#blindguardian — Public Fediverse posts

11. #BlindGuardian - The God Machine, 2022.
"Deliver Us From Evil"

https://youtu.be/d1mkqz422lg?si=J5HmbRR0suSXaUKz

10. #BlindGuardian - Nightfall in Middle-Earth, 1998.
"Mirror Mirror"

https://youtu.be/CNGCvI9dpZY?si=8ySakgdMmOI8yK1O

After weeks of hacking through uncharted wilderness, you break through the brush and into a large clearing. Ruins of long-abandoned homes and shops line the main drag. You walk down what was once a bustling Main Street, which eventually leads to a large and overgrown village green. In the center stands a modest and surprisingly intact…church? Sepulcher? Town hall? You’re unsure, but at least you know you didn’t pay for a wild goose chase. A suspiciously knowledgeable drunk in a nameless bar told you about a building in a long-forgotten town in what would—in a different universe—become Warsaw, Poland. Built by the trio Torpor, the halls beneath this temple promise mystery, danger, ancient power, and above all, treasure. So, intrepid adventurer, do you have what it takes to brave this Đungeon Đescent?

As you cross the threshold and make your “Entrance,” the atmosphere is transient and expeditious, the lilting melody worthy of adventure. It’s not long before you find the hidden staircase and descend, “Trespassing the Sanctuary” proper. Initial impressions of Mike Magister IV’s lo-fi tremolos and Bloodhammer’s blast beats would indicate a largely blackened structure, but Torpor is not so one-note. Franciszek Archont’s clear and clean pipes echo along the walls and reveal Đungeon Đescent to truly be trad/heavy metal by way of Bathory. Even as you square off with an “Armoured Skeleton,” you can’t help but appreciate how the punky tilt of its percussive attacks matches flawlessly with its searing axe work. Wandering through these underground halls, the seamless mix of early black metal’s intensity and grit with sword and sorcery atmosphere makes this a unique yet familiar Đungeon Đescent.

On, the dungeon descends. Like a bard or a storyteller in a tavern, Archont narrates your journey, evoking Blind Guardian’s iconic Hansi Kürsch. He shies from naught, even as the “Đungeon Đwellers” squeal their alarm on ancient, echoing strings and begin to hunt you down, the first trespasser they’ve known in ages. Harried further into the tunnels, you eventually lose your pursuers, marked by the slick bass solo rumbling and bouncing further into the distance. In the chase, though, you’ve lost your way! Wandering aimlessly, your hopes rise as you enter a chamber whose blast beats and acoustic flourishes recall the “…Sanctuary” above. Alas, the exit this is not! A monstrous creature stands at the far end of the chamber, manning a terrifying, nigh mythical machine: the “Polybolos.”1 Steel-tipped bolts fly toward you with a triumphant, glorious rhythm, echoing the machine’s name as they miss and clang on the wall behind you.

After all the dangers you’ve faced on this Đungeon Đescent, the “Polybolos” was the breaking point, and you’ve never wanted to “Return to the Surface” more. The walls listen maliciously as your panic skyrockets with Bloodhammer’s methodically increasing tempo. In this mad dash for safety, a moment of clarity stops you dead in your tracks. You will never leave this place. You will die here. With this realization, Magister IV’s acoustic musings transform into a frantic and gritty solo, his strings’ screams matching your own. As you tire and accept this death sentence, you decide it will be far better to pass away in a daydream than to remain rooted in this hell of Torpor’s creation. And so, you drift off. Lo-fi scalar riffs and medieval strings color the scenes of your memories. One “Scythian Chase” among many, you lead hordes of horse like thunderous double bass down the planes to torture and scalp your enemies for the queen. Here at the end, as you remember with advantage what feats you did that day, a thrumming bassline and nostalgically raw solo gently shepherd you into the great silence.

