#badreligion — Public Fediverse posts

https://www.europesays.com/uk/961601/ Arroganz – Death Doom Punks Review #2026 #35 #Arroganz #BadReligion #BlackFlag #CasketsOpen #Death #DeathDoomPunks #DeathMetal #Descendants #Discharge #DoomMetal #Entertainment #GermanMetal #GreenDay #Immolation #May26 #music #Pantera #Punk #Review #Reviews #RiseAgainst #SocialDistortion #TestimonyRecords #UK #UnitedKingdom

Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?

Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.

That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.

Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.

Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026

Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?

Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.

That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.

Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.

Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026

Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?

Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.

That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.

Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.

Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026

Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?

Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.

That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.

Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.

Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026

Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?

Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.

That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.

Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.

Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026

·· azkenak airean - last broadcast ··

bad religion
inepsy
analrevolt
pixamandurries

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#badreligion #inepsy #analrevolt #pixamandurries #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

bad religion
inepsy
analrevolt
pixamandurries

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#badreligion #inepsy #analrevolt #pixamandurries #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

bad religion
inepsy
analrevolt
pixamandurries

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#badreligion #inepsy #analrevolt #pixamandurries #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

bad religion
inepsy
analrevolt
pixamandurries

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#badreligion #inepsy #analrevolt #pixamandurries #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

bad religion
inepsy
analrevolt
pixamandurries

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#badreligion #inepsy #analrevolt #pixamandurries #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

bad religion
fregatura
empire down
the squats

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#badreligion #fregatura #empiredown #thesquats #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

Rockout 2026 en Estadio Santa Laura: Una descarga de ruido y resistencia | vía #ZumbidoCL

https://zumbido.cl/rockout-2026-en-estadio-santa-laura-una-descarga-de-ruido-y-resistencia/

#2minutos #animal #badreligion #estadiosantalaura #eternainocencia #evaristo #lavelapuerca #livereview #loskk #machuca #manodeobra #nonservium #rockout #soziedadalkoholika #tenemosexplosivos #transistor

Rockout 2026 en Estadio Santa Laura: Una descarga de ruido y resistencia | vía #ZumbidoCL

https://zumbido.cl/rockout-2026-en-estadio-santa-laura-una-descarga-de-ruido-y-resistencia/

#2minutos #animal #badreligion #estadiosantalaura #eternainocencia #evaristo #lavelapuerca #livereview #loskk #machuca #manodeobra #nonservium #rockout #soziedadalkoholika #tenemosexplosivos #transistor

🇺🇦 #NowPlaying on #KEXP's #SonicReducer

Bad Religion:
🎵 Fuck Armageddon

#BadReligion

https://greaseland.bandcamp.com/track/fuck-armageddon-bad-religion

https://open.spotify.com/track/2WUJDRIoViFs5RYclM6gT0

I'm old enough to remember when American Jesus was written as satire.

#AmericanJesus #Trump #BadReligion #punk #music #politics #religionEDU

https://youtu.be/12kcpP-8jfM?si=Y0bmdyiPLo_shi64

#AWalk #BadReligion I was going for a walk, I‘m back. #music #hardcore #punk m.youtube.com/watch?v=6v-A...

Bad Religion - "A Walk"

Tired? Irritable? Prone to bouts of melancholy that leave you feeling listless and unfocused, particularly as the weather changes? It could be seasonal affective disorder, but these symptoms can also typify a diet deficient in vitamin R(iff). If it’s the latter, Hellripper’s Coronach practically hemorrhages the cure for what ails you, parading pulse-pounding riffs, blistering solos, and enthralling grooves with palliative nonchalance. Unleashing Hellripper’s fourth album in under a decade, architect and sole member James McBain maintains a tried-and-true release schedule and, more importantly, a steady evolution of sophisticated songwriting that’s as compelling as it is emboldening. I won’t mince words—Coronach is an undeniable corker and succeeds as Hellripper’s greatest triumph to date. So run down to your local or digital dealer and grab some Coronach posthaste!

