#amonamarth — Public Fediverse posts

Amon Amarth, Dethklok, and Castle Rat turned Milwaukee into complete chaos during the "Amonklok Conquest" tour stop.

Viking battles, giant row pits, theatrical rat warfare, and enough fog to accidentally end the night early? Somehow, it was one of the most entertaining metal shows of the year.

Read the full review: https://metalinsider.net/photos/photos-review-amonklok-conquest-brings-viking-battles-giant-row-pits-and-dethklok-chaos-to-milwaukee-5-16-2026

#AmonAmarth #Dethklok #CastleRat #AmonklokConquest #Metalocalypse #LiveReview #Metal #DeathMetal #MelodicDeathMetal #ConcertReview

Abandon Agony – Endbringer Review

In a year that’s seen At the Gates release a seminal album that stands not only as a…
#NewsBeep #News #Music #2026 #3.5 #AbandonAgony #AmonAmarth #CA #Canada #DarkTranquility #Endbringer #Entertainment #InFlames #May26 #MelodicDeathMetal #MorsPrincipiumEst #review #SelfReleased #Sweden
https://www.newsbeep.com/ca/689999/

In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?

Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.

Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4

What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.

Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.

Rating: 3.56/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026

In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?

Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.

Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4

What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.

Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.

Rating: 3.56/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026

In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?

Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.

Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4

What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.

Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.

Rating: 3.56/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026

In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?

Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.

Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4

What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.

Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.

Rating: 3.56/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026

In a year that’s seen At the Gates release a seminal album that stands not only as a career touchstone but as a fitting swansong for Tomas “Tompa” Lindberg, the bar for Swedish melodic death metal is pretty high in 2026. This fact, however, did not deter Trollhättan’s fledgling act, Abandon Agony, from entering The Jester Race to flex some Gothenburg muscle of their own. Assembled in 2023, Abandon Agony released their first music a year later on the Dark Matter EP, and are now ready to unveil their debut long-player, Endbringer. As a group of relative unknowns, free from the confines of expectation that comes with an established amount of pedigree, Abandon Agony have gambled on themselves, choosing to release Endbringer independently. Will Endbringer signal the start of a long and successful career for Abandon Agony, or will it serve as a cautionary tale, relaying the slaughter of yet another up-and-coming melo-death soul?

Abandon Agony do melodic death metal really well. Endbringer passes everything that makes In Flames and Dark Tranquility exciting through a Mors Principium Estuary of modern, thrashy, power-melodic slickery before hitting open waters teeming with Amon Amarthic life.1 Guitarists Tobias Järvelä and Christoffer Tönnäng2 have the Gothenburg sound nailed down, their dual guitar assault wrecking necks, employing all the expected tropes: galloping, moody riffs, emotive, hooky leads, and tons of great solo work. Like the arms of Endbringer’s reaper slowly opening, the folds of his robe unfurl, inviting us in with the majestic power chords of album opener, “The Truth,” which then crank up a notch to catch Robin Toresson’s speedy double-bass rolls. Johan Hedström’s excellent vocals—a hybrid of Johan Hegg (Amon Amarth) and Randy Blythe (LoG)—fade in from a rumbling growl to a scream that’s met by some of Tönnäng’s nifty solo work and the song’s first fleet-footed verse; Endbringer is up and running. This track embodies everything about the Abandon Agony experience, which is one that offsets powerful, deathly aggression with atmospheric and melodic subtlety.

