#afmrecords — Public Fediverse posts

Kreator – Endorama #AFMRecords #compactdisc #kombi
https://www.instagram.com/p/DTi4SXPEXU-/?igsh=dWN1bzVncWt6azVq

Kreator – Endorama #AFMRecords #compactdisc #kombi
https://www.instagram.com/p/DTi4SXPEXU-/?igsh=dWN1bzVncWt6azVq

Kreator – Endorama #AFMRecords #compactdisc #kombi
https://www.instagram.com/p/DTi4SXPEXU-/?igsh=dWN1bzVncWt6azVq

Kreator – Endorama #AFMRecords #compactdisc #kombi
https://www.instagram.com/p/DTi4SXPEXU-/?igsh=dWN1bzVncWt6azVq

Kreator – Endorama #AFMRecords #compactdisc #kombi

Kreator – Endorama #AFMRecords #compactdisc #kombi

Kreator – Endorama #AFMRecords #compactdisc #kombi

Kreator – Endorama #AFMRecords #compactdisc #kombi

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, 2025

Dolphin 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

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, 2025

Dolphin 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

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, 2025

Dolphin 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

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, 2025

Dolphin 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

1. Of their first four albums, mostly. ↩
2. 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

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

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

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

A short impression of #Firewindband their SOLD OUT show at 📍 #tivolivredenburg

📽️ Video by me: #sethpicturesmusic #sethabrikoos
🗓️ 24-9-2024
💪 #OktoberPromotion
💿 #AFMrecords

SONATA ARCTICA & FIREWIND & SERIOUS BLACK

Tickets 👉 https://bnds.us/663bll
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#concertphotographer #concertphotographer #metalconcert #powermetal #powermetalband #powermetalmusic #metalguitarist #metaldrummer #metalmusician #metalbands

🤘✌️

A short impression of #Firewindband their SOLD OUT show at 📍 #tivolivredenburg

📽️ Video by me: #sethpicturesmusic #sethabrikoos
🗓️ 24-9-2024
💪 #OktoberPromotion
💿 #AFMrecords

SONATA ARCTICA & FIREWIND & SERIOUS BLACK

Tickets 👉 https://bnds.us/663bll
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#concertphotographer #concertphotographer #metalconcert #powermetal #powermetalband #powermetalmusic #metalguitarist #metaldrummer #metalmusician #metalbands

🤘✌️

A short impression of #Firewindband their SOLD OUT show at 📍 #tivolivredenburg

📽️ Video by me: #sethpicturesmusic #sethabrikoos
🗓️ 24-9-2024
💪 #OktoberPromotion
💿 #AFMrecords

SONATA ARCTICA & FIREWIND & SERIOUS BLACK

Tickets 👉 https://bnds.us/663bll
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#concertphotographer #concertphotographer #metalconcert #powermetal #powermetalband #powermetalmusic #metalguitarist #metaldrummer #metalmusician #metalbands

🤘✌️

A short impression of #Firewindband their SOLD OUT show at 📍 #tivolivredenburg

📽️ Video by me: #sethpicturesmusic #sethabrikoos
🗓️ 24-9-2024
💪 #OktoberPromotion
💿 #AFMrecords

SONATA 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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Flotsam and Jetsam – I Am the Weapon Review

By Dr. A.N. Grier

I’ve always had a soft spot for Flotsam and Jetsam. I don’t know if it was because I discovered them simultaneously with Anthrax, but I associate the two more than any other thrash duo. It’s also probably because A.K. has a powerful voice similar to Joey Belladonna’s. That said, Jetsam has always retained its unique twist: one second they are ripping through a thrash lick, and another, they are swooning through a power metal ballad. It’s a style that has suited them well for years, even if there was a point when the band looked like they were falling off the edge of a cliff. After a strong start to their career, the band floundered a bit in the late ’90s and early ’00s, making fans question their success regardless of their prolific album delivery since their inception in 1984. But these Arizona bois have begun to impress me once again, dropping bombs since their stellar self-titled release in 2016. This resurgence has brought back that spontaneity of yesteryears, making it easier and easier for me to rediscover them. One can only hope this feeling continues with this year’s I Am the Weapon.

While I was happy to see longtime guitarist, Ed Carlson, return after a brief hiatus following the surprisingly decent The Cold, he didn’t do much to keep the ball rolling when he returned. During his second era with the band, they dropped their worst releases to date. Not only was 2012’s Ugly Noise an utter abomination to my eardrums, but its follow-up was the despicable re-recording of their 1988 classic, No Place for Disguise. When Steve Conley hit the lineup, things began to change. After his inclusion in Flotsam and Jetsam, I can confidently say the band has been knocking out good-to-great albums ever since. Thankfully, I Am the Weapon continues this trend, delivering some blazing thrash riffs, soaring vocals, and a fluidity that works throughout. After I completely abandoned this band, it has been a real pleasure listening to them in the last decade, and this new one is a hella good time.

On that note, the album opens with “A New Kind of Hero,” which has some of the worst lyrics I’ve heard in a long time. Thankfully, it has a kickass thrashy drive, emphasized by rumbling bass and charging drum work. Even though A.K.’s vocals are lively as always, as long as I can ignore the “Superman is gone” line, I can enjoy this massive Anthraxy kickoff to I Am the Weapon. Other stellar tracks are the back-to-back “Burned My Bridges” and “The Head of the Snake.” The first has a good amount of melody driving the blastbeats and steady riffage. It also has a nice touch of power metal character and a memorable chorus that soars into Dio-ish territories. “The Head of the Snake,” on the other hand, has a badass, pounding riff strengthened beautifully by the rough vocal approach. When the chorus hits, its melodic nature takes hold, building it up to its breaking point before your head snaps back into the groove.

Similarly aggressive but pulling out other tricks, “Cold Steel Lights” and “Running Through the Fire” push further into melodic and ballady areas of their sound. After opening with a blistering-fast guitar lick, “Cold Steel Lights” charges headlong into a marching riff and solo work before powering into a melodic chorus. On the back half, the song quiets to smooth clean guitars as A.K. swoons you with a lullaby. Then, they fire back into the chorus to close it out. “Running Through the Fire” is another that suffers from dreadful lyrics, but it’s an interesting song that does a lot in five minutes. After marching through a bass-heavy riff and strong chorus, the song flips a bitch and slows to 15 mph in the slow lane. Reverberating clean guitars and popping bass lead the song’s second half as the vocals cry for survival. It’s not my favorite song by any means, but Bill Bodily’s bass work cannot be ignored on this track.

A couple of tracks not as strong as others are “Primal” and the closer, “Black Wings.” The first is nothing special, acting as a filler between the opener and the title track. The closer is not a good song and a dumb way to end the record. With a dark, atmospheric character, it trudges along boringly, even introducing some near-spoken-word segments that fall flat on their face. To these ears, the punchy “Kings of the Underworld” would have been a great way to end the album. But what do I know? Regardless, I Am the Weapon continues the stellar rebirth of the band, pushing hard to continue bringing memorability into the band’s consistent album delivery. The master is also sharp and clean, letting that great bass and drum work rise without being obliterated by A.K.’s upfront vocals. Though these gents have been around the block, their wind-whipped, rattlesnake-infested, sun-scorched Arizona approach is fun to listen to once again. If you’ve been following Flotsam in the last decade, you’ll find plenty to enjoy on I Am the Weapon.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: AFM Records
Websites: flotstildeath.com | facebook.com/flotsamandjetsam.official
Releases Worldwide: September 13th, 2024

#2024 #30 #AFMRecords #AmericanMetal #Anthrax #Dio #FlotsamAndJetsam #IAmTheWeapon #PowerMetal #Review #Reviews #Sep24 #ThrashMetal

Flotsam and Jetsam – I Am the Weapon Review

By Dr. A.N. Grier

I’ve always had a soft spot for Flotsam and Jetsam. I don’t know if it was because I discovered them simultaneously with Anthrax, but I associate the two more than any other thrash duo. It’s also probably because A.K. has a powerful voice similar to Joey Belladonna’s. That said, Jetsam has always retained its unique twist: one second they are ripping through a thrash lick, and another, they are swooning through a power metal ballad. It’s a style that has suited them well for years, even if there was a point when the band looked like they were falling off the edge of a cliff. After a strong start to their career, the band floundered a bit in the late ’90s and early ’00s, making fans question their success regardless of their prolific album delivery since their inception in 1984. But these Arizona bois have begun to impress me once again, dropping bombs since their stellar self-titled release in 2016. This resurgence has brought back that spontaneity of yesteryears, making it easier and easier for me to rediscover them. One can only hope this feeling continues with this year’s I Am the Weapon.