Expanding on the achievements of Hellripper’s previous albums, Coronach harnesses the charm of earlier releases and injects them with a lethal dose of vitality. Back in 2017, debut Coagulating Darkness bled its influences on its sleeve, from riffs dripping with warp-speed Venom to the guitar lead from “Bastard of Hades” pulled straight from Metallica’s “Hit the Lights.” The Affair of the Poisons shaped Hellripper’s identity with flurries of licks that, while still laced with influences, exuded a welcome dimension of originality. Three years ago, Warlocks Grim & Withered Hags’ introduced knotted, longer-form compositions that pushed out the runtime while augmenting Hellripper’s arsenal of aural ammunition. With Coronach, Hellripper strikes a balance between the lengthier arrangements of Warlocks and the breakneck blackened bangers of yore, amplified by stellar performances throughout.

Coronach (24-bit HD audio) by Hellripper

Coronach overflows with electrifying instrumentation, and while McBain supplies most of Hellripper’s sonic ingredients, a few guests further enrich its proceedings. Searing leads and scorching solos set Coronach’s eight tracks aflame, boasting some of the hookiest guitar-playing I’ve heard this year. “Hunderprest” and “Blakk Satanik Fvkkstorm” crackle with flashy fretwork, buoyed by longtime six-string contributor Joseph Quinlan (Desert Heretic). Similarly, “Kinchyle (Goatkraft and Granite)” rumbles with snappy Motörheadstrong riffs before an acoustic guitar cuts in to transition the song into slinky grooves and heavy half-times. After some interplay, the pace ramps back up to close out on the intro riff. Hellripper has never lacked for earworms, yet Coronach unveils a mature understanding of dynamic songwriting that endows depth and complexity while never sounding forced or unnatural. Besides Quinlan, Jess Townsend contributes violin on “Baobhan Sith (Waltz of the Damned),” while singer Marianne returns to lend her vocals on a few tracks and Antonio Rodriguez reprises the bagpipes on closer “Coronach.” Vacuous’s Max Southall even bestows some percussive flair on “Mortercheyn.” Between himself and the talented musicians he’s assembled, it’s clear that while McBain is comfortable with his supporting cast, he’s determined not to put out the same album twice.

What impresses me most with Coronach is that McBain manages to broaden Hellripper’s auditory palette without ever losing the band’s core identity. “Hunderprest” and “Coronach” brim with the band’s trademark rippin’ riffs, yet the solos recall southern rock shredding à la Lynyrd Skynyrd or The Outlaws played at one-and-a-half speed. “Sculptor’s Cave,” meanwhile, channels what El Cuervo affectionately dubbed ‘Motörhead on cocaine’ energy during its “Rock ‘n’ Roll”-informed solo. A pervasive punk attitude also shimmers beneath the surface of Coronach, where the unadorned guitar refrains from “Kinchyle (Goatkraft and Granite),” “Sculptor’s Cave,” and “Mortercheyn” evoke more technical versions of Bad Religion and The Offspring. Tying it all together and allowing the myriad influences to coalesce, the mix ensures this is the best Hellripper has sounded, retaining their raw edge while dialing back the ‘everything louder than everything else’ approach that afflicted past albums—The Affair of the Poisons in particular.

Doubtlessly, Hellripper has dropped their finest release so far with Coronach, though a few small adjustments could have boosted it to undisputed excellence. “Baobhan Sith (Waltz of the Damned)” runs a tad too long, and although I like “Mortercheyn,” it doesn’t quite live up to the heights of the other tracks. Even so, I unapologetically return to Coronach again and again with no signs of slowing down. Just remember—Coronach must be taken while driving or operating heavy machinery. If lethargy creeps in or your mouth runs dry from a chronic deficit of Vitamin R, just take one to two doses of Coronach (by ear) and wait for Hellripper’s restorative fix to kick in.1

Rating: Great!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Tired? Irritable? Prone to bouts of melancholy that leave you feeling listless and unfocused, particularly as the weather changes? It could be seasonal affective disorder, but these symptoms can also typify a diet deficient in vitamin R(iff). If it’s the latter, Hellripper’s Coronach practically hemorrhages the cure for what ails you, parading pulse-pounding riffs, blistering solos, and enthralling grooves with palliative nonchalance. Unleashing Hellripper’s fourth album in under a decade, architect and sole member James McBain maintains a tried-and-true release schedule and, more importantly, a steady evolution of sophisticated songwriting that’s as compelling as it is emboldening. I won’t mince words—Coronach is an undeniable corker and succeeds as Hellripper’s greatest triumph to date. So run down to your local or digital dealer and grab some Coronach posthaste!

