#afmrecords — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #afmrecords, aggregated by home.social.
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Kreator – Endorama #AFMRecords #compactdisc #kombi
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Kreator – Endorama #AFMRecords #compactdisc #kombi
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Avatarium – Between You, God, the Devil and the Dead Review
By Steel Druhm
As a hardcore Candlemass enthusiast,1 I was predestined to love Leif Edling’s spinoff project, Avatarium. Featuring Leif’s original doom alchemy and the truly awe-inspiring vocals of Jennie-Ann Smith, there was a lot to love about them. The debut had enough nods to Candlemass to satisfy, and The Girl With the Raven Mask began to build a unique entity, fusing ’70s psychedelic rock, prog, and jazzy cabaret coolness into the doom foundation. Each subsequent album had its own thing going on with the doom element waxing and waning according. 2022’s Death, Where is Your Sting was the first album without Leif Edling and it ended up their least “metal” outing, often feeling like an early ’70s rock release close to Jefferson Airplane. It was still an enjoyable spin, but the heaviness factor was minimal. This left me longing for the older, more forceful sound and hoping for more actual metal. Now we get Between You, God, the Devil and the Dead. Will the scales rebalance and put things right, or has the slide into retro rock intensified?
Between is a slightly heavier album than Death, Where is Your Sting, with a few rougher edges to the ’70s rock-oriented sound, but it’s far from a return to the band’s early days. However, it’s still a tremendous showcase for the massive vocal talents of Jennie-Ann Smith, and the lady could sing me a Chinese take-out menu and still hold my rapt attention. The songs run the gamut of ’70s hard rock, delta blues. jazz cabaret fare and sometimes, actual doom, but I’d be hard-pressed to claim this is a metal album. Opener “Long Black Waves” is a cool blend of ’70s rock and classic doom with Jennie-Ann leading the way with her pristine, soulful vocals supported by oceans of retro organ work and restrained but toothsome lead work. It’s an instant winner and sticks like hot tar in long hair with a sullen but sultry hypnotic attraction. “Being With the Dead” is about as close to a call back to their debut as Avatarium gets these days, and the song is legitimately doom and fairly heavy too. There’s tons of Deep Purple-centric organ abuse coursing through the song and the riffs recall Sabbath’s “Buried Alive” a bit too closely at times.
The remainder of Between shows off the band’s “softer” side. “I See You Better in the Dark” is an upbeat, Delta blues-inflected mood rocker, with Jennie-Ann impressing as always though the song needs more oomph and punch. “My Hair is on Fire (But I’ll Take Your Hand)” approaches Messa’s cozy cabaret energy and it’s good but doesn’t fully stick with me. The closing title track is a schmaltzy emo-ballad that smacks of the excesses of Jim Steinman-era Meat Loaf and it’s a bit much. Toss in an instrumental with a greater doom-focus than the surrounding cuts and you have a slightly frustrating listen if you hoped for more metal tuneage. Keeping most songs in the 3-5 minute window with fairly tight writing aids the album’s flow, and Jennie-Ann can elevate pretty much anything to likable, but this isn’t the Avatarium I fell in love with originally. I find myself desperately wishing for more crunch and power and in the end, I’m a bit bored by the band’s output for the first time.
I’ve raved about Jennie-Ann on enough reviews to feel like I’m beating a dead horse, but the woman has a one-of-a-kind voice and can fit into almost any style and sound great. With Leif gone, she’s the center of gravity for the band, and rightly so. She’s got a love it or really love it voice and it’s hard to find fault in anything she does. Marcus Jindell (ex-Royal Hunt, ex-Evergrey, ex-Soen) is a gifted riff crafter capable of creating a wide spectrum of moods, often looking to 70s rock for inspiration. He’s on his game as usual here, though he dips into the metal pond too sparingly for my tastes with only a few big doom leads surfacing. Former Candlemass keyboardist Rickard Nilsson provides a lot of 70s-centric organ noodling to flesh out the various soundscapes the band dabbles in, and he hits the Deep Purple button early and often for some Moog rocking fun.
There’s a wealth of talent and interesting music here, I guess I just want them to trend heavier when that isn’t their predilection anymore. Between is a solid slab of ’70s rock worship with a few high points, but this isn’t something I see myself returning to much, just as I rarely spin their last album. I’ll keep checking in on future releases though, because Avatarium could do something special and I’d hate to miss it.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: instagram.com/avatariumofficial | facebook.com/avatariumofficial
Releases Worldwide: January 24th, 2025Dolphin Whisperer
Every now and then a band rolls around featuring a one-of-a-kind performer that near regardless of their choices will keep them in good graces. In the case of Swedish doom-rockers Avatarium, this kind of star rests in none other than premier vocalist Jennie-Ann Smith. Her penchant for powerful, highly enunciated, and frightfully fragile deliveries mirrors no one else in the active metal world today, allowing Avatarium to live as morphing and thoughtful riff-based support for her wiles. Mostly anyway, as Avatarium’s Candlemassive roots with doom maestro Leif Edling had raised them in a lumbering, Sabbathian tradition. But starting with Edling’s complete step away from songwriting for 2022’s Death, Where Is Your Sting and into this newest Between You, God, the Devil and the Dead, Avatarium has forged a path steeped in their own emotional rock rather than just fat, evil riffage. An omission of true metal, though, does not necessary spell out a bad time.2
Fortunately for Avatarium, the husband wife duo of guitarist (and cellist and pianist) Marcus Jidell (ex-Royal Hunt, ex-Soen) and Ms. Smith continues to provide a beyond steady songwriting flair, even if it isn’t quite of the epic and crushing variety. Choice intros like jagged crunch of “Long Black Waves” or the rolling tom thunder of “Until Forever and Again” bellow in a familiar, foreboding manner the ambience of all things smoke-filled and brooding. But rather than lean on amplified fuzz for dramatic impact, a comfortable and punchy master highlights stadium weight kicks and growling organ underpinnings to frame a grooving sway and occult atmosphere around Jidell’s bluesy licks and Smith’s Heartfelt croons. No matter the influence, Avatarium sounds huge.
Though retro has always been the flavor of Avatarium’s grand plans, Between wears more proudly than past outings a Coverdale/Hughes-era Deep Purple aura in its bones. From the bass-led swagger of “I See You Better in the Dark,” complete Smith’s blue-eyed soul, stomping verses, to the psychedelic instrumental “Notes from the Underground,” a constant burn of attitude-toned string bends and snaking neoclassical charms color Avatarium’s unique personality. And though Heart comes as an easy comparison for the power balladry of cuts like “My Hair Is on Fire” and “Lovers Give a Kingdom to Each Other,” there’s a panache to the guitar-forward nature and careful vocal escalations that reminds of 70s Scorpions before the arena took over their more psych-leaning sound. Returning keyboardist Rickard Nilsson (of Hurricanes and The Fire I Long For) provides that extra cherry on top with hissing Hammond and blipping Nord flurries that provide the low end with an oscillating swell that sizzles under Smith’s sultry lines.
The path that Avatarium follows is well-worn, right down to the conflicting mood that arises from the monstrously squishy but nonetheless sticky serenade that closes Between. Similar to the gentler mood of preceding album Death, nuance in the recording of Smith’s vocalizations tether an interest just as much as the inherent fortitude of her proudest offered crescendos. Forceful “p” pushes, slithering and tooth-whistling sibilant crackles, and tickling fricative “f” squishes (especially on titles that feature the “f” like “Until Forever and Again”) pepper the texture of every passing lyric. Smith tonally is already a joy to the ears, and the attention to detail that twists letters into moments elevates the experience of lesser passages. While it’s true that I don’t necessarily want to listen to sappy credits roll title track, I can’t help but pay attention when Smith rests so elegantly over its cloying construction.
It’s a rare talent that a band like Avatarium, who actively makes musical choices that are at odds with my listening desires, continues to make compelling collections of songs that I want to hear again and again. In this case, though, the closer might be a little too sweet in the tooth still—and signaled in an odd manner after the vibey instrumental piece. Yet as part of a greater whole, Between You, God, the Devil and the Dead possesses a classic trajectory and classy ensemble of killer tunes. The power of doom may no longer much reside in the foot-tapping thump of Avatarium’s catchy shuffle, but volume and repetition assists its enjoyment all the same.