Endbringer is a potent, hard-driving melodeath album crammed with talented performances, all its poignant beauty revealed through the ghostly wisps of nuance rather than any overt melodic device. Whether it’s a hint of keys here (“The Truth”), the ghost of crystalline guitars there (“Dissolved”), or actual cleans that are both credited—Liv Jagrell’s (Liv Sin) gritty vocals are a great counterpoint to Hedström’s roars on album highlight “Entropy”—and uncredited (“Blind Intentions,” “Polar Shift”), these barely-there accompaniments serve to elevate many of Endbringer’s masterful moments. And it’s this beauty-and-the-beast balancing act that works so perfectly in Abandon Agony’s favor, drawing the listener deeper into Endbringer’s world without devolving into overwrought symphonia. Tönnäng’s excellent guitar work shines; his leads, ranging from the neo-classical (“Blind Intentions”) to the melancholy (“Lunar Storm”), acoustic work (“Rise From the Ashes,” “Polar Shift”), and wonderful solos (insert pretty much any song here), unleash a depth of emotion that enhances Endbringer’s heavy edge.3 And as vocalists go, Hedström’s growls and screams have fast become some of my favorite, period; a far cry from the shaky cleans he employs in his power metal project, Memoria.4

What pains me most, however, is that Abandon Agony have managed to run afoul of one of my biggest pet peeves, which is to pack half of Endbringer with songs that were originally released nearly two years ago.5 As annoying as it is to consider Abandon Agony have essentially mashed a couple of EPs’ worth of tunes together, I must still admit the level of continuity between the two sets of songs bridges an impressive gap in time rather seamlessly. Beyond this fact, though, my only real critique of Endbringer falls on its modern production, which renders nearly all Jonathan Wagerland’s bass work inaudible.

Outside the context of my petty-est of peeves, Abandon Agony have released a damn fine melodeath album in Endbringer. Had they chosen to release an EP of five new songs rather than combining everything, not only might I have missed out on Abandon Agony for an even longer amount of time, but I certainly wouldn’t have put them on anyone’s radar here. As it stands, readers, take note, for another Gothenburg titan has arrived, and by the seeing eye of the great Whoracle herself, you can bet your ass I’ll be watching closely for what comes next.

Rating: 3.56/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 22, 2026

https://www.europesays.com/at/148166/ Amon Amarth: Dieses Album war ihr Ticket auf die globalen Bühnen #2001 #AmonAmarth #AT #Austria #Entertainment #FredrikAndersson #Jahrestag #JohanHegg #JohanSöderberg #Music #Musik #OlaviMikkonen #Österreich #PeterTägtgren #Possessed #TedLundström #THECRUSHER #Unterhaltung

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

The roar of the Norse gods riding through riffs of war and blood, reminding you that even in defeat, a Viking dies with honor 🤘🏽🤘🏽🤘🏽🎸😈

el rugido de los dioses nórdicos cabalgando entre riffs de guerra y sangre, recordándote que incluso en la derrota, un vikingo muere con honor 🤘🏽🤘🏽😈🎸
#heavymetal #amonamarth #music #metal #vinyl

Metal is stacked this week.
From Uli Jon Roth and Cryptopsy to Behemoth, Amon Amarth, and Power Trip, there’s no shortage of heavy across the East Coast.
Plan your week accordingly: https://metalinsider.net/touring/metal-en-route-04-25-05-03-the-grand-nights-out-uli-jon-roth-cryptopsy-more
#Metal #LiveMusic #Concerts #MetalShows #Behemoth #Cryptopsy #AmonAmarth #PowerTrip

Metal is stacked this week.
From Uli Jon Roth and Cryptopsy to Behemoth, Amon Amarth, and Power Trip, there’s no shortage of heavy across the East Coast.
Plan your week accordingly: https://metalinsider.net/touring/metal-en-route-04-25-05-03-the-grand-nights-out-uli-jon-roth-cryptopsy-more
#Metal #LiveMusic #Concerts #MetalShows #Behemoth #Cryptopsy #AmonAmarth #PowerTrip

Baroness and I got to see #CastleRat, and they put on a great show. Just as campy, in a good way, as a classic 80s sword and sorcery fantasy movie. Co-headlining the show were #AmonAmarth and #Dethklok. Never really cared about Amin Amarth. Good for what they do, but one dimensional. I was curious how Dethklok would work, and it went well. The stage was dimly lit so you could see they were there, but obscured, and animations of the show ran on a giant screen behind them.

