#archenemy — Public Fediverse posts

And I also was here.
I more or less found myself in the video. Just a couple of frames and just some pixel, but I'm part of an official Arch Enemy music video :D

https://www.youtube.com/watch?v=h5nDeMvPJZE

#archenemy #wacken #zeratulsplaylist

#blindguardian #wacken #zeratulsplaylist

Poisoned Arrow is my favorite Arch Enemy song of all time! 🤩👌

#metal #music #archEnemy

Che comincino i meme #alyssawhitegluz #archenemy #dragonforce #metal

Didnt have that on my bingo card 😯 What happened to #BlueMedusa? Insane combo tho.

https://www.loudersound.com/news/alissa-white-gluz-arch-enemy-joins-dragonforce-2026

#metal #music #ArchEnemy #DragonForce #AlissaWhiteGluz

No to mnie mocno zaskoczyli - Alissa White-Gluz (wcześniej wokalistka w #ArchEnemy) dołącza do #Dragonforce. Występowali już razem, ale dla mnie to o tyle niezwykłe, ze przecież Alissa jest znana z growlu, a Dragonforce to przecież ultra power metalowy speedsterowy twór, w którym najważniejsi są gitarzyści. Jak to połączą - nie wiem, bo jeśli chcą iść w growl, to mi to nie pasuje, a jeśli ma być żeński czysty wokal, to jest to niewykorzystanie potencjału Alissy.

metalnews.pl/newsy/alissa-white-gluz-wokalistka-dragonforce/

@muzykametalowa #muzyka #Metal #MetalPany

When I see the title of Yoth Iria’s third full-length, Gone with the Devil, I can’t help but think of the Spanish farewell, “vaya con Dios,” or “go with God.” Originally—and still, in some circles—the phrase was an earnest blessing and wish for safety; however, centuries have stained it with a negative connotation. The phrase can now showcase a speaker’s disapproval for the recipient’s intended actions, implying that whatever they’re going to do is dumb enough that only God will be able to get them through it. After two enjoyable-to-impressive albums, is Yoth Iria’s cheeky inversion of the phrase a genuine wish for guidance from the Son of the Morning, or is Gone with the Devil a hot mess only Satan can save?

On 2021 debut As the Flame Withers and 2024 follow-up Blazing Inferno, Yoth Iria’s sound was focused—Hellenic black metal injected with a mix of 70s-80s metal and Middle Eastern atmospherics. Gone with the Devil sees the Athens-based five-piece employ a more exploratory, instinctual, and unrestricted approach to composition…or so the promo material says. In actuality, Yoth Iria leans into accessibility. Elements of their original Hellenic sound remain (“The Blind Eye of Antichrist,” “Woven Spells of a Demon”), infusing the album with a warmth typically absent in black metal. But with tracks that wouldn’t be out of place on an Equilibrium record (“Dare to Rebel”), the newest Arch Enemy (“I Totem,” “Blessed Be He Who Enters”), or a metalized Imagine Dragons (“3AM,” “Once in a Blue Moon”), Gone with the Devil feels fundamentally different from previous releases.

In pursuing wider appeal, Yoth Iria dilutes much of what made them unique, and Gone with the Devil is less engaging for it. The markers of heavy music are all still present—blast beats, harsh vocals, distorted guitars, etc.—but the soul that gives an album weight is totally absent. “3AM” is as forgettable as elevator muzak, and much of the back half of Gone with the Devil1 shares a similar mid/slow-paced rhythm that barely gets my eyes open, let alone my heart pumping. Predictable song structures and played-out tropes, like whispers preceding a heavier passage (“I Totem”) or synths/folk instrumentals returning to bolster a final chorus (“Give ‘Em My Beautiful Hell”), give the impression that Yoth Iria is just going through the motions or following someone else’s recipe.

This isn’t to say Gone with the Devil is bad. Yoth Iria, as a band, is obviously wildly talented, and what they do play, they play well. There are some songwriting bungles, like the end of “I Totem,” the pacing of “Harut-Government-Fallen,” and the choral chanting of “The Blind Eye of Antichrist,” but the album flows well and sounds great. Guitarists Nikolas Perlepe and Naberius weave a lush tapestry of blackened trem-picked riffs and retro leads (“I Totem,” “Give ‘Em My Beautiful Hell”), while bassist Jim Mutilator’s (ex-Rotting Christ, ex-Varathron) presence and influence infuse every second of Gone with the Devil. Vocalist HE and drummer Bill “Vongaar” Stavrianidis have excellent synergy, driving the album’s atmosphere and the ebb and flow of its tension. These performances shine thanks to Gone with the Devil’s production. The vocals might be a smidge forward and the rhythm guitars a touch back, but the mix is both intimate and spacious, offering warmth and clarity on an open soundstage.

