#brotherfiretribe — Public Fediverse posts

Get Ready to ROCK!–Gig review: MALMO MELODIC- Plan B, Malmo, Sweden, 24-26 July 2026–Get Ready to ROCK! https://www.byteseu.com/2267264/ #Alicate #alien #AOR #ArtNation #boulevard #BrotherFiretribe #CaughtInAction #Constancia #Creye #eclipse #EmotionalFire #festival #FighterV #gig #Hardline #MalmoMelodic #MelodicRock #MichaelBormann’sJadedHard #MidniteCity #MotherMersy #proud #Saffire #Sarayasign #Sweden #Tyketto #WhiteWiddow #WigWam

Get Ready to ROCK!–Gig review: MALMO MELODIC- Plan B, Malmo, Sweden, 24-26 July 2026–Get Ready to ROCK! https://www.byteseu.com/2267264/ #Alicate #alien #AOR #ArtNation #boulevard #BrotherFiretribe #CaughtInAction #Constancia #Creye #eclipse #EmotionalFire #festival #FighterV #gig #Hardline #MalmoMelodic #MelodicRock #MichaelBormann’sJadedHard #MidniteCity #MotherMersy #proud #Saffire #Sarayasign #Sweden #Tyketto #WhiteWiddow #WigWam

Get Ready to ROCK!–Gig review: MALMO MELODIC- Plan B, Malmo, Sweden, 24-26 July 2026–Get Ready to ROCK!

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#Sweden #Sverige #SE #Europe #Europa #EU #Alicate #Alien #aor #ArtNation #Boulevard #BrotherFiretribe #CaughtinAction #Constancia #Creye #eclipse #EmotionalFire #festival #FighterV #gig #Hardline #MalmoMelodic #melodicrock #MichaelBormann’sJadedHard #MidniteCity #MotherMersy #nyheter #proud #Saffire #Sarayasign #sweden #Tyketto #WhiteWiddow #WigWam
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https://youtu.be/kFnLzhecMNM?si=rOTj8wzK-a4gDbx9

La meva #CançóDelDia per al divendres 19 de desembre és aquesta dels #BrotherFiretribe #Kerava #AOR #HardRock 🌃!

https://youtu.be/kFnLzhecMNM?si=rOTj8wzK-a4gDbx9

La meva #CançóDelDia per al divendres 19 de desembre és aquesta dels #BrotherFiretribe #Kerava #AOR #HardRock 🌃!

https://youtu.be/kFnLzhecMNM?si=rOTj8wzK-a4gDbx9

La meva #CançóDelDia per al divendres 19 de desembre és aquesta dels #BrotherFiretribe #Kerava #AOR #HardRock 🌃!

https://youtu.be/kFnLzhecMNM?si=rOTj8wzK-a4gDbx9

La meva #CançóDelDia per al divendres 19 de desembre és aquesta dels #BrotherFiretribe #Kerava #AOR #HardRock 🌃!

https://youtu.be/kFnLzhecMNM?si=rOTj8wzK-a4gDbx9

La meva #CançóDelDia per al divendres 19 de desembre és aquesta dels #BrotherFiretribe #Kerava #AOR #HardRock 🌃!

Christiano Filippini’s Flames of Heaven – Symphony of the Universe Review

By Twelve

Choosing new music to review is an interesting process. Once you pick a thing, you’re pretty much locked into it. So I try to forecast: what will I be okay with listening to over and over again for the next week or two? Having just reviewed Lykke, I was very much in the mood for something more upbeat, and I didn’t have to read far past the band name Christiano Filippini’s Flames of Heaven to know Symphony of the Universe fit the bill. Indeed, when I requested the files for review, Dolphin Whisperer, overheard the request. “Is that Italian power metal?” he asked. “It sounds like Italian power metal.” “I didn’t check,” I answered. “But yes.” We were right. Symphony of the Universe is Flames of Heaven’s sophomore full-length, and it is as Italian, power-y, and cheesy as you’re thinking. In that way, you and D.W. are very much alike.

