#battlebeast — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #battlebeast, aggregated by home.social.
-
Invincible Universe: Battle Beast #9 Review: The Most Savage Showdown Yet https://comicbookaddicts.com/2026/04/invincible-universe-battle-beast-9-review-news/?utm_source=dlvr.it&utm_medium=mastodon #InvincibleUniverse #BattleBeast #ComicBookReview #Skybound #ComicBooks
-
Skybound releases ‘Invincible Universe: Battle Beast’ #9 preview
Stand Ready for His Arrival, Worm! Skybound Shares First Look at ‘Invincible Universe: Battle Beast’ #9 !
https://aiptcomics.com/2026/04/23/skybound-releases-invincible-universe-battle-beast-9-preview/ -
Skybound releases ‘Invincible Universe: Battle Beast’ #9 preview
Stand Ready for His Arrival, Worm! Skybound Shares First Look at ‘Invincible Universe: Battle Beast’ #9 !
https://aiptcomics.com/2026/04/23/skybound-releases-invincible-universe-battle-beast-9-preview/ -
Skybound releases ‘Invincible Universe: Battle Beast’ #9 preview
Stand Ready for His Arrival, Worm! Skybound Shares First Look at ‘Invincible Universe: Battle Beast’ #9 !
https://aiptcomics.com/2026/04/23/skybound-releases-invincible-universe-battle-beast-9-preview/ -
Skybound releases ‘Invincible Universe: Battle Beast’ #9 preview
Stand Ready for His Arrival, Worm! Skybound Shares First Look at ‘Invincible Universe: Battle Beast’ #9 !
https://aiptcomics.com/2026/04/23/skybound-releases-invincible-universe-battle-beast-9-preview/ -
https://www.europesays.com/es/436495/ Vídeos de BATTLE BEAST con su nueva cantante. Fecha y título para el disco de MOONSPELL. GREAT WHITE al estudio. Vídeo de DARWIN. #BATTLEBEAST #DARWIN #Entertainment #Entretenimiento #ES #España #GREATWHITE #MOONSPELL #Music #Música #Spain
-
https://www.europesays.com/es/294872/ Vídeos en directo de METALLICA. Vídeo de la última actuación de Noora Louhimo con BATTLE BEAST. Fechas de ASPHYX. #ASPHYX #BATTLEBEAST #Entertainment #Entretenimiento #ES #España #Metallica #Music #Música #Spain
-
Bloodbound – Field of Swords Review
By Baguette of Bodom
Bloodbound has always been a band with a confusing identity. These Swedes lit up a storm with debut Nosferatu in 2006, an underappreciated heavy/power gem fusing the best of Iron Maiden’s gallops with the hooks of Helloween and HammerFall. The golden pipes of Urban Breed (ex-Tad Morose) were the cherry on top. However, the curse of unstable lineups would strike. Urban Breed would leave for one album, rejoin for the odd-but-good, progpower-meets-Kalmah melodeath sound of Tabula Rasa, and promptly leave again. A decade of struggles followed, ranging from watered-down HammerFall to withered Sabaton to simply tepid heavy metal. 2021’s Creatures of the Dark Realm was a surprising resurgence, drifting Bloodbound more towards saccharine Europower. This brings us to newcomer Field of Swords. Where does it fit into this unconventional discography?
Field of Swords doubles down on Bloodbound’s recent melodic adventures. The double bass drumming of ’90s power metal is immediately recognizable, following in the steps of Stratovarius and HammerFall. The guitar work, too, has rejuvenated. Gone are almost all of the Sabatonisms that marred some of the band’s lowest points; here, the Olsson brothers’ rhythmic assault is simple but effective (“As Empires Fall,” “Born to Be King”), and its attitude carries the medieval fantasy spirit of [Luca Turilli(‘s) / Lione] Rhapsody [of Fire] minus the wank. The vocals of Patrik J. Selleby fit this style like a glove, his adapted performance being one of the strongest of his tenure thus far.