While I was happy to see longtime guitarist, Ed Carlson, return after a brief hiatus following the surprisingly decent The Cold, he didn’t do much to keep the ball rolling when he returned. During his second era with the band, they dropped their worst releases to date. Not only was 2012’s Ugly Noise an utter abomination to my eardrums, but its follow-up was the despicable re-recording of their 1988 classic, No Place for Disguise. When Steve Conley hit the lineup, things began to change. After his inclusion in Flotsam and Jetsam, I can confidently say the band has been knocking out good-to-great albums ever since. Thankfully, I Am the Weapon continues this trend, delivering some blazing thrash riffs, soaring vocals, and a fluidity that works throughout. After I completely abandoned this band, it has been a real pleasure listening to them in the last decade, and this new one is a hella good time.

On that note, the album opens with “A New Kind of Hero,” which has some of the worst lyrics I’ve heard in a long time. Thankfully, it has a kickass thrashy drive, emphasized by rumbling bass and charging drum work. Even though A.K.’s vocals are lively as always, as long as I can ignore the “Superman is gone” line, I can enjoy this massive Anthraxy kickoff to I Am the Weapon. Other stellar tracks are the back-to-back “Burned My Bridges” and “The Head of the Snake.” The first has a good amount of melody driving the blastbeats and steady riffage. It also has a nice touch of power metal character and a memorable chorus that soars into Dio-ish territories. “The Head of the Snake,” on the other hand, has a badass, pounding riff strengthened beautifully by the rough vocal approach. When the chorus hits, its melodic nature takes hold, building it up to its breaking point before your head snaps back into the groove.

Similarly aggressive but pulling out other tricks, “Cold Steel Lights” and “Running Through the Fire” push further into melodic and ballady areas of their sound. After opening with a blistering-fast guitar lick, “Cold Steel Lights” charges headlong into a marching riff and solo work before powering into a melodic chorus. On the back half, the song quiets to smooth clean guitars as A.K. swoons you with a lullaby. Then, they fire back into the chorus to close it out. “Running Through the Fire” is another that suffers from dreadful lyrics, but it’s an interesting song that does a lot in five minutes. After marching through a bass-heavy riff and strong chorus, the song flips a bitch and slows to 15 mph in the slow lane. Reverberating clean guitars and popping bass lead the song’s second half as the vocals cry for survival. It’s not my favorite song by any means, but Bill Bodily’s bass work cannot be ignored on this track.

A couple of tracks not as strong as others are “Primal” and the closer, “Black Wings.” The first is nothing special, acting as a filler between the opener and the title track. The closer is not a good song and a dumb way to end the record. With a dark, atmospheric character, it trudges along boringly, even introducing some near-spoken-word segments that fall flat on their face. To these ears, the punchy “Kings of the Underworld” would have been a great way to end the album. But what do I know? Regardless, I Am the Weapon continues the stellar rebirth of the band, pushing hard to continue bringing memorability into the band’s consistent album delivery. The master is also sharp and clean, letting that great bass and drum work rise without being obliterated by A.K.’s upfront vocals. Though these gents have been around the block, their wind-whipped, rattlesnake-infested, sun-scorched Arizona approach is fun to listen to once again. If you’ve been following Flotsam in the last decade, you’ll find plenty to enjoy on I Am the Weapon.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: AFM Records
Websites: flotstildeath.com | facebook.com/flotsamandjetsam.official
Releases Worldwide: September 13th, 2024

#2024 #30 #AFMRecords #AmericanMetal #Anthrax #Dio #FlotsamAndJetsam #IAmTheWeapon #PowerMetal #Review #Reviews #Sep24 #ThrashMetal

Flotsam and Jetsam – I Am the Weapon Review

By Dr. A.N. Grier

I’ve always had a soft spot for Flotsam and Jetsam. I don’t know if it was because I discovered them simultaneously with Anthrax, but I associate the two more than any other thrash duo. It’s also probably because A.K. has a powerful voice similar to Joey Belladonna’s. That said, Jetsam has always retained its unique twist: one second they are ripping through a thrash lick, and another, they are swooning through a power metal ballad. It’s a style that has suited them well for years, even if there was a point when the band looked like they were falling off the edge of a cliff. After a strong start to their career, the band floundered a bit in the late ’90s and early ’00s, making fans question their success regardless of their prolific album delivery since their inception in 1984. But these Arizona bois have begun to impress me once again, dropping bombs since their stellar self-titled release in 2016. This resurgence has brought back that spontaneity of yesteryears, making it easier and easier for me to rediscover them. One can only hope this feeling continues with this year’s I Am the Weapon.

While I was happy to see longtime guitarist, Ed Carlson, return after a brief hiatus following the surprisingly decent The Cold, he didn’t do much to keep the ball rolling when he returned. During his second era with the band, they dropped their worst releases to date. Not only was 2012’s Ugly Noise an utter abomination to my eardrums, but its follow-up was the despicable re-recording of their 1988 classic, No Place for Disguise. When Steve Conley hit the lineup, things began to change. After his inclusion in Flotsam and Jetsam, I can confidently say the band has been knocking out good-to-great albums ever since. Thankfully, I Am the Weapon continues this trend, delivering some blazing thrash riffs, soaring vocals, and a fluidity that works throughout. After I completely abandoned this band, it has been a real pleasure listening to them in the last decade, and this new one is a hella good time.

On that note, the album opens with “A New Kind of Hero,” which has some of the worst lyrics I’ve heard in a long time. Thankfully, it has a kickass thrashy drive, emphasized by rumbling bass and charging drum work. Even though A.K.’s vocals are lively as always, as long as I can ignore the “Superman is gone” line, I can enjoy this massive Anthraxy kickoff to I Am the Weapon. Other stellar tracks are the back-to-back “Burned My Bridges” and “The Head of the Snake.” The first has a good amount of melody driving the blastbeats and steady riffage. It also has a nice touch of power metal character and a memorable chorus that soars into Dio-ish territories. “The Head of the Snake,” on the other hand, has a badass, pounding riff strengthened beautifully by the rough vocal approach. When the chorus hits, its melodic nature takes hold, building it up to its breaking point before your head snaps back into the groove.

Similarly aggressive but pulling out other tricks, “Cold Steel Lights” and “Running Through the Fire” push further into melodic and ballady areas of their sound. After opening with a blistering-fast guitar lick, “Cold Steel Lights” charges headlong into a marching riff and solo work before powering into a melodic chorus. On the back half, the song quiets to smooth clean guitars as A.K. swoons you with a lullaby. Then, they fire back into the chorus to close it out. “Running Through the Fire” is another that suffers from dreadful lyrics, but it’s an interesting song that does a lot in five minutes. After marching through a bass-heavy riff and strong chorus, the song flips a bitch and slows to 15 mph in the slow lane. Reverberating clean guitars and popping bass lead the song’s second half as the vocals cry for survival. It’s not my favorite song by any means, but Bill Bodily’s bass work cannot be ignored on this track.