Expanding on the achievements of Hellripper’s previous albums, Coronach harnesses the charm of earlier releases and injects them with a lethal dose of vitality. Back in 2017, debut Coagulating Darkness bled its influences on its sleeve, from riffs dripping with warp-speed Venom to the guitar lead from “Bastard of Hades” pulled straight from Metallica’s “Hit the Lights.” The Affair of the Poisons shaped Hellripper’s identity with flurries of licks that, while still laced with influences, exuded a welcome dimension of originality. Three years ago, Warlocks Grim & Withered Hags’ introduced knotted, longer-form compositions that pushed out the runtime while augmenting Hellripper’s arsenal of aural ammunition. With Coronach, Hellripper strikes a balance between the lengthier arrangements of Warlocks and the breakneck blackened bangers of yore, amplified by stellar performances throughout.

Coronach (24-bit HD audio) by Hellripper

Coronach overflows with electrifying instrumentation, and while McBain supplies most of Hellripper’s sonic ingredients, a few guests further enrich its proceedings. Searing leads and scorching solos set Coronach’s eight tracks aflame, boasting some of the hookiest guitar-playing I’ve heard this year. “Hunderprest” and “Blakk Satanik Fvkkstorm” crackle with flashy fretwork, buoyed by longtime six-string contributor Joseph Quinlan (Desert Heretic). Similarly, “Kinchyle (Goatkraft and Granite)” rumbles with snappy Motörheadstrong riffs before an acoustic guitar cuts in to transition the song into slinky grooves and heavy half-times. After some interplay, the pace ramps back up to close out on the intro riff. Hellripper has never lacked for earworms, yet Coronach unveils a mature understanding of dynamic songwriting that endows depth and complexity while never sounding forced or unnatural. Besides Quinlan, Jess Townsend contributes violin on “Baobhan Sith (Waltz of the Damned),” while singer Marianne returns to lend her vocals on a few tracks and Antonio Rodriguez reprises the bagpipes on closer “Coronach.” Vacuous’s Max Southall even bestows some percussive flair on “Mortercheyn.” Between himself and the talented musicians he’s assembled, it’s clear that while McBain is comfortable with his supporting cast, he’s determined not to put out the same album twice.

What impresses me most with Coronach is that McBain manages to broaden Hellripper’s auditory palette without ever losing the band’s core identity. “Hunderprest” and “Coronach” brim with the band’s trademark rippin’ riffs, yet the solos recall southern rock shredding à la Lynyrd Skynyrd or The Outlaws played at one-and-a-half speed. “Sculptor’s Cave,” meanwhile, channels what El Cuervo affectionately dubbed ‘Motörhead on cocaine’ energy during its “Rock ‘n’ Roll”-informed solo. A pervasive punk attitude also shimmers beneath the surface of Coronach, where the unadorned guitar refrains from “Kinchyle (Goatkraft and Granite),” “Sculptor’s Cave,” and “Mortercheyn” evoke more technical versions of Bad Religion and The Offspring. Tying it all together and allowing the myriad influences to coalesce, the mix ensures this is the best Hellripper has sounded, retaining their raw edge while dialing back the ‘everything louder than everything else’ approach that afflicted past albums—The Affair of the Poisons in particular.

