#alestorm — Public Fediverse posts

Erdling – Mana Review

By Samguineous Maximus

If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void?

Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution.

A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe.

Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie.

At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Out of Line Records
Websites: erdling.rocks |erdling.bandcamp.com
Releases Worldwide: October 17th, 2025

#2025 #35 #Alestorm #Amaranthe #AmonAmarth #Crematory #ElectronicMetal #Erdling #GermanMetal #Industrial #IndustrialMetal #Mana #NeuDeutscheHärte #Oct25 #OutOfLineMusic #PopMetal #Rammstein #Review #Reviews

Thursday Five List with a theme of "Beneath the Waves"

I can think of 2 songs right away so let's try for 5:

Calah Mikal - An Ocean https://song.link/us/i/1452645868

Lael - Open Waters https://song.link/s/6V1FMOVYa9YqKHFRGgQNcj

Forester - The Flood https://song.link/s/75HZuwZLKZMjnOgRFE2ao7

Inakaki - Drown https://song.link/s/0X875XrZq3AyuevTC7vjSU

Alestorm - The Sunk'n Norwegian https://song.link/us/i/1184686987

I made it, any guesses on which two I thought of right away?

#Music #ThursdayFiveList #BeneathTheWaves #CalahMikal #Lael #Forester #Inkakai #Alestorm

Morgen ist BandcampFriday. Was für Empfehlungen gibt's für jemanden der gerade hauptsächlich folgendes hört #Bloodywood #BABYMETAL #DragonForce #Alestorm #Powerwolf #AngusMcSix #VisionsOfAtlantis #Warkings #BattleBeast

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

:megaphone: DEMNÄCHST!
*Zusammenfassung 10.01. bis 10.02. für Berlin

Hammerhead
10.01.2025 Berlin / Lido

A Ghost in Rags
11.01.2025 Potsdam / Archiv

Ocean
11.01.2025 Berlin / FRANNZ Club

Rotten And Poor Stage Kill
11.01.2025 Berlin

The Ocean
11.01.2025 Berlin / Kesselhaus

Weite
11.01.2025 Berlin / Neue Zukunft
14.01.2025 Potsdam / Archiv

Alestorm
12.01.2025 Berlin / Huxleys

Ola Englund
12.01.2025 Berlin

The Haunted
12.01.2025 Berlin

Slowkiss
14.01.2025 Berlin / Schokoladen

Turmion Kätilöt
15.01.2025 Berlin / Badehaus

Might
16.01.2025 Berlin / Cassiopeia

#AGhostInRags #Alestorm #Archiv #Badehaus #Berlin #Cassiopeia #FRANNZClub #Hammerhead #Hole44 #Huxleys #Kesselhaus #Lido #Might #NeueZukunft #Ocean #OlaEngl #Potsdam #RottenAndPoorStageKill #Schokoladen #Siamese #Slowkiss #TheHaunted #TheOcean #TurmionKatilot #Weite #SteelFeed #SteelFeedSoon

#TheMetalDogArticleList
#BLABBERMOUTH
CLÉMENTINE DELAUNEY Talks How 'Pirate Metal' Has Changed Course Of VISIONS OF ATLANTIS's Career

https://blabbermouth.net/features/clementine-delauney-talks-how-pirate-metal-has-changed-course-of-visions-of-atlantiss-career

#PirateMetal #VisionsOfAtlantis #ClémentineDelauney #RunningWild #ALESTORM #SWASHBUCKLE