On that note, I’m having trouble getting this review going because Flames of Heaven really does sound exactly like you might expect given its name, origin, and album photo. Their hallmark: fast, bombastic power metal in the Rhapsody of Fire vein, augmented with keys and arrangements (from Filippini himself), but largely focusing on symphonic/power riffs (Michele Vioni) and high-tenor vocals (Marco Pastorino, Fallen Sanctuary). After a brief orchestral intro track, “On the Wings of Phoenix” sets the stage expertly: the main melody carried by lead guitars in perfect emulation of the impressively catchy chorus, the whole a dedication to adventure, rebirth, and hope. “The Archangel’s Warcry” puts keys at the forefront, creating an epic feel while also boasting one of the most impressive guitar solos on the album. Again, we hear it: a catchy chorus, an upbeat style, a sense of venturing that gets the head nodding even hours later. This is Flames of Heaven’s style, and they’re comfortable in it.

Not that there’s no variety on Symphony of the Universe, though it is a bit sparser than I’d personally prefer. There are straightforward European-style power metal tracks like “Midnight Riders” and “On the Wings of Phoenix,” epics like “The Archangels’ Warcry” and “Symphony of the Universe,” and then traditionally-inspired songs like “Don’t Leave Me Tonight”—the requisite power ballad—and “Tears of Love and Hate.” These songs dial back on the epic fantasy imagery and tread even more familiar roads—love, heartbreak, relationships. The music style similarly changes, dialing back the speed and “power” for a more trad-metal sound (though they do give bassist Giorgio Terenziani a somewhat-rare chance to shine, which is welcome). “When Love Burns” even reminds me of Brother Firetribe, which is not something I say often.

That means there’s a lot going on in Symphony of the Universe. The whole album runs sixty-nine minutes over thirteen tracks, two of which are instrumental bookends. It shifts styles often, though the base formula stays firmly in the “cheesy” Euro-power style. This means it’s a lot to listen to all at once, and I would even suggest that every song could have at least one minute trimmed from it without negatively impacting its quality, and no song over seven minutes needs to be longer than five, especially in “Darkside of Gemini” and “On the Wings of Phoenix.” The number of false stops, “one last chorus” instances, and lengthy interludes add up; I honestly think Symphony of the Universe could be twenty to thirty minutes shorter and better for it, because there wouldn’t be time for ear fatigue to build up. Whether by removing stylistically-clashing songs like “Tears of Love and Hate” (especially jarring, as it follows the monumental “The Archangel’s Warcry”), or cutting down on excess choruses and add-ons at the end of long songs, it seems Flames of Heaven could have edited a lot more of this project than they have.

My feelings for Symphony of the Universe are conflicted: it’s a genuinely fun, catchy album and a reliable, if predictable, sample of modern European power metal. I got the power metal pick-me-up I was hunting for, but there’s simply too much of it—and so much relies on an industry-standard formula. As a whole, Symphony of the Universe splinters under its enormous weight. There’s a great album in here, but the whole feels less than the sum of its parts.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Limb Music
Websites: flamesofheaven.bandcamp.com | facebook.com/cristianofilippinisflamesofheaven
Releases Worldwide: November 14th, 2025

#25 #2025 #brotherFiretribe #christianoFilippinisFlamesOfHeaven #fallenSanctuary #italianMetal #limbMusic #nov25 #powerMetal #review #reviews #rhapsodyOfFire #symphonicMetal #symphonyOfTheUniverse

Christiano Filippini’s Flames of Heaven – Symphony of the Universe Review

By Twelve

Choosing new music to review is an interesting process. Once you pick a thing, you’re pretty much locked into it. So I try to forecast: what will I be okay with listening to over and over again for the next week or two? Having just reviewed Lykke, I was very much in the mood for something more upbeat, and I didn’t have to read far past the band name Christiano Filippini’s Flames of Heaven to know Symphony of the Universe fit the bill. Indeed, when I requested the files for review, Dolphin Whisperer, overheard the request. “Is that Italian power metal?” he asked. “It sounds like Italian power metal.” “I didn’t check,” I answered. “But yes.” We were right. Symphony of the Universe is Flames of Heaven’s sophomore full-length, and it is as Italian, power-y, and cheesy as you’re thinking. In that way, you and D.W. are very much alike.

