30 years. They were part of the big Floridian death metal boom of the late 80s/early 90s, but were always overshadowed by the likes of Death, Morbid Angel, Deicide, and Obituary. That said, their 1992 Imperial Doom debut brought the death-thrashing thunder and introduced the world to one George “Corpsegrinder” Fisher. He and his neck left after their second album to join Cannibal Corpse, but Monstrosity soldiered on, releasing a string of good to very good albums, including their most recent, 2018s The Passage of Existence. With 2 original members remaining, the band is now rounded out with a new guitarist and vocalist. Can the infusion of fresh blood keep the Monstrosity carcass moving in the right direction for 7th album, Screams from Beneath the Surface?
For a long-time listener of the band, opener “Banished to the Skies” may cause a jolt. It’s an Amon Amarth-esque melodeath piece with a bit of an epic vibe, which is not the usual Monstrosity modality. It’s a good song with a dark, brooding mood, fluid guitar work, and moments that remind me of vintage Edge of Sanity, but it’s definitely not what I would expect from these Florida men. Things quickly revert to caveman death thrashery on “The Colossal Rage,” and the mission statement is to pummel with lead pipe savagery. New throat Ed Webb (ex-Massacre) is effectively brutal, and the riffs have touches of Cannibal Corpse and old school Deicide. It’s entirely solid, entertaining death metal and sure to get the blood moving. “The Atrophied” is even more frenetic and thrashified, with slower, more epic Viking metal segments that serve as a contrast. The solos are colorful and beautifully melodic, which makes them pop out from the caveman Viking aesthetic.
The band clearly wanted to try several different things here. Their core thrashed-up death metal sound is present, but with overlays of epic melo death and doom that add dimensions to their blue-collar thugery. “Fortunes Engraved in Blood” is an example where the band tries to bring all these elements together. It’s part Floridian death, part macho melodeath, with touches of prog in the guitar work. The fact that it works is a testament to their writing and playing. The remainder of Screams features tracks with the various elements playing a greater or lesser role, and most of them work well enough. “The Thorns” is a darker, doomy piece that feels especially sharp, and “The Dark Aura” treads the same muddy battlefield as Bolt Thrower with slower power chugs and a grinding, inevitable feeling. It’s all well done, competent death metal that tries to push the envelope creatively in small ways, but unfortunately, much of it sits in that “good but not much more” category. A few of the meaner, more violent cuts reach higher since the death-thrash approach is Monstrosity’s best weapon, and why people come to the monster yard in the first place. At just under 44 with no song feeling like filler, Screams is a pretty easy spin with plenty of raw energy. The production is crisp and clean, but wholly lacking the edge and murk I prefer in my death metal.
Ed Webb is a well-traveled, extra-seasoned death vet, and his vocals are a good anchor for what Monstrosity do here. He’s got a classically big, burly death roar and can pull out effective blackened screams when called upon, though he can feel like a standard-issue croaker at times. Guitarist Matt Barnes and new axe Justin Walker show all kinds of talent and skill, forging nasty death riffs, ragged thrash leads, and some highly impressive, nearly neo-classical solo work. Some moments take me back to the glory days of 90s James Murphy, and that’s a great thing. This is a very talented crew, and they have the ambition to go beyond the usual caveman fare, which I respect.
Screams from Beneath the Surface is a solid death metal platter with a few barn burners and some interesting twists and surprises. It likely won’t make many end-of-year lists, but Monstrosity are still alive, capable, and trying new things. Not every death metal act with 30-plus years in the game can claim the same. Worth a listen. Hail, Florida men!
Rating: 3.0/5.0
#2026 #30 #AmericanMetal #AmonAmarth #BoltThrower #DeathMetal #EdgeOfSanity #ImperialDoom #MetalBladeRecords #Monstrosity #Review #Reviews #ScreamsFromBeneathTheSurface #ThePassageOfExistence
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: monstrosity.us | facebook.com/monstrosityofficial | instagram.com/monstrosityflorida
Releases Worldwide: March 13th, 2026 -
Vreid – The Skies Turn Black Review By Dr. A.N. Grier
It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?