Bloodbound’s newfound breakneck pace and consistency are their greatest assets. The decision to go borderline sparkly on Field of Swords could have backfired, marking yet another sudden left turn in a discography full of them. Instead, it feels like a natural development from the past three albums. While the album on the surface is written like standard ’90s–’00s melodic power metal (“Field of Swords”), the execution of classic power chord choruses leading into blazing solos (“The Code of Warriors,” “Forged in Iron”) is surprisingly fiery and fun. Most importantly, Field of Swords forgoes balladry and prioritizes speed for a lion’s share of its 45-minute runtime. The record has a unified image unusual of Bloodbound. It’s not infallible—the unnecessary Sabaton sing-along stomp rears its head on the second half of “Pain and Glory”—but it is tightly-knit in a way I greatly appreciate.
As catchy as Field of Swords is, there are a few things preventing it from being a resounding success. For one, Bloodbound rely too much on one-note Battle Beastian disco synths. While Fredrik Bergh contributes plenty of pleasant backing bombast to the album as well, his main weapon of choice is sharp and high up in the mix, leading to fatigue on some otherwise strong choruses (“Defenders of Jerusalem,” “Light the Sky”). The band is still not immune to odd songwriting shifts either. In addition to the aforementioned “Pain and Glory” stumble, closing track “The Nine Crusades” features Unleash the Archers’ talented Brittney Slayes, only for her voice to drown under sappiness unfit for the record. Even so, the concoction here is potent. Cuts like “Land of the Brave” and “Light the Sky” are some of Bloodbound’s fastest and most energetic to date, and this sudden burst of frenzy is admirable of a veteran band.
For the first time in a while, Bloodbound’s sound has a true sense of direction. Field of Swords’ all-gas, no-brakes approach gives the record more urgency than they’ve had in forever, and both the songwriting and album flow greatly benefit in return. Despite some lingering issues, Field of Swords ends up being one of the better albums in the band’s catalog. Both Creatures of the Dark Realm and this album indicate the Europower-forward realignment continues to work in their favor. I can’t say I don’t still long for the days of Nosferatu, and Bloodbound could place a bit more faith in their strong guitar work and vocal lines, but whatever they’re doing is paying off once more. I can only hope this progress continues.
Rating: Good!
DR: N/A | Format Reviewed: Stream o’ Piss
Label: Napalm Records | Bandcamp
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 21st, 2025#lucaTurillisLioneRhapsodyOfFire #2025 #30 #battleBeast #bloodbound #fieldOfSwords #hammerfall #helloween #ironMaiden #kalmah #napalmRecords #nov25 #powerMetal #review #reviews #sabaton #stratovarius #swedishMetal #tadMorose #unleashTheArchers
-
By Baguette of Bodom
Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?
Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).
Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.
The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.
Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.
Rating: Good!
DR: 5 | Format Reviewed: FLAC
Label: Starstorm Records (self-run)
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 7th, 2025#2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan
-
Elettra Storm – Evertale Review
By ClarkKent
Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown. Looking to make a foothold in this scene is Elettra Storm with the release of their sophomore album, Evertale. While it may look like a strange word for those not fluent in Italian, Elettra comes from the Greek mythological figure, Electra/Elektra. It also serves as a root word for electricity, which helps explain both the odd-sounding band name and the storm surrounding the head of the woman on the cover. This quintet isn’t looking to reinvent the cheese wheel; they just want to write some catchy songs and give their lead singer, Crystal Emiliani, a chance to show off her pipes. Do they have that spark to set the power metal world on fire?
While people like to tease that Wilderun is Disney metal, if Disney were to actually sign a metal artist, they would likely sound like Elettra Storm. They straddle the line between power metal and hard rock mixed with some pop. They don’t quite bring the dance vibes like Battle Beast, but their power metal also isn’t as aggressive or hard-hitting as Frozen Crown. Guitar riffs and drum beats are relatively muted, though not without a lively energy, as Elettra Storm largely plays it safe instrumentally. Instead, they rely on the strength of their frontwoman, and Emiliani delivers. She channels a mix of Disney-friendly pop artists from Idina Menzel to Celine Dion. On “Blue Phoenix,” I half-expected Emiliani to break out into “Let it go” when she buoyantly sings the refrain “And rise again,” while “Secrets of the Universe” has a moment where her voice briefly brought me back to that titanic hit from decades ago.