On that note, I’m having trouble getting this review going because Flames of Heaven really does sound exactly like you might expect given its name, origin, and album photo. Their hallmark: fast, bombastic power metal in the Rhapsody of Fire vein, augmented with keys and arrangements (from Filippini himself), but largely focusing on symphonic/power riffs (Michele Vioni) and high-tenor vocals (Marco Pastorino, Fallen Sanctuary). After a brief orchestral intro track, “On the Wings of Phoenix” sets the stage expertly: the main melody carried by lead guitars in perfect emulation of the impressively catchy chorus, the whole a dedication to adventure, rebirth, and hope. “The Archangel’s Warcry” puts keys at the forefront, creating an epic feel while also boasting one of the most impressive guitar solos on the album. Again, we hear it: a catchy chorus, an upbeat style, a sense of venturing that gets the head nodding even hours later. This is Flames of Heaven’s style, and they’re comfortable in it.

Not that there’s no variety on Symphony of the Universe, though it is a bit sparser than I’d personally prefer. There are straightforward European-style power metal tracks like “Midnight Riders” and “On the Wings of Phoenix,” epics like “The Archangels’ Warcry” and “Symphony of the Universe,” and then traditionally-inspired songs like “Don’t Leave Me Tonight”—the requisite power ballad—and “Tears of Love and Hate.” These songs dial back on the epic fantasy imagery and tread even more familiar roads—love, heartbreak, relationships. The music style similarly changes, dialing back the speed and “power” for a more trad-metal sound (though they do give bassist Giorgio Terenziani a somewhat-rare chance to shine, which is welcome). “When Love Burns” even reminds me of Brother Firetribe, which is not something I say often.

That means there’s a lot going on in Symphony of the Universe. The whole album runs sixty-nine minutes over thirteen tracks, two of which are instrumental bookends. It shifts styles often, though the base formula stays firmly in the “cheesy” Euro-power style. This means it’s a lot to listen to all at once, and I would even suggest that every song could have at least one minute trimmed from it without negatively impacting its quality, and no song over seven minutes needs to be longer than five, especially in “Darkside of Gemini” and “On the Wings of Phoenix.” The number of false stops, “one last chorus” instances, and lengthy interludes add up; I honestly think Symphony of the Universe could be twenty to thirty minutes shorter and better for it, because there wouldn’t be time for ear fatigue to build up. Whether by removing stylistically-clashing songs like “Tears of Love and Hate” (especially jarring, as it follows the monumental “The Archangel’s Warcry”), or cutting down on excess choruses and add-ons at the end of long songs, it seems Flames of Heaven could have edited a lot more of this project than they have.

My feelings for Symphony of the Universe are conflicted: it’s a genuinely fun, catchy album and a reliable, if predictable, sample of modern European power metal. I got the power metal pick-me-up I was hunting for, but there’s simply too much of it—and so much relies on an industry-standard formula. As a whole, Symphony of the Universe splinters under its enormous weight. There’s a great album in here, but the whole feels less than the sum of its parts.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Limb Music
Websites: flamesofheaven.bandcamp.com | facebook.com/cristianofilippinisflamesofheaven
Releases Worldwide: November 14th, 2025

#25 #2025 #brotherFiretribe #christianoFilippinisFlamesOfHeaven #fallenSanctuary #italianMetal #limbMusic #nov25 #powerMetal #review #reviews #rhapsodyOfFire #symphonicMetal #symphonyOfTheUniverse

Christiano Filippini’s Flames of Heaven – Symphony of the Universe Review

By Twelve

Choosing new music to review is an interesting process. Once you pick a thing, you’re pretty much locked into it. So I try to forecast: what will I be okay with listening to over and over again for the next week or two? Having just reviewed Lykke, I was very much in the mood for something more upbeat, and I didn’t have to read far past the band name Christiano Filippini’s Flames of Heaven to know Symphony of the Universe fit the bill. Indeed, when I requested the files for review, Dolphin Whisperer, overheard the request. “Is that Italian power metal?” he asked. “It sounds like Italian power metal.” “I didn’t check,” I answered. “But yes.” We were right. Symphony of the Universe is Flames of Heaven’s sophomore full-length, and it is as Italian, power-y, and cheesy as you’re thinking. In that way, you and D.W. are very much alike.