As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1
The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.
But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.
There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #BlackMetal #DimmuBorgir #Djerv #IndieRecordings #Kampfar #Mar26 #NorwegianMetal #Review #Reviews #TheSkiesTurnBlack #Vreid
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026 -
Vreid – The Skies Turn Black Review By Dr. A.N. Grier
It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?
As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1
The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.
But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.
There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #BlackMetal #DimmuBorgir #Djerv #IndieRecordings #Kampfar #Mar26 #NorwegianMetal #Review #Reviews #TheSkiesTurnBlack #Vreid
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026 -
Vreid – The Skies Turn Black Review By Dr. A.N. Grier
It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?
As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1
The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.
But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.
There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #BlackMetal #DimmuBorgir #Djerv #IndieRecordings #Kampfar #Mar26 #NorwegianMetal #Review #Reviews #TheSkiesTurnBlack #Vreid
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026 -
Vreid – The Skies Turn Black Review By Dr. A.N. Grier
It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?
As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1
The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.
But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.
There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #BlackMetal #DimmuBorgir #Djerv #IndieRecordings #Kampfar #Mar26 #NorwegianMetal #Review #Reviews #TheSkiesTurnBlack #Vreid
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026 -
Vreid – The Skies Turn Black Review By Dr. A.N. Grier
It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?
As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1
The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.
But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.
There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.
Rating: 3.5/5.0
#2026 #35 #AmonAmarth #BlackMetal #DimmuBorgir #Djerv #IndieRecordings #Kampfar #Mar26 #NorwegianMetal #Review #Reviews #TheSkiesTurnBlack #Vreid
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026 -
Frozen Soul Release New Single And Video “Absolute Zero”
Photo By Katie LewellynRevered death metal / hardcore forerunners Frozen Soul unleash their fierce 53-second “Absolute Zero” – no bells, no whistles, just a punch to the gut. “More relevant than the day written – with all of the chaos happening in our country, with ICE killing and ripping apart families, ‘Absolute Zero’ comes as our stance against authoritarianism and the monsters that are enforcing it,” frontman Chad Green states. The sharp banger is an ode to Frozen Soul’s love of punk, hardcore and death metal. Its video clocks in at just over a minute and is straight to the point. Green tells, “I went and got the biggest sledgehammer I could find, and Sam [bassist] carved ‘icebreaker’ into it. We wrote a little message to the world on it—then I froze a skull I painted in my freezer, put it on a cinder block, and obliterated it. The best ice is crushed ice.”
https://youtu.be/WU9kWz77U0I?si=Gl6yrtOekjUKqTd_
Frozen Soul’s brand of all inclusive, in-your-face death metal is a gasp of fresh air in a genre that has stretched the very limits of technicality. Emerging from Texas’ underground, the band’s hardcore intentions gave way to their thrash / death metal roots and obsession with the old school sounds of Bolt Thrower, Mortician and Obituary. Their fresh and theatrical take on old school death metal has quickly won them generation-spanning fans worldwide, alongside sold out tours and support slots with an array of heavy staples like Dying Fetus, Blood Incantation, Obituary, Amon Amarth, Killswitch Engage and Napalm Death just to name a few. Across their breakout EP ‘Encased in Ice’ (2019) and two full-lengths ‘Crypt of Ice’ (2021), ‘Glacial Domination’ (2023), Frozen Soul continue to be hailed as one of the leading forces of metal’s next generation. In April they cross the states with Sweden’s Avatar and Fleshgod Apocalypse. For tickets go here. See below for a full list of dates.
