#austrianmetal — Public Fediverse posts

The calendar turns, and what better way to celebrate the coming year than an album that sounds straight out of the late 80s? Austria’s Wildhunt have been slinging out classic thrash/heavy metal since 2011, but have until this year produced only one record: 2016’s Descending. Ten years is a long time to cook up a sophomore record, and Wildhunt via Jawbreaker Records boasts of “a mix of detail-loving, energetic metal and epic song structures” for album number two, Aletheia. Cited as being for fans of Metallica, Heathen, King Diamond and Megadeth, Wildhunt runs the risks of any band explicitly evoking the distant past: coming off as geriatric nostalgia-bait. Is this Wildhunt’s fate, or can they rise above and make Aletheia a blast from the present-past?

Wildhunt may play the kind of stuff Ronald Reagan could’ve heard, but Altheia doesn’t sound like the kind of record Reagan could’ve played either. Recalling at once the prog-thrash of Heathen on “Made Man” and “The Holy Pale” and the 70s hard rockin’ of Rainbow on “Touching the Ground” and “Aletheia,” Wildhunt play an inherently backward-looking style that still sounds fresh out of the garage. The guitar duo of Wolfgang Elwitschger and Julian Malkmus draw heavily from the schools of Hetfield and Blackmore, dropping muscular palm-muted riffs and nimbly melodic leads and solos, while bassist Robbie Nöbauer regularly works in lines that play with the six-string like Cliff Burton licks (“Kanashibari”). Rhythmically, drummer Lukas Lobnig lays down driving patterns that propel Wildhunt through all of the wild turns that Aletheia has, most notably on the gargantuan prog numbers of “Made Man” and “Sole Voyage.” Top it off with Elwitschger’s booming baritone—warm, silky and vintage as Aletheia’s dynamic mixing and mastering—and you get an album expertly performed and deeply indebted to the sounds of yesteryear.

Aletheia by Wildhunt

Though Wildhunt won’t surprise you with novelty, Aletheia might catch you off-guard with its adventurous, progressive songwriting. Wildhunt forgo simple catchiness and repetitive loops on Aletheia in favor of untypical, tension-building intervals and progressions. Songs spiral out into bridge-filled bonanzas of killer riffs and solos, getting into Megadeth speeds on “The Holy Pale,” majestic prog-power hooks on “Sole Voyage” á la Tanagra and, in the album’s most unexpected turn, a diversion into smooth salsa also on “Sole Voyage.” Furthering Wildhunt’s eccentricity, Aletheia deal in dark, thoughtful, and fantastical lyricism. When Elwitchger opines on “Aletheia” that “hypocrisy is the tribute that vice pays to virtue,” I perk up immediately, every time. If you’re looking for familiarity and easy listening, Aletheia is for you; if you’re looking for something expansive and daring, Aletheia is also for you.

But with how many twists and turns Wildhunt throw at the listener, Aletheia can feel surprising blunted at times. Aletheia is dramatic, and its songs go a lot of directions, but they rarely build to the big, explosive moments to accent their highs and lows. For example, though Elwitchger’s voice is plenty good, it sounds like he sticks too closely to his most comfortable range and, though he never comes off as strained as a result, it feels like he’s not quite giving it all. “Made Man” and “In Frozen Dreams” exemplify this issue, as even though each segment of them is interesting, they don’t really build up to much, and as such feel a little meandering. Similarly, the two instrumentals “Touching the Ground” and “Kanashibari” sit in a weird middle ground of being too involved to pass off as interludes but not quite substantial enough to work as stand-alone songs. Aletheia isn’t devoid of memorable moments—”The Holy Pale” and “Aletheia” have killer choruses and “Sole Voyage” is a blast front to back1—but with how much creativity Wildhunt possess it should be more electrifying than it is.