On that note, I’m having trouble getting this review going because Flames of Heaven really does sound exactly like you might expect given its name, origin, and album photo. Their hallmark: fast, bombastic power metal in the Rhapsody of Fire vein, augmented with keys and arrangements (from Filippini himself), but largely focusing on symphonic/power riffs (Michele Vioni) and high-tenor vocals (Marco Pastorino, Fallen Sanctuary). After a brief orchestral intro track, “On the Wings of Phoenix” sets the stage expertly: the main melody carried by lead guitars in perfect emulation of the impressively catchy chorus, the whole a dedication to adventure, rebirth, and hope. “The Archangel’s Warcry” puts keys at the forefront, creating an epic feel while also boasting one of the most impressive guitar solos on the album. Again, we hear it: a catchy chorus, an upbeat style, a sense of venturing that gets the head nodding even hours later. This is Flames of Heaven’s style, and they’re comfortable in it.

Not that there’s no variety on Symphony of the Universe, though it is a bit sparser than I’d personally prefer. There are straightforward European-style power metal tracks like “Midnight Riders” and “On the Wings of Phoenix,” epics like “The Archangels’ Warcry” and “Symphony of the Universe,” and then traditionally-inspired songs like “Don’t Leave Me Tonight”—the requisite power ballad—and “Tears of Love and Hate.” These songs dial back on the epic fantasy imagery and tread even more familiar roads—love, heartbreak, relationships. The music style similarly changes, dialing back the speed and “power” for a more trad-metal sound (though they do give bassist Giorgio Terenziani a somewhat-rare chance to shine, which is welcome). “When Love Burns” even reminds me of Brother Firetribe, which is not something I say often.

That means there’s a lot going on in Symphony of the Universe. The whole album runs sixty-nine minutes over thirteen tracks, two of which are instrumental bookends. It shifts styles often, though the base formula stays firmly in the “cheesy” Euro-power style. This means it’s a lot to listen to all at once, and I would even suggest that every song could have at least one minute trimmed from it without negatively impacting its quality, and no song over seven minutes needs to be longer than five, especially in “Darkside of Gemini” and “On the Wings of Phoenix.” The number of false stops, “one last chorus” instances, and lengthy interludes add up; I honestly think Symphony of the Universe could be twenty to thirty minutes shorter and better for it, because there wouldn’t be time for ear fatigue to build up. Whether by removing stylistically-clashing songs like “Tears of Love and Hate” (especially jarring, as it follows the monumental “The Archangel’s Warcry”), or cutting down on excess choruses and add-ons at the end of long songs, it seems Flames of Heaven could have edited a lot more of this project than they have.

My feelings for Symphony of the Universe are conflicted: it’s a genuinely fun, catchy album and a reliable, if predictable, sample of modern European power metal. I got the power metal pick-me-up I was hunting for, but there’s simply too much of it—and so much relies on an industry-standard formula. As a whole, Symphony of the Universe splinters under its enormous weight. There’s a great album in here, but the whole feels less than the sum of its parts.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Limb Music
Websites: flamesofheaven.bandcamp.com | facebook.com/cristianofilippinisflamesofheaven
Releases Worldwide: November 14th, 2025

#25 #2025 #brotherFiretribe #christianoFilippinisFlamesOfHeaven #fallenSanctuary #italianMetal #limbMusic #nov25 #powerMetal #review #reviews #rhapsodyOfFire #symphonicMetal #symphonyOfTheUniverse

Christiano Filippini’s Flames of Heaven – Symphony of the Universe Review

By Twelve

Choosing new music to review is an interesting process. Once you pick a thing, you’re pretty much locked into it. So I try to forecast: what will I be okay with listening to over and over again for the next week or two? Having just reviewed Lykke, I was very much in the mood for something more upbeat, and I didn’t have to read far past the band name Christiano Filippini’s Flames of Heaven to know Symphony of the Universe fit the bill. Indeed, when I requested the files for review, Dolphin Whisperer, overheard the request. “Is that Italian power metal?” he asked. “It sounds like Italian power metal.” “I didn’t check,” I answered. “But yes.” We were right. Symphony of the Universe is Flames of Heaven’s sophomore full-length, and it is as Italian, power-y, and cheesy as you’re thinking. In that way, you and D.W. are very much alike.