Glyph – Honor. Power. Glory. Review

By Holdeneye

I’m not a psychoanalyst or a therapist, nor am I the hybrid of the two professions known throughout the industry as an “analrapist,” but that doesn’t keep me from attempting to understand almost everything I encounter from a psychological point of view. Take musical taste, for instance. I usually assume that people who love death, thrash, and the more vicious forms of black metal deal with some unresolved anger issues, that fans of sadboi melodeath have unhealed wounds within their souls, and that those who delve deeply into the avant-garde and dissonant spheres probably have enormous amounts of self-hatred and can’t allow themselves to enjoy anything that might actually be good. Now, as a stereotypical power metal enjoyer, I’ve always been aware that the genre helps me deal with feelings of insecurity and inadequacy by placing a sword, hammer, or plasma rifle into my hands and boosting my XP to heroic levels. Power metal makes me feel like I can handle anything life throws at me, whether it be an intimidating DIY project, an unwanted social obligation, or the various horrors that come with being a parent. I don’t listen to the cheesiest of all metals as often these days, but it has gotten me through some difficult periods in my life and will always hold a special place in my heart for that reason.

Made up of members and former members of Skelator, Greyhawk, Gatekeeper, and Ravenous, Glyph brings together some of my favorite traditional/power metal musicians from recent years as they throw their hat into the space fantasy ring. Very much channeling Gloryhammer, Glyph shows shades of Sabaton and Alestorm as they offer up some simple, modern power metal. Embedded single “Volaråd”—essentially Glyph’s version of Alestorm’s “Drink”—has literally not left my head for weeks now; if I wake up to piss at 3am, which I do every night, this chorus will undoubtedly be playing as I do so. Simple, no-frills power metal is not easy to pull off, but this song is a great example of Glyph nailing it.

And that simplicity holds true throughout the rest of Honor. Power. Glory.’s length, ending the day as one of the album’s strengths. So many power metal albums opt for excessive runtimes, but Glyph has wisely chosen to quickly rain fire from orbit for 36 minutes then warp the heck outta here, leaving me wanting more. Simple numbers like the opening title track, “When the World Was Young,” “Glorious,” and “Eldenfire” drop their infectious payloads and let their earworm choruses deal damage over time, while quick-hitters like “Defy the Night” and “A Storm of Crimson Fire” deal maximum DPS like a space barbarian dual-wielding laser flails. But no matter the speed, each and every track here accomplishes its aim and not a one overstays its welcome.

Honor. Power. Glory. is so effective that I have very little to complain about. A couple of times the songs feel a little too faithful to their influences, like the spoken word narration on “March of the Northern Clan” or the wild key solo on “A Storm of Crimson Fire”—both of which sound like they came straight off of a Gloryhammer record. But this is a minor nitpick, and Glyph’s songcraft and style stand on their own the vast majority of the time. It was a fun experience to get to cover some of these tracks as part of the band’s demo and then get to hear them fully fleshed out here on the album with a beefier production. The individual performances reveal the depth of the members’ experience, and it all comes together to form a remarkably cohesive debut record. And I don’t think I’m the only one who has been dazzled by Glyph’s talent as the band is currently on tour with Alestorm and Elvenking despite their unsigned status.

Honor. Power Glory. may not bring an ounce of innovation to the table here, but it is a satisfying meal nonetheless. Glyph unites a team of talented musicians, and the result is a concise, well-executed call to arms that’s been routinely buffing my stats to handle all of life’s challenges.

Rating: Very Good
DR: 7 | Format Reviewed: PCM
Label: Self Release
Websites: glyphmetal.bandcamp.com | facebook.com/glyphmetal | glyphmetal.com
Releases Worldwide: March 29th, 2024

#2024 #35 #Alestorm #Gloryhammer #Glyph #HonorPowerGlory_ #InternationalMetal #Mar24 #PowerMetal #Review #Reviews #Sabaton #SelfRelease