Rating: 3.5/5.0
Show 2 footnotes
- Of their first four albums, mostly. ↩
- Ok guys, but what’s with the no ? in the title followed by no Oxford comma. You’re killin’ me! ↩
#2025 #30 #35 #AFMRecords #Avatarium #BetweenYouGodTheDevilAndTheDead #BlackSabbath #Candlemass #DeathWhereIsYourSting #DeepPurple #DoomMetal #HardRock #Heart #HeavyMetal #Jan25 #JeffersonAirplane #Messa #Review #Reviews #Scorpions #SwedishMetal #TheGirlWithTheRavenMask
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Avatarium – Between You, God, the Devil and the Dead Review
By Steel Druhm
As a hardcore Candlemass enthusiast,1 I was predestined to love Leif Edling’s spinoff project, Avatarium. Featuring Leif’s original doom alchemy and the truly awe-inspiring vocals of Jennie-Ann Smith, there was a lot to love about them. The debut had enough nods to Candlemass to satisfy, and The Girl With the Raven Mask began to build a unique entity, fusing ’70s psychedelic rock, prog, and jazzy cabaret coolness into the doom foundation. Each subsequent album had its own thing going on with the doom element waxing and waning according. 2022’s Death, Where is Your Sting was the first album without Leif Edling and it ended up their least “metal” outing, often feeling like an early ’70s rock release close to Jefferson Airplane. It was still an enjoyable spin, but the heaviness factor was minimal. This left me longing for the older, more forceful sound and hoping for more actual metal. Now we get Between You, God, the Devil and the Dead. Will the scales rebalance and put things right, or has the slide into retro rock intensified?
Between is a slightly heavier album than Death, Where is Your Sting, with a few rougher edges to the ’70s rock-oriented sound, but it’s far from a return to the band’s early days. However, it’s still a tremendous showcase for the massive vocal talents of Jennie-Ann Smith, and the lady could sing me a Chinese take-out menu and still hold my rapt attention. The songs run the gamut of ’70s hard rock, delta blues. jazz cabaret fare and sometimes, actual doom, but I’d be hard-pressed to claim this is a metal album. Opener “Long Black Waves” is a cool blend of ’70s rock and classic doom with Jennie-Ann leading the way with her pristine, soulful vocals supported by oceans of retro organ work and restrained but toothsome lead work. It’s an instant winner and sticks like hot tar in long hair with a sullen but sultry hypnotic attraction. “Being With the Dead” is about as close to a call back to their debut as Avatarium gets these days, and the song is legitimately doom and fairly heavy too. There’s tons of Deep Purple-centric organ abuse coursing through the song and the riffs recall Sabbath’s “Buried Alive” a bit too closely at times.
The remainder of Between shows off the band’s “softer” side. “I See You Better in the Dark” is an upbeat, Delta blues-inflected mood rocker, with Jennie-Ann impressing as always though the song needs more oomph and punch. “My Hair is on Fire (But I’ll Take Your Hand)” approaches Messa’s cozy cabaret energy and it’s good but doesn’t fully stick with me. The closing title track is a schmaltzy emo-ballad that smacks of the excesses of Jim Steinman-era Meat Loaf and it’s a bit much. Toss in an instrumental with a greater doom-focus than the surrounding cuts and you have a slightly frustrating listen if you hoped for more metal tuneage. Keeping most songs in the 3-5 minute window with fairly tight writing aids the album’s flow, and Jennie-Ann can elevate pretty much anything to likable, but this isn’t the Avatarium I fell in love with originally. I find myself desperately wishing for more crunch and power and in the end, I’m a bit bored by the band’s output for the first time.
I’ve raved about Jennie-Ann on enough reviews to feel like I’m beating a dead horse, but the woman has a one-of-a-kind voice and can fit into almost any style and sound great. With Leif gone, she’s the center of gravity for the band, and rightly so. She’s got a love it or really love it voice and it’s hard to find fault in anything she does. Marcus Jindell (ex-Royal Hunt, ex-Evergrey, ex-Soen) is a gifted riff crafter capable of creating a wide spectrum of moods, often looking to 70s rock for inspiration. He’s on his game as usual here, though he dips into the metal pond too sparingly for my tastes with only a few big doom leads surfacing. Former Candlemass keyboardist Rickard Nilsson provides a lot of 70s-centric organ noodling to flesh out the various soundscapes the band dabbles in, and he hits the Deep Purple button early and often for some Moog rocking fun.
There’s a wealth of talent and interesting music here, I guess I just want them to trend heavier when that isn’t their predilection anymore. Between is a solid slab of ’70s rock worship with a few high points, but this isn’t something I see myself returning to much, just as I rarely spin their last album. I’ll keep checking in on future releases though, because Avatarium could do something special and I’d hate to miss it.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: instagram.com/avatariumofficial | facebook.com/avatariumofficial
Releases Worldwide: January 24th, 2025Dolphin Whisperer
Every now and then a band rolls around featuring a one-of-a-kind performer that near regardless of their choices will keep them in good graces. In the case of Swedish doom-rockers Avatarium, this kind of star rests in none other than premier vocalist Jennie-Ann Smith. Her penchant for powerful, highly enunciated, and frightfully fragile deliveries mirrors no one else in the active metal world today, allowing Avatarium to live as morphing and thoughtful riff-based support for her wiles. Mostly anyway, as Avatarium’s Candlemassive roots with doom maestro Leif Edling had raised them in a lumbering, Sabbathian tradition. But starting with Edling’s complete step away from songwriting for 2022’s Death, Where Is Your Sting and into this newest Between You, God, the Devil and the Dead, Avatarium has forged a path steeped in their own emotional rock rather than just fat, evil riffage. An omission of true metal, though, does not necessary spell out a bad time.2
Fortunately for Avatarium, the husband wife duo of guitarist (and cellist and pianist) Marcus Jidell (ex-Royal Hunt, ex-Soen) and Ms. Smith continues to provide a beyond steady songwriting flair, even if it isn’t quite of the epic and crushing variety. Choice intros like jagged crunch of “Long Black Waves” or the rolling tom thunder of “Until Forever and Again” bellow in a familiar, foreboding manner the ambience of all things smoke-filled and brooding. But rather than lean on amplified fuzz for dramatic impact, a comfortable and punchy master highlights stadium weight kicks and growling organ underpinnings to frame a grooving sway and occult atmosphere around Jidell’s bluesy licks and Smith’s Heartfelt croons. No matter the influence, Avatarium sounds huge.
Though retro has always been the flavor of Avatarium’s grand plans, Between wears more proudly than past outings a Coverdale/Hughes-era Deep Purple aura in its bones. From the bass-led swagger of “I See You Better in the Dark,” complete Smith’s blue-eyed soul, stomping verses, to the psychedelic instrumental “Notes from the Underground,” a constant burn of attitude-toned string bends and snaking neoclassical charms color Avatarium’s unique personality. And though Heart comes as an easy comparison for the power balladry of cuts like “My Hair Is on Fire” and “Lovers Give a Kingdom to Each Other,” there’s a panache to the guitar-forward nature and careful vocal escalations that reminds of 70s Scorpions before the arena took over their more psych-leaning sound. Returning keyboardist Rickard Nilsson (of Hurricanes and The Fire I Long For) provides that extra cherry on top with hissing Hammond and blipping Nord flurries that provide the low end with an oscillating swell that sizzles under Smith’s sultry lines.
The path that Avatarium follows is well-worn, right down to the conflicting mood that arises from the monstrously squishy but nonetheless sticky serenade that closes Between. Similar to the gentler mood of preceding album Death, nuance in the recording of Smith’s vocalizations tether an interest just as much as the inherent fortitude of her proudest offered crescendos. Forceful “p” pushes, slithering and tooth-whistling sibilant crackles, and tickling fricative “f” squishes (especially on titles that feature the “f” like “Until Forever and Again”) pepper the texture of every passing lyric. Smith tonally is already a joy to the ears, and the attention to detail that twists letters into moments elevates the experience of lesser passages. While it’s true that I don’t necessarily want to listen to sappy credits roll title track, I can’t help but pay attention when Smith rests so elegantly over its cloying construction.
It’s a rare talent that a band like Avatarium, who actively makes musical choices that are at odds with my listening desires, continues to make compelling collections of songs that I want to hear again and again. In this case, though, the closer might be a little too sweet in the tooth still—and signaled in an odd manner after the vibey instrumental piece. Yet as part of a greater whole, Between You, God, the Devil and the Dead possesses a classic trajectory and classy ensemble of killer tunes. The power of doom may no longer much reside in the foot-tapping thump of Avatarium’s catchy shuffle, but volume and repetition assists its enjoyment all the same.
