#atthegates — Public Fediverse posts

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 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

Something must be in the water over in Poland, because the country churns out quality death metal like few others. The phrase ‘Polish death metal’ always grabs my attention, whether it’s technical like early Decapitated, thrashy à la Vader, or as blackened as Behemoth. Such was the case when I espied Shine’s Wrathcult lying unclaimed in the promo bin. The invention of guitarist Tomasz Dobrzeniecki (ex-Hazael), Shine unleashes a Polished debut of blackened death, eliciting prompt comparisons to compatriots Hate and Behemoth. While both provide apt reference points, there’s an acerbic tunefulness that evokes At the Gates and Old Man’s Child, as well. Given the glamor of these benchmarks, does Wrathcult let a light Shine down on Poland’s latest blackened death metal opus?

If you give me a word to sum up Polish metal, I’ll say ‘conviction,’ which Wrathcult oozes with calculated rabidity. Whether brandishing steady chugs, rapid-fire trems, or slinky, groove-infested crawls, Shine feels focused and frothing with finely-tuned fire. Dobrzeniecki’s description of the music and lyrics pins the overarching inspiration of Wrathcult on pre-Christian beliefs and the arcane powers of primeval mysticism, specifically calling out the intersection of ‘Germanic, Norse, and Slavic mythology.’1 While it’s not a theme I would’ve divined on my own, this context adds helpful color once Shine shows me where to look. In particular, the clean singing (“The Lamb Against the Wolf”) and chanting (“The Horror of the Night”) sprinkled throughout Wrathcult often give proceedings a ritualistic zest, culminating in one of my favorite tracks, “The Necklace with Runes.” The clean drawl at the beginning is underscored by finely crafted, deeper vocal layers, and while I’m generally unmoved by rhythmic spoken word, singer Marek Krajcer’s performance reads as a ceremonial incantation, reinforcing Wrathcult’s primordial basis.2

Wrathcult by Shine

Musically, Shine exhibits a cunning understanding of the crossroads between death metal, black metal, and melody. Besides the cleans, Krajcer projects a deathly growl that’s at once confident, scathing, and commandingly effective throughout Wrathcult. Guitarists Tomasz Dobrzeniecki and Mateusz Waśkiewicz supply equal doses of second-wave fervor and dulcet leads that are as barbed as they are captivating. Mid-album song “Oddajcie co moje” sports not only the hookiest melody of the bunch, but also contains one of the best bass grooves. Though subtle, Wojciech Gąsiorowski’s ambling bass-lines burble and thump with delightful heft, solidifying a resonant dimension on tracks “The Lamb Against the Wolf” and “Wrath of the Hammer.” With the high caliber of musicianship featuring on strings, an anemic drum performance could dull the entire showing. Thankfully, Paweł Duda seizes the opportunity with gusto, lashing his kit with precision strikes. Overall, Shine lays me on the ground with meaty, well-executed performances that belie Wrathcult’s debut status.

While many moments on Wrathcult fly me in the sky, a few aspects creep in and dim the power of Shine’s light. The production bolsters strong performances across the album, allowing proper room for each instrument to gleam—especially the bass. The forty-six-minute runtime keeps Wrathcult digestible, although riff repetition presents an opportunity to trim thirty-to-sixty seconds from several tracks for a tighter experience. And while Shine serves up several great jams on Wrathcult, a few weaker cuts create dips between the peaks of its strongest material. To be clear, there are no bad or inessential songs that I skip,3 but I do find myself waiting out some moments to get to better ones. Still, there’s variety in the songwriting that keeps affairs engaging and blood pumping through Shine’s blackened heart.

Shine’s Wrathcult should garner its fair share of devotees, living up to the high expectations of Polish blackened death. It’s taken many spins to unlock Wrathcult’s otherworldly secrets, and I’m of a mind that there are even more treasures to unearth. Anyone looking for melodious fury and a band with possibilities on the horizon should be paying attention. When I snatched Shine’s debut, I asked myself, ‘What will I find? Will love be there?’ While I can’t guarantee the same results for you, my answer is a resounding, ‘Yeah.’

