#battlebeast — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #battlebeast, aggregated by home.social.
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9. #BattleBeast - Steelbound, 2025.
"Angel Of Midnight" -
8. #BattleBeast - Unholy Savior, 2015.
"Madness" -
7. #BattleBeast - Battle Beast, 2013.
"Out of Control" -
Nummirock Celebrated Its 40th Anniversary
Four decades after its first edition, Nummirock once again proved why it remains one of Finland’s most beloved metal festivals. The legendary event celebrated its 40th anniversary at Nummijärvi over Midsummer weekend, welcoming 18,000 festivalgoers for four days of heavy music, community, and unforgettable summer memories.https://voiceofnoir.com/2026/06/22/nummirock-celebrated-its-40th-anniversary/
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Shadowborne – Heaven’s Falling Review By Andy-War-HallI used to love poppy, ultra-processed power metal. Blind Guardian basically killed that whole scene for me when I discovered them and realized power metal could have riffs, but a part of me still remembers what I loved. A part of me won’t let it go. And like a shadow from the past, Sweden’s Shadowborne arrived with their debut Heaven’s Falling. Led by vocalist Eira Shadowborne and accompanied by keyboardist The Warden, guitarist The Oathbearer, bassist The Keeper, and drummer The Warbringer,1 Shadowborne seek to make their mark on the genre with fantasy storytelling, monumental hooks, and shiny, bloopy synthesizers. With groups like Twilight Force, Fellowship, and Brothers of Metal reminding me in recent years that there’s still room in my heart for things campy and glossy, and catching some nostalgia pangs to boot, I decided to give Shadowborne a fair shake. But does Heaven’s Falling spell a new rising star in power metal, or are Shadowborne just another curd in the cheese wheel?
Heaven’s Falling is an uncomplicated debut for Shadowborne: ten tracks,2 thirty-five minutes of dramatic, anthemic, and highly polished power metal. Shadowborne pivot between two modes on Heaven’s Falling: folky, Brothers of Metalesque jaunts like “Hold the Door” and “The Wall” and synthy, pop-hooked 80s LARP à la Battle Beast on songs like “Stranger to Myself” and “Wolf and the Queen.” Oathbearer does the Sabaton thing and riffs in sync with Warden’s synth stings on “High and Low” while Warbringer lays out mid-paced marches, barring one diversion into speed on “Custodians.” Production-wise, Heaven’s Falling is bright and loud, and nothing sounds particularly real, especially the wispy clean guitars (“End of the World”) and Warden’s toothless gang vocals (“Hold the Door”). It’s the kind of metal that Beast In Black can, and likely do, write in their sleep. Simply, anyone familiar with the Europower scene over the past fifteen(ish) years will know what to expect from Shadowborne.
And if you know Europower, then you know that Chorus Is King. Heaven’s Falling hits its stride with every chorus, accomplished by the phenomenal pipes of Eira Shadowborne. Evoking the likes of Ylva Eriksson (Brothers of Metal) and Noora Louhimo (ex-Battle Beast), Shadowborne belts and croons with power and charisma, sounding thoroughly in charge across Heaven’s Falling. Album highlights “Heaven’s Falling (Dragon’s Hymn)” and “Raven” demonstrate Shadowborne at her best, pouring copious heart into their strong melodies and itch-scratching layered harmonies. Beyond Shadowborne’s battle cries, there’s a commitment to bigness across Heaven’s Falling that contributes to its catchiness. Whether stomping away in “Wolf and the Queen” or waxing melodramatic balladry on “The End of the World,” Shadowborne fill as much sonic space and layer parts as hard as the music can take before bursting. Shadowborne the band is built around Shadowborne, the singer, and Heaven’s Falling is shaped around letting her shine in its biggest moments.
Heaven’s Falling’s greatest strength, however, comes with a price. Like much chorus-centric music, Heaven’s Falling suffers from a severe case of Boring Verse Syndrome (BVS).3 Most songs default to banal chugging and space-filling synths with little flair or variation. Even Shadowborne’s lines aren’t nearly as engaging in the verse, sounding somewhat thin on “Stranger to Myself” and “The End of the World.” As a result, Heaven’s Falling feels somewhat hollow. Where songs do feel fleshed out, like “Custodians” with its propulsive tempo and “Raven” with its darker verse contrasting its bright chorus, plus an Amon Amarth march in the intro, they stand out drastically. Oathbearer’s solos in particular could’ve cooked longer, as they’re slick, proficient, and wickedly fun across the board but also far, far too brief to leave a lasting impact. A great chorus is good to have, and Shadowborne can deliver them, but Heaven’s Falling needs great whole songs to be a great whole album.
What holds Shadowborne’s debut down is what holds much of the genre back: entrapment within genre tropes. Heaven’s Falling is loaded with talent and vim, and a lot of these hooks are going to be stuck in my head for a long time. But between the BVS, flaccid production, and played-out approach to power metal on Heaven’s Falling, Shadowborne have crafted a record that simply can’t stand out. Maybe Shadowborne just needed to prove to themselves they could write an album, and their sophomore will be more adventurous. Or maybe this is exactly what they wanted to write. Either way, fans of power metal may like what they’ll hear, but they’ll certainly have heard it already.
Rating: Mixed
#25 #AmonAmarth #BattleBeast #BeastInBlack #BlindGuardian #BrothersOfMetal #Fellowship #HeavenSFalling #PowerMetal #Review #Reviews #Sabaton #ScarletRecords #Shadowborne #SwedishMetal #TwilightForce
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Scarlet Records
Websites: bandcamp.com/heavens-falling | facebook.com/Shadowborne
Releases Worldwide: June 19th, 2026 -
Ranking The Best Invincible Edits Part 55 #invincible #invincibleedit #shorts #edit https://drama.io/899316/ #BattleBeast #BattleBeastEdit #BattleBeastVsThragg #edit #Invincible #InvincibleComic #InvincibleComics #InvincibleEdit #InvincibleEdits #InvincibleVariants #InvincibleVs #InvincibleVsThragg #MarkGrayson #MarkGraysonEdit #MarkInvincible #MarkVariants #MEME #movie #OmniMan #OmniManEdit #thragg #ThraggEdit #ThraggVsBattleBeast #viral #映画 #映画ランキング
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One of the last filmed concerts of #BattleBeast with Noora: https://www.youtube.com/watch?v=tDc1Iel4nBo
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Just learned about #Noora leaving #BattleBeast to pursue her solo career. 🥹
Not sure about how to feel about this. I was lucky to see them live, and wish them all the best.
Marina La Torraca will be taking over as singer. She has been singing with Exit Eden, and did a great job there.
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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
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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