Doubtlessly, Hellripper has dropped their finest release so far with Coronach, though a few small adjustments could have boosted it to undisputed excellence. “Baobhan Sith (Waltz of the Damned)” runs a tad too long, and although I like “Mortercheyn,” it doesn’t quite live up to the heights of the other tracks. Even so, I unapologetically return to Coronach again and again with no signs of slowing down. Just remember—Coronach must be taken while driving or operating heavy machinery. If lethargy creeps in or your mouth runs dry from a chronic deficit of Vitamin R, just take one to two doses of Coronach (by ear) and wait for Hellripper’s restorative fix to kick in.1

Rating: Great!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Tired? Irritable? Prone to bouts of melancholy that leave you feeling listless and unfocused, particularly as the weather changes? It could be seasonal affective disorder, but these symptoms can also typify a diet deficient in vitamin R(iff). If it’s the latter, Hellripper’s Coronach practically hemorrhages the cure for what ails you, parading pulse-pounding riffs, blistering solos, and enthralling grooves with palliative nonchalance. Unleashing Hellripper’s fourth album in under a decade, architect and sole member James McBain maintains a tried-and-true release schedule and, more importantly, a steady evolution of sophisticated songwriting that’s as compelling as it is emboldening. I won’t mince words—Coronach is an undeniable corker and succeeds as Hellripper’s greatest triumph to date. So run down to your local or digital dealer and grab some Coronach posthaste!

Expanding on the achievements of Hellripper’s previous albums, Coronach harnesses the charm of earlier releases and injects them with a lethal dose of vitality. Back in 2017, debut Coagulating Darkness bled its influences on its sleeve, from riffs dripping with warp-speed Venom to the guitar lead from “Bastard of Hades” pulled straight from Metallica’s “Hit the Lights.” The Affair of the Poisons shaped Hellripper’s identity with flurries of licks that, while still laced with influences, exuded a welcome dimension of originality. Three years ago, Warlocks Grim & Withered Hags’ introduced knotted, longer-form compositions that pushed out the runtime while augmenting Hellripper’s arsenal of aural ammunition. With Coronach, Hellripper strikes a balance between the lengthier arrangements of Warlocks and the breakneck blackened bangers of yore, amplified by stellar performances throughout.

Coronach (24-bit HD audio) by Hellripper

Coronach overflows with electrifying instrumentation, and while McBain supplies most of Hellripper’s sonic ingredients, a few guests further enrich its proceedings. Searing leads and scorching solos set Coronach’s eight tracks aflame, boasting some of the hookiest guitar-playing I’ve heard this year. “Hunderprest” and “Blakk Satanik Fvkkstorm” crackle with flashy fretwork, buoyed by longtime six-string contributor Joseph Quinlan (Desert Heretic). Similarly, “Kinchyle (Goatkraft and Granite)” rumbles with snappy Motörheadstrong riffs before an acoustic guitar cuts in to transition the song into slinky grooves and heavy half-times. After some interplay, the pace ramps back up to close out on the intro riff. Hellripper has never lacked for earworms, yet Coronach unveils a mature understanding of dynamic songwriting that endows depth and complexity while never sounding forced or unnatural. Besides Quinlan, Jess Townsend contributes violin on “Baobhan Sith (Waltz of the Damned),” while singer Marianne returns to lend her vocals on a few tracks and Antonio Rodriguez reprises the bagpipes on closer “Coronach.” Vacuous’s Max Southall even bestows some percussive flair on “Mortercheyn.” Between himself and the talented musicians he’s assembled, it’s clear that while McBain is comfortable with his supporting cast, he’s determined not to put out the same album twice.

What impresses me most with Coronach is that McBain manages to broaden Hellripper’s auditory palette without ever losing the band’s core identity. “Hunderprest” and “Coronach” brim with the band’s trademark rippin’ riffs, yet the solos recall southern rock shredding à la Lynyrd Skynyrd or The Outlaws played at one-and-a-half speed. “Sculptor’s Cave,” meanwhile, channels what El Cuervo affectionately dubbed ‘Motörhead on cocaine’ energy during its “Rock ‘n’ Roll”-informed solo. A pervasive punk attitude also shimmers beneath the surface of Coronach, where the unadorned guitar refrains from “Kinchyle (Goatkraft and Granite),” “Sculptor’s Cave,” and “Mortercheyn” evoke more technical versions of Bad Religion and The Offspring. Tying it all together and allowing the myriad influences to coalesce, the mix ensures this is the best Hellripper has sounded, retaining their raw edge while dialing back the ‘everything louder than everything else’ approach that afflicted past albums—The Affair of the Poisons in particular.