On that note, I’m having trouble getting this review going because Flames of Heaven really does sound exactly like you might expect given its name, origin, and album photo. Their hallmark: fast, bombastic power metal in the Rhapsody of Fire vein, augmented with keys and arrangements (from Filippini himself), but largely focusing on symphonic/power riffs (Michele Vioni) and high-tenor vocals (Marco Pastorino, Fallen Sanctuary). After a brief orchestral intro track, “On the Wings of Phoenix” sets the stage expertly: the main melody carried by lead guitars in perfect emulation of the impressively catchy chorus, the whole a dedication to adventure, rebirth, and hope. “The Archangel’s Warcry” puts keys at the forefront, creating an epic feel while also boasting one of the most impressive guitar solos on the album. Again, we hear it: a catchy chorus, an upbeat style, a sense of venturing that gets the head nodding even hours later. This is Flames of Heaven’s style, and they’re comfortable in it.

Not that there’s no variety on Symphony of the Universe, though it is a bit sparser than I’d personally prefer. There are straightforward European-style power metal tracks like “Midnight Riders” and “On the Wings of Phoenix,” epics like “The Archangels’ Warcry” and “Symphony of the Universe,” and then traditionally-inspired songs like “Don’t Leave Me Tonight”—the requisite power ballad—and “Tears of Love and Hate.” These songs dial back on the epic fantasy imagery and tread even more familiar roads—love, heartbreak, relationships. The music style similarly changes, dialing back the speed and “power” for a more trad-metal sound (though they do give bassist Giorgio Terenziani a somewhat-rare chance to shine, which is welcome). “When Love Burns” even reminds me of Brother Firetribe, which is not something I say often.

That means there’s a lot going on in Symphony of the Universe. The whole album runs sixty-nine minutes over thirteen tracks, two of which are instrumental bookends. It shifts styles often, though the base formula stays firmly in the “cheesy” Euro-power style. This means it’s a lot to listen to all at once, and I would even suggest that every song could have at least one minute trimmed from it without negatively impacting its quality, and no song over seven minutes needs to be longer than five, especially in “Darkside of Gemini” and “On the Wings of Phoenix.” The number of false stops, “one last chorus” instances, and lengthy interludes add up; I honestly think Symphony of the Universe could be twenty to thirty minutes shorter and better for it, because there wouldn’t be time for ear fatigue to build up. Whether by removing stylistically-clashing songs like “Tears of Love and Hate” (especially jarring, as it follows the monumental “The Archangel’s Warcry”), or cutting down on excess choruses and add-ons at the end of long songs, it seems Flames of Heaven could have edited a lot more of this project than they have.

My feelings for Symphony of the Universe are conflicted: it’s a genuinely fun, catchy album and a reliable, if predictable, sample of modern European power metal. I got the power metal pick-me-up I was hunting for, but there’s simply too much of it—and so much relies on an industry-standard formula. As a whole, Symphony of the Universe splinters under its enormous weight. There’s a great album in here, but the whole feels less than the sum of its parts.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Limb Music
Websites: flamesofheaven.bandcamp.com | facebook.com/cristianofilippinisflamesofheaven
Releases Worldwide: November 14th, 2025

#25 #2025 #brotherFiretribe #christianoFilippinisFlamesOfHeaven #fallenSanctuary #italianMetal #limbMusic #nov25 #powerMetal #review #reviews #rhapsodyOfFire #symphonicMetal #symphonyOfTheUniverse

Christiano Filippini’s Flames of Heaven – Symphony of the Universe Review

By Twelve

Choosing new music to review is an interesting process. Once you pick a thing, you’re pretty much locked into it. So I try to forecast: what will I be okay with listening to over and over again for the next week or two? Having just reviewed Lykke, I was very much in the mood for something more upbeat, and I didn’t have to read far past the band name Christiano Filippini’s Flames of Heaven to know Symphony of the Universe fit the bill. Indeed, when I requested the files for review, Dolphin Whisperer, overheard the request. “Is that Italian power metal?” he asked. “It sounds like Italian power metal.” “I didn’t check,” I answered. “But yes.” We were right. Symphony of the Universe is Flames of Heaven’s sophomore full-length, and it is as Italian, power-y, and cheesy as you’re thinking. In that way, you and D.W. are very much alike.