Rating: 3.5/5.0
#2025 #30 #35 #AFMRecords #Avatarium #BetweenYouGodTheDevilAndTheDead #BlackSabbath #Candlemass #DeathWhereIsYourSting #DeepPurple #DoomMetal #HardRock #Heart #HeavyMetal #Jan25 #JeffersonAirplane #Messa #Review #Reviews #Scorpions #SwedishMetal #TheGirlWithTheRavenMask
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Avatarium – Between You, God, the Devil and the Dead Review
By Steel Druhm
As a hardcore Candlemass enthusiast,1 I was predestined to love Leif Edling’s spinoff project, Avatarium. Featuring Leif’s original doom alchemy and the truly awe-inspiring vocals of Jennie-Ann Smith, there was a lot to love about them. The debut had enough nods to Candlemass to satisfy, and The Girl With the Raven Mask began to build a unique entity, fusing ’70s psychedelic rock, prog, and jazzy cabaret coolness into the doom foundation. Each subsequent album had its own thing going on with the doom element waxing and waning according. 2022’s Death, Where is Your Sting was the first album without Leif Edling and it ended up their least “metal” outing, often feeling like an early ’70s rock release close to Jefferson Airplane. It was still an enjoyable spin, but the heaviness factor was minimal. This left me longing for the older, more forceful sound and hoping for more actual metal. Now we get Between You, God, the Devil and the Dead. Will the scales rebalance and put things right, or has the slide into retro rock intensified?
Between is a slightly heavier album than Death, Where is Your Sting, with a few rougher edges to the ’70s rock-oriented sound, but it’s far from a return to the band’s early days. However, it’s still a tremendous showcase for the massive vocal talents of Jennie-Ann Smith, and the lady could sing me a Chinese take-out menu and still hold my rapt attention. The songs run the gamut of ’70s hard rock, delta blues. jazz cabaret fare and sometimes, actual doom, but I’d be hard-pressed to claim this is a metal album. Opener “Long Black Waves” is a cool blend of ’70s rock and classic doom with Jennie-Ann leading the way with her pristine, soulful vocals supported by oceans of retro organ work and restrained but toothsome lead work. It’s an instant winner and sticks like hot tar in long hair with a sullen but sultry hypnotic attraction. “Being With the Dead” is about as close to a call back to their debut as Avatarium gets these days, and the song is legitimately doom and fairly heavy too. There’s tons of Deep Purple-centric organ abuse coursing through the song and the riffs recall Sabbath’s “Buried Alive” a bit too closely at times.
The remainder of Between shows off the band’s “softer” side. “I See You Better in the Dark” is an upbeat, Delta blues-inflected mood rocker, with Jennie-Ann impressing as always though the song needs more oomph and punch. “My Hair is on Fire (But I’ll Take Your Hand)” approaches Messa’s cozy cabaret energy and it’s good but doesn’t fully stick with me. The closing title track is a schmaltzy emo-ballad that smacks of the excesses of Jim Steinman-era Meat Loaf and it’s a bit much. Toss in an instrumental with a greater doom-focus than the surrounding cuts and you have a slightly frustrating listen if you hoped for more metal tuneage. Keeping most songs in the 3-5 minute window with fairly tight writing aids the album’s flow, and Jennie-Ann can elevate pretty much anything to likable, but this isn’t the Avatarium I fell in love with originally. I find myself desperately wishing for more crunch and power and in the end, I’m a bit bored by the band’s output for the first time.
I’ve raved about Jennie-Ann on enough reviews to feel like I’m beating a dead horse, but the woman has a one-of-a-kind voice and can fit into almost any style and sound great. With Leif gone, she’s the center of gravity for the band, and rightly so. She’s got a love it or really love it voice and it’s hard to find fault in anything she does. Marcus Jindell (ex-Royal Hunt, ex-Evergrey, ex-Soen) is a gifted riff crafter capable of creating a wide spectrum of moods, often looking to 70s rock for inspiration. He’s on his game as usual here, though he dips into the metal pond too sparingly for my tastes with only a few big doom leads surfacing. Former Candlemass keyboardist Rickard Nilsson provides a lot of 70s-centric organ noodling to flesh out the various soundscapes the band dabbles in, and he hits the Deep Purple button early and often for some Moog rocking fun.
There’s a wealth of talent and interesting music here, I guess I just want them to trend heavier when that isn’t their predilection anymore. Between is a solid slab of ’70s rock worship with a few high points, but this isn’t something I see myself returning to much, just as I rarely spin their last album. I’ll keep checking in on future releases though, because Avatarium could do something special and I’d hate to miss it.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: instagram.com/avatariumofficial | facebook.com/avatariumofficial
Releases Worldwide: January 24th, 2025Dolphin Whisperer
Every now and then a band rolls around featuring a one-of-a-kind performer that near regardless of their choices will keep them in good graces. In the case of Swedish doom-rockers Avatarium, this kind of star rests in none other than premier vocalist Jennie-Ann Smith. Her penchant for powerful, highly enunciated, and frightfully fragile deliveries mirrors no one else in the active metal world today, allowing Avatarium to live as morphing and thoughtful riff-based support for her wiles. Mostly anyway, as Avatarium’s Candlemassive roots with doom maestro Leif Edling had raised them in a lumbering, Sabbathian tradition. But starting with Edling’s complete step away from songwriting for 2022’s Death, Where Is Your Sting and into this newest Between You, God, the Devil and the Dead, Avatarium has forged a path steeped in their own emotional rock rather than just fat, evil riffage. An omission of true metal, though, does not necessary spell out a bad time.2
Fortunately for Avatarium, the husband wife duo of guitarist (and cellist and pianist) Marcus Jidell (ex-Royal Hunt, ex-Soen) and Ms. Smith continues to provide a beyond steady songwriting flair, even if it isn’t quite of the epic and crushing variety. Choice intros like jagged crunch of “Long Black Waves” or the rolling tom thunder of “Until Forever and Again” bellow in a familiar, foreboding manner the ambience of all things smoke-filled and brooding. But rather than lean on amplified fuzz for dramatic impact, a comfortable and punchy master highlights stadium weight kicks and growling organ underpinnings to frame a grooving sway and occult atmosphere around Jidell’s bluesy licks and Smith’s Heartfelt croons. No matter the influence, Avatarium sounds huge.
Though retro has always been the flavor of Avatarium’s grand plans, Between wears more proudly than past outings a Coverdale/Hughes-era Deep Purple aura in its bones. From the bass-led swagger of “I See You Better in the Dark,” complete Smith’s blue-eyed soul, stomping verses, to the psychedelic instrumental “Notes from the Underground,” a constant burn of attitude-toned string bends and snaking neoclassical charms color Avatarium’s unique personality. And though Heart comes as an easy comparison for the power balladry of cuts like “My Hair Is on Fire” and “Lovers Give a Kingdom to Each Other,” there’s a panache to the guitar-forward nature and careful vocal escalations that reminds of 70s Scorpions before the arena took over their more psych-leaning sound. Returning keyboardist Rickard Nilsson (of Hurricanes and The Fire I Long For) provides that extra cherry on top with hissing Hammond and blipping Nord flurries that provide the low end with an oscillating swell that sizzles under Smith’s sultry lines.
The path that Avatarium follows is well-worn, right down to the conflicting mood that arises from the monstrously squishy but nonetheless sticky serenade that closes Between. Similar to the gentler mood of preceding album Death, nuance in the recording of Smith’s vocalizations tether an interest just as much as the inherent fortitude of her proudest offered crescendos. Forceful “p” pushes, slithering and tooth-whistling sibilant crackles, and tickling fricative “f” squishes (especially on titles that feature the “f” like “Until Forever and Again”) pepper the texture of every passing lyric. Smith tonally is already a joy to the ears, and the attention to detail that twists letters into moments elevates the experience of lesser passages. While it’s true that I don’t necessarily want to listen to sappy credits roll title track, I can’t help but pay attention when Smith rests so elegantly over its cloying construction.
It’s a rare talent that a band like Avatarium, who actively makes musical choices that are at odds with my listening desires, continues to make compelling collections of songs that I want to hear again and again. In this case, though, the closer might be a little too sweet in the tooth still—and signaled in an odd manner after the vibey instrumental piece. Yet as part of a greater whole, Between You, God, the Devil and the Dead possesses a classic trajectory and classy ensemble of killer tunes. The power of doom may no longer much reside in the foot-tapping thump of Avatarium’s catchy shuffle, but volume and repetition assists its enjoyment all the same.