A couple of tracks not as strong as others are “Primal” and the closer, “Black Wings.” The first is nothing special, acting as a filler between the opener and the title track. The closer is not a good song and a dumb way to end the record. With a dark, atmospheric character, it trudges along boringly, even introducing some near-spoken-word segments that fall flat on their face. To these ears, the punchy “Kings of the Underworld” would have been a great way to end the album. But what do I know? Regardless, I Am the Weapon continues the stellar rebirth of the band, pushing hard to continue bringing memorability into the band’s consistent album delivery. The master is also sharp and clean, letting that great bass and drum work rise without being obliterated by A.K.’s upfront vocals. Though these gents have been around the block, their wind-whipped, rattlesnake-infested, sun-scorched Arizona approach is fun to listen to once again. If you’ve been following Flotsam in the last decade, you’ll find plenty to enjoy on I Am the Weapon.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: AFM Records
Websites: flotstildeath.com | facebook.com/flotsamandjetsam.official
Releases Worldwide: September 13th, 2024

#2024 #30 #AFMRecords #AmericanMetal #Anthrax #Dio #FlotsamAndJetsam #IAmTheWeapon #PowerMetal #Review #Reviews #Sep24 #ThrashMetal

Avatarium unveil “Long Black Waves” lyric video:

#Avatarium #LongBlackWaves #NewSong #AFMRecords

https://metalinsider.net/video/avatarium-unveil-long-black-waves-lyric-video

Avatarium unveil “Long Black Waves” lyric video:

#Avatarium #LongBlackWaves #NewSong #AFMRecords

https://metalinsider.net/video/avatarium-unveil-long-black-waves-lyric-video

Kryptos – Decimator Review

By Steel Druhm

India’s Kryptos have been rocking an entertaining retro metal formula for several albums now, fusing classic metal sounds with slight black and thrash edges. Platters like Burn Up the Night and Afterburner are nigh-irresistible rocket rides of gleaming chrome, black leather, and glistening steel, delivering more fun than a barrel full of hobo wine and wiffle bats. 2021s Force of Danger was a bit of a step down in overall fun factor, with too much mid-paced chugging, though it had several big moments to endear it to fans of their schtick. Now comes 7th album Decimator and there’s a new page or two in the Kryptos cookbook. They still sound like someone forced Coroner’s Ron Royce into vocal duty for 80s Accept and they still aim to rock you like a Kryptocane, but there’s a greater emphasis on melodic guitar-play this time out. That means riffy, rowdy, hard rock-infused metal anthems made for the stadium circuit and that’s not a bad place to re-position the Kryptos persona. But does the pure metal fire still burn brightly on Decimator or is their throwback fetish beginning to show its age?

I’ll say this for these chaps, they don’t go in for faff or fluff. They come right at you on opener “Sirens of Steel” with all guns blazing and engines in overdrive. It’s exactly the kind of tune you want from them, full of galloping riffs and soaring guitar flourishes as Nolan Lewis croaks and snarls like a rabid hedgehog that just humped your prize petunias. Lewis and lead axe Rohit Chaturvedi bring the best thunder from the Tundra with guitar heroics ripped out of the 80s so hard that the air reeks of the Reagan Administration and cheap gasoline. You simply can’t hear this song and be in a sour mood, no matter how trve and kvlt you pretend to be. “Fall to the Spectre’s Gaze” is the same gumbo but with spicier okra. Once again Lewis and Chaturvedi rob the graves of Dokken, Keel, Cities, and Accept for inspiration and rock your socks way off in the process. And that chorus is the chef’s kiss. “Electrify” is an album standout due to its fist-pumping, teen-rager energy and raucous charm. It makes you want to race from destination to destination chugging cheap beers with idiot friends til you can race no more. Elsewhere, the title track sounds like underappreciated Canadian thrashers of yore, Sacrifice, reminding me that Lewis’s vocals are not far removed from those of Rob Urbinati.

Other big winners include “In the Shadow of the Blade” which lashes you with uber-polished but blood-pumping riffs and offers a slightly heavier vibe approaching the lighter side of Kreator. If you play this in your vehicle you will almost certainly break the speed limit by unsafe margins. “Pathfinder” also offers an orgy of greasy guitars and a pugnacious attitude that sticks in your head. There are no bad songs here, though one or two hit a bit less forcefully. At a very lean 31-plus minutes, there’s not much here but muscle and skin. There’s a short interlude, but other than that, this is all alloy, rebar, and concrete and it goes by fast and easy.

With what Kryptos do, the guitar work has to be aces or the whole construct comes crashing down. Luckily Lewis and Chaturvedi know their roles and deliver a fuck-ton of blazing six-string glory. They absolutely nail the 80s metal ethos and sound and at any moment they remind me of several albums I worshipped as teenage metal mouthbreather. The infusion of more melodic fretwork is a boon, and though I wish they would delve deeper into speed and thrash at times, I love what they do across Decimator. Lewis is extremely limited as a vocalist, with a one-note ragged snarl that varies little from moment to moment, but somehow it fits and never seems to undersell the material. Vijit Singh pounds away on the kit manfully, providing a booming backdrop for the guitars, and Robin Utbult (Vicious Rumors, ex-Air Raid) guests as bassist, offering a workmanlike performance, rarely injecting himself forcefully into the fray.

Decimator is a comeback of sorts for Kryptos, moving them closer to killer albums like Afterburner. This is the kind of record you put on, bang your head to, and feel surprised when it ends and you realize you just lost 30-plus minutes. It’s not intellectual, innovative, or forward-thinking, but it will activate your dental plan as it forces a good time on your gloomy ass. In these days of stress and strife, we all need things like this. My advice: blast this thing as loud as humanly possible and let it take to Air Guitar Old School. I’ll be there selling smokes, test results, and discount wedgies. Ask for the Powerlord.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: kryptosindia.bandcamp.com/album/decimator | facebook.com/kryptosindia | instagram.com/kryptosindia
Releases Worldwide: July 5th, 2024

Maddog

Screenshot

Along with Satan’s Hallow’s fantastic debut/swansong, Kryptos’ Afterburner rekindled my love of traditional heavy metal. Granting my lifelong wish of experiencing the 1980s firsthand, Kryptos whisked me along for a midnight motorcycle joyride. Afterburner did nothing that hadn’t been overdone before, but its command of thrilling riffs made me an immediate devotee. However, Kryptos’ 2021 follow-up Force of Danger lacked danger, settling into a mid-paced routine that left me satisfied but wanting. Decimator sees India’s rockstar darlings step into more melodic territory while ratcheting up the energy. Although hints of Force of Danger’s missteps remain, Decimator marks a triumphant new direction for Kryptos.

Decimator targets thrill seekers, headbangers, and foot tappers alike. Blending Priest circa 1980 with Priest circa 1990, Kryptos are hell-bent for leather. Speedier anthems channel the relentless fun of Motörhead (“Sirens of Steel”), while slower chugfests show Kryptos living after midnight. The biggest change in Kryptos’ sound is the band’s newfound melodic touch. Guitar wizards Rohit Chaturvedi (lead) and Nolan Lewis (rhythm) never stop riffing for a moment, but Decimator’s soaring leads and 110-on-the-freeway solos add a brand new dimension. Vijit Singh’s drums move in lockstep, while Robin Utbult’s bass melodies channel a young Steve Harris without the gallops, adding depth when the guitars take a breather. Lewis’ roaring vocals, spinning innovative tales about late-night drives and neon lights and perseverance and stuff, add an extreme metal energy that keeps Kryptos sounding modern. Decimator provides fodder for adrenaline junkies of all stripes.

As always, Kryptos’ greatest strength is their blazing riffwork. Kryptos’ speedier cuts on their earlier albums had hit me hard, and Decimator follows suit. “Sirens of Steel” opens the album with remorseless violence, while the title track’s frantic opening gives way to a touch of evil. Songs like “Electrify,” the “Mach Speed Running” of Decimator, rank among Kryptos’ best work with their magical blend of simplicity and sheer power. On the other hand, Decimator’s slower tracks are hit-or-miss. “Turn up the Heat” crushes me with a thumping bass line and a main theme that’s mid-paced but ferocious, mirroring Afterburner’s “Red Dawn.”1 However, the album’s closers “Pathfinder” and “We Are the Night” fall short of delivering the same goods, with sluggish ideas that lose my attention. More generally, Decimator’s second half seems to run out of ideas, with riffs that sound fun but uncannily familiar. Decimator is powerful, but it loses some steam despite its concise 31-minute runtime.