Sound and performance can’t save an album, though. Where once Yoth Iria demanded my attention with a unique sound, Gone with the Devil seems geared toward maximum radio engagement or being inoffensive corporate playlist fodder. During my time with the album, I often felt like I was listening to a Temu version of Havukruunu. A seemingly intentional forfeiture of individuality, vapid filler track energy,2 and uninteresting—though adeptly played—instrumental performances make Yoth Iria’s latest a far cry from their previous work. Again, Gone with the Devil isn’t a bad album per se. It’s just milquetoast and unremarkable.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: PCM
Label: Metal Blade Records
Websites:Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

I’m going to come out and say it. Arch Enemy has done untold damage to female-fronted metal bands. While their influence is undeniable, every iteration of the band has featured monotone vocals, cringe-inducing lyrics, and leather-clad frontwomen. As a woman, I have no issue with these things in a vacuum, but in the larger music sphere, they created simultaneously high and absurdly low standards. Requiring frontwomen to be stereotypically hot, thin, and sport bright hair, while also plummeting standards on the musical side with their milquetoast melodeath slop. This is an ill omen for North Carolina’s Blackwater Drowning, seemingly following in Arch Enemy’s footsteps on a surface level, but do they make the same mistakes from a musical perspective, or are they influenced only in aesthetics?

Blackwater Drowning’s sophomore album, Obscure Sorrows, is at times a grab bag of popular metal cliches. Their latest is full of groovy, djent-laden riffs and chugging, staccato metalcore. Light orchestration adds obligatory bombast to intros and a few sections, while uninspired cleans occasionally show up as if they are a necessary evil. Vocalist Morgan Riley has more range and skill than their clear inspirations (Arch Enemy), but ultimately sits in the mid-range for far too long, and her clean singing lacks skill and panache. The highlight of Obscure Sorrows is guitarist Ron Dalton’s playing and the rich production (courtesy of Cryptopsy guitarist Christian Donaldson). Dalton’s riffs cover a wide range of styles, and the album highlight “Heir Of The Witch” is where the band should focus their sound, with its rolling energy and massive groove. Bassist Aria Novi shines due to the quality production, and frequently bolsters Dalton’s riffs and drummer Aamon Dalton’s technical hammering. There is no lack of talent across the band, but the whole crew seems too comfortable sitting in the mid-range, making for an album that bleeds together.

Obscure Sorrows’ biggest sin is its inability to shake things up. Across the ten tracks, they all sit in such similar spaces that they are hard to tell apart. Even song lengths are eerily similar, and they tend to reach for the same tired notes, making for music that lacks hooks. It feels harsh to lay so much at the feet of Blackwater Drowning, because the band clearly isn’t lacking in technical skill, but I think comparing songs to each other and treating the album as a whole shows a record that is far too safe and too middling in its soundscape. Clean singing makes occasional appearances but rarely stands out except on “Teeth and Claws,” which features some genuine atmosphere and brooding emotion.

Obscure Sorrows isn’t bad by any stretch, and the album opener, “The Sixth Omen,” features a roaring intro riff, even if it devolves into an uninspired chorus. The production elevates the album, and the clarity and crunch on display are admirable even if the source material doesn’t necessarily do it justice. “Washed Out, Washed Away” is backed by a crushing blackened death riff, and “Where Men Fear To Tread” showcases Morgan Riley’s skill on the low end alongside an anthemic chorus bookended by a teetering solo. “Teeth And Claws” evil lead riff helps the track ascend the mid-range soup and features some creative cleans from Riley.

In the end, Obscure Sorrows is an album I wanted to love, and with a bit of editing, variety, and focus on groove, Blackwater Drowning could truly stomp fools on their next record. As it stands, their latest is a competent, if safe, drop in the female-fronted melodeath bucket. Fans of the genre may get more out of it than I did, and they easily beat Arch Enemy at their own game, but Blackwater Drowning has a bit of work to do before they can truly drop the barn burner I know they are capable of. Luckily, this is a young band with a hopefully long career ahead of them, and as many say, the third time is the charm.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bleeding Art Collective
Websites: blackwaterdrowning.com | Facebook
Releases Worldwide: February 27th, 2026

Le Motocultor 2026 dévoile son affiche complète https://www.lagrosseradio.com/webzine-metal/actu-metal/p206613-le-motocultor-2026-devoile-son-affiche-complete/

L'affiche 2026 du festival breton est désorm #withintemptation #WEBZINEMETAL #masshysteria #JudasPriest #Motocultor #ACTUMETAL #archenemy #godsmack #affiche #primus #2026