Aletheia isn’t the face of metal to come in 2026,2 but it’s a fun and energetic morsel of heavy metal regardless, and what more does anything need to be? If the previous paragraph came off as overly harsh, it’s only because the skill and creativity Wildhunt exudes make it easy to imagine how great Aletheia could be if things were taken up one more notch. If any of the bands mentioned above are your cup(s) of tea, Altheia will more than likely agree to your sensibilities. It’s adventurous, well-played, lots of fun, and occasionally great. Kicking off 2026 with Wildhunt’s Altheia is no bad idea at all.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Jawbreaker Records
Websites: wildhunt.at | jawbreakerrecords.bandcamp.com | facebook.com/wildhuntaustria
Releases Worldwide: January 2nd, 2026

Bergfried – Romantik III Review

By Grin Reaper

After dropping debut EP Romantik I in 2022 and follow-up Romantic II in 2023,1 Austrian-Hungarian duo Bergfried rides in on a wave of 80s nostalgia to deliver debut full-length Romantik III. The conclusion of a trilogy, main character Anna (voiced by Anna de Savoy2) tirelessly roams hell in pursuit of her lost lover. During the search, Anna clashes with God and Devil3 in her quest for love reunited. Bergfried and the Romantik series are the creations of Erech von Lothringen, guitarist on Romantik III and mastermind of Narzissus and Ancient Mastery, among others. While his other projects lean toward black metal, Bergfried forges something entirely different—a rock opera. Does Bergfried’s take on the style breathe new life into a tale as old as time, or would it have been kinder to leave it in the past?

If The Dark Crystal and Star Wars-inspired album art doesn’t clue you in, 80s vibes radiate throughout Romantik III, but not in the way I initially expected. Advance single “Queen of the Dead” sizzles with its Smouldering good hooks. Upon hearing it the first time, the promise of polished steel, bulging breastplates, and synth-laden heavy metal really rattled my saber. Listening through the entire album, however, reveals an altogether different beast. Lead track “Dark Wings” takes off with a riff that could easily nestle into The Cult’s Love, and it doesn’t take long to realize that Romantik III doesn’t follow the boot-trodden, retro heavy metal path of Eternal Champion or Blood Star. Instead, Bergfried’s platter favors an intersection of Meatloaf (“Dark Wings”) and Pat Benatar (“Fallen from Grace”).

Romantik III’s success hinges on Anna de Savoy’s performance, and she mostly triumphs alongside von Lothringen and various guests.4 Never satisfied to linger on one sound for too long, Bergfried bears a handful of ballads (“For the Cursed,” “Star-Crossed Love”), 80s pop rock anthems (“Dark Wings,” “Tears of a Thousand Years”), and a touch of pop punk à la Blink-182 (“Serenades,” after the unadorned piano-ballad intro). Throughout the album, Anna de Savoy brandishes her voice to carry the story forward, harnessing an earnest, commanding presence. Unfortunately, her voice falters on a few occasions (the pre-chorus of “Tears of a Thousand Years,” for example), undermining an otherwise tremendous display of heartfelt conviction. The music supports her effectively, with rollicking guitar, synth, and bass undergirding the tale Anna spins without ever pulling attention away from her for too long. The guitar solos warrant praise as well,5 expanding Romantik III’s sonic range with snappy licks and quicker paces to keep things moving.

An organic mix and slick diversity pervade Romantik III’s nine tracks, preventing Bergfried from getting too mired in morose exposition. That said, some of the slower moments undercut the momentum built by preceding ones. In particular, the transition from “Gates of Fate” to “Serenades” dampens impact. The former is a rousing track that yields to a minute-long piano and vocal passage. “Serenades” eventually picks up, but by then the energy has stalled and requires a jump-start. The same issue recurs between “Tears of a Thousand Years” and “Star-Crossed Love.” Ballads can offer moments to expound on important story elements without distraction, and can also be an effective mechanism to control pace. What works against Bergfried in Romantik III, though, is that the best moments are the upbeat ones. Still, the individual track lengths are concise, and an easy-to-digest, forty-four-minute runtime makes replays easy. The mix and master are also perfectly suited to the 80s atmosphere, with bouncy bass and natural drums recalling production predating loudness wars and digitally-enhanced perfection.

Bergfried’s Romantik III does something many bands struggle with by creating a unique vision and sound that leans heavily on influences without aping them. With further refinement, their next project could be something fabulous, but for the time being Bergfried has bestowed listeners with an intriguing and offbeat album. I enjoyed my time with it, yet I’m not sure I’ll return to the Romatik series often. Given the talent and care that went into crafting it, though, I’ll be acutely attuned to whatever adventure these romantiks embark on next.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

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lo-fi death metal beats to touse and seduce to

https://youtube.com/watch?v=pHV0AHU85co — #belphegor #belphegorband #austrianmetal #austrianblackmetal #blackmetal #deathmetal #helmut (0:23)