Decimator’s mastery of melody raises Kryptos to new heights. Stratospheric leads permeate each song, providing gorgeous backing that unexpectedly evokes Jess and the Ancient Ones (“Electrify”). But Decimator hits hardest when the melodies take the reins. “Fall to the Spectre’s Gaze” vies for Song o’ the Year through a divine guitar solo with a divine lead-in. Five tracks later, “In the Shadow of the Blade” miraculously pushes in front with solo work that summons the intensity of Painkiller. Each of these highlights shines through Decimator’s rich production job. When I listen to Decimator, I feel like I’m lodged in between the guitar strings, and mere inches from the bass. Every reverberation of every string bleeds through both melodic bonanzas like “Fall to the Spectre’s Gaze” and riff-fests like “Electrify.” Every guitar solo feels like a personalized jam, complete with thoughtful foreshadowing from Kryptos’ riffs. With tunes this powerful, Decimator is unstoppable.

While Decimator fizzles out near its end, it’s exhilarating nonetheless. Kryptos has yet to fully overcome the lethargic chugs that plagued Force of Danger, and Decimator struggles with repetition. Even so, every listen through the album feels like sprinting a marathon. Even more impressively, Decimator levels up Kryptos’ sound through both its supersonic guitar leads and its striking production. Sometimes you don’t need to reinvent the wheel. You just need to burn rubber.

Rating: ​3.5/5.0

#2024 #35 #Accept #AFMRecords #Afterburner #BurnUpTheNight #Cities #Decimator #Dokken #ForceOfDanger #HeavyMetal #IndianMetal #JudasPriest #Kreator #Kryptos #Motörhead #Review #Reviews #Sacrifice

Kryptos – Decimator Review

By Steel Druhm

India’s Kryptos have been rocking an entertaining retro metal formula for several albums now, fusing classic metal sounds with slight black and thrash edges. Platters like Burn Up the Night and Afterburner are nigh-irresistible rocket rides of gleaming chrome, black leather, and glistening steel, delivering more fun than a barrel full of hobo wine and wiffle bats. 2021s Force of Danger was a bit of a step down in overall fun factor, with too much mid-paced chugging, though it had several big moments to endear it to fans of their schtick. Now comes 7th album Decimator and there’s a new page or two in the Kryptos cookbook. They still sound like someone forced Coroner’s Ron Royce into vocal duty for 80s Accept and they still aim to rock you like a Kryptocane, but there’s a greater emphasis on melodic guitar-play this time out. That means riffy, rowdy, hard rock-infused metal anthems made for the stadium circuit and that’s not a bad place to re-position the Kryptos persona. But does the pure metal fire still burn brightly on Decimator or is their throwback fetish beginning to show its age?

I’ll say this for these chaps, they don’t go in for faff or fluff. They come right at you on opener “Sirens of Steel” with all guns blazing and engines in overdrive. It’s exactly the kind of tune you want from them, full of galloping riffs and soaring guitar flourishes as Nolan Lewis croaks and snarls like a rabid hedgehog that just humped your prize petunias. Lewis and lead axe Rohit Chaturvedi bring the best thunder from the Tundra with guitar heroics ripped out of the 80s so hard that the air reeks of the Reagan Administration and cheap gasoline. You simply can’t hear this song and be in a sour mood, no matter how trve and kvlt you pretend to be. “Fall to the Spectre’s Gaze” is the same gumbo but with spicier okra. Once again Lewis and Chaturvedi rob the graves of Dokken, Keel, Cities, and Accept for inspiration and rock your socks way off in the process. And that chorus is the chef’s kiss. “Electrify” is an album standout due to its fist-pumping, teen-rager energy and raucous charm. It makes you want to race from destination to destination chugging cheap beers with idiot friends til you can race no more. Elsewhere, the title track sounds like underappreciated Canadian thrashers of yore, Sacrifice, reminding me that Lewis’s vocals are not far removed from those of Rob Urbinati.

Other big winners include “In the Shadow of the Blade” which lashes you with uber-polished but blood-pumping riffs and offers a slightly heavier vibe approaching the lighter side of Kreator. If you play this in your vehicle you will almost certainly break the speed limit by unsafe margins. “Pathfinder” also offers an orgy of greasy guitars and a pugnacious attitude that sticks in your head. There are no bad songs here, though one or two hit a bit less forcefully. At a very lean 31-plus minutes, there’s not much here but muscle and skin. There’s a short interlude, but other than that, this is all alloy, rebar, and concrete and it goes by fast and easy.

With what Kryptos do, the guitar work has to be aces or the whole construct comes crashing down. Luckily Lewis and Chaturvedi know their roles and deliver a fuck-ton of blazing six-string glory. They absolutely nail the 80s metal ethos and sound and at any moment they remind me of several albums I worshipped as teenage metal mouthbreather. The infusion of more melodic fretwork is a boon, and though I wish they would delve deeper into speed and thrash at times, I love what they do across Decimator. Lewis is extremely limited as a vocalist, with a one-note ragged snarl that varies little from moment to moment, but somehow it fits and never seems to undersell the material. Vijit Singh pounds away on the kit manfully, providing a booming backdrop for the guitars, and Robin Utbult (Vicious Rumors, ex-Air Raid) guests as bassist, offering a workmanlike performance, rarely injecting himself forcefully into the fray.

Decimator is a comeback of sorts for Kryptos, moving them closer to killer albums like Afterburner. This is the kind of record you put on, bang your head to, and feel surprised when it ends and you realize you just lost 30-plus minutes. It’s not intellectual, innovative, or forward-thinking, but it will activate your dental plan as it forces a good time on your gloomy ass. In these days of stress and strife, we all need things like this. My advice: blast this thing as loud as humanly possible and let it take to Air Guitar Old School. I’ll be there selling smokes, test results, and discount wedgies. Ask for the Powerlord.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: AFM
Websites: kryptosindia.bandcamp.com/album/decimator | facebook.com/kryptosindia | instagram.com/kryptosindia
Releases Worldwide: July 5th, 2024

Maddog

Screenshot

Along with Satan’s Hallow’s fantastic debut/swansong, Kryptos’ Afterburner rekindled my love of traditional heavy metal. Granting my lifelong wish of experiencing the 1980s firsthand, Kryptos whisked me along for a midnight motorcycle joyride. Afterburner did nothing that hadn’t been overdone before, but its command of thrilling riffs made me an immediate devotee. However, Kryptos’ 2021 follow-up Force of Danger lacked danger, settling into a mid-paced routine that left me satisfied but wanting. Decimator sees India’s rockstar darlings step into more melodic territory while ratcheting up the energy. Although hints of Force of Danger’s missteps remain, Decimator marks a triumphant new direction for Kryptos.

Decimator targets thrill seekers, headbangers, and foot tappers alike. Blending Priest circa 1980 with Priest circa 1990, Kryptos are hell-bent for leather. Speedier anthems channel the relentless fun of Motörhead (“Sirens of Steel”), while slower chugfests show Kryptos living after midnight. The biggest change in Kryptos’ sound is the band’s newfound melodic touch. Guitar wizards Rohit Chaturvedi (lead) and Nolan Lewis (rhythm) never stop riffing for a moment, but Decimator’s soaring leads and 110-on-the-freeway solos add a brand new dimension. Vijit Singh’s drums move in lockstep, while Robin Utbult’s bass melodies channel a young Steve Harris without the gallops, adding depth when the guitars take a breather. Lewis’ roaring vocals, spinning innovative tales about late-night drives and neon lights and perseverance and stuff, add an extreme metal energy that keeps Kryptos sounding modern. Decimator provides fodder for adrenaline junkies of all stripes.