Frozen Soul Live Dates:
UK, EU
Feb 20: London, UK – Electric Ballroom
Feb 21: Bristol, UK – Bristol Electric
Feb 22: Glasgow, UK – Garage
Feb 23: Birmingham, UK – XOYO
Feb 24: Dublin, IRE – The Academy
Feb 25: Manchester, UK – Academy
Feb 27: Hamburg, GER – Inselpark Arena
Feb 28: Cologne, GER – Palladium
Mar 01: Tilburg, NET – 013
Mar 03: Lyon, FRA – Transbordeur
Mar 04: Paris, FRA – Élysée Montmartre
Mar 05: Brussels, BEL – Ancienne Belgique
Mar 06: Stuttgart, GER – Porsche-Arena
Mar 07: Wiesbaden, GER – Schlachthof
Mar 08: Zurich, SWI – Halle 622
Mar 10: Milan, ITA – Live Club
Mar 11: Esch-sur-Alzette, LUX – Rockhal
Mar 13: Berlin, GER – Columbiahalle
Mar 14: Jena, GER – SPK-Arena Jena
Mar 15: Brno, CZE – Sono Centrum
Mar 17: Budapest, HUN – Barba Negra Red Stage
Mar 18: Krakow, POL – Klub Studio
Mar 19: Vienna, AUT – Gasometer
Mar 20: Dresden, GER – Messe Dresden
Mar 21: Munich, GER – ZenithFeb 20 – Feb 25 w/ Heaven Shall Burn & The Black Dahlia Murder
Feb 27 – Mar 21 w/ Heaven Shall Burn, The Halo Effect & The Black Dahlia Murder
USApr 16: Sacramento, CA – Channel 24
Apr 17: Los Angeles, CA – Novo
Apr 19: Tucson, AZ – Rialto Theater
Apr 20: Albuquerque, NM – Revel
Apr 22: San Antonio, TX – Aztec
Apr 23: Oklahoma City, OK – Criterion
Apr 25: Omaha, NE – Steelhouse Omaha
Apr 26: Des Moines, IA – Val Air
Apr 28: Lawrence, KS – Liberty Hall
Apr 29: Moline, IL – The Rust Belt
Apr 30: Grand Rapids, MI – GLC Live at 20 Monroe
May 01: Milwaukee, WI – Eagles Club Stage
May 02: Fort Wayne, IN – The Clyde
May 04: Huntsville, AL – VBC Mars Music Hall
May 05: Atlanta, GA – Tabernacle
May 06: Knoxville, TN – Mill & Mine
May 07: Myrtle Beach, SC – House of Blues
May 10: Raleigh, NC – The Ritz
May 12: Richmond, VA – The National
May 13: Philadelphia, PA – Franklin Music Hall
May 15: New York, NY – Palladium Times Square
May 16: Buffalo, NY – Buffalo Riverworks
May 19: Wallingford, CT – The Dome
May 20: Hampton Beach, NH – Hampton Beach Casino
#DEATHMETAL #FROZENSOUL #HARDCORE #MUSIC #NEWS
Apr 16 – May 20 w/ Avatar and Fleshgod Apocalypse -
𝑳𝑨 𝑭𝑨𝑴𝑰𝑳𝑰𝑨 𝑯𝑰𝑷𝑶́𝑪𝑹𝑰𝑻𝑨.🎄🎄
Entre la Sangre y la Falsedad.
🎄
La familia debería ser el refugio, el lugar donde encontramos apoyo, respeto y amor sincero.
Pero no siempre es así.
Hay familias que no se unen por el corazón, sino por el interés.
Gente que se sienta en tu mesa, come de tu pan y bebe de tu copa, pero en su mente solo hay envidia, crítica y traición.
La hipocresía familiar es la peor de todas.
Porque no viene de un enemigo lejano, sino de quien lleva tu sangre, de quien dice quererte pero en realidad solo busca beneficiarse de ti.
Te sonríen de frente y te destruyen por la espalda.
Te llaman “hermano”, “tío”, “primo”, pero cuando más los necesitas, son los primeros en desaparecer o en hablar mal de ti.
🎄
Recuerda esto: no toda la familia es de sangre, y no toda la sangre es familia.
A veces, los verdaderos hermanos son aquellos que la vida te pone en el camino, los que sin compartir ADN te dan respeto, apoyo y lealtad.
