#archenemy — Public Fediverse posts

Arch Enemy and The Black Dahlia Murder are joining forces this fall for the Wrath Across America co-headlining tour with support from Septicflesh, Crypta, and Thrown Into Exile.

The run also marks a new era for Arch Enemy following the addition of Lauren Hart as the band's new vocalist.

Details: https://metalinsider.net/touring/arch-enemy-and-the-black-dahlia-murder-announce-wrath-across-america-fall-2026-co-headlining-tour

#ArchEnemy #TheBlackDahliaMurder #Septicflesh #Crypta #DeathMetal #MelodicDeathMetal #MetalTour #MetalNews

Arch Enemy and The Black Dahlia Murder are joining forces this fall for the Wrath Across America co-headlining tour with support from Septicflesh, Crypta, and Thrown Into Exile.

The run also marks a new era for Arch Enemy following the addition of Lauren Hart as the band's new vocalist.

Details: https://metalinsider.net/touring/arch-enemy-and-the-black-dahlia-murder-announce-wrath-across-america-fall-2026-co-headlining-tour

#ArchEnemy #TheBlackDahliaMurder #Septicflesh #Crypta #DeathMetal #MelodicDeathMetal #MetalTour #MetalNews

https://www.europesays.com/es/565993/ Savatage anuncia un cambio en su formación por problemas de salud en el inicio de la gira que recalará en Leyendas del Rock junto a Sepultura, Arch Enemy o Helloween #ARCHENEMY #BlasElias #Entertainment #Entretenimiento #ES #España #helloween #INFLAMES #JeffPlate #LeyendasDelRock #MR2022 #Music #Música #SAVATAGE #sepultura #Spain

Arch Enemy & The Black Dahlia Murder Announce North American Co-Headlining Tour, Septicflesh, Crypta & Thrown Into Exile To Open

Swedish melodeath veterans Arch Enemy and Midwestern melodic death metal mainstays The Black Dahlia Murder will be co-headlining…
#NewsBeep #News #Music #ArchEnemy #CA #Canada #Crypta #Entertainment #SepticFlesh #TheBlackDahliaMurder #ThrownIntoExile
https://www.newsbeep.com/ca/680847/

https://www.europesays.com/es/559807/ ARCH ENEMY anuncian gira americana con THE BLACK DAHLIA MURDER. Reedición de GOJIRA. Nuevo tema del próximo tributo a RAINBOW. #ARCHENEMY #Entertainment #Entretenimiento #ES #España #Gojira #Music #Música #rainbow #Spain #THEBLACKDAHLIAMURDER

https://www.wacoca.com/media/657536/ Alissa White-Gluz（DRAGONFORCE／ex-ARCH ENEMY）の新バンド”BLUE MEDUSA”、新曲「Flying Monkey」リリース＆MV公開！ #ARCHENEMY #DRAGONFORCE #music #アーク・エネミー #ドラゴンフォース #音楽

https://www.wacoca.com/media/657536/ Alissa White-Gluz（DRAGONFORCE／ex-ARCH ENEMY）の新バンド”BLUE MEDUSA”、新曲「Flying Monkey」リリース＆MV公開！ #ARCHENEMY #DRAGONFORCE #music #アーク・エネミー #ドラゴンフォース #音楽

https://www.wacoca.com/media/657536/ Alissa White-Gluz（DRAGONFORCE／ex-ARCH ENEMY）の新バンド”BLUE MEDUSA”、新曲「Flying Monkey」リリース＆MV公開！ #ARCHENEMY #DRAGONFORCE #music #アーク・エネミー #ドラゴンフォース #音楽

https://www.magmoe.com/2973501/entertainment-news/2026-05-16/ Alissa White-Gluz（DRAGONFORCE／ex-ARCH ENEMY）の新バンド”BLUE MEDUSA”、新曲「Flying Monkey」リリース＆MV公開！ #ArchEnemy #DRAGONFORCE #entertainment #EntertainmentTopics #MUSIC #アーク・エネミー #エンタメ #エンタメトピック #ドラゴンフォース #音楽

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

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

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

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

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

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

#metal #music #archEnemy

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

#metal #music #archEnemy

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

#metal #music #archEnemy

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

#metal #music #archEnemy

Alissa White-Gluz é confirmada como nova cantora do Dragonforce

https://fed.brid.gy/r/https://rollingstone.com.br/musica/alissa-white-gluz-e-confirmada-como-nova-cantora-do-dragonforce/

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

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

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

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

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

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

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

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

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

https://www.europesays.com/at/143538/ Alissa White-Gluz (Ex-Arch Enemy) steigt bei Dragonforce ein #AlissaWhiteGluz #ArchEnemy #AT #Austria #BlueMedusa #DragonForce #Einstieg #Entertainment #HermanLi #Music #Musik #NeueSängerin #Österreich #Unterhaltung

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

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

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

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

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

Yoth Iria – Gone with the Devil Review

When I see the title of Yoth Iria’s third full-length, Gone with the Devil, I can’t help but…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.0 #2026 #ArchEnemy #BlackMetal #Entertainment #Equilibrium #GonewiththeDevil #GreekMetal #Havukruunu #ImagineDragons #May26 #MetalBladeRecords #review #reviews #RottingChrist #Varathron #YothIria
https://www.newsbeep.com/us/623364/

Yoth Iria – Gone with the Devil Review

When I see the title of Yoth Iria’s third full-length, Gone with the Devil, I can’t help but…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.0 #2026 #ArchEnemy #BlackMetal #Entertainment #Equilibrium #GonewiththeDevil #GreekMetal #Havukruunu #ImagineDragons #May26 #MetalBladeRecords #review #reviews #RottingChrist #Varathron #YothIria
https://www.newsbeep.com/us/623364/

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

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

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

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

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

Arch Enemy: o possível setlist do show no Bangers Open Air

https://fed.brid.gy/r/https://rollingstone.com.br/musica/arch-enemy-setlist-bangers-open-air-2026/

Mal ganz grundlegend formuliert: Lauren Hart und ArchEnemy klingen echt gut zusammen! Gerade die neue Single gehört - I LIKE!! #archenemy #musik #metal

Mal ganz grundlegend formuliert: Lauren Hart und ArchEnemy klingen echt gut zusammen! Gerade die neue Single gehört - I LIKE!! #archenemy #musik #metal

Mal ganz grundlegend formuliert: Lauren Hart und ArchEnemy klingen echt gut zusammen! Gerade die neue Single gehört - I LIKE!! #archenemy #musik #metal

https://www.wacoca.com/media/634332/ ARCH ENEMY、新ヴォーカリスト Lauren Hart迎えた来日公演の模様がWOWOWで6/20放送＆配信決定！ | 激ロック ニュース #ARCHENEMY #music #アーク・エネミー #音楽

https://www.wacoca.com/media/634332/ ARCH ENEMY、新ヴォーカリスト Lauren Hart迎えた来日公演の模様がWOWOWで6/20放送＆配信決定！ | 激ロック ニュース #ARCHENEMY #music #アーク・エネミー #音楽

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