Doubtlessly, Hellripper has dropped their finest release so far with Coronach, though a few small adjustments could have boosted it to undisputed excellence. “Baobhan Sith (Waltz of the Damned)” runs a tad too long, and although I like “Mortercheyn,” it doesn’t quite live up to the heights of the other tracks. Even so, I unapologetically return to Coronach again and again with no signs of slowing down. Just remember—Coronach must be taken while driving or operating heavy machinery. If lethargy creeps in or your mouth runs dry from a chronic deficit of Vitamin R, just take one to two doses of Coronach (by ear) and wait for Hellripper’s restorative fix to kick in.1

Rating: Great!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Tired? Irritable? Prone to bouts of melancholy that leave you feeling listless and unfocused, particularly as the weather changes? It could be seasonal affective disorder, but these symptoms can also typify a diet deficient in vitamin R(iff). If it’s the latter, Hellripper’s Coronach practically hemorrhages the cure for what ails you, parading pulse-pounding riffs, blistering solos, and enthralling grooves with palliative nonchalance. Unleashing Hellripper’s fourth album in under a decade, architect and sole member James McBain maintains a tried-and-true release schedule and, more importantly, a steady evolution of sophisticated songwriting that’s as compelling as it is emboldening. I won’t mince words—Coronach is an undeniable corker and succeeds as Hellripper’s greatest triumph to date. So run down to your local or digital dealer and grab some Coronach posthaste!

Expanding on the achievements of Hellripper’s previous albums, Coronach harnesses the charm of earlier releases and injects them with a lethal dose of vitality. Back in 2017, debut Coagulating Darkness bled its influences on its sleeve, from riffs dripping with warp-speed Venom to the guitar lead from “Bastard of Hades” pulled straight from Metallica’s “Hit the Lights.” The Affair of the Poisons shaped Hellripper’s identity with flurries of licks that, while still laced with influences, exuded a welcome dimension of originality. Three years ago, Warlocks Grim & Withered Hags’ introduced knotted, longer-form compositions that pushed out the runtime while augmenting Hellripper’s arsenal of aural ammunition. With Coronach, Hellripper strikes a balance between the lengthier arrangements of Warlocks and the breakneck blackened bangers of yore, amplified by stellar performances throughout.

Coronach (24-bit HD audio) by Hellripper

Coronach overflows with electrifying instrumentation, and while McBain supplies most of Hellripper’s sonic ingredients, a few guests further enrich its proceedings. Searing leads and scorching solos set Coronach’s eight tracks aflame, boasting some of the hookiest guitar-playing I’ve heard this year. “Hunderprest” and “Blakk Satanik Fvkkstorm” crackle with flashy fretwork, buoyed by longtime six-string contributor Joseph Quinlan (Desert Heretic). Similarly, “Kinchyle (Goatkraft and Granite)” rumbles with snappy Motörheadstrong riffs before an acoustic guitar cuts in to transition the song into slinky grooves and heavy half-times. After some interplay, the pace ramps back up to close out on the intro riff. Hellripper has never lacked for earworms, yet Coronach unveils a mature understanding of dynamic songwriting that endows depth and complexity while never sounding forced or unnatural. Besides Quinlan, Jess Townsend contributes violin on “Baobhan Sith (Waltz of the Damned),” while singer Marianne returns to lend her vocals on a few tracks and Antonio Rodriguez reprises the bagpipes on closer “Coronach.” Vacuous’s Max Southall even bestows some percussive flair on “Mortercheyn.” Between himself and the talented musicians he’s assembled, it’s clear that while McBain is comfortable with his supporting cast, he’s determined not to put out the same album twice.