Rating: 3.5/5.0
#2025 #30 #35 #AFMRecords #Avatarium #BetweenYouGodTheDevilAndTheDead #BlackSabbath #Candlemass #DeathWhereIsYourSting #DeepPurple #DoomMetal #HardRock #Heart #HeavyMetal #Jan25 #JeffersonAirplane #Messa #Review #Reviews #Scorpions #SwedishMetal #TheGirlWithTheRavenMask
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Avatarium – Between You, God, the Devil and the Dead Review
By Steel Druhm
As a hardcore Candlemass enthusiast,1 I was predestined to love Leif Edling’s spinoff project, Avatarium. Featuring Leif’s original doom alchemy and the truly awe-inspiring vocals of Jennie-Ann Smith, there was a lot to love about them. The debut had enough nods to Candlemass to satisfy, and The Girl With the Raven Mask began to build a unique entity, fusing ’70s psychedelic rock, prog, and jazzy cabaret coolness into the doom foundation. Each subsequent album had its own thing going on with the doom element waxing and waning according. 2022’s Death, Where is Your Sting was the first album without Leif Edling and it ended up their least “metal” outing, often feeling like an early ’70s rock release close to Jefferson Airplane. It was still an enjoyable spin, but the heaviness factor was minimal. This left me longing for the older, more forceful sound and hoping for more actual metal. Now we get Between You, God, the Devil and the Dead. Will the scales rebalance and put things right, or has the slide into retro rock intensified?
Between is a slightly heavier album than Death, Where is Your Sting, with a few rougher edges to the ’70s rock-oriented sound, but it’s far from a return to the band’s early days. However, it’s still a tremendous showcase for the massive vocal talents of Jennie-Ann Smith, and the lady could sing me a Chinese take-out menu and still hold my rapt attention. The songs run the gamut of ’70s hard rock, delta blues. jazz cabaret fare and sometimes, actual doom, but I’d be hard-pressed to claim this is a metal album. Opener “Long Black Waves” is a cool blend of ’70s rock and classic doom with Jennie-Ann leading the way with her pristine, soulful vocals supported by oceans of retro organ work and restrained but toothsome lead work. It’s an instant winner and sticks like hot tar in long hair with a sullen but sultry hypnotic attraction. “Being With the Dead” is about as close to a call back to their debut as Avatarium gets these days, and the song is legitimately doom and fairly heavy too. There’s tons of Deep Purple-centric organ abuse coursing through the song and the riffs recall Sabbath’s “Buried Alive” a bit too closely at times.
The remainder of Between shows off the band’s “softer” side. “I See You Better in the Dark” is an upbeat, Delta blues-inflected mood rocker, with Jennie-Ann impressing as always though the song needs more oomph and punch. “My Hair is on Fire (But I’ll Take Your Hand)” approaches Messa’s cozy cabaret energy and it’s good but doesn’t fully stick with me. The closing title track is a schmaltzy emo-ballad that smacks of the excesses of Jim Steinman-era Meat Loaf and it’s a bit much. Toss in an instrumental with a greater doom-focus than the surrounding cuts and you have a slightly frustrating listen if you hoped for more metal tuneage. Keeping most songs in the 3-5 minute window with fairly tight writing aids the album’s flow, and Jennie-Ann can elevate pretty much anything to likable, but this isn’t the Avatarium I fell in love with originally. I find myself desperately wishing for more crunch and power and in the end, I’m a bit bored by the band’s output for the first time.
I’ve raved about Jennie-Ann on enough reviews to feel like I’m beating a dead horse, but the woman has a one-of-a-kind voice and can fit into almost any style and sound great. With Leif gone, she’s the center of gravity for the band, and rightly so. She’s got a love it or really love it voice and it’s hard to find fault in anything she does. Marcus Jindell (ex-Royal Hunt, ex-Evergrey, ex-Soen) is a gifted riff crafter capable of creating a wide spectrum of moods, often looking to 70s rock for inspiration. He’s on his game as usual here, though he dips into the metal pond too sparingly for my tastes with only a few big doom leads surfacing. Former Candlemass keyboardist Rickard Nilsson provides a lot of 70s-centric organ noodling to flesh out the various soundscapes the band dabbles in, and he hits the Deep Purple button early and often for some Moog rocking fun.
There’s a wealth of talent and interesting music here, I guess I just want them to trend heavier when that isn’t their predilection anymore. Between is a solid slab of ’70s rock worship with a few high points, but this isn’t something I see myself returning to much, just as I rarely spin their last album. I’ll keep checking in on future releases though, because Avatarium could do something special and I’d hate to miss it.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: instagram.com/avatariumofficial | facebook.com/avatariumofficial
Releases Worldwide: January 24th, 2025Dolphin Whisperer
Every now and then a band rolls around featuring a one-of-a-kind performer that near regardless of their choices will keep them in good graces. In the case of Swedish doom-rockers Avatarium, this kind of star rests in none other than premier vocalist Jennie-Ann Smith. Her penchant for powerful, highly enunciated, and frightfully fragile deliveries mirrors no one else in the active metal world today, allowing Avatarium to live as morphing and thoughtful riff-based support for her wiles. Mostly anyway, as Avatarium’s Candlemassive roots with doom maestro Leif Edling had raised them in a lumbering, Sabbathian tradition. But starting with Edling’s complete step away from songwriting for 2022’s Death, Where Is Your Sting and into this newest Between You, God, the Devil and the Dead, Avatarium has forged a path steeped in their own emotional rock rather than just fat, evil riffage. An omission of true metal, though, does not necessary spell out a bad time.2
Fortunately for Avatarium, the husband wife duo of guitarist (and cellist and pianist) Marcus Jidell (ex-Royal Hunt, ex-Soen) and Ms. Smith continues to provide a beyond steady songwriting flair, even if it isn’t quite of the epic and crushing variety. Choice intros like jagged crunch of “Long Black Waves” or the rolling tom thunder of “Until Forever and Again” bellow in a familiar, foreboding manner the ambience of all things smoke-filled and brooding. But rather than lean on amplified fuzz for dramatic impact, a comfortable and punchy master highlights stadium weight kicks and growling organ underpinnings to frame a grooving sway and occult atmosphere around Jidell’s bluesy licks and Smith’s Heartfelt croons. No matter the influence, Avatarium sounds huge.
Though retro has always been the flavor of Avatarium’s grand plans, Between wears more proudly than past outings a Coverdale/Hughes-era Deep Purple aura in its bones. From the bass-led swagger of “I See You Better in the Dark,” complete Smith’s blue-eyed soul, stomping verses, to the psychedelic instrumental “Notes from the Underground,” a constant burn of attitude-toned string bends and snaking neoclassical charms color Avatarium’s unique personality. And though Heart comes as an easy comparison for the power balladry of cuts like “My Hair Is on Fire” and “Lovers Give a Kingdom to Each Other,” there’s a panache to the guitar-forward nature and careful vocal escalations that reminds of 70s Scorpions before the arena took over their more psych-leaning sound. Returning keyboardist Rickard Nilsson (of Hurricanes and The Fire I Long For) provides that extra cherry on top with hissing Hammond and blipping Nord flurries that provide the low end with an oscillating swell that sizzles under Smith’s sultry lines.
The path that Avatarium follows is well-worn, right down to the conflicting mood that arises from the monstrously squishy but nonetheless sticky serenade that closes Between. Similar to the gentler mood of preceding album Death, nuance in the recording of Smith’s vocalizations tether an interest just as much as the inherent fortitude of her proudest offered crescendos. Forceful “p” pushes, slithering and tooth-whistling sibilant crackles, and tickling fricative “f” squishes (especially on titles that feature the “f” like “Until Forever and Again”) pepper the texture of every passing lyric. Smith tonally is already a joy to the ears, and the attention to detail that twists letters into moments elevates the experience of lesser passages. While it’s true that I don’t necessarily want to listen to sappy credits roll title track, I can’t help but pay attention when Smith rests so elegantly over its cloying construction.
It’s a rare talent that a band like Avatarium, who actively makes musical choices that are at odds with my listening desires, continues to make compelling collections of songs that I want to hear again and again. In this case, though, the closer might be a little too sweet in the tooth still—and signaled in an odd manner after the vibey instrumental piece. Yet as part of a greater whole, Between You, God, the Devil and the Dead possesses a classic trajectory and classy ensemble of killer tunes. The power of doom may no longer much reside in the foot-tapping thump of Avatarium’s catchy shuffle, but volume and repetition assists its enjoyment all the same.