For power metal of this caliber to work, the choruses need to be catchy, but on this score, Evertale is a mixed bag. It’s not that the choruses are a miss, but that they’re often forgettable. It doesn’t help that the lyrics tend to be convoluted. On “Hero Among Heroes,” Emiliani sings “Hero among heroes / Rise the sword up in the sky / Strong of arm and mind”—this ESL tendency hampers catchiness. Evertale also suffers a general lack of hooks. For the most part, riffs are bland, standard rock fare, and melodies are nil. Opener “Endgame” has some hooky synths, but Elettra Storm rarely returns to them on the rest of the record. “Master of Fairytales” also shows potential when it opens with energetic blast beats and a decent chorus, but the song drops that energy the rest of the way. “Blue Phoenix,” on the other hand, is proof they have the capability of writing really good power metal. It has Evertale’s most creative riffs, a consistent level of energy, and a chorus that soars in a dazzling display like the mythological bird. In the end, Elettra Storm could learn a lot from studying stalwarts of catchy power metal like Unleash the Archers.
Elettra Storm actually feels most at home on the lone track that’s geared more towards pop than metal: “One Last Ray of Light.” This tune eschews the usual power metal trappings of noodly riffs and high energy. It features a piano and what sounds like a mandolin playing a lovely melody.1 Then the chorus hits and the real magic happens. Emiliani’s voice rises to a beautiful lilt as she belts out the catchiest chorus on Evertale. The song is a certifiable banger, and it is also where Elettra Storm sounds most comfortable. Between this and “Blue Phoenix,” Elettra Storm have it in them to write some great power metal—if only they could apply these successes to the rest of Evertale.
The end result is an album that is pleasantly bland, with tracks ranging from forgettable to slightly above average, as well as a couple that are quite good. I won’t deny that I sometimes find myself whistling a random tune like “Judgment Time” while I’m out and about. Evertale hits that sweet spot between power metal and adult pop/rock where it could find an audience in either genre. Elettra Storm provides an electric vocalist, a little bit of guitar noodling, and radio rock song structures that make it a pleasant in-the-moment listen. But the record fails to take many risks or hit many of the highs the genre is capable of. Instead, it plays things a little too safe and doesn’t quite live up to its elettra-fying name.
Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025#25 #2025 #BattleBeast #CelineDion #ElettraStorm #Evertale #FrozenCrown #HardRock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #UnleashTheArchers #Wilderun
-
Battle Beast – Steelbound Review
By Grin Reaper
Steelbound, Battle Beast’s seventh full-length album, struts forth boasting bubblegum choruses and sticky refrains that, upon contact, are sure to plague your showers and commutes for days afterward. For the uninitiated, the sextet from Helsinki, Finland, plays pop-infused power metal with anthemic, uplifting gusto and broad appeal. Battle Beast simmers with talent, but it’s singer Noora Louhimo that steals the show with her powerhouse range and grit, the perfect voice to broadcast the positivity and pluck that Battle Beast engenders. After years of snacking on sweetmeats, though, has the candy coating left this Beast’s fangs riddled with cavities, or are the teeth still mighty enough to bring the pain?
Except for the time Steel fell head-over-monkey’s paw for debut Steel,1 Battle Beast has languished in mixed-to-good territory. The self-titled sophomore effort saturated its sound with Europop, and follow-up Unholy Savior tried to blend the styles of the first two albums, creating an uneven listen. Afterwards, guitarist Anton Kabanen left to form Beast in Black, and Battle Beast forged on with Brymir’s Joona Björkroth on six-string duty with nary a lineup change since. The subsequent albums have followed the tried-and-true formula of sub-forty-five-minute runtimes (less bonus tracks), concise track lengths and enough earworms to warrant a prescription for Ivermectin. Steelbound follows suit, adhering to the blueprint honed over the last few albums.