Not every D&D session ends happily, but as your DM rips up your character sheet, you realize Torpor’s Đungeon Đescent was a hell of a ride. It’s fairly short, clocking in at 32 minutes, but that half hour is filled to the brim with athletic and acrobatic songcraft. The mix, which is spacious and gritty, only amplifies the impressive performances across the board—especially Archont, whose vocals are undeniably the star of the show. A unique reconstruction of known touchpoints, Torpor’s debut is accessible, nostalgic, and instantly enjoyable. Your character may not have found the treasure, but in checking out Đungeon Đescent in the first place, you sure did.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th, 2026

In 2012, lead vocalist Terje Singh Sidhu got together with a rag-tag group of musicians to form some ’80s heavy metal worship called Sinsid. From Rogaland, on the western coast of Norway, this quintet has now written four full-length records, beginning with 2018’s Mission from Hell. Classic heavy metal is a crowded field, no doubt sparked by nostalgia for the brilliance of some of the foundational stuff written by Iron Maiden, Judas Priest, and Blind Guardian, to name just a few. It’s the genre that allows one to write the sort of catchy guitar hooks and anthemic vocal choruses that can sprout hair on your chest. But it’s also easy for bands to slip through the cracks if they’re not able to elevate themselves above the pack. Let’s see how Sinsid stacks up on their latest LP, All That Remains.

Sinsid has composed a collection of catchy mid-tempo tunes that do their best to summon early Judas Priest, Blind Guardian, and Accept. From classic-sounding opening riffs to galloping blast beats and catchy choruses, Sinsid have not only done their homework regarding their influences, but have crafted some worthy tunes that sound great to boot. The energetic “Sarcophagus” recalls a thrashier time in Judas Priest’s timeline, while the ample use of backup vocalists hark back to the Blind Guardian of a twilight world, particularly on the catchy “Pioneers” and inspired closer, “Lords of the Northern Land.” There’s even a touch of Sabaton on “Azad Hind,” a rollicking bit of history about a fighting force that sought to “liberate India from the British Empire.”1 Sidhu serves as the heart of the music, with a vocal performance reminiscent of a much huskier Mark Tornillo (Accept). While he’s not a technically proficient singer, doing more shouting than actual singing, he provides grit and shows a real passion for the music.

Some solid mixing on All That Remains elevates the material by allowing the instruments room to shine. Often the measuring stick for solid production values is the presence of bass, and Grzegorz Urbański’s fretwork is an omnipresent beast, serving as an important backbone throughout the record. The guitars from Jostein Marø and Erik Westerlund also sound crisp and clear, even when the riffs could use a kick in the pants now and then. The two make the most of their talent on the standout tracks like “Sarcophagus” and the brief solos they’re allotted per song, including one that’s quite good on “The Horror (I Know).” The vocal approach is the true heart and soul of the music. The mix gives Sidhu’s voice prominence, to the point that he almost sounds like a different vocalist compared to 2022’s In Victory. He’s louder here, though not always in a bad way. Sinsid also give prominence to the many backup vocalists who participate, and this turns out to be a wise choice. The use of backup vocals goes a long way in amping up the music and providing a sense of brotherhood that I think serves as Sinsid’s truest identity.

While mostly consistent in level of quality content, All That Remains does suffer a few dips here and there as well as some struggles with originality. Sinsid’s largest blunder is opening the record with “All That Remains,” a bit of a downer thematically, as Sidhu sings about “humanity betrayed.” Outside of that, the track’s also not particularly energetic, and it highlights Sinsid’s penchant for too much repetition. Sinsid also make a few choices down the stretch that make their love for their influences a little too obvious. “Breaking All the Rules” has a title and chorus that are a bit too on the nose for Judas Priest’s “Breaking the Law,” while the chorus to “Lawless Hunter” (“You better run for cover”) feels like a lesser version of “Run to the Hills.” Don’t get me wrong, these are quality songs; they just unwisely invite comparisons to better ones.

So Sinsid may not have quite separated themselves from their influences or the myriad other classic heavy metal bands, but they have at least created an enjoyable record. It’s a challenging genre to stand out in, saturated as it is and full of a rich history of some of the best bands the metal genre has to offer. All That Remains proves that Sinsid can write a fun lick or two, and sometimes that’s all you need to have a good time.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Pitch Black Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 10th, 2026

Mir ist das so wurscht, wer oder was auf den neuen #Euro Geldscheinen abgebildet sein wird. Wichtiger ist, wann #BlindGuardian ne neue Scheibe rausbringen. So.