No te aferres a la idea de que la familia lo es todo si dentro de ella hay veneno.
No tengas miedo de poner límites, de alejarte de quienes solo te buscan cuando les conviene, de quienes se disfrazan de afecto pero solo traen hipocresía.
🎄
Si en tu mesa hay gente que finge amarte pero no te respeta, entonces mejor come solo.
Más vale estar en paz que rodeado de lobos disfrazados de ovejas.
La sangre no hace familia, la lealtad sí.
🎄🎄🎄🎄🎄
#familiahipócrita #lealtad #limites #respeto #verdaderoshermanos #hipocresíafamiliar #pazinterior #afectofalso #sangreynadie #autoestima #familiareal #navidadconclaridad -
By Grin Reaper
1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?
1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.
Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2
1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.
There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.
Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis
-
By Grin Reaper
1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?
1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.
Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2
1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.
There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.
Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis
-
By Grin Reaper
1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?
1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.
Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2
1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.
There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.
Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis
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By Grin Reaper
1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?
1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.
Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2
1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.
There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.
Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis
-
By Grin Reaper
1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?
1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.
Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2
1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.
There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.
Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis
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By Samguineous Maximus
If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void?
Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution.
A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe.
Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie.
At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Out of Line Records
Websites: erdling.rocks |erdling.bandcamp.com
Releases Worldwide: October 17th, 2025#2025 #35 #Alestorm #Amaranthe #AmonAmarth #Crematory #ElectronicMetal #Erdling #GermanMetal #Industrial #IndustrialMetal #Mana #NeuDeutscheHärte #Oct25 #OutOfLineMusic #PopMetal #Rammstein #Review #Reviews
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By Samguineous Maximus
If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void?
Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution.
A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe.
Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie.
At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Out of Line Records
Websites: erdling.rocks |erdling.bandcamp.com
Releases Worldwide: October 17th, 2025#2025 #35 #Alestorm #Amaranthe #AmonAmarth #Crematory #ElectronicMetal #Erdling #GermanMetal #Industrial #IndustrialMetal #Mana #NeuDeutscheHärte #Oct25 #OutOfLineMusic #PopMetal #Rammstein #Review #Reviews
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By Samguineous Maximus
If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void?
Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution.
A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe.
Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie.
At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Out of Line Records
Websites: erdling.rocks |erdling.bandcamp.com
Releases Worldwide: October 17th, 2025#2025 #35 #Alestorm #Amaranthe #AmonAmarth #Crematory #ElectronicMetal #Erdling #GermanMetal #Industrial #IndustrialMetal #Mana #NeuDeutscheHärte #Oct25 #OutOfLineMusic #PopMetal #Rammstein #Review #Reviews
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By Samguineous Maximus
If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void?
Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution.
A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe.
Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie.
At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Out of Line Records
Websites: erdling.rocks |erdling.bandcamp.com
Releases Worldwide: October 17th, 2025#2025 #35 #Alestorm #Amaranthe #AmonAmarth #Crematory #ElectronicMetal #Erdling #GermanMetal #Industrial #IndustrialMetal #Mana #NeuDeutscheHärte #Oct25 #OutOfLineMusic #PopMetal #Rammstein #Review #Reviews
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By Samguineous Maximus
If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void?
Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution.
A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe.
Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie.
At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Out of Line Records
Websites: erdling.rocks |erdling.bandcamp.com
Releases Worldwide: October 17th, 2025#2025 #35 #Alestorm #Amaranthe #AmonAmarth #Crematory #ElectronicMetal #Erdling #GermanMetal #Industrial #IndustrialMetal #Mana #NeuDeutscheHärte #Oct25 #OutOfLineMusic #PopMetal #Rammstein #Review #Reviews
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Incite – Savage New Times Review
By Steel Druhm
Written By: Nameless_n00b_602
Within metal circles, one does not simply invoke the Cavalera name. Its crest is adorned with more than just the seminal works of Sepultura. There is ambition there that does not sleep. That great name is ever pushing boundaries, creating new sounds. This is no barren wasteland riddled with fire and ash and dust. There is no poisonous fume for inspiration to choke on. Not with 10,000 artists could you accomplish what those brothers have done; it is folly. Thus, it is with great interest—and a little skepticism—that I was assigned Incite’s seventh LP. Fronted by Max Cavalera’s stepson, Richie Cavalera, Savage New Times promises to be the band’s truest-to-self offering yet. Let’s see how deep the roots go.