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Mezzrow – Embrace the Awakening Review

By Dr. A.N. Grier

Two years ago, I reviewed Mezzrow’s comeback record, Summon Thy Demons—a return that was thirty-three fucking years in the making. Being that they only had one record before their 2023 comeback, I can’t say they’ve left a lasting legacy on the Swedish thrash genre—especially with so many legends that dominated the Swethrash space. With age and wisdom, it appears this quintet is looking to make an impact decades after the heydays of this unique flavor of thrash came and went. The energy, since the release of Summon Thy Demons, must continue to surge in their veins because I’m back to deliver a review of this year’s Embrace the Awakening. While none of their albums are terrible by any means, will the ‘third-times-the-charm’ bring Mezzrow the breakout success they seek?

After unloading three decades of bent-up riffage with their return, Mezzrow has cut the fat with this newest release, reducing the amount of output by fifteen minutes. This move is good for the band because they’ll continue to throw everything they have at a song, but without exhausting their listeners with the vast amount of content. Trimmed to a tight eight tracks, Embrace the Awakening delivers everything from simple thrashers meant to pummel and retreat to others that fill every nook and cranny of living space with all kinds of trinkets. Always with a dark, sinister tone in their songwriting, this new record sees them following familiar territory, combining Bay Area thrash with Swethrash influences like Sodom, Witchery, and At the Gates, to deliver a maelstrom of thrashy licks, melodic choruses, and adventurous solo work. Time to awaken deez nutz.

Embrace the Awakening gets rolling in a classic thrash-metal style with “Architects of the Silent War,” marching through an intro that builds and builds on itself before settling into a solid, sinister groove. When we arrive at the chorus, it ends up being a solid effort with plenty of gang shouts but not a lot of memorability. Which also applies to the new riff change on the back half. While not as strong an opener as the one on the previous album, the rest of the front half of Embrace the Awakening is banging. “Sleeping Cataclysm” opens with some killer blastbeats and a badass lick that successfully transitions through a punchy pre-chorus and soaring, melodic chorus. Even the back-end chugtastic lick kicks some major ass. “Foreshadowing” is a fun little ditty whose foundation is built around an old-school Witchery assault. Throughout, it alternates between slower, melodic sessions, verses that pick up pace as they progress, and an evil fucking chorus with massive gang shouts.

“In Shadows Deep” is another with some Witchery tendencies, but this time in the song’s melodic chorus. Surrounding it is a razor-sharp introduction, chugging verses, and a hefty conclusion. For more diversity, “Symphony of Twisted Souls” tosses in some clean bass and guitars, then it traverses through a couple of headbangable riffs before erupting into the chorus. After completely collapsing on the back half, things get really weird with the lonesome bass and vocal effects that remind me of that weird, mid-career shit Megadeth did because Mustaine realized he sucks at singing. Yet, somehow, through all these strange mood shifts, it pulls itself back together to conclude as a well-rounded song.

Along with some of the songwriting decisions in the opener, that leaves something to be desired, “The Moment to Arise” is a short little piece that is as filler as it gets. From bland riffs to a bland chorus, it’s the most forgettable song on the record. But it’s an easier piece to listen to than “Inside the Burning Twilight,” a boring-as-fuck chorus, and its desire to continue one minute longer than necessary. That said, Embrace the Awakening is a solid outing that continues where the comeback release left off. The first half is stronger than the second, but when the riffs hit, they hit pretty hard. And, when the choruses work, they work well. Otherwise, the album suffers from forgettable moments and filler pieces.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: mezzrow.black | facebook.com/mezzrowsweden
Releases Worldwide: November 14th, 2025

#25 #2025 #atTheGates #embraceTheAwakening #megadeth #mezzrow #nov25 #review #reviews #rockOfAngelsRecords #sodom #swedishMetal #thrashMetal #witchery