#Prioritäten

Song: Twilight of the gods
Band: #BlindGuardian
Album: Beyond the red mirror
Year: 2015
Genre: #HeavyMetal

"We're trapped in twilight
While the gods will drowse
Gods will drowse
They'll wait and sleep
Until a new dawn'll save us from the dark

The damage's done
The king is gone"

https://www.youtube.com/watch?v=Ep1B_aIFPDE

Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=d21fc3d8b391486c
https://youtube.com/playlist?list=PLAFxPuhOACrVE1yZPBg-3twxbf-xNw012&si=oxgsTnZDgrUPa8K2

How did you realize you're a metalhead? This week's MoshCast takes a stroll down metal memory lane and we recall our first songs, albums, band T-shirts et cetera.

#podcast #metalpodcast #musicpodcast #metalmusic #music #blindguardian #quietriot

https://www.youtube.com/watch?v=MDSfqM8AHgg

Nachdem wir zuletzt nach seinem Ausstieg bei BLIND GUARDIAN die Ehre mit Thomen hatten – damals gab es ein Telefonat nach Spanien –, ist dringend ein Update fällig! Der schon längst wieder im Rhein-Ruhr-Areal ansässige Schlagzeuger lud in seinen Proberaum und nahm sich ausgiebig Zeit für uns. #thomenstauch #blindguardian #arcanereign

https://www.burnyourears.de/interviews/54951-drums-dramen-dracula-auf-einen-messbecher-kakao-mit-thomen-stauch.html

I 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
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Scarlet Records
Websites: bandcamp.com/heavens-falling | facebook.com/Shadowborne
Releases Worldwide: June 19th, 2026

Jetzt: #erstekutte nähen, selbstverständlich mit der Musik der Band auf den Ohren, deren Patch gesetzt wird - so will es das Kuttengesetz! ☝🏻 #BLINDGUARDIAN

Thank you for listening to #zeratulsplaylist tonight.

Now back to retrocomputing 😀

https://youtu.be/yaJEyKYSlo8?is=-TlbQbRmc1JeDbtc

#blindguardian #wacken

And I also was here.
I more or less found myself in the video. Just a couple of frames and just some pixel, but I'm part of an official Arch Enemy music video :D

https://www.youtube.com/watch?v=h5nDeMvPJZE

#archenemy #wacken #zeratulsplaylist

#blindguardian #wacken #zeratulsplaylist

How metalheads select new shoes for the gym... Well these 3 are somewhat similar in purpose, price and comfort... Oh that one is "named after" a #BlindGuardian song 🤘 Hell yeah that's the one for me 😄

And now I hear that theme park / carnival intro in my head every time I step into the gym 😆

https://youtu.be/QRIVQCMWn7s

#metal #rock #LiveMusic #MetalLife

Unfortunately Walhalla's brews are a rare find in NZ, but when I drink one the #BlindGuardian Valhalla song automatically starts playing in my head! 😁

"So many centuries
So many Gods
We were the prisoners of our own fantasy
But now we are marching against these Gods
I'm the wizard, I will change it all

Valhalla, deliverance
Why've you ever forgotten" 🤘

This was a really nice #BockBeer 🍁 #AutumnVibes

#CraftBeer

Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,1 this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

A past & future secret - Blind Guardian

#metal #blindguardian

https://youtu.be/gvemFLdINTQ?is=4J3FBnHqkSTtQAMa

Aliens offer to take you away and give you a perfect—albeit short—life: do you say yes? According to Italian cosmic prog metal band Vanderlust, many of you would. “So, a bunch of people everywhere on Earth gave themselves” to the Coelacanths for that same offer, so opens The Human Farm. Several generations later, a human uprising leads to an escape from slavery and the discovery that the Coelacanths were all along harvesting Humans for their emotions. This isn’t meant to be funny. Vanderlust were deadset on telling a compelling sci-fi adventure in The Human Farm, enlisting guest keyboardist Francesco Londino (S91) and vocalist Martina Barreca (Mass Excess) to play the role of the Coelacanths. But did Vanderlust give us a sci-fi adventure for the ages with The Human Farm?