Rating: 3.5/5.0
#2025 #30 #35 #AFMRecords #Avatarium #BetweenYouGodTheDevilAndTheDead #BlackSabbath #Candlemass #DeathWhereIsYourSting #DeepPurple #DoomMetal #HardRock #Heart #HeavyMetal #Jan25 #JeffersonAirplane #Messa #Review #Reviews #Scorpions #SwedishMetal #TheGirlWithTheRavenMask
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Brothers of Metal – Fimbulvinter Review
By Holdeneye
While very, very few metal bands can please the entire Holdeneye family,1 goofy and trve Swedish power metallers Brothers of Metal have the distinct honor of being a staple soundtrack for our family road trips. Nothing brings me more pleasure than driving a winding mountain road while Mrs. Holdeneye unconsciously and sincerely sings along while Brothers of Metal frontshieldmaiden Ylva Eriksson belts out the chorus to a song like “Powersnake.” I first fell in love with the band’s 2017 debut, and when 2020 saw these skalds releasing Emblas Saga, one of my top ten(ish) albums of that year and a much-needed bolus of epic levity for surviving one of the strangest years in human history, I became a wholly devoted fanboy. Thus, upon hearing that Brothers of Metal had third album Fimbulvinter in the works, my anticipation swelled until it was on the verge of catastrophic rupture.
If you’re familiar with Brothers of Metal at all, you already know how most of Fimbulvinter sounds, but if you aren’t, the band’s core sound is a very straightforward version of modern power metal (think Sabaton and turn-of-the-millennium Manowar) with some strong folk elements thrown in. Thick, muscular guitars lay the groundwork for most of these tunes, but the true magic occurs in the firmaments above this foundation, as the band’s songwriting prowess and musical talent clash in a storm of pagan lightning. I’ve embedded the video for the album’s epic closing title track because it shows each and every member of the band at the top of their game, demonstrating the ease with which Brothers of Metal can elevate an ostensibly simple musical style into something great.
These Swedish pagans can swing back and forth so quickly between musical styles and between the outright silly and the authentically serious—sometimes within the same track—that it can induce whiplash in the listener, and while some may see that as a downside, I see this diversity as a major selling point. After warming us up with two very good, if standard, power metal tracks, Brothers of Metal strike while the iron is hot with heavy bruiser “Giantslayer,” a song that never loses its deadly edge despite some hilarious lyrical interjections. I love the juxtaposition between songs like “Rivers of Gold” and “Nanna’s Fate,” tracks that could comfortably fit on one of Eriksson’s Good Harvest23 albums, and “Berserkir,” a contender for my 2024 Heavy Moves Heavy playlist. And when Brothers of Metal casually drop a track like “Heavy Metal Viking,” country/rock bands across the US are all blown away like a shot from a gun—if you haven’t seen this video yet, please do so now.
The secret to Brothers of Metal’s success is twofold. First, they make music because they have fun making music, and the principle of trickle-down rockonomics passes that fun directly on to the consumer. The band’s genuine enjoyment of the songwriting process is infectious, and it takes a style and presentation that could easily feel gimmicky and lends it a satisfying authenticity. The second secret to their success is Ylva Eriksson. She’s simply a world-class vocalist, and over the course of three full-lengths, plus the aforementioned Good Harvest records, she’s become one of my favorites of all time. My one gripe with Fimbulvinter is that there’s just a bit too much of it. There’s certainly a great album tucked within its 57 minutes, but a couple of these songs, while still good, could have been axed to increase the album’s damage-per-second. That said, I don’t think I’ve encountered a 2024 album that has provided me this much enjoyment.
Based on the strength of their first two records, I had no doubt that Brothers of Metal would follow up with another offering that would be pleasing in Odin’s sight. Fimbulvinter won’t be every metalhead’s cup o’ mead, but at a time in history when societal anxiety seems to be reaching a fever pitch, I find music like this to be a soothing, calming balm. It’s comforting to know that when life overwhelms me, Brothers of Metal will always be there, standing together with hands in the air.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: facebook.com/brothersofmetalofficial | www.brothersofmetal.net
Releases Worldwide: November 1st, 2024#2024 #35 #AFMRecords #BrothersOfMetal #Fimbulvinter #HeavyMetal #Manowar #Nov24 #PowerMetal #Review #Reviews #Sabaton #SwedishMetal
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Brothers of Metal – Fimbulvinter Review
By Holdeneye
While very, very few metal bands can please the entire Holdeneye family,1 goofy and trve Swedish power metallers Brothers of Metal have the distinct honor of being a staple soundtrack for our family road trips. Nothing brings me more pleasure than driving a winding mountain road while Mrs. Holdeneye unconsciously and sincerely sings along while Brothers of Metal frontshieldmaiden Ylva Eriksson belts out the chorus to a song like “Powersnake.” I first fell in love with the band’s 2017 debut, and when 2020 saw these skalds releasing Emblas Saga, one of my top ten(ish) albums of that year and a much-needed bolus of epic levity for surviving one of the strangest years in human history, I became a wholly devoted fanboy. Thus, upon hearing that Brothers of Metal had third album Fimbulvinter in the works, my anticipation swelled until it was on the verge of catastrophic rupture.
If you’re familiar with Brothers of Metal at all, you already know how most of Fimbulvinter sounds, but if you aren’t, the band’s core sound is a very straightforward version of modern power metal (think Sabaton and turn-of-the-millennium Manowar) with some strong folk elements thrown in. Thick, muscular guitars lay the groundwork for most of these tunes, but the true magic occurs in the firmaments above this foundation, as the band’s songwriting prowess and musical talent clash in a storm of pagan lightning. I’ve embedded the video for the album’s epic closing title track because it shows each and every member of the band at the top of their game, demonstrating the ease with which Brothers of Metal can elevate an ostensibly simple musical style into something great.
These Swedish pagans can swing back and forth so quickly between musical styles and between the outright silly and the authentically serious—sometimes within the same track—that it can induce whiplash in the listener, and while some may see that as a downside, I see this diversity as a major selling point. After warming us up with two very good, if standard, power metal tracks, Brothers of Metal strike while the iron is hot with heavy bruiser “Giantslayer,” a song that never loses its deadly edge despite some hilarious lyrical interjections. I love the juxtaposition between songs like “Rivers of Gold” and “Nanna’s Fate,” tracks that could comfortably fit on one of Eriksson’s Good Harvest23 albums, and “Berserkir,” a contender for my 2024 Heavy Moves Heavy playlist. And when Brothers of Metal casually drop a track like “Heavy Metal Viking,” country/rock bands across the US are all blown away like a shot from a gun—if you haven’t seen this video yet, please do so now.
The secret to Brothers of Metal’s success is twofold. First, they make music because they have fun making music, and the principle of trickle-down rockonomics passes that fun directly on to the consumer. The band’s genuine enjoyment of the songwriting process is infectious, and it takes a style and presentation that could easily feel gimmicky and lends it a satisfying authenticity. The second secret to their success is Ylva Eriksson. She’s simply a world-class vocalist, and over the course of three full-lengths, plus the aforementioned Good Harvest records, she’s become one of my favorites of all time. My one gripe with Fimbulvinter is that there’s just a bit too much of it. There’s certainly a great album tucked within its 57 minutes, but a couple of these songs, while still good, could have been axed to increase the album’s damage-per-second. That said, I don’t think I’ve encountered a 2024 album that has provided me this much enjoyment.
Based on the strength of their first two records, I had no doubt that Brothers of Metal would follow up with another offering that would be pleasing in Odin’s sight. Fimbulvinter won’t be every metalhead’s cup o’ mead, but at a time in history when societal anxiety seems to be reaching a fever pitch, I find music like this to be a soothing, calming balm. It’s comforting to know that when life overwhelms me, Brothers of Metal will always be there, standing together with hands in the air.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: facebook.com/brothersofmetalofficial | www.brothersofmetal.net
Releases Worldwide: November 1st, 2024#2024 #35 #AFMRecords #BrothersOfMetal #Fimbulvinter #HeavyMetal #Manowar #Nov24 #PowerMetal #Review #Reviews #Sabaton #SwedishMetal
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Brothers of Metal – Fimbulvinter Review
By Holdeneye
While very, very few metal bands can please the entire Holdeneye family,1 goofy and trve Swedish power metallers Brothers of Metal have the distinct honor of being a staple soundtrack for our family road trips. Nothing brings me more pleasure than driving a winding mountain road while Mrs. Holdeneye unconsciously and sincerely sings along while Brothers of Metal frontshieldmaiden Ylva Eriksson belts out the chorus to a song like “Powersnake.” I first fell in love with the band’s 2017 debut, and when 2020 saw these skalds releasing Emblas Saga, one of my top ten(ish) albums of that year and a much-needed bolus of epic levity for surviving one of the strangest years in human history, I became a wholly devoted fanboy. Thus, upon hearing that Brothers of Metal had third album Fimbulvinter in the works, my anticipation swelled until it was on the verge of catastrophic rupture.