As always, Kryptos’ greatest strength is their blazing riffwork. Kryptos’ speedier cuts on their earlier albums had hit me hard, and Decimator follows suit. “Sirens of Steel” opens the album with remorseless violence, while the title track’s frantic opening gives way to a touch of evil. Songs like “Electrify,” the “Mach Speed Running” of Decimator, rank among Kryptos’ best work with their magical blend of simplicity and sheer power. On the other hand, Decimator’s slower tracks are hit-or-miss. “Turn up the Heat” crushes me with a thumping bass line and a main theme that’s mid-paced but ferocious, mirroring Afterburner’s “Red Dawn.”1 However, the album’s closers “Pathfinder” and “We Are the Night” fall short of delivering the same goods, with sluggish ideas that lose my attention. More generally, Decimator’s second half seems to run out of ideas, with riffs that sound fun but uncannily familiar. Decimator is powerful, but it loses some steam despite its concise 31-minute runtime.

Decimator’s mastery of melody raises Kryptos to new heights. Stratospheric leads permeate each song, providing gorgeous backing that unexpectedly evokes Jess and the Ancient Ones (“Electrify”). But Decimator hits hardest when the melodies take the reins. “Fall to the Spectre’s Gaze” vies for Song o’ the Year through a divine guitar solo with a divine lead-in. Five tracks later, “In the Shadow of the Blade” miraculously pushes in front with solo work that summons the intensity of Painkiller. Each of these highlights shines through Decimator’s rich production job. When I listen to Decimator, I feel like I’m lodged in between the guitar strings, and mere inches from the bass. Every reverberation of every string bleeds through both melodic bonanzas like “Fall to the Spectre’s Gaze” and riff-fests like “Electrify.” Every guitar solo feels like a personalized jam, complete with thoughtful foreshadowing from Kryptos’ riffs. With tunes this powerful, Decimator is unstoppable.

While Decimator fizzles out near its end, it’s exhilarating nonetheless. Kryptos has yet to fully overcome the lethargic chugs that plagued Force of Danger, and Decimator struggles with repetition. Even so, every listen through the album feels like sprinting a marathon. Even more impressively, Decimator levels up Kryptos’ sound through both its supersonic guitar leads and its striking production. Sometimes you don’t need to reinvent the wheel. You just need to burn rubber.

Rating: ​3.5/5.0

#2024 #35 #Accept #AFMRecords #Afterburner #BurnUpTheNight #Cities #Decimator #Dokken #ForceOfDanger #HeavyMetal #IndianMetal #JudasPriest #Kreator #Kryptos #Motörhead #Review #Reviews #Sacrifice

Anvil – One and Only Review

By Itchymenace

What’s left to say about Anvil that hasn’t already been said? In 1981, when I was nine years old, listening to The Beatles and riding my Schwinn Stingray around the neighborhood, Anvil was busy unleashing their debut, Hard and Heavy. Now, here we are 43 years later. I’ve gone through many different bikes, but Anvil is still writing the same album. Like AC/DC, they’ve locked into a tried-and-true formula that keeps the fans coming back to the smithery. It’s taken a small army of AMG writers to keep up with the band’s output and this time, my number came up. As “delightful” Doc Grier said in his 2022 review of Impact is Imminent, “Once you’ve reviewed Anvil, you can’t get yourself to do it again.” As fun as this has been, I hope that’s true. I’ve probably listened to more Anvil in the past month than I have in the past 40 years. Most of what I know about them comes from the infamous 2008 documentary. The question, as ever, is “How has Anvil endured all these years?” Cue the flying V and let’s see what One and Only can tell us.

Is it ironic that the opening title track—a song all about being unique—contains some of the most generic riffs and sing-along tropes you’ll hear all year? I honestly can’t tell if their tongues are in their cheeks or if they’re being sincere. Such is the enigma that is Anvil. And yet, I’ve had that fucking song stuck in my head for a week so, who’s the real sucker here? I’ve learned that there are no complex layers to peel away with Anvil. It’s simply about dropping your inhibitions and rocking hard. Exhibit A(nvil): “Rocking the World.” Like Judas Priest’s “I’m a Rocker” or Metallica’s “Whiplash,” it celebrates the joys of touring and playing loud music to adoring fans—clearly the thing that keeps Anvil going above all else.

Lyrically, much of One and Only is the equivalent of a Tony Robbins webinar. It’s filled with vapid motivational speaker cliches that will appeal to only the most desperate of listeners. “Feed Your Fantasy” urges you not just to have your dreams, but to make them come true. Crazy, I know. “Heartbroken” assures us, in a slow and plodding sort of way, that grief shall pass. Even more painful is that every line must be followed by a predictably terrible rhyming couplet. Pairing “humanity” with “insanity” or “rules” with “fools” was already out of style in 1987.

Musically, this album is what you’d expect: plug-and-play riffs, formulaic song structures, and simple but catchy melodies. As “stately” Steel Druhm said in his 2018 review of Pounding the Pavement, “You always get a few fun tunes per release.” In this case, I’d go with “Condemned Liberty” with its pummeling opening guitar riff and “Fight for Your Rights” with its high-octane double-bass drive. A fun fact I learned while researching this album is that Steve “Lips” Kudlow was considered for the guitar slot in Motorhead. You can hear the influence in “Fight for Your Rights” and “Dead Man Shoes.” In his review, the Great Ape Boss also said, “What Anvil album would be complete without a few shit bombs?” In this case, there are plenty to choose from. Once upon a time, Lips used to sing songs. Somewhere along the way, he traded his slightly velvety pipes for a very uniform, staccato delivery that makes all the verses on One and Only sound the same. I guess in listening to “Gold and Diamonds,” the one song on the album that he attempts to sing, you begin to understand why he stopped.

The press release accompanying One and Only opens by referring to the band as “one of the most influential in heavy metal history” and that “authorities on the subject regularly vote Anvil among the top positions.” I’m curious who these authorities are and where they’re casting their ballots. Still, despite even the most cringy of moments—such as the opening lyrics to “Run Away”—Anvil continues to exude a contagious, almost mystical charm. That empathetic metalhead deep inside you wants to get your better judgment drunk on Molson and scream along. As “gregarious” Gardenstale stated in his 2020 review of Legal at Last, it’s “Anvil doing Anvil in the style of Anvil.” The same applies for One and Only. This is no Invincible Shield, but I give them credit for keeping the energy alive after all these years.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps MP3
Label: AFM Records
Website: Facebook.com/anvilmetal
Releases Worldwide: June 28th, 2024

#20 #2024 #AFMRecords #Anvil #CanadianMetal #HeavyMetal #Jun24 #Motörhead #OneAndOnly #Review #Reviews

Anvil – One and Only Review

By Itchymenace

What’s left to say about Anvil that hasn’t already been said? In 1981, when I was nine years old, listening to The Beatles and riding my Schwinn Stingray around the neighborhood, Anvil was busy unleashing their debut, Hard and Heavy. Now, here we are 43 years later. I’ve gone through many different bikes, but Anvil is still writing the same album. Like AC/DC, they’ve locked into a tried-and-true formula that keeps the fans coming back to the smithery. It’s taken a small army of AMG writers to keep up with the band’s output and this time, my number came up. As “delightful” Doc Grier said in his 2022 review of Impact is Imminent, “Once you’ve reviewed Anvil, you can’t get yourself to do it again.” As fun as this has been, I hope that’s true. I’ve probably listened to more Anvil in the past month than I have in the past 40 years. Most of what I know about them comes from the infamous 2008 documentary. The question, as ever, is “How has Anvil endured all these years?” Cue the flying V and let’s see what One and Only can tell us.

Is it ironic that the opening title track—a song all about being unique—contains some of the most generic riffs and sing-along tropes you’ll hear all year? I honestly can’t tell if their tongues are in their cheeks or if they’re being sincere. Such is the enigma that is Anvil. And yet, I’ve had that fucking song stuck in my head for a week so, who’s the real sucker here? I’ve learned that there are no complex layers to peel away with Anvil. It’s simply about dropping your inhibitions and rocking hard. Exhibit A(nvil): “Rocking the World.” Like Judas Priest’s “I’m a Rocker” or Metallica’s “Whiplash,” it celebrates the joys of touring and playing loud music to adoring fans—clearly the thing that keeps Anvil going above all else.