#LiveMusic

Biff being Biff! 8)

https://song.link/y/PLzsWa20YIo

#AmonAmarth
#Saxon

Monstrosity have been a death metal institution for over 30 years. They were part of the big Floridian death metal boom of the late 80s/early 90s, but were always overshadowed by the likes of Death, Morbid Angel, Deicide, and Obituary. That said, their 1992 Imperial Doom debut brought the death-thrashing thunder and introduced the world to one George “Corpsegrinder” Fisher. He and his neck left after their second album to join Cannibal Corpse, but Monstrosity soldiered on, releasing a string of good to very good albums, including their most recent, 2018s The Passage of Existence. With 2 original members remaining, the band is now rounded out with a new guitarist and vocalist. Can the infusion of fresh blood keep the Monstrosity carcass moving in the right direction for 7th album, Screams from Beneath the Surface?

For a long-time listener of the band, opener “Banished to the Skies” may cause a jolt. It’s an Amon Amarth-esque melodeath piece with a bit of an epic vibe, which is not the usual Monstrosity modality. It’s a good song with a dark, brooding mood, fluid guitar work, and moments that remind me of vintage Edge of Sanity, but it’s definitely not what I would expect from these Florida men. Things quickly revert to caveman death thrashery on “The Colossal Rage,” and the mission statement is to pummel with lead pipe savagery. New throat Ed Webb (ex-Massacre) is effectively brutal, and the riffs have touches of Cannibal Corpse and old school Deicide. It’s entirely solid, entertaining death metal and sure to get the blood moving. “The Atrophied” is even more frenetic and thrashified, with slower, more epic Viking metal segments that serve as a contrast. The solos are colorful and beautifully melodic, which makes them pop out from the caveman Viking aesthetic.

The band clearly wanted to try several different things here. Their core thrashed-up death metal sound is present, but with overlays of epic melo death and doom that add dimensions to their blue-collar thugery. “Fortunes Engraved in Blood” is an example where the band tries to bring all these elements together. It’s part Floridian death, part macho melodeath, with touches of prog in the guitar work. The fact that it works is a testament to their writing and playing. The remainder of Screams features tracks with the various elements playing a greater or lesser role, and most of them work well enough. “The Thorns” is a darker, doomy piece that feels especially sharp, and “The Dark Aura” treads the same muddy battlefield as Bolt Thrower with slower power chugs and a grinding, inevitable feeling. It’s all well done, competent death metal that tries to push the envelope creatively in small ways, but unfortunately, much of it sits in that “good but not much more” category. A few of the meaner, more violent cuts reach higher since the death-thrash approach is Monstrosity’s best weapon, and why people come to the monster yard in the first place. At just under 44 with no song feeling like filler, Screams is a pretty easy spin with plenty of raw energy. The production is crisp and clean, but wholly lacking the edge and murk I prefer in my death metal.

Ed Webb is a well-traveled, extra-seasoned death vet, and his vocals are a good anchor for what Monstrosity do here. He’s got a classically big, burly death roar and can pull out effective blackened screams when called upon, though he can feel like a standard-issue croaker at times. Guitarist Matt Barnes and new axe Justin Walker show all kinds of talent and skill, forging nasty death riffs, ragged thrash leads, and some highly impressive, nearly neo-classical solo work. Some moments take me back to the glory days of 90s James Murphy, and that’s a great thing. This is a very talented crew, and they have the ambition to go beyond the usual caveman fare, which I respect.

Screams from Beneath the Surface is a solid death metal platter with a few barn burners and some interesting twists and surprises. It likely won’t make many end-of-year lists, but Monstrosity are still alive, capable, and trying new things. Not every death metal act with 30-plus years in the game can claim the same. Worth a listen. Hail, Florida men!



Rating: 3.0/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: monstrosity.us | facebook.com/monstrosityofficial | instagram.com/monstrosityflorida
Releases Worldwide: March 13th, 2026

https://www.europesays.com/ie/376586/ Vreid – The Skies Turn Black Review #2026 #35 #AmonAmarth #BlackMetal #DimmuBorgir #Djerv #Éire #Entertainment #IE #IndieRecordings #Ireland #Kampfar #Mar26 #Music #NorwegianMetal #Review #Reviews #TheSkiesTurnBlack #Vreid

It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.



Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.



Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.



Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.



Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.



Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

Got this monster on right now and little else 🎶🤘😂
#amonamarth #Jomsviking #metal #vikingmetal #clothesfreeliving #naturist #naturalmale #naturism #naturalhumanbeing #naked #nude #bare #aunatural #clothesfree #jointhenaturistway #beatstress #bettermentalhealth #positivity #barefootandnaked #naturism

Got this monster on right now and little else 🎶🤘😂
#amonamarth #Jomsviking #metal #vikingmetal #clothesfreeliving #naturist #naturalmale #naturism #naturalhumanbeing #naked #nude #bare #aunatural #clothesfree #jointhenaturistway #beatstress #bettermentalhealth #positivity #barefootandnaked #naturism

Got this monster on right now and little else 🎶🤘😂
#amonamarth #Jomsviking #metal #vikingmetal #clothesfreeliving #naturist #naturalmale #naturism #naturalhumanbeing #naked #nude #bare #aunatural #clothesfree #jointhenaturistway #beatstress #bettermentalhealth #positivity #barefootandnaked #naturism

https://www.europesays.com/ie/330308/ Bloodred – Colours of Pain Review #2026 #3.0 #AmonAmarth #Belphegor #BlackMetal #BlackenedDeathMetal #Blasphemy #Bloodred #ColoursOfPain #DeathMetal #Éire #Entertainment #Feb26 #GermanMetal #HarakiriForTheSky #IE #Ireland #MassacreRecords #Music #Review #Reviews #Satyricon #WoodsOfDesolation

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

Now this is playing 👏🏼🤘🏼
#amonamarth #bloodstockopenair #2017throwback
AMON AMARTH - Live Full Set Performance - Bloodstock 2017
https://youtube.com/watch?v=djxrWuLXGyw&si=FCRYqJWovc2Qn4F-

Now this is playing 👏🏼🤘🏼
#amonamarth #bloodstockopenair #2017throwback
AMON AMARTH - Live Full Set Performance - Bloodstock 2017
https://youtube.com/watch?v=djxrWuLXGyw&si=FCRYqJWovc2Qn4F-

Now this is playing 👏🏼🤘🏼
#amonamarth #bloodstockopenair #2017throwback
AMON AMARTH - Live Full Set Performance - Bloodstock 2017
https://youtube.com/watch?v=djxrWuLXGyw&si=FCRYqJWovc2Qn4F-

https://www.europesays.com/fi/134248/ Thrash metallin uusi aikakausi: nämä albumit täyttävät tänä vuonna 10 vuotta #abbath #AmonAmarth #anthrax #AvengedSevefold #DarkFuneral #DeathAngel #DevinTownsendProject #Entertainment #equilibrium #FI #Finland #Finnish #FleshgodApocalypse #gojira #HeavenShallBurn #insomnium #LostSociety #Megadeth #metallica #moonsorrow #Music #Musiikki #OmniumGatherum #Stam1na #Suomi #testament #viihde #volbeat

https://www.europesays.com/fi/133564/ Euroviisuhistoriaa ja suomalaisen metallin juhlaa: nämä albumit täyttävät tänä vuonna 20 vuotta #AmonAmarth #amorphis #CannibalCorpse #CradleOfFilth #diablo #Entertainment #FI #Finland #Finnish #IronMaiden #kalmah #LambOfGod #lordi #MajKarma #mastodon #mokoma #Music #Musiikki #MyChemicalRomance #poisonblack #ruoska #slayer #Stam1na #Suomi #Tarot #teräsbetoni #TurmionKätilöt #viihde

#AmonAmarth kommen '26 nach Leipzig.

*Bestellgeräusch*

https://www.europesays.com/es/281303/ Gira norteamericana de AMON AMARTH. TRIUMPH regresan a los escenarios. Segundo trabajo de RAVE IN FIRE. #AMONAMARTH.TRIUMPH #Entertainment #Entretenimiento #ES #España #Music #Música #RAVEINFIRE #Spain

STOP THE PRESS!