If you’re familiar with Brothers of Metal at all, you already know how most of Fimbulvinter sounds, but if you aren’t, the band’s core sound is a very straightforward version of modern power metal (think Sabaton and turn-of-the-millennium Manowar) with some strong folk elements thrown in. Thick, muscular guitars lay the groundwork for most of these tunes, but the true magic occurs in the firmaments above this foundation, as the band’s songwriting prowess and musical talent clash in a storm of pagan lightning. I’ve embedded the video for the album’s epic closing title track because it shows each and every member of the band at the top of their game, demonstrating the ease with which Brothers of Metal can elevate an ostensibly simple musical style into something great.
These Swedish pagans can swing back and forth so quickly between musical styles and between the outright silly and the authentically serious—sometimes within the same track—that it can induce whiplash in the listener, and while some may see that as a downside, I see this diversity as a major selling point. After warming us up with two very good, if standard, power metal tracks, Brothers of Metal strike while the iron is hot with heavy bruiser “Giantslayer,” a song that never loses its deadly edge despite some hilarious lyrical interjections. I love the juxtaposition between songs like “Rivers of Gold” and “Nanna’s Fate,” tracks that could comfortably fit on one of Eriksson’s Good Harvest23 albums, and “Berserkir,” a contender for my 2024 Heavy Moves Heavy playlist. And when Brothers of Metal casually drop a track like “Heavy Metal Viking,” country/rock bands across the US are all blown away like a shot from a gun—if you haven’t seen this video yet, please do so now.
The secret to Brothers of Metal’s success is twofold. First, they make music because they have fun making music, and the principle of trickle-down rockonomics passes that fun directly on to the consumer. The band’s genuine enjoyment of the songwriting process is infectious, and it takes a style and presentation that could easily feel gimmicky and lends it a satisfying authenticity. The second secret to their success is Ylva Eriksson. She’s simply a world-class vocalist, and over the course of three full-lengths, plus the aforementioned Good Harvest records, she’s become one of my favorites of all time. My one gripe with Fimbulvinter is that there’s just a bit too much of it. There’s certainly a great album tucked within its 57 minutes, but a couple of these songs, while still good, could have been axed to increase the album’s damage-per-second. That said, I don’t think I’ve encountered a 2024 album that has provided me this much enjoyment.
Based on the strength of their first two records, I had no doubt that Brothers of Metal would follow up with another offering that would be pleasing in Odin’s sight. Fimbulvinter won’t be every metalhead’s cup o’ mead, but at a time in history when societal anxiety seems to be reaching a fever pitch, I find music like this to be a soothing, calming balm. It’s comforting to know that when life overwhelms me, Brothers of Metal will always be there, standing together with hands in the air.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: facebook.com/brothersofmetalofficial | www.brothersofmetal.net
Releases Worldwide: November 1st, 2024#2024 #35 #AFMRecords #BrothersOfMetal #Fimbulvinter #HeavyMetal #Manowar #Nov24 #PowerMetal #Review #Reviews #Sabaton #SwedishMetal
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A short impression of #Firewindband their SOLD OUT show at 📍 #tivolivredenburg
📽️ Video by me: #sethpicturesmusic #sethabrikoos
🗓️ 24-9-2024
💪 #OktoberPromotion
💿 #AFMrecordsSONATA ARCTICA & FIREWIND & SERIOUS BLACK
Tickets 👉 https://bnds.us/663bll
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#concertphotographer #concertphotographer #metalconcert #powermetal #powermetalband #powermetalmusic #metalguitarist #metaldrummer #metalmusician #metalbands🤘✌️
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Avatarium unveil “Long Black Waves” lyric video:
#Avatarium #LongBlackWaves #NewSong #AFMRecords
https://metalinsider.net/video/avatarium-unveil-long-black-waves-lyric-video
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Avatarium unveil “Long Black Waves” lyric video:
#Avatarium #LongBlackWaves #NewSong #AFMRecords
https://metalinsider.net/video/avatarium-unveil-long-black-waves-lyric-video
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Anvil streaming new song “Truth Is Dying”
#Anvil #TruthIsDying #AFMRecords #NewSingle #JuneReleases
https://metalinsider.net/new-music/anvil-streaming-new-song-truth-is-dying
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Firewind – Stand United Review
By Holdeneye
When I pulled reviewing duty for Firewind’s self-titled release way back during the bizarre spring of 2020, I wasn’t prepared for how hard the record was going to hit me. Aside from the band’s debut and a handful of tracks throughout Firewind’s discography, I’d never really been grabbed by their sound, so when Firewind arrived on-scene with the gnarly vocals of front man Herbie Langhans alongside some of Gus G’s tightest songwriting ever, it managed to land a sucker punch right in my sweet spot. Huge hard rock, heavy metal, and power metal anthems with muscular riffing and amazing guitarwork saw the band firing on all cylinders, and if I’m being honest, that record has only grown in stature in the years since its release. That great success left me thirsting for more, so when follow-up Stand United was announced, I felt a strong breeze stoking the metal embers within my heart.
Very little has changed for Firewind since that eponymous release; enjoying a stable lineup, the band stands poised to build upon the newfound vigor that Firewind introduced. And from minute one, it’s clear that Gus G and the boys subscribe to the notion of ‘if it ain’t broke, don’t fix it,’ because they come out swinging with first single “Salvation Day.” Undoubtedly one of the album’s strongest cuts, “Salvation Day” builds to a gigantic chorus that hasn’t left my head for weeks now, and it’s yet another reminder of how big a boon Langhans’ voice is to Firewind. The track shows all of the band’s strengths with classic metal songwriting paired with Gus’ trademark shredding.
And that leads me to one of the things I respect most about this era of Firewind: I’ve said it before, but it’s just refreshing to hear such a talented virtuoso putting songwriting above showboating. It would be easy for Gus to craft an album’s worth of six-string masturbation for his friends to play and sing behind, but that isn’t the case here at all. If anything, you have to really pay attention to catch all of the pyrotechnics because the songs themselves are designed to punch you in the face in a very straightforward way. Take the title track for example. It sounds like a standard heavy metal tune, and while it is that, it’s also laced with some blazing leads and solos that never once commandeer the ride. And the preceding sentence could sum up just about every other track on here—aside from the excellent cover of The Romantics’ “Talking in Your Sleep”—showing just how consistent Firewind’s songwriting has become.
And while that consistency leads to a thoroughly enjoyable listen, it also holds Stand United back from further greatness. Every track here is good, but aside from “Salvation Day,” none of them reach elite status. Firewind had tracks like “Orbitual Sunrise,” a mid-paced, almost balladic track with some of Langhans’ most powerful vocals ever, and as I listened to Stand United, I kept wising that it had a similar huge, emotional gut-punch. That’s not to say that the record is anything less than Good, though. Big songs with big, beefy production will thrill me every time, and Stand United doesn’t disappoint. Check out “Salvation Day,” “Destiny is Calling,” “The Power Lies Within,” “and “Land of Chaos”—and don’t forget that “Talking in Your Sleep” cover!—to feel Mr. G putting the ‘Gus’ in flame gust.
Stand United might not live up to the standard set by its predecessor, but that doesn’t keep it from being worth your time. Firewind is having a late-career renaissance, one from which fans of guitar-centric, big vocal-ed, straightforward heavy metal stand to benefit hugely.
Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: facebook.com/firewindofficial | firewind.gr
Releases Worldwide: March 1st, 2024#2024 #30 #AFMRecords #Firewind #GreekMetal #HeavyMetal #Mar24 #PowerMetal #Review #Reviews #StandUnited
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Firewind – Stand United Review
By Holdeneye
When I pulled reviewing duty for Firewind’s self-titled release way back during the bizarre spring of 2020, I wasn’t prepared for how hard the record was going to hit me. Aside from the band’s debut and a handful of tracks throughout Firewind’s discography, I’d never really been grabbed by their sound, so when Firewind arrived on-scene with the gnarly vocals of front man Herbie Langhans alongside some of Gus G’s tightest songwriting ever, it managed to land a sucker punch right in my sweet spot. Huge hard rock, heavy metal, and power metal anthems with muscular riffing and amazing guitarwork saw the band firing on all cylinders, and if I’m being honest, that record has only grown in stature in the years since its release. That great success left me thirsting for more, so when follow-up Stand United was announced, I felt a strong breeze stoking the metal embers within my heart.