Lyrically, much of One and Only is the equivalent of a Tony Robbins webinar. It’s filled with vapid motivational speaker cliches that will appeal to only the most desperate of listeners. “Feed Your Fantasy” urges you not just to have your dreams, but to make them come true. Crazy, I know. “Heartbroken” assures us, in a slow and plodding sort of way, that grief shall pass. Even more painful is that every line must be followed by a predictably terrible rhyming couplet. Pairing “humanity” with “insanity” or “rules” with “fools” was already out of style in 1987.

Musically, this album is what you’d expect: plug-and-play riffs, formulaic song structures, and simple but catchy melodies. As “stately” Steel Druhm said in his 2018 review of Pounding the Pavement, “You always get a few fun tunes per release.” In this case, I’d go with “Condemned Liberty” with its pummeling opening guitar riff and “Fight for Your Rights” with its high-octane double-bass drive. A fun fact I learned while researching this album is that Steve “Lips” Kudlow was considered for the guitar slot in Motorhead. You can hear the influence in “Fight for Your Rights” and “Dead Man Shoes.” In his review, the Great Ape Boss also said, “What Anvil album would be complete without a few shit bombs?” In this case, there are plenty to choose from. Once upon a time, Lips used to sing songs. Somewhere along the way, he traded his slightly velvety pipes for a very uniform, staccato delivery that makes all the verses on One and Only sound the same. I guess in listening to “Gold and Diamonds,” the one song on the album that he attempts to sing, you begin to understand why he stopped.

The press release accompanying One and Only opens by referring to the band as “one of the most influential in heavy metal history” and that “authorities on the subject regularly vote Anvil among the top positions.” I’m curious who these authorities are and where they’re casting their ballots. Still, despite even the most cringy of moments—such as the opening lyrics to “Run Away”—Anvil continues to exude a contagious, almost mystical charm. That empathetic metalhead deep inside you wants to get your better judgment drunk on Molson and scream along. As “gregarious” Gardenstale stated in his 2020 review of Legal at Last, it’s “Anvil doing Anvil in the style of Anvil.” The same applies for One and Only. This is no Invincible Shield, but I give them credit for keeping the energy alive after all these years.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps MP3
Label: AFM Records
Website: Facebook.com/anvilmetal
Releases Worldwide: June 28th, 2024

#20 #2024 #AFMRecords #Anvil #CanadianMetal #HeavyMetal #Jun24 #Motörhead #OneAndOnly #Review #Reviews

Rhapsody of Fire – Challenge the Wind Review

By Twelve

As a young metalhead trying to find my way in this wayward genre, the most frustrating thing I could ever read in a review was “not as good as [earlier album]” or “sounds too much like past work.” These critiques are very useful for fellow fans, but not so much for newcomers lacking that frame of reference. It is my hope today to write a review for Challenge the Wind by Rhapsody of Fire that the younger me would appreciate because, despite the band’s prolific history—fifteen full-length albums over a thirty-year history—I have never listened to one from start to finish. Of course I know the band; Alex Staropoli and co. are huge names in the symphonic power metal space, which means Rhapsody of Fire should be right up my alley, but for whatever reason I never dove in. Still, the expectations are there, the hopes are high, and Challenge the Wind offers a lot, so I was eager to dive in.

Whether you’re familiar with Rhapsody of Fire or not, I suspect what is on Challenge the Wind won’t come as much of a surprise, as the guitars are big, the orchestrations are bigger, and the vocals are even bigger. Giaacomo Voli’s singing is a strong focal point, and his delivery is superb, nailing the catchy choruses (“Diamond Claws”), the high-but-not-annoyingly-high notes (“Challenge the Wind”), and even the odd menacing rasp (“Vanquished by Shadows”). Staropoli and Roberto de Micheli similarly do great work with the album guitars, riffing with tremolos (“The Bloody Pariah”), huge power chords (the whole album), and some appropriately speedy solos (“Black Wizard”). I wish Paolo Marchesich and Alessandro Sala’s drums and bass were a touch more audible, but even that’s expected for this style, just like the ever-present or orchestrations and keyboards that give the album much of its character and story. Through and through, Challenge the Wind is a bombastic display of symphonic power metal that’s as fun and cheesy as the band’s own Italy.

Challenge the Wind opens with a one-two-three punch of its best material, laying a fantastic foundation for the album to follow. “Whispers of Doom” is one of the slower songs on the album, with a dramatic grandiosity that dials back on keys and let’s Voli do a lot of heavy lifting. “The Bloody Pariah” is similarly dramatic, but much darker and a lot faster. It features some of my favorite guitar work on the album, gritty1 tremolo riffs accompanied by fast-paced keys that create a genuine sense of adventure. By contrast, the title track is all bombast, with huge riffs and a huger chorus, call-and-repeat choral vocals, and super energetic drumming. These three styles—bombastic, dramatic, and speedy are what Rhapsody of Fire do best across Challenge the Wind, and create a powerful foundation for the music they so clearly love.

I don’t, however, think Rhapsody of Fire does quite enough with the solid foundation. Beginning with the sixteen-minute “Vanquished by Shadows,” Challenge the Wind starts the crack. It has its moments—lots of vocal variety, some nice acoustic moments, and the album’s only keyboard solo—but never fully justifies its length or provides any climactic payoff. From here, the back half of the album is homogenous, and I still have trouble picking out which song is which when my focus returns after it inevitably wanders partway through. “Holy Downfall” has some cool orchestral moments but feels too long by several minutes, while the operatic bombast of “Black Wizard” feels a bit sillier than I think it’s meant to. Fortunately, the album ends on a strong note, as “Mastered by the Dark” takes the best five minutes of “Vanquished by Shadows” and… repeats them exactly. I’m not exactly sure why, but it does wrap up Challenge the Wind on what is simultaneously its strongest and strangest moment.

Strong and strange feels like a good note to end this review on as well. Challenge the Wind is both familiar and new; it doesn’t stray far from comforting norms, but does enough to distinguish itself enjoyably. Talent, songwriting, confidence—it’s all here. Sure, some songs are stronger than others, but it’s so hard to dislike this kind of power metal done well. As far as I can tell, Rhapsody of Fire are still going strong. I might even have to start listening to them now.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: rhapsodyoffire.com | facebook.com/rhapsodyoffire
Releases Worldwide: May 31st, 2024

#2024 #30 #AFMRecords #ChallengeTheWind #ItalianMetal #May24 #Review #Reviews #RhapsodyOfFire #SymphonicPowerMetal

Rhapsody of Fire – Challenge the Wind Review

By Twelve

As a young metalhead trying to find my way in this wayward genre, the most frustrating thing I could ever read in a review was “not as good as [earlier album]” or “sounds too much like past work.” These critiques are very useful for fellow fans, but not so much for newcomers lacking that frame of reference. It is my hope today to write a review for Challenge the Wind by Rhapsody of Fire that the younger me would appreciate because, despite the band’s prolific history—fifteen full-length albums over a thirty-year history—I have never listened to one from start to finish. Of course I know the band; Alex Staropoli and co. are huge names in the symphonic power metal space, which means Rhapsody of Fire should be right up my alley, but for whatever reason I never dove in. Still, the expectations are there, the hopes are high, and Challenge the Wind offers a lot, so I was eager to dive in.

Whether you’re familiar with Rhapsody of Fire or not, I suspect what is on Challenge the Wind won’t come as much of a surprise, as the guitars are big, the orchestrations are bigger, and the vocals are even bigger. Giaacomo Voli’s singing is a strong focal point, and his delivery is superb, nailing the catchy choruses (“Diamond Claws”), the high-but-not-annoyingly-high notes (“Challenge the Wind”), and even the odd menacing rasp (“Vanquished by Shadows”). Staropoli and Roberto de Micheli similarly do great work with the album guitars, riffing with tremolos (“The Bloody Pariah”), huge power chords (the whole album), and some appropriately speedy solos (“Black Wizard”). I wish Paolo Marchesich and Alessandro Sala’s drums and bass were a touch more audible, but even that’s expected for this style, just like the ever-present or orchestrations and keyboards that give the album much of its character and story. Through and through, Challenge the Wind is a bombastic display of symphonic power metal that’s as fun and cheesy as the band’s own Italy.