The gooey earnestness with which Vanderlust spill their adventure on The Human Farm is often matched by skill and musical vision. Vanderlust tear through speed-demonic numbers like “Viral Escape” or “Golden Shackles” with acerbically hooky, Vektor-gone-power-metal riffage while creating respite between the narrative beats with moody clean guitars and skittering drums on “The Turning Point” and “Connection Failed.” Guitarist Francesco Romeggini solos like mad on The Human Farm, shredding Megadethly over Blind Guardian riffs on the almost-instrumental “From the Cave – Fuga” and imbuing “Drive” with a gravitas and refinement. Bassist David Cantina and drummer Giacomo Mezzetti hold down Vanderlust’s rhythms, both driving (“Reborn…Again”) and groovy (“Humanity 3.0 – The New Canaan”) and shine on the “Battlefield”‘s bass solo and underlying fills. Ricca Morello’s vocals can get a bit mush-mouthed in the softer moments, but his power metal-inclined range and delivery crush the big moments, and Barreca’s death growls hit consistently, recalling Ophelion’s vocal duo on 2025’s The Jaunt. The Human Farm isn’t groundbreaking conceptually, but Vanderlust have the chops to tell their tale.

The Human Farm thrives in its biggest moments. Morello sounds his best when he goes all in, like on the Blind Guardian-coded power bonanza “Battlefield”1 and emotionally charged bookends “Humanity 2.0 – The Human Farm” and “Humanity 3.0 – The New Canaan.” Barreca’s growls add tons of punch to Vanderlust’s sound. When she trades lines with the choir on “Connection Failed” or clean sings on “Reborn…Again” and brings Meat Loaf melodrama to Dream Theater balladry, it feels so right. However, The Human Farm lulls when Vanderlust take the pedal off the metal. Momentum from “Golden Shackles” dissipates in the slow-burning of “The Turning Point” and doesn’t return until halfway through “Connection Failed,” and the barn-burning energy of “Viral Escape” is utterly deflated by the narrative interlude “…Find Them!”. However, Vanderlust are at any given time never too far off from another soaring crescendo, making The Human Farm an exciting listen, if not consistently so.

Vanderlust’s conceptual ambitions ultimately hinder The Human Farm, I feel. Vanderlust frequently dumb down musical ideas to allow narration more sonic space. This issue is exacerbated by the uniformly bad acting performances across The Human Farm, which resembles those 90s PC games where they just threw some interns into the booth. But even if the line reads were good, interjected into songs like “From the Cave – Fuga” and “Connection Failed,” they come off as a tacked-on concession to the story rather than an integral part of the music, coming off as distracting or even detrimental to the music. Vanderlust can do interesting things musically to tell their story, like having Barreca clean sing in “Reborn…Again” after the Coelacanths are defeated, reflecting them at their most vulnerable, or reworking the “Humanity 2.0…” motif into the end of “Humanity 3.0…,” where humankind has escaped captivity but find new challenges in freedom and lead some to question their revolution altogether.2 But for the most part, the way Vanderlust tell the story of The Human Farm detracts from what they do well: thrashy prog-power anthems.

If Vanderlust could hone their storytelling as well as their songwriting on The Human Farm, we’d have a great record on our hands. As is, there are too many conflicting elements in The Human Farm for more than a lukewarm recommendation, though there are fantastic songs throughout. Fans of prog-power will find things to like here, and Vanderlust is a band to keep an eye on, and I certainly will try to catch their third album should they make one. I’m not sure if Vanderlust have a Terminal Redux or Access All Worlds in them, but I wouldn’t put it past them either.



Rating: Mixed
DR: 6 | Format Reviewed: V0 VBR mp3
Label: Rockshots Records
Websites: facebook.com/vanderlustofficial | soundcloud.com/vanderlust-music
Releases Worldwide: April 17th, 2026

Yes I do love "The Bard's Song - In the forest" ... but i really don't get, why the "The Bard's Song - The hobbit" has so much less plays on Spotify. The switch from the forest to the hobbit is just so awesome. I love to hear them directly one after the other #blindguardian #bardssong

A past and future secret - Blind Guardian

#music #blindguardian

https://youtu.be/gvemFLdINTQ?is=XlRbDj9_6THi_knR