Every nook and cranny of Steelbound’s ten tracks drips with polish, where each second is crafted to be damnably catchy and take root in your earhole. From the chest-thumping mantra in “Here We Are” to the Latin-inspired rhythms in “Twilight Cabaret,” Battle Beast marches their aural cavalcade about town, tossing out fun-sized bites to on listeners by the fistful. Besides forgettable interlude “The Long Road,” each song is engineered to ensnare your attention with belt-along choruses and dancy grooves, harkening influences from ABBA (“Steelbound”) to Spice Girls (“Twilight Cabaret”). Finnish treasure Noora sinks her sonic barbs into your brain, but she’s not the only weapon this Battle Beast wields—guitar chugs, solos and drum fills ground Steelbound with metal roots amongst the synth-addled retro vibes. Knowing what to listen for, the Brymir injection is obvious and welcome, coating songs with succinct shredding that sparkles without ever approaching self-aggrandizement. Meanwhile, Pyry Vikki’s drumming suits the music perfectly, lurking in the pocket until summoned forth to unleash a drum break. The flamboyant keys (courtesy of Janne Björkroth) rarely allow you to escape 80s sensibilities, and the rhythm and bass guitar2 reinforce Steelbound’s mood without ever intruding or stealing the spotlight.
As ever, Battle Beast marries Eurovision-ready melodies with heavy metal to craft an accessible palette for any age or disposition. This is entry-level metal, and I don’t mean that derisively. There’s a path most of us take to blossom into the opinionated, fetid elitists we are today, and it’s not usually jumping straight from T-Swift to Portal in a single bound. Yet what makes Battle Beast so digestible is also what hamstrings the band—the song craft is too safe. Steelbound is at its best when toeing the line between danger and pop inclinations, but it happens too infrequently. Title track “Steelbound” features a calculated chorus that’s enchanting, and two-thirds through the song, there’s a call-and-response section where Noora musters her full grit and the music feels genuine, like it could almost go off the rails. It doesn’t, but this organic moment sticks out as one that hasn’t been carefully curated and vetted in a focus group. There’s undeniable talent here, but when every song feels like it’s manufactured rather than tailored, the end result lacks conviction.
Steelbound prioritizes hooks over substance, which proves out after repeated listens. The irrationally captivating “Here We Are” and other choice moments are instantly recognizable, but between entire songs, the fun can blur together. It’s a shame, because the band possesses all the pieces to write something truly special, but the reason I can rely on Battle Beast to be a dependable comfort listen is the same thing that holds them back. Avoiding any risks handcuffs their ability to move past the ceiling they’ve fabricated for themselves. Some of the songs on Steelbound will stick with you like sugary treats wedged between your teeth. They’ll be with you for a day or two, but eventually you dislodge the saccharine gob, brush your teeth, and find something with more sustenance.
Rating: Mixed
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: Website | Facebook
Releases Worldwide: October 17th, 2025#25 #2025 #ABBA #BattleBeast #BeastInBlack #Brymir #FinnishMetal #HeavyMetal #NuclearBlast #Oct25 #Portal #PowerMetal #Review #Reviews #SpiceGirls #Steelbound #TaylorSwift
-
Morgen ist BandcampFriday. Was für Empfehlungen gibt's für jemanden der gerade hauptsächlich folgendes hört #Bloodywood #BABYMETAL #DragonForce #Alestorm #Powerwolf #AngusMcSix #VisionsOfAtlantis #Warkings #BattleBeast
-
#TheMetalDogArticleList
#BLABBERMOUTH
BATTLE BEAST's NOORA LOUHIMO Shares Message In Support Of Pride Month
BATTLE BEAST's Noora Louhimo has shared a message in support of LGBTQ+ Pride Month. Taking place in June, Pride Month is a time when the lesbian, gay, bisexual, and transgender community,...https://blabbermouth.net/news/battle-beasts-noora-louhimo-shares-message-in-support-of-pride-month
#NooraLouhimo #PrideMonth #Equality #Humanity #GoodValues #SelfEsteem #TheCloakOfShame #ProudToBeMe #ProudOfYou #BattleBeast #MetalMusic #LGBTQPlus #SupportPride #LoveAndPeace