What impresses me most with Coronach is that McBain manages to broaden Hellripper’s auditory palette without ever losing the band’s core identity. “Hunderprest” and “Coronach” brim with the band’s trademark rippin’ riffs, yet the solos recall southern rock shredding à la Lynyrd Skynyrd or The Outlaws played at one-and-a-half speed. “Sculptor’s Cave,” meanwhile, channels what El Cuervo affectionately dubbed ‘Motörhead on cocaine’ energy during its “Rock ‘n’ Roll”-informed solo. A pervasive punk attitude also shimmers beneath the surface of Coronach, where the unadorned guitar refrains from “Kinchyle (Goatkraft and Granite),” “Sculptor’s Cave,” and “Mortercheyn” evoke more technical versions of Bad Religion and The Offspring. Tying it all together and allowing the myriad influences to coalesce, the mix ensures this is the best Hellripper has sounded, retaining their raw edge while dialing back the ‘everything louder than everything else’ approach that afflicted past albums—The Affair of the Poisons in particular.

Doubtlessly, Hellripper has dropped their finest release so far with Coronach, though a few small adjustments could have boosted it to undisputed excellence. “Baobhan Sith (Waltz of the Damned)” runs a tad too long, and although I like “Mortercheyn,” it doesn’t quite live up to the heights of the other tracks. Even so, I unapologetically return to Coronach again and again with no signs of slowing down. Just remember—Coronach must be taken while driving or operating heavy machinery. If lethargy creeps in or your mouth runs dry from a chronic deficit of Vitamin R, just take one to two doses of Coronach (by ear) and wait for Hellripper’s restorative fix to kick in.1

Rating: Great!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Tired? Irritable? Prone to bouts of melancholy that leave you feeling listless and unfocused, particularly as the weather changes? It could be seasonal affective disorder, but these symptoms can also typify a diet deficient in vitamin R(iff). If it’s the latter, Hellripper’s Coronach practically hemorrhages the cure for what ails you, parading pulse-pounding riffs, blistering solos, and enthralling grooves with palliative nonchalance. Unleashing Hellripper’s fourth album in under a decade, architect and sole member James McBain maintains a tried-and-true release schedule and, more importantly, a steady evolution of sophisticated songwriting that’s as compelling as it is emboldening. I won’t mince words—Coronach is an undeniable corker and succeeds as Hellripper’s greatest triumph to date. So run down to your local or digital dealer and grab some Coronach posthaste!

Expanding on the achievements of Hellripper’s previous albums, Coronach harnesses the charm of earlier releases and injects them with a lethal dose of vitality. Back in 2017, debut Coagulating Darkness bled its influences on its sleeve, from riffs dripping with warp-speed Venom to the guitar lead from “Bastard of Hades” pulled straight from Metallica’s “Hit the Lights.” The Affair of the Poisons shaped Hellripper’s identity with flurries of licks that, while still laced with influences, exuded a welcome dimension of originality. Three years ago, Warlocks Grim & Withered Hags’ introduced knotted, longer-form compositions that pushed out the runtime while augmenting Hellripper’s arsenal of aural ammunition. With Coronach, Hellripper strikes a balance between the lengthier arrangements of Warlocks and the breakneck blackened bangers of yore, amplified by stellar performances throughout.

Coronach (24-bit HD audio) by Hellripper

Coronach overflows with electrifying instrumentation, and while McBain supplies most of Hellripper’s sonic ingredients, a few guests further enrich its proceedings. Searing leads and scorching solos set Coronach’s eight tracks aflame, boasting some of the hookiest guitar-playing I’ve heard this year. “Hunderprest” and “Blakk Satanik Fvkkstorm” crackle with flashy fretwork, buoyed by longtime six-string contributor Joseph Quinlan (Desert Heretic). Similarly, “Kinchyle (Goatkraft and Granite)” rumbles with snappy Motörheadstrong riffs before an acoustic guitar cuts in to transition the song into slinky grooves and heavy half-times. After some interplay, the pace ramps back up to close out on the intro riff. Hellripper has never lacked for earworms, yet Coronach unveils a mature understanding of dynamic songwriting that endows depth and complexity while never sounding forced or unnatural. Besides Quinlan, Jess Townsend contributes violin on “Baobhan Sith (Waltz of the Damned),” while singer Marianne returns to lend her vocals on a few tracks and Antonio Rodriguez reprises the bagpipes on closer “Coronach.” Vacuous’s Max Southall even bestows some percussive flair on “Mortercheyn.” Between himself and the talented musicians he’s assembled, it’s clear that while McBain is comfortable with his supporting cast, he’s determined not to put out the same album twice.