Arch Enemy
19.07.2026 Berlin / BiNuu

Bridge City Sinners
27.06.2026 Berlin / Columbia Theater

Spiritbox, Jinjer und Dying Wish
22.09.2026 Berlin / Velodrom

SWMRS
03.05.2026 Berlin / Badehaus

#ArchEnemy #Badehaus #Berlin #BiNuu #BridgeCitySinners #ColumbiaTheater #SWMRS #Spiritbox #Velodrom #SteelFeed

Oh fuck yes! While I’m bummed it’s not Angela, Lauren can carry that torch. She was awesome in #OnceHuman and the vibe she gives on this new #ArchEnemy track gives Angela vibes.

I am VERY MUCH HERE FOR THIS!

https://www.theprp.com/2026/02/19/news/arch-enemy-officially-welcome-ex-once-human-vocalist-lauren-hart/

#Metal

I can't believe this is happening! 🫪
THIS IS PURE FUCKING METAL.

https://youtu.be/WujjCSEJcDk?si=I6TaRgz9yt6gKvcI

#ArchEnemy

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Concert Calendar - 05/02 - 05/08 - Lights Sounds and Metal: Arch Enemy, Baroness, and more:

#Concerts #NYCEvents #LiveShows #MayEvents #ArchEnemy #Baroness

Link: https://metalinsider.net/touring/concert-calendar-05-02-05-08-lights-sounds-and-metal-arch-enemy-baroness-more

Concert Calendar - 05/02 - 05/08 - Lights Sounds and Metal: Arch Enemy, Baroness, and more:

#Concerts #NYCEvents #LiveShows #MayEvents #ArchEnemy #Baroness

Link: https://metalinsider.net/touring/concert-calendar-05-02-05-08-lights-sounds-and-metal-arch-enemy-baroness-more

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

1000mods
05.04.2025 Berlin / Columbia Theater

1914
18.03.2025 Berlin / Reset

Alligatoah
08.02.2025 Berlin / Uber Arena

Amenra
24.04.2025 Berlin / Astra

Amyl and the Sniffers
25.06.2025 Berlin / Zitadelle Spandau

Amystery
03.07.2025 Friesack / Freilichtbühne

Arch Enemy
17.10.2025 Berlin / Columbiahalle

Asphyx
19.06.2025 Fehrbellin / Protzen Open Air

Atreyu
09.10.2025 Berlin / Columbia Theater

Avenged Sevenfold
21.06.2025 Berlin / Zitadelle Spandau

Avralize
14.11.2025 Berlin / Badehaus

BABYMETAL
17.05.2025 Berlin / Velodrom

#1000mods #1914 #Alligatoah #Amenra #Amyl #Amystery #ArchEnemy #Asphyx #Astra #Atreyu #AvengedSevenfold #Avralize #BABYMETAL #Badehaus #Benediction #Berlin #ColumbiaTheater #Columbiahalle #Fehrbellin #Freilichtbuhne #Friesack #Lido #ProtzenOpenAir #Reset #UberArena #Velodrom #ZitadelleSpandau #SteelFeed

Das familiäre, schwedische Abriss-Unternehmen Ihres Vertrauens.

https://www.gig-blog.net/2024/10/20/in-flames-arch-enemy-soilwork-18-10-2024-schleyerhalle-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #InFlames #ArchEnemy #Soilwork #Stuttgart

Gestern Abend #soilwork, #archenemy und #inflames - dank der bekackten Parkplatzsituation der Sporthalle haben wir die Hälfte von Soilwork verpasst, aber der Rest war großartig 😊🤘

#TheMetalDogArticleList
#MetalSucks
Charlotte Wessels and Arch Enemy’s Alissa White-Gluz Team Up for “Ode To The West Wind“

https://www.metalsucks.net/2024/09/18/charlotte-wessels-and-arch-enemys-alissa-white-gluz-team-up-for-ode-to-the-west-wind/

#CharlotteWessels #AlissaWhiteGluz #OdeToTheWestWind #TheObsession #Delain #ArchEnemy

#TheMetalDogArticleList
#MetalInjection
The Charismatic Voice Launches A Kickstarter To Fund Vocal Research

https://metalinjection.net/news/the-charismatic-voice-launches-a-kickstarter-to-fund-vocal-research

#TheCharismaticVoice #ElizabethZharoff #VocalResearch #Kickstarter #Juilliard #MentalHealth #Depression #Anxiety #VagusNerve #CattleDecapitation #Whitechapel #Kardashev #AdInfinitum #Kamelot #ArchEnemy #Periphery #Jinjer #DevinTownsend