For those unfamiliar, Incite majors in groove metal. A familiar southern aggression suffuses Layne Richardson’s axe work and Cavalera’s contentious lyrical delivery. Mid-paced tracks like “Used and Abused” or “Savage New Times” take a cue from Lamb of God or Exhorder, while rager “No Mercy, No Forgiveness” could easily fit on an early DevilDriver record. Bassist EL knows his craft well, building tension and promising violence with well-placed, threatening basslines (“Chucked Off,” “Never Die Once”). The instruments make room in verses for Cavalera’s vocal aggression to brew before crashing together in a choral release, and it is here that drummer Lennon Lopez shines. His energetic drumming steals the spotlight on the choruses of “Used and Abused” and “Chucked Off.” With such strong adherence to the tenets of groove metal, Savage New Times makes it clear that Incite has never missed a class at Pantera’s Vulgar School of Power.
Incite meets with mixed success when they venture outside their core sound. Richardson shows real prowess on “Used and Abused,” where he evokes both Amon Amarth in the bridge and the spiraling tones of System of a Down in the chorus. “Savage New Times” features leads reminiscent of Cannibal Corpse in the verse and, like “Feel This Shit (I’m Fired Up),” sports a militant burst fire tempo around the midpoint. On the other hand, “Doubts and the Fear” falters with a murky, pseudo-psychedelic bridge and nasally Agnostic Front-tinged vocals. Longest song “Dolores” also struggles. Unlike Phil Anselmo’s softer cleans that match the verses of Pantera’s “This Love,” Cavalera barely dulls his edge for the parallel sections of “Dolores,” creating a sonic disconnect between the instruments and himself. This is exacerbated by a similar divide between the rhythm section and the sprawling, idyllic solo recalling “Hotel California.”
More generally, Savage New Times suffers from unambitious songwriting. Except for the neoclassical intro of “Chucked Off” and the solo in “Used and Abused,” Richardson’s lead sections feel lethargic and unremarkable. Song structures feature minimal variation and fall into cyclical verse-chorus-verse-chorus patterns. While this isn’t a problem individually, ten songs of it feels repetitive. Additionally, several tracks lack a satisfying conclusion and feel half-baked. “Dolores” ends with a well-performed piano melody, but it feels tacked on after such a strong finish from the band. Similarly, by cutting their outros, “Lies,” “Feel This Shit (I’m Fired Up),” and “No Mercy, No Forgiveness” could have all ended powerfully rather than aimlessly.
While Savage New Times isn’t a terrible album, because of its deficiencies, I often found myself listening to Incite’s influences rather than Incite themselves. There’s plenty to critique between unmoving songcraft and mixed experimentation, but the final nail in the coffin is the production.1 There’s a slight sibilance and several artifacts throughout Savage New Times. It’s most egregious on “Used and Abused,” ruining one of the record’s best cuts.2 This is the common trend of the album—otherwise good tracks flawed by preventable missteps. I’ve spun this record dozens of times, and I’m sure that with more confidence and a clearer vision, Incite has a good record in them. Savage New Times just isn’t it.
Rating: 2.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Reigning Phoenix Music
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: August 15th, 2025#20 #2025 #AgnosticFront #AmericanMetal #AmonMarth #Aug25 #CannibalCorpse #DevilDriver #Exhorder #GrooveMetal #HeavyMetal #Incite #LambOfGod #Pantera #ReigningPhoenixMusic #Review #Reviews #SavageNewTimes #Sepultura #SystemOfADown #ThrashMetal