Very little has changed for Firewind since that eponymous release; enjoying a stable lineup, the band stands poised to build upon the newfound vigor that Firewind introduced. And from minute one, it’s clear that Gus G and the boys subscribe to the notion of ‘if it ain’t broke, don’t fix it,’ because they come out swinging with first single “Salvation Day.” Undoubtedly one of the album’s strongest cuts, “Salvation Day” builds to a gigantic chorus that hasn’t left my head for weeks now, and it’s yet another reminder of how big a boon Langhans’ voice is to Firewind. The track shows all of the band’s strengths with classic metal songwriting paired with Gus’ trademark shredding.
And that leads me to one of the things I respect most about this era of Firewind: I’ve said it before, but it’s just refreshing to hear such a talented virtuoso putting songwriting above showboating. It would be easy for Gus to craft an album’s worth of six-string masturbation for his friends to play and sing behind, but that isn’t the case here at all. If anything, you have to really pay attention to catch all of the pyrotechnics because the songs themselves are designed to punch you in the face in a very straightforward way. Take the title track for example. It sounds like a standard heavy metal tune, and while it is that, it’s also laced with some blazing leads and solos that never once commandeer the ride. And the preceding sentence could sum up just about every other track on here—aside from the excellent cover of The Romantics’ “Talking in Your Sleep”—showing just how consistent Firewind’s songwriting has become.
And while that consistency leads to a thoroughly enjoyable listen, it also holds Stand United back from further greatness. Every track here is good, but aside from “Salvation Day,” none of them reach elite status. Firewind had tracks like “Orbitual Sunrise,” a mid-paced, almost balladic track with some of Langhans’ most powerful vocals ever, and as I listened to Stand United, I kept wising that it had a similar huge, emotional gut-punch. That’s not to say that the record is anything less than Good, though. Big songs with big, beefy production will thrill me every time, and Stand United doesn’t disappoint. Check out “Salvation Day,” “Destiny is Calling,” “The Power Lies Within,” “and “Land of Chaos”—and don’t forget that “Talking in Your Sleep” cover!—to feel Mr. G putting the ‘Gus’ in flame gust.
Stand United might not live up to the standard set by its predecessor, but that doesn’t keep it from being worth your time. Firewind is having a late-career renaissance, one from which fans of guitar-centric, big vocal-ed, straightforward heavy metal stand to benefit hugely.
Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: facebook.com/firewindofficial | firewind.gr
Releases Worldwide: March 1st, 2024#2024 #30 #AFMRecords #Firewind #GreekMetal #HeavyMetal #Mar24 #PowerMetal #Review #Reviews #StandUnited
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💥 Dust Bolt 💥
Dust Bolt* is currently on tour. Check their next tour dates via their band page 🫶
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Last year I photographed Dust Bolt at the Groene Engel (Den Bosch, NL). I really hope to 📷 them again 😁
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*👕Gifted
#sethpicturesmusic #sethabrikoos #thrashmetalmusic #thrashmetalband #afmrecords #metal #metalband #altgirl🤘✌️
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💥 Dust Bolt 💥
Dust Bolt* is currently on tour. Check their next tour dates via their band page 🫶
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Last year I photographed Dust Bolt at the Groene Engel (Den Bosch, NL). I really hope to 📷 them again 😁
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*👕Gifted
#sethpicturesmusic #sethabrikoos #thrashmetalmusic #thrashmetalband #afmrecords #metal #metalband #altgirl🤘✌️
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💥 Dust Bolt 💥
Dust Bolt* is currently on tour. Check their next tour dates via their band page 🫶
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Last year I photographed Dust Bolt at the Groene Engel (Den Bosch, NL). I really hope to 📷 them again 😁
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*👕Gifted
#sethpicturesmusic #sethabrikoos #thrashmetalmusic #thrashmetalband #afmrecords #metal #metalband #altgirl🤘✌️
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💥 Dust Bolt 💥
Dust Bolt* is currently on tour. Check their next tour dates via their band page 🫶
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Last year I photographed Dust Bolt at the Groene Engel (Den Bosch, NL). I really hope to 📷 them again 😁
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*👕Gifted
#sethpicturesmusic #sethabrikoos #thrashmetalmusic #thrashmetalband #afmrecords #metal #metalband #altgirl🤘✌️
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Last Friday, Dust Bolt released "Sound & Fury"*. 💿
Don't forget to check it out 👀
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*gifted
#sethpicturesmusic #sethabrikoos #metal #metalfamily #metalband #metalrelease #metalreleases #afmrecords🤘✌️
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Dust Bolt – Sound & Fury Review
By Dr. A.N. Grier
For centuries, thrash metal outfits have attempted to surprise their fanbase by taking a completely unexpected direction. Sometimes, it’s with great success. Other times, not so much. Metallica and their notorious “black album” alienated many hardcore fans, but no one can argue that Metallica single-handedly brought money and fame to the band. On the other hand, Testament’s attempt at producing radio-friendly songs through Ritual did little to skyrocket sales or bring new fans to the fold. While there are others we can evaluate (in thrash and elsewhere), this introduction aims to set the tone for Dust Bolt’s new record, Sound & Fury. As we’ve discussed countless times, the dreaded pandemic affected many bands. In Dust Bolt’s case, the band decided to take that time away from record labels, concerts, and the noise of the business to rediscover themselves. The result is a reinvigoration, bringing back the excitement the band had when they first broke out on the scene. Brace yourselves.
Founded by childhood friends Lenny, Flo, and Nico, the pandemic found Dust Bolt completely independent of a label and in full control of their schedules and musical direction. During these last few years, they re-evaluated everything the band stood for in hopes of toppling their four previous albums and developing a new era. But this new era was led by the desire to develop one unique skill that the band never possessed: someone who could sing. That’s not an insult but an actual desire by vocalist/guitarist Lenny B. The outcome is something that reminds me of the move that The Haunted made with The Dead Eye. Sound & Fury is constructed with cleaner vocals, influences far removed from the thrash genre, and catchier choruses. That said, there are still crushing moments in many of the songs, and, for a guy who really didn’t know how to sing, it’s a rather solid performance.
“Leave Nothing Behind” is completely outside the realm of what thrash enthusiasts would expect. The opener shows a more accessible side to the band’s songwriting, focusing on a melodic, radio-friendly chorus. But, just when you think that’s all it is, the final riff of the album breaks down into a killer, Throwdown-esque outro. “I Witness” follows the opener in a similar fashion. But the modernization is even greater as the song focuses on a modern-day Metallica sound. It also contains one of the most addictive choruses on the record (outside of “I Am the One”) and builds up to a headbangable finish, sparked by sporadic screaming that reminds me of Slipknot’s Vol. 3: (The Subliminal Verses). While the thrash remains, especially in the Anthraxy “New Flame” and its Pantera-esque solo work, Dust Bolt is (so far) completely unrecognizable.
But the weirdness only intensifies as the album continues. “I Am the One,” for example, hosts a slew of Foo Fighters vibes and a repetitive chorus that sounds like the vocalist is saying, “I gam du one” For what it is, it’s a very addictive song. But I can almost feel you thrash enthusiasts shot-gunning a beer. For those who can’t stomach where I’m going with this review, it gets worse. The bass intro in “Love & Reality” sounds so much like Red Hot Chili Peppers that you’ll abandon your beer in favor of tequila shots. But that’s only the beginning of this happy-go-lucky song. Next, comes the distracting low vocals and backing oomphs and aaahs in the chorus that completely separates it from the rest of the tracks. But the song that had me checking my phone to confirm I was still listening to the same album was “Little Stone.” With its gentle vocals and instrumentation, the closer sounds like a local lounge act forcing me to drink myself to death with sorrow. Plus, I think Amy Winehouse is sitting at the table with me, which is weird.