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#BraveWords
Today In Metal History 🤘 August 23rd, 2024🤘
TESLA, THE WHO, TYGERS OF PAN TANG, RATT, BAD COMPANY

https://bravewords.com/news/today-in-metal-history-august-23rd-2024tesla-the-who-tygers-of-pan-tang-ratt-bad-company

#TheWho #Tesla #TygersOfPanTang #Ratt #BadCompany #KeithMoon #JimmyJamison #DeanDeLeo #GaryHoey #TonyMacAlpine #SymphonyX #Gardenian #ArchEnemy #Annihilator #Apocalyptica #IonDissonance #BlackTide #JornLande #Revamp #TarjaTurunen #Unshine #FreedomCall #SacredReich #Equilibrium #Illdisposed #Isole #ItPrevails #KnockedLoose #Nemesaa

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#BraveWords
ARCH ENEMY Vocalist ALISSA WHITE-GLUZ And Former DELAIN Singer CHARLOTTE WESSELS Announce "Fool's Parade" Livestream

https://bravewords.com/news/arch-enemy-vocalist-alissa-white-gluz-and-former-delain-singer-charlotte-wessels-announce-fool-s-parade-livestream

#ArchEnemy #AlissaWhiteGluz #CharlotteWessels #Delain #FoolsParade #Livestream

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#BraveWords
SKID ROW Frontman ERIK GRÖNWALL Rates His First ARCH ENEMY Show (Video)

https://bravewords.com/news/skid-row-frontman-erik-gronwall-rates-his-first-arch-enemy-show-video

#ErikGronwall #SkidRow #ArchEnemy #HeavyMetal #MusicalHistory #LivePerformance #MetalMusic #VideoInterview #Frontman #FirstShow

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#BraveWords
ARCH ENEMY - Limited Edition Picture Vinyl Re-Issues Of Black Earth And Stigmata Albums Available; "Bridge Of Destiny" Visualizer Streaming
Arch Enemy have re-issued their Black Earth (1996) and Stigmata (1998) albums on limited edition picture vinyl via their official online shop. Go to this location to pick up your copies. Both albums feature...

https://bravewords.com/news/arch-enemy-limited-edition-picture-vinyl-re-issues-of-black-earth-and-stigmata-albums-available-bridge-of-destiny-visualizer-streaming

#ArchEnemy
#VinylReissue
#BlackEarth
#Stigmata
#BridgeofDestiny
#Visualizer

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#MetalInjection
ARCH ENEMY Reissues First Two Albums
Johan Liiva vocals, revisited.

https://metalinjection.net/metal-merch/arch-enemy-reissues-first-two-albums

#ArchEnemy #Reissues #BlackEarth #Stigmata #MelodicDeathMetal #IconicAlbums #MetalMerch

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#BLAERMOUTH.N
ARCH ENEMY's ALISSA WHITE-GLUZ Becomes Trapped Mermaid In PETA Ad To Save Fish During Lent
Ensnared in a fishing net and swishing a mermaid tail that matches her signature sea-blue hair, ARCH ENEMY vocalist Alissa White-Gluz is putting herself in the place of aquatic animals in a new PETA ad...

https://blabbermouth.net/news/arch-enemys-alissa-white-gluz-becomes-trapped-mermaid-in-peta-ad-to-save-fish-during-lent

#BeFishFriendly #SayNoToFishForLent #ProtectTheOceans #HelpMarineLife #SaveFish #PETAAd #AlissaWhiteGluz #ArchEnemy #ReduceFishing

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#MetalInjection
ARCH ENEMY's MICHAEL AMOTT Explains Why He Wants Metal To Stay In The Underground
"This is something that's from the heart and soul, and I want it to stay that way."

https://metalinjection.net/news/arch-enemys-michael-amott-explains-why-he-wants-metal-to-stay-in-the-underground

#MichaelAmott #ArchEnemy #MetalMusic #UndergroundScene #HeavyMetal #StayUnderground

Arch Enemy - Sunset Over The Empire

#ArchEnemy #SunsetOverTheEmpire #Deceivers #Metal #Music #Melodic #DeathMetal

https://youtu.be/E3mOvCMG24I/

Ok, let’s get some bands going on a hashtag here and see if I can pick up some more #metal followers; #InFlames #LambOfGod #ArchEnemy #SleepToken #BuryTomorrow #Godsmack #ZealandAdor #Gojira #DevinTownsend #BobVylan #AmigoTheDevil #CoheedandCambria #OfVirtue #MillieMandersAndTheShutUp #ParkwayDrive #AliceInChains just to name a few…