What impresses me most with Coronach is that McBain manages to broaden Hellripper’s auditory palette without ever losing the band’s core identity. “Hunderprest” and “Coronach” brim with the band’s trademark rippin’ riffs, yet the solos recall southern rock shredding à la Lynyrd Skynyrd or The Outlaws played at one-and-a-half speed. “Sculptor’s Cave,” meanwhile, channels what El Cuervo affectionately dubbed ‘Motörhead on cocaine’ energy during its “Rock ‘n’ Roll”-informed solo. A pervasive punk attitude also shimmers beneath the surface of Coronach, where the unadorned guitar refrains from “Kinchyle (Goatkraft and Granite),” “Sculptor’s Cave,” and “Mortercheyn” evoke more technical versions of Bad Religion and The Offspring. Tying it all together and allowing the myriad influences to coalesce, the mix ensures this is the best Hellripper has sounded, retaining their raw edge while dialing back the ‘everything louder than everything else’ approach that afflicted past albums—The Affair of the Poisons in particular.

Doubtlessly, Hellripper has dropped their finest release so far with Coronach, though a few small adjustments could have boosted it to undisputed excellence. “Baobhan Sith (Waltz of the Damned)” runs a tad too long, and although I like “Mortercheyn,” it doesn’t quite live up to the heights of the other tracks. Even so, I unapologetically return to Coronach again and again with no signs of slowing down. Just remember—Coronach must be taken while driving or operating heavy machinery. If lethargy creeps in or your mouth runs dry from a chronic deficit of Vitamin R, just take one to two doses of Coronach (by ear) and wait for Hellripper’s restorative fix to kick in.1

Rating: Great!!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

silently beset by the hands of time, indelicate in its fury

https://www.youtube.com/watch?v=S01MnOAPh1M

#BadReligion #punk #music #ThrowbackThursday #NowPlaying

@peterdrake 'ratiocination' in Beyond Electric Dreams by #BadReligion

not quite pop but its punk and theyve been around as long as any act

#TuneTuesday this week is #RobinHood, so we're breaking out the Bad Religion

https://youtu.be/oiS_NbSVK3w

#punk #PunkRock #BadReligion

·· azkenak airean - last broadcast ··

rebeld punk
bad religion
chaos uk
fun people

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#rebeldpunk #badreligion #chaosuk #funpeople #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

rebeld punk
bad religion
chaos uk
fun people

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#rebeldpunk #badreligion #chaosuk #funpeople #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

rebeld punk
bad religion
chaos uk
fun people

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#rebeldpunk #badreligion #chaosuk #funpeople #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

rebeld punk
bad religion
chaos uk
fun people

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#rebeldpunk #badreligion #chaosuk #funpeople #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

rebeld punk
bad religion
chaos uk
fun people

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#rebeldpunk #badreligion #chaosuk #funpeople #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

Rockout Festival anuncia primeros invitados para su nueva edición | vía #HyperMusicaCL

https://hypermusica.cl/rockout-festival-anuncia-primeros-invitados-para-su-nueva-edicion/

#badreligion #doyle #envivo #eternainocencia #evaristo #prensatransistor #rockout #tenemosexplosivos

Rockout Festival anuncia primeros invitados para su nueva edición | vía #HyperMusicaCL

https://hypermusica.cl/rockout-festival-anuncia-primeros-invitados-para-su-nueva-edicion/

#badreligion #doyle #envivo #eternainocencia #evaristo #prensatransistor #rockout #tenemosexplosivos

Bad Religion – 'Christmas Songs' Yule Log Livestream - https://www.youtube.com/live/7G1twbzh2r4?si=LD8lT3KTsA3lRmTB #BadReligion #ChristmasSongs #YuleLog #Livestream #EpitaphRecords #epitaph #music #MusicStream #AtheistPeace

Bad Religion – 'Christmas Songs' Yule Log Livestream - https://www.youtube.com/live/7G1twbzh2r4?si=LD8lT3KTsA3lRmTB #BadReligion #ChristmasSongs #YuleLog #Livestream #EpitaphRecords #epitaph #music #MusicStream #AtheistPeace