Glyph – Honor. Power. Glory. Review

By Holdeneye

I’m not a psychoanalyst or a therapist, nor am I the hybrid of the two professions known throughout the industry as an “analrapist,” but that doesn’t keep me from attempting to understand almost everything I encounter from a psychological point of view. Take musical taste, for instance. I usually assume that people who love death, thrash, and the more vicious forms of black metal deal with some unresolved anger issues, that fans of sadboi melodeath have unhealed wounds within their souls, and that those who delve deeply into the avant-garde and dissonant spheres probably have enormous amounts of self-hatred and can’t allow themselves to enjoy anything that might actually be good. Now, as a stereotypical power metal enjoyer, I’ve always been aware that the genre helps me deal with feelings of insecurity and inadequacy by placing a sword, hammer, or plasma rifle into my hands and boosting my XP to heroic levels. Power metal makes me feel like I can handle anything life throws at me, whether it be an intimidating DIY project, an unwanted social obligation, or the various horrors that come with being a parent. I don’t listen to the cheesiest of all metals as often these days, but it has gotten me through some difficult periods in my life and will always hold a special place in my heart for that reason.

Made up of members and former members of Skelator, Greyhawk, Gatekeeper, and Ravenous, Glyph brings together some of my favorite traditional/power metal musicians from recent years as they throw their hat into the space fantasy ring. Very much channeling Gloryhammer, Glyph shows shades of Sabaton and Alestorm as they offer up some simple, modern power metal. Embedded single “Volaråd”—essentially Glyph’s version of Alestorm’s “Drink”—has literally not left my head for weeks now; if I wake up to piss at 3am, which I do every night, this chorus will undoubtedly be playing as I do so. Simple, no-frills power metal is not easy to pull off, but this song is a great example of Glyph nailing it.

And that simplicity holds true throughout the rest of Honor. Power. Glory.’s length, ending the day as one of the album’s strengths. So many power metal albums opt for excessive runtimes, but Glyph has wisely chosen to quickly rain fire from orbit for 36 minutes then warp the heck outta here, leaving me wanting more. Simple numbers like the opening title track, “When the World Was Young,” “Glorious,” and “Eldenfire” drop their infectious payloads and let their earworm choruses deal damage over time, while quick-hitters like “Defy the Night” and “A Storm of Crimson Fire” deal maximum DPS like a space barbarian dual-wielding laser flails. But no matter the speed, each and every track here accomplishes its aim and not a one overstays its welcome.

Honor. Power. Glory. is so effective that I have very little to complain about. A couple of times the songs feel a little too faithful to their influences, like the spoken word narration on “March of the Northern Clan” or the wild key solo on “A Storm of Crimson Fire”—both of which sound like they came straight off of a Gloryhammer record. But this is a minor nitpick, and Glyph’s songcraft and style stand on their own the vast majority of the time. It was a fun experience to get to cover some of these tracks as part of the band’s demo and then get to hear them fully fleshed out here on the album with a beefier production. The individual performances reveal the depth of the members’ experience, and it all comes together to form a remarkably cohesive debut record. And I don’t think I’m the only one who has been dazzled by Glyph’s talent as the band is currently on tour with Alestorm and Elvenking despite their unsigned status.

Honor. Power Glory. may not bring an ounce of innovation to the table here, but it is a satisfying meal nonetheless. Glyph unites a team of talented musicians, and the result is a concise, well-executed call to arms that’s been routinely buffing my stats to handle all of life’s challenges.

Rating: Very Good
DR: 7 | Format Reviewed: PCM
Label: Self Release
Websites: glyphmetal.bandcamp.com | facebook.com/glyphmetal | glyphmetal.com
Releases Worldwide: March 29th, 2024

#2024 #35 #Alestorm #Gloryhammer #Glyph #HonorPowerGlory_ #InternationalMetal #Mar24 #PowerMetal #Review #Reviews #Sabaton #SelfRelease