All things considered, I’ve been having a blast with this album. It definitely won’t be for everyone, but I can feel the spontaneity and energy in the songs. They actually sound like they are having fun recording this album. Which, in my opinion, is far more exciting of a listening experience than 2019’s Trapped in Chaos. Though I can live without the hopelessly pointless instrumental, “Bluedeep,” the rest of the tracks are a great time. The vocal performance is solid, the choruses are addictive as hell, and the energy suggests a band that doesn’t give a shit what you think because they are having too much fun playing. Hell, you can even see it in their not-so-thrash album cover and band photo. Not to mention, we all know I am a fan of bands that have the balls to completely reinvent themselves and give zero fucks about it. When Sound & Fury goes hard, it goes hard. When it’s soft and ballady, it works. Both cases are specifically true in the title track. Sounds & Fury will exist as the band’s greatest achievement or their worst. Only time will tell.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: AFM Records
Websites: dustbolt.bandcamp.com1 | dustbolt.com | facebook.com/dustbolt
Releases Worldwide: February 23rd, 2024#2024 #30 #AFMRecords #Anthrax #DustBolt #Feb24 #FooFighters #GermanMetal #GrooveMetal #HardRock #Metallica #Pantera #RedHotChiliPeppers #Review #Reviews #SoundFury #Testament #TheHaunted #ThrashMetal #Throwdown
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Dust Bolt – Sound & Fury Review
By Dr. A.N. Grier
For centuries, thrash metal outfits have attempted to surprise their fanbase by taking a completely unexpected direction. Sometimes, it’s with great success. Other times, not so much. Metallica and their notorious “black album” alienated many hardcore fans, but no one can argue that Metallica single-handedly brought money and fame to the band. On the other hand, Testament’s attempt at producing radio-friendly songs through Ritual did little to skyrocket sales or bring new fans to the fold. While there are others we can evaluate (in thrash and elsewhere), this introduction aims to set the tone for Dust Bolt’s new record, Sound & Fury. As we’ve discussed countless times, the dreaded pandemic affected many bands. In Dust Bolt’s case, the band decided to take that time away from record labels, concerts, and the noise of the business to rediscover themselves. The result is a reinvigoration, bringing back the excitement the band had when they first broke out on the scene. Brace yourselves.
Founded by childhood friends Lenny, Flo, and Nico, the pandemic found Dust Bolt completely independent of a label and in full control of their schedules and musical direction. During these last few years, they re-evaluated everything the band stood for in hopes of toppling their four previous albums and developing a new era. But this new era was led by the desire to develop one unique skill that the band never possessed: someone who could sing. That’s not an insult but an actual desire by vocalist/guitarist Lenny B. The outcome is something that reminds me of the move that The Haunted made with The Dead Eye. Sound & Fury is constructed with cleaner vocals, influences far removed from the thrash genre, and catchier choruses. That said, there are still crushing moments in many of the songs, and, for a guy who really didn’t know how to sing, it’s a rather solid performance.
“Leave Nothing Behind” is completely outside the realm of what thrash enthusiasts would expect. The opener shows a more accessible side to the band’s songwriting, focusing on a melodic, radio-friendly chorus. But, just when you think that’s all it is, the final riff of the album breaks down into a killer, Throwdown-esque outro. “I Witness” follows the opener in a similar fashion. But the modernization is even greater as the song focuses on a modern-day Metallica sound. It also contains one of the most addictive choruses on the record (outside of “I Am the One”) and builds up to a headbangable finish, sparked by sporadic screaming that reminds me of Slipknot’s Vol. 3: (The Subliminal Verses). While the thrash remains, especially in the Anthraxy “New Flame” and its Pantera-esque solo work, Dust Bolt is (so far) completely unrecognizable.
But the weirdness only intensifies as the album continues. “I Am the One,” for example, hosts a slew of Foo Fighters vibes and a repetitive chorus that sounds like the vocalist is saying, “I gam du one” For what it is, it’s a very addictive song. But I can almost feel you thrash enthusiasts shot-gunning a beer. For those who can’t stomach where I’m going with this review, it gets worse. The bass intro in “Love & Reality” sounds so much like Red Hot Chili Peppers that you’ll abandon your beer in favor of tequila shots. But that’s only the beginning of this happy-go-lucky song. Next, comes the distracting low vocals and backing oomphs and aaahs in the chorus that completely separates it from the rest of the tracks. But the song that had me checking my phone to confirm I was still listening to the same album was “Little Stone.” With its gentle vocals and instrumentation, the closer sounds like a local lounge act forcing me to drink myself to death with sorrow. Plus, I think Amy Winehouse is sitting at the table with me, which is weird.
All things considered, I’ve been having a blast with this album. It definitely won’t be for everyone, but I can feel the spontaneity and energy in the songs. They actually sound like they are having fun recording this album. Which, in my opinion, is far more exciting of a listening experience than 2019’s Trapped in Chaos. Though I can live without the hopelessly pointless instrumental, “Bluedeep,” the rest of the tracks are a great time. The vocal performance is solid, the choruses are addictive as hell, and the energy suggests a band that doesn’t give a shit what you think because they are having too much fun playing. Hell, you can even see it in their not-so-thrash album cover and band photo. Not to mention, we all know I am a fan of bands that have the balls to completely reinvent themselves and give zero fucks about it. When Sound & Fury goes hard, it goes hard. When it’s soft and ballady, it works. Both cases are specifically true in the title track. Sounds & Fury will exist as the band’s greatest achievement or their worst. Only time will tell.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: AFM Records
Websites: dustbolt.bandcamp.com1 | dustbolt.com | facebook.com/dustbolt
Releases Worldwide: February 23rd, 2024#2024 #30 #AFMRecords #Anthrax #DustBolt #Feb24 #FooFighters #GermanMetal #GrooveMetal #HardRock #Metallica #Pantera #RedHotChiliPeppers #Review #Reviews #SoundFury #Testament #TheHaunted #ThrashMetal #Throwdown
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Charting the course to 2024: reflecting on 70000tons of Metal 2023 Artist Spotlight: Iron Savior:
#IronSavior #ArtistSpotlight #Firestar #AFMRecords #70000tons #70000tonsOfMetal #MetalInsider
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Did you already check #DUSTBOLT their new single "Disco Nnection"*?
👉 https://dust-bolt.bfan.link/sound-furyToday I will visit AFAS Live as a visitor for #JohnCoffey , #Wodanboys & #Tramhaus .
📷 Did you know I photographed Tramhaus in Rotown last year?
I also photographed Dust Bolt at Groene Engel this year :)
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* Band support
#sethpicturesmusic
#sethabrikoos #dustbolt #oktoberpromo #oktoberpromotion #metal #thrashmetal #afmrecords #masterofmetal #stagekult #stageklultde #allnoir🤘✌️
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Leaves’ Eyes share “Forged By Fire” video; new album arriving in 2024:
#LeavesEyes #ForgedByFire #MythsOfFate #NewAlbum2024 #2024Releases #NewMusic #SymphonicMetal #AFMRecords #MetalInsider
https://metalinsider.net/video/leaves-eyes-share-forged-by-fire-video-new-album-arriving-in-2024
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#TheMetalDogArticleList
#BraveWords
World’s First “All-Metal-Netflix” App THUNDERFLIX Partners With AFM Records
Never before has metal content been so readily available to the genre’s devoted millions upon millions of fans - and then Samuel Douek created Thunderflix. This brand new app has become the answer for all headbangers on the search for quality compositions from their favorite...https://bravewords.com/news/worlds-first-all-metal-netflix-app-thunderflix-partners-with-afm-records
#metalmusic #Netflix #AFMRecords #Thunderflix #entertainment #streaming
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#TheMetalDogArticleList
#BraveWords
World’s First “All-Metal-Netflix” App THUNDERFLIX Partners With AFM Records
Never before has metal content been so readily available to the genre’s devoted millions upon millions of fans - and then Samuel Douek created Thunderflix. This brand new app has become the answer for all headbangers on the search for quality compositions from their favorite...https://bravewords.com/news/worlds-first-all-metal-netflix-app-thunderflix-partners-with-afm-records
#metalmusic #Netflix #AFMRecords #Thunderflix #entertainment #streaming
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ELVENKING - Bride of Night (feat. Heike Langhans) (2023) // Official Music Video // AFM Records
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ELVENKING - Bride of Night (feat. Heike Langhans) (2023) // Official Music Video // AFM Records
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BLOODBOUND - The Raven's Cry (2023) // Official Audio Visualizer // AFM Records
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BLOODBOUND - The Raven's Cry (2023) // Official Audio Visualizer // AFM Records
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SAINT DEAMON - At Break of Dawn (2023) // Official Lyric Video // AFM Records
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SAINT DEAMON - At Break of Dawn (2023) // Official Lyric Video // AFM Records
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REDLIGHT KING - Eye Of A Hurricane (2023) // Official Lyric Video // AFM Records
#music #rocknroll #alternativerock #redlightking #afmrecords
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REDLIGHT KING - Eye Of A Hurricane (2023) // Official Lyric Video // AFM Records
#music #rocknroll #alternativerock #redlightking #afmrecords
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Concert recommendation:
#Bloodbound, #Arion +
#NorthTale
+ #Tungsten
More info + tickets: http://metropool.nl/agenda/bloodbound
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#sethpicturesmusic #sethabrikoos #metalband #powermetal #metalhad #hornsup #oktoberpromotion #nuclearblastrecords #afmrecords🤘✌️
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ALL FOR METAL - Raise Your Hammer (2023) // Official Music Video // AFM Records
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ALL FOR METAL - Raise Your Hammer (2023) // Official Music Video // AFM Records