Bad Religion – 'Christmas Songs' Yule Log Livestream - https://www.youtube.com/live/7G1twbzh2r4?si=LD8lT3KTsA3lRmTB #BadReligion #ChristmasSongs #YuleLog #Livestream #EpitaphRecords #epitaph #music #MusicStream #AtheistPeace

Bad Religion – 'Christmas Songs' Yule Log Livestream - https://www.youtube.com/live/7G1twbzh2r4?si=LD8lT3KTsA3lRmTB #BadReligion #ChristmasSongs #YuleLog #Livestream #EpitaphRecords #epitaph #music #MusicStream #AtheistPeace

Bad Religion – 'Christmas Songs' Yule Log Livestream - https://www.youtube.com/live/7G1twbzh2r4?si=LD8lT3KTsA3lRmTB #BadReligion #ChristmasSongs #YuleLog #Livestream #EpitaphRecords #epitaph #music #MusicStream #AtheistPeace

No necesito excusas para escuchar Bad Religion, pero en esta fecha es tradición escuchar este disco de Bad Religion...

#BadReligion #ChristmasSongs

Chatting with Brian Baker (Bad Religion, Minor Threat, Dag Nasty, so many more) about his new photography book, The Road

https://dyingscene.com/ds-interview-brian-baker-on-his-new-photography-book-the-road/

#music #books #photography #BrianBaker #MinirThreat #BadReligion #DagNasty

What musical artists do you associate with your coming of age or teen years? #Megadeth #Eurythmics #TheYoungGods #Fugazi #FieldsoftheNephilim #EA80 #SPK #BadReligion #AlienSexFiend #Slayer #Candlemass #ManillaRoad #Venom #Danzig #DeadKennedys #Misfits #Conflict #Boxhamsters #FaithNoMore #Nirvana

What musical artists do you associate with your coming of age or teen years? #Megadeth #Eurythmics #TheYoungGods #Fugazi #FieldsoftheNephilim #EA80 #SPK #BadReligion #AlienSexFiend #Slayer #Candlemass #ManillaRoad #Venom #Danzig #DeadKennedys #Misfits #Conflict #Boxhamsters #FaithNoMore #Nirvana

What musical artists do you associate with your coming of age or teen years? #Megadeth #Eurythmics #TheYoungGods #Fugazi #FieldsoftheNephilim #EA80 #SPK #BadReligion #AlienSexFiend #Slayer #Candlemass #ManillaRoad #Venom #Danzig #DeadKennedys #Misfits #Conflict #Boxhamsters #FaithNoMore #Nirvana

More relevant than it ever has been! - Bad Religion - American Jesus - https://youtu.be/12kcpP-8jfM?si=tWAIwQ3WDcSbEJ6t #BadReligion #ChristianNationalism #AmericanJesus #music #PunkRock #AtheistPeace

·· azkenak airean - last broadcast ··

loquero
bad religion
antiseen
the anti-patiks

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#loquero #badreligion #antiseen #theanti-patiks #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

Månegarm – Edsvuren Review

By Angry Metal Guy

Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.

Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.

When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.

Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.

The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.

Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.

Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025

#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal

Månegarm – Edsvuren Review

By Angry Metal Guy

Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.

Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.

When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.

Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.

The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.

Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.

Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025

#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal

Månegarm – Edsvuren Review

By Angry Metal Guy

Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.

Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.

When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.

Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.

The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.

Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.

Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025

#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal

Månegarm – Edsvuren Review

By Angry Metal Guy

Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.

Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.

When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.

Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.

The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.

Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.

Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025

#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal

Suffer - Bad Religion ⤵️

#punk #punks #punkrock #badreligion #suffer #history #punkrockhistory

Released in 1994 on the album with the same name, Bad Religion's Stranger Than Fiction, like most of their songs, is incredibly relevant over 20 years later.

Life is the crummiest book I ever read, there isn't a hook, just a lot of cheap shots, pictures to shock and characters an amateur would never dream up. Sometimes truth is stranger than fiction

https://www.youtube.com/watch?v=L9c1CEhcBmE

#BadReligion #StrangerThanFiction