Challenge the Wind opens with a one-two-three punch of its best material, laying a fantastic foundation for the album to follow. “Whispers of Doom” is one of the slower songs on the album, with a dramatic grandiosity that dials back on keys and let’s Voli do a lot of heavy lifting. “The Bloody Pariah” is similarly dramatic, but much darker and a lot faster. It features some of my favorite guitar work on the album, gritty1 tremolo riffs accompanied by fast-paced keys that create a genuine sense of adventure. By contrast, the title track is all bombast, with huge riffs and a huger chorus, call-and-repeat choral vocals, and super energetic drumming. These three styles—bombastic, dramatic, and speedy are what Rhapsody of Fire do best across Challenge the Wind, and create a powerful foundation for the music they so clearly love.

I don’t, however, think Rhapsody of Fire does quite enough with the solid foundation. Beginning with the sixteen-minute “Vanquished by Shadows,” Challenge the Wind starts the crack. It has its moments—lots of vocal variety, some nice acoustic moments, and the album’s only keyboard solo—but never fully justifies its length or provides any climactic payoff. From here, the back half of the album is homogenous, and I still have trouble picking out which song is which when my focus returns after it inevitably wanders partway through. “Holy Downfall” has some cool orchestral moments but feels too long by several minutes, while the operatic bombast of “Black Wizard” feels a bit sillier than I think it’s meant to. Fortunately, the album ends on a strong note, as “Mastered by the Dark” takes the best five minutes of “Vanquished by Shadows” and… repeats them exactly. I’m not exactly sure why, but it does wrap up Challenge the Wind on what is simultaneously its strongest and strangest moment.

Strong and strange feels like a good note to end this review on as well. Challenge the Wind is both familiar and new; it doesn’t stray far from comforting norms, but does enough to distinguish itself enjoyably. Talent, songwriting, confidence—it’s all here. Sure, some songs are stronger than others, but it’s so hard to dislike this kind of power metal done well. As far as I can tell, Rhapsody of Fire are still going strong. I might even have to start listening to them now.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: rhapsodyoffire.com | facebook.com/rhapsodyoffire
Releases Worldwide: May 31st, 2024

#2024 #30 #AFMRecords #ChallengeTheWind #ItalianMetal #May24 #Review #Reviews #RhapsodyOfFire #SymphonicPowerMetal

Anvil streaming new song “Truth Is Dying”

#Anvil #TruthIsDying #AFMRecords #NewSingle #JuneReleases

https://metalinsider.net/new-music/anvil-streaming-new-song-truth-is-dying

Anvil streaming new song “Truth Is Dying”

#Anvil #TruthIsDying #AFMRecords #NewSingle #JuneReleases

https://metalinsider.net/new-music/anvil-streaming-new-song-truth-is-dying

Leaves’ Eyes – Myths of Fate Review

By Twelve

Symphonic metal is a tricky genre to review; it is, at this point, so steeped in clichés that critiquing it for leaning on clichés is itself starting to feel like a cliché. Ever since Nightwish lobbed Once at the masses, it’s been easy to feel like everyone else is trying to do the same thing. Sometimes it’s effective, and sometimes you’re damaging your fist on a completely intact and rather thick layer of ice. For Leaves’ Eyes, who have been around for over twenty years now, I get the sense that the goal is consistency. Clearly, they know what they want to do—write symphonic metal with grand and folky flourishes—and they’re happy to keep on doing it. I wasn’t much impressed with 2020’s The Last Viking, but find it tough to sleep on a new release from a group who has been in the game so long, and that’s where Myths of Fate enters.

Nine albums in, and there’s no time for flowery introductions; “Forged by Fire” sets an immediate tone for the record by demonstrating everything Leaves’ Eyes is going to do well and everything they seem to be missing. Straight away, it’s clear that the balance of orchestral and heavy elements is strong; after a brief but effective orchestral intro, drummer Joris Nijenhuis and guitarists Luc Gebhardt and Micki Richter (also credited with bass) join forces to pull you right into the song. This sweeping, epic intro is a great way to get things started, but the song falters vocally shortly thereafter. Elina Siirala is a terrific singer, but her drawn-out style contrasts sharply with the tight, fast-paced playing behind her. Similarly, Alexander Krull’s harsh vocals (he also contributes keys) are not particularly impactful, lacking the volume and layers to add what I imagine is the desired texture. There’s an odd disconnect across the vocal elements of the song that gives it a sense of being pulled in two different directions.

Across the 50-minute runtime of Myths of Fate, songs succeed or fall on whether or not that disconnect rears its head. “Realm of Dark Waves,” for example, corrects the disconnect immediately by maintaining the dark, epic feel of the music while Siirala sings in a significantly more restrained style. The brief folk elements across the song also give it a nice, memorable texture that supports its grandeur. On the other side of the equation, “Goddess of the Night,” the album’s power ballad, has so little going for it musically that it becomes instantly forgettable, despite a strong showing from Siirala. “Elder Spirit” suffers from a similar issue, further highlighted by how strange Krull’s growls sound without a metal musical backing. Occasionally in a song nothing resonates—”Who Wants to Live Forever” feels generic and predictable, only really coming across as occasionally pretty—but for the most part, there’s a cool moment here or there in every song.

Fortunately, the opposite is true too—sometimes everything in a song resonates. “Sons of Trivlag” is one of the best songs on Myths of Fate, highlighting the best in Krull and Siirala’s vocal styles accompanied by an epic, resounding show from the rest of the band. This is a really strong folk metal tune that gets the head nodding. I also can’t help but love “Einherjar,” in part because it’s just so heavy. More than a lot of Myths of Fate, this song feels like a solid exercise in metal. Not that the rest of the album isn’t—I was actually surprised at how good the distorted guitars sound—but it feels especially prevalent here. The main tune of the song is incredibly catchy1 and adapted very well to the vocal melodies in the chorus. The strong production and mix on Myths of Fate helps a lot here; being able to hear each element of Leaves’ Eyes’s sound makes it easier to see that everyone in the band has a moment to shine.

In that way, Myths of Fate is a clear improvement over The Last Viking, but doesn’t quite feel like a success story. It’s a mixed album, offering both really strong and unfortunately forgettable moments throughout eleven songs. As I’ve listened to the album, I’ve found myself wanting to like it more and more. There are some really good ideas and some very strong performances here; I just hope the momentum keeps up from here.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: leaveseyes.de | leaveseyes.bandcamp.com | facebook.com/leaveseyesofficial
Releases Worldwide: March 22nd, 2024

#25 #2024 #AFMRecords #GermanMetal #LeavesEyes #Mar24 #MythsOfFate #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal

Leaves’ Eyes – Myths of Fate Review

By Twelve

Symphonic metal is a tricky genre to review; it is, at this point, so steeped in clichés that critiquing it for leaning on clichés is itself starting to feel like a cliché. Ever since Nightwish lobbed Once at the masses, it’s been easy to feel like everyone else is trying to do the same thing. Sometimes it’s effective, and sometimes you’re damaging your fist on a completely intact and rather thick layer of ice. For Leaves’ Eyes, who have been around for over twenty years now, I get the sense that the goal is consistency. Clearly, they know what they want to do—write symphonic metal with grand and folky flourishes—and they’re happy to keep on doing it. I wasn’t much impressed with 2020’s The Last Viking, but find it tough to sleep on a new release from a group who has been in the game so long, and that’s where Myths of Fate enters.

Nine albums in, and there’s no time for flowery introductions; “Forged by Fire” sets an immediate tone for the record by demonstrating everything Leaves’ Eyes is going to do well and everything they seem to be missing. Straight away, it’s clear that the balance of orchestral and heavy elements is strong; after a brief but effective orchestral intro, drummer Joris Nijenhuis and guitarists Luc Gebhardt and Micki Richter (also credited with bass) join forces to pull you right into the song. This sweeping, epic intro is a great way to get things started, but the song falters vocally shortly thereafter. Elina Siirala is a terrific singer, but her drawn-out style contrasts sharply with the tight, fast-paced playing behind her. Similarly, Alexander Krull’s harsh vocals (he also contributes keys) are not particularly impactful, lacking the volume and layers to add what I imagine is the desired texture. There’s an odd disconnect across the vocal elements of the song that gives it a sense of being pulled in two different directions.