#AmonAmarth joins forces with #Dethklok for a TOUR!

https://youtu.be/eXKYkowAAoM

#TheAmonKlokConquest

Sadly only North America

🔥 Amon Amarth desatarán su tormenta vikinga en Barcelona y Madrid en 2026

Toda la info en 👉 https://www.guitarcalavera.com/amon-amarth-anuncia-fechas-en-madrid-y-barcelona-en-2026/

#AmonAmarth #BringTheNoise #MelodicDeathMetal #OrbitCulture #RouteResurrection #S...
https://www.guitarcalavera.com/amon-amarth-anuncia-fechas-en-madrid-y-barcelona-en-2026/?utm_medium=Guitar%20Calavera%20&fsp_sid=1612&utm_source=Mastodon%20&utm_campaign=amon-amarth-anuncia-fechas-en-madrid-y-barcelona-en-2026%20

https://www.europesays.com/es/256104/ Giras de In Flames y Amon Amarth confirmadas para 2026 #AmonAmarth #BringTheNoise #EmployedToServe #Entertainment #Entretenimiento #ES #España #GAEREA #INFLAMES #metal #Music #Música #Noticias #OrbitCulture #RouteResurrection #Soilwork #Spain

Amon Amarth, Orbit Culture und Soilwork
07.11.2026 Berlin / Velodrom

Belzebong
13.12.2025 Berlin / Wild At Heart

Foo Fighters
01.07.2026 Berlin / Olympiastadion

Inhaler, Fat Dog, Otoboke Beaver, IDLES und Foo Fighters
01.07.2026 Berlin / Olympiastadion

Karnivool und Intervals
21.04.2026 Berlin / Huxleys

M?l und Cold Night For Alligators
06.02.2026 Berlin / Hole 44

Power State und Nazareth
17.12.2025 Berlin / Uber Eats Music Hall

#AmonAmarth #Belzebong #Berlin #FooFighters #Hole44 #Huxleys #Inhaler #Karnivool #Mol #Olympiastadion #PowerState #UberEatsMusicHall #Velodrom #WildAtHeart #SteelFeed

https://www.europesays.com/fr/556604/ Amon Amarth : en concert au Zénith de Paris en octobre 2026 ! – News – RockUrLife #actu #ActuParis #Actualités #ActualitésParis #AmonAmarth #EU #europe #FR #France #News #NewsParis #OrbitCulture #Paris #ParisNews #RépubliqueFrançaise #soilwork #ZénithParisLaVillette

https://www.europesays.com/fi/98850/ Amon Amarth The Allfather Awakens Suomessa 2026 #AmonAmarth #Entertainment #FI #Finland #Finnish #Music #Musiikki #OrbitCulture #soilwork #Suomi #viihde

https://www.europesays.com/ee/49305/ VÕIMAS HEVIPIDU ⟩ Rootsi viikingi-metali titaanid vallutavad Tallinna #AmonAmarth #Austria #Belgia #EE #Eesti #EestiKeel #Entertainment #Estonia #Estonian #Hispaania #holland #Itaalia #London #Luksemburg #manchester #meelelahutus #OrbitCulture #Poola #Portugal #Prantsusmaa #Rootsi #Saksamaa #soilwork #Soome #Šveits #Tšehhi #tumba #Ungari #wolverhampton

https://www.europesays.com/fi/98124/ Amon Amarth Euroopan-kiertue 2026: Teaser-video julkaistu #AmonAmarth #Entertainment #FI #Finland #Finnish #Music #Musiikki #OrbitCulture #soilwork #Suomi #viihde

1914 – Viribus Unitis Review

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet…
#NewsBeep #News #Music #1914 #2025 #4.5 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #Entertainment #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #review #Reviews #rome #UK #UkrainianMetal #UnitedKingdom #ViribusUnitis
https://www.newsbeep.com/uk/255488/