Glyph – Honor. Power. Glory. Review

By Holdeneye

I’m not a psychoanalyst or a therapist, nor am I the hybrid of the two professions known throughout the industry as an “analrapist,” but that doesn’t keep me from attempting to understand almost everything I encounter from a psychological point of view. Take musical taste, for instance. I usually assume that people who love death, thrash, and the more vicious forms of black metal deal with some unresolved anger issues, that fans of sadboi melodeath have unhealed wounds within their souls, and that those who delve deeply into the avant-garde and dissonant spheres probably have enormous amounts of self-hatred and can’t allow themselves to enjoy anything that might actually be good. Now, as a stereotypical power metal enjoyer, I’ve always been aware that the genre helps me deal with feelings of insecurity and inadequacy by placing a sword, hammer, or plasma rifle into my hands and boosting my XP to heroic levels. Power metal makes me feel like I can handle anything life throws at me, whether it be an intimidating DIY project, an unwanted social obligation, or the various horrors that come with being a parent. I don’t listen to the cheesiest of all metals as often these days, but it has gotten me through some difficult periods in my life and will always hold a special place in my heart for that reason.

Made up of members and former members of Skelator, Greyhawk, Gatekeeper, and Ravenous, Glyph brings together some of my favorite traditional/power metal musicians from recent years as they throw their hat into the space fantasy ring. Very much channeling Gloryhammer, Glyph shows shades of Sabaton and Alestorm as they offer up some simple, modern power metal. Embedded single “Volaråd”—essentially Glyph’s version of Alestorm’s “Drink”—has literally not left my head for weeks now; if I wake up to piss at 3am, which I do every night, this chorus will undoubtedly be playing as I do so. Simple, no-frills power metal is not easy to pull off, but this song is a great example of Glyph nailing it.

And that simplicity holds true throughout the rest of Honor. Power. Glory.’s length, ending the day as one of the album’s strengths. So many power metal albums opt for excessive runtimes, but Glyph has wisely chosen to quickly rain fire from orbit for 36 minutes then warp the heck outta here, leaving me wanting more. Simple numbers like the opening title track, “When the World Was Young,” “Glorious,” and “Eldenfire” drop their infectious payloads and let their earworm choruses deal damage over time, while quick-hitters like “Defy the Night” and “A Storm of Crimson Fire” deal maximum DPS like a space barbarian dual-wielding laser flails. But no matter the speed, each and every track here accomplishes its aim and not a one overstays its welcome.

Honor. Power. Glory. is so effective that I have very little to complain about. A couple of times the songs feel a little too faithful to their influences, like the spoken word narration on “March of the Northern Clan” or the wild key solo on “A Storm of Crimson Fire”—both of which sound like they came straight off of a Gloryhammer record. But this is a minor nitpick, and Glyph’s songcraft and style stand on their own the vast majority of the time. It was a fun experience to get to cover some of these tracks as part of the band’s demo and then get to hear them fully fleshed out here on the album with a beefier production. The individual performances reveal the depth of the members’ experience, and it all comes together to form a remarkably cohesive debut record. And I don’t think I’m the only one who has been dazzled by Glyph’s talent as the band is currently on tour with Alestorm and Elvenking despite their unsigned status.

Honor. Power Glory. may not bring an ounce of innovation to the table here, but it is a satisfying meal nonetheless. Glyph unites a team of talented musicians, and the result is a concise, well-executed call to arms that’s been routinely buffing my stats to handle all of life’s challenges.

Rating: Very Good
DR: 7 | Format Reviewed: PCM
Label: Self Release
Websites: glyphmetal.bandcamp.com | facebook.com/glyphmetal | glyphmetal.com
Releases Worldwide: March 29th, 2024

#2024 #35 #Alestorm #Gloryhammer #Glyph #HonorPowerGlory_ #InternationalMetal #Mar24 #PowerMetal #Review #Reviews #Sabaton #SelfRelease

Maart zit er bijna op! Sum 41, Alestorm, Night Verses, DragonForce en nog veel meer bands kwamen deze maand met nieuwe muziek. Check ons overzicht voor de hele lijst en blik alvast vooruit op april! https://buff.ly/3v6gFe2

#Rock #Metal #Sum41 #Alestorm #NightVerses #DragonForce

IT'S PIRATE PARTY TIME!

#pouetradio #Alestorm #YoHoHo

https://www.youtube.com/watch?v=KHXvTtnRjJE