Across the 50-minute runtime of Myths of Fate, songs succeed or fall on whether or not that disconnect rears its head. “Realm of Dark Waves,” for example, corrects the disconnect immediately by maintaining the dark, epic feel of the music while Siirala sings in a significantly more restrained style. The brief folk elements across the song also give it a nice, memorable texture that supports its grandeur. On the other side of the equation, “Goddess of the Night,” the album’s power ballad, has so little going for it musically that it becomes instantly forgettable, despite a strong showing from Siirala. “Elder Spirit” suffers from a similar issue, further highlighted by how strange Krull’s growls sound without a metal musical backing. Occasionally in a song nothing resonates—”Who Wants to Live Forever” feels generic and predictable, only really coming across as occasionally pretty—but for the most part, there’s a cool moment here or there in every song.

Fortunately, the opposite is true too—sometimes everything in a song resonates. “Sons of Trivlag” is one of the best songs on Myths of Fate, highlighting the best in Krull and Siirala’s vocal styles accompanied by an epic, resounding show from the rest of the band. This is a really strong folk metal tune that gets the head nodding. I also can’t help but love “Einherjar,” in part because it’s just so heavy. More than a lot of Myths of Fate, this song feels like a solid exercise in metal. Not that the rest of the album isn’t—I was actually surprised at how good the distorted guitars sound—but it feels especially prevalent here. The main tune of the song is incredibly catchy1 and adapted very well to the vocal melodies in the chorus. The strong production and mix on Myths of Fate helps a lot here; being able to hear each element of Leaves’ Eyes’s sound makes it easier to see that everyone in the band has a moment to shine.

In that way, Myths of Fate is a clear improvement over The Last Viking, but doesn’t quite feel like a success story. It’s a mixed album, offering both really strong and unfortunately forgettable moments throughout eleven songs. As I’ve listened to the album, I’ve found myself wanting to like it more and more. There are some really good ideas and some very strong performances here; I just hope the momentum keeps up from here.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: leaveseyes.de | leaveseyes.bandcamp.com | facebook.com/leaveseyesofficial
Releases Worldwide: March 22nd, 2024

#25 #2024 #AFMRecords #GermanMetal #LeavesEyes #Mar24 #MythsOfFate #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal

Leaves’ Eyes – Myths of Fate Review

By Twelve

Symphonic metal is a tricky genre to review; it is, at this point, so steeped in clichés that critiquing it for leaning on clichés is itself starting to feel like a cliché. Ever since Nightwish lobbed Once at the masses, it’s been easy to feel like everyone else is trying to do the same thing. Sometimes it’s effective, and sometimes you’re damaging your fist on a completely intact and rather thick layer of ice. For Leaves’ Eyes, who have been around for over twenty years now, I get the sense that the goal is consistency. Clearly, they know what they want to do—write symphonic metal with grand and folky flourishes—and they’re happy to keep on doing it. I wasn’t much impressed with 2020’s The Last Viking, but find it tough to sleep on a new release from a group who has been in the game so long, and that’s where Myths of Fate enters.

Nine albums in, and there’s no time for flowery introductions; “Forged by Fire” sets an immediate tone for the record by demonstrating everything Leaves’ Eyes is going to do well and everything they seem to be missing. Straight away, it’s clear that the balance of orchestral and heavy elements is strong; after a brief but effective orchestral intro, drummer Joris Nijenhuis and guitarists Luc Gebhardt and Micki Richter (also credited with bass) join forces to pull you right into the song. This sweeping, epic intro is a great way to get things started, but the song falters vocally shortly thereafter. Elina Siirala is a terrific singer, but her drawn-out style contrasts sharply with the tight, fast-paced playing behind her. Similarly, Alexander Krull’s harsh vocals (he also contributes keys) are not particularly impactful, lacking the volume and layers to add what I imagine is the desired texture. There’s an odd disconnect across the vocal elements of the song that gives it a sense of being pulled in two different directions.

Across the 50-minute runtime of Myths of Fate, songs succeed or fall on whether or not that disconnect rears its head. “Realm of Dark Waves,” for example, corrects the disconnect immediately by maintaining the dark, epic feel of the music while Siirala sings in a significantly more restrained style. The brief folk elements across the song also give it a nice, memorable texture that supports its grandeur. On the other side of the equation, “Goddess of the Night,” the album’s power ballad, has so little going for it musically that it becomes instantly forgettable, despite a strong showing from Siirala. “Elder Spirit” suffers from a similar issue, further highlighted by how strange Krull’s growls sound without a metal musical backing. Occasionally in a song nothing resonates—”Who Wants to Live Forever” feels generic and predictable, only really coming across as occasionally pretty—but for the most part, there’s a cool moment here or there in every song.

Fortunately, the opposite is true too—sometimes everything in a song resonates. “Sons of Trivlag” is one of the best songs on Myths of Fate, highlighting the best in Krull and Siirala’s vocal styles accompanied by an epic, resounding show from the rest of the band. This is a really strong folk metal tune that gets the head nodding. I also can’t help but love “Einherjar,” in part because it’s just so heavy. More than a lot of Myths of Fate, this song feels like a solid exercise in metal. Not that the rest of the album isn’t—I was actually surprised at how good the distorted guitars sound—but it feels especially prevalent here. The main tune of the song is incredibly catchy1 and adapted very well to the vocal melodies in the chorus. The strong production and mix on Myths of Fate helps a lot here; being able to hear each element of Leaves’ Eyes’s sound makes it easier to see that everyone in the band has a moment to shine.

In that way, Myths of Fate is a clear improvement over The Last Viking, but doesn’t quite feel like a success story. It’s a mixed album, offering both really strong and unfortunately forgettable moments throughout eleven songs. As I’ve listened to the album, I’ve found myself wanting to like it more and more. There are some really good ideas and some very strong performances here; I just hope the momentum keeps up from here.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: AFM Records
Websites: leaveseyes.de | leaveseyes.bandcamp.com | facebook.com/leaveseyesofficial
Releases Worldwide: March 22nd, 2024

#25 #2024 #AFMRecords #GermanMetal #LeavesEyes #Mar24 #MythsOfFate #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal

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

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

💥 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

🤘✌️

💥 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

🤘✌️

💥 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

🤘✌️

💥 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

🤘✌️

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

🤘✌️

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

🤘✌️

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

🤘✌️

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

🤘✌️

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

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

Charting the course to 2024: reflecting on 70000tons of Metal 2023 Artist Spotlight: Iron Savior:

#IronSavior #ArtistSpotlight #Firestar #AFMRecords #70000tons #70000tonsOfMetal #MetalInsider

https://metalinsider.net/columns/artist-spotlight/charting-the-course-to-2024-reflecting-on-70000tons-of-metal-2023-artist-spotlight-iron-savior

Did you already check #DUSTBOLT their new single "Disco Nnection"*?
👉 https://dust-bolt.bfan.link/sound-fury

Today 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

🤘✌️

Did you already check #DUSTBOLT their new single "Disco Nnection"*?
👉 https://dust-bolt.bfan.link/sound-fury

Today 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

🤘✌️

Did you already check #DUSTBOLT their new single "Disco Nnection"*?
👉 https://dust-bolt.bfan.link/sound-fury

Today 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

🤘✌️

Did you already check #DUSTBOLT their new single "Disco Nnection"*?
👉 https://dust-bolt.bfan.link/sound-fury

Today 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

🤘✌️

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

#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

#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

#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

#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

#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

ELVENKING - Bride of Night (feat. Heike Langhans) (2023) // Official Music Video // AFM Records

https://youtu.be/99C1UpJUXdY

#music #metal #powermetal #elvenking #afmrecords

ELVENKING - Bride of Night (feat. Heike Langhans) (2023) // Official Music Video // AFM Records

https://youtu.be/99C1UpJUXdY

#music #metal #powermetal #elvenking #afmrecords