On that note, I’m having trouble getting this review going because Flames of Heaven really does sound exactly like you might expect given its name, origin, and album photo. Their hallmark: fast, bombastic power metal in the Rhapsody of Fire vein, augmented with keys and arrangements (from Filippini himself), but largely focusing on symphonic/power riffs (Michele Vioni) and high-tenor vocals (Marco Pastorino, Fallen Sanctuary). After a brief orchestral intro track, “On the Wings of Phoenix” sets the stage expertly: the main melody carried by lead guitars in perfect emulation of the impressively catchy chorus, the whole a dedication to adventure, rebirth, and hope. “The Archangel’s Warcry” puts keys at the forefront, creating an epic feel while also boasting one of the most impressive guitar solos on the album. Again, we hear it: a catchy chorus, an upbeat style, a sense of venturing that gets the head nodding even hours later. This is Flames of Heaven’s style, and they’re comfortable in it.

Not that there’s no variety on Symphony of the Universe, though it is a bit sparser than I’d personally prefer. There are straightforward European-style power metal tracks like “Midnight Riders” and “On the Wings of Phoenix,” epics like “The Archangels’ Warcry” and “Symphony of the Universe,” and then traditionally-inspired songs like “Don’t Leave Me Tonight”—the requisite power ballad—and “Tears of Love and Hate.” These songs dial back on the epic fantasy imagery and tread even more familiar roads—love, heartbreak, relationships. The music style similarly changes, dialing back the speed and “power” for a more trad-metal sound (though they do give bassist Giorgio Terenziani a somewhat-rare chance to shine, which is welcome). “When Love Burns” even reminds me of Brother Firetribe, which is not something I say often.

That means there’s a lot going on in Symphony of the Universe. The whole album runs sixty-nine minutes over thirteen tracks, two of which are instrumental bookends. It shifts styles often, though the base formula stays firmly in the “cheesy” Euro-power style. This means it’s a lot to listen to all at once, and I would even suggest that every song could have at least one minute trimmed from it without negatively impacting its quality, and no song over seven minutes needs to be longer than five, especially in “Darkside of Gemini” and “On the Wings of Phoenix.” The number of false stops, “one last chorus” instances, and lengthy interludes add up; I honestly think Symphony of the Universe could be twenty to thirty minutes shorter and better for it, because there wouldn’t be time for ear fatigue to build up. Whether by removing stylistically-clashing songs like “Tears of Love and Hate” (especially jarring, as it follows the monumental “The Archangel’s Warcry”), or cutting down on excess choruses and add-ons at the end of long songs, it seems Flames of Heaven could have edited a lot more of this project than they have.

My feelings for Symphony of the Universe are conflicted: it’s a genuinely fun, catchy album and a reliable, if predictable, sample of modern European power metal. I got the power metal pick-me-up I was hunting for, but there’s simply too much of it—and so much relies on an industry-standard formula. As a whole, Symphony of the Universe splinters under its enormous weight. There’s a great album in here, but the whole feels less than the sum of its parts.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Limb Music
Websites: flamesofheaven.bandcamp.com | facebook.com/cristianofilippinisflamesofheaven
Releases Worldwide: November 14th, 2025

#25 #2025 #brotherFiretribe #christianoFilippinisFlamesOfHeaven #fallenSanctuary #italianMetal #limbMusic #nov25 #powerMetal #review #reviews #rhapsodyOfFire #symphonicMetal #symphonyOfTheUniverse

Here's tomorrow's yesterday
Fight the good fight all the way
You've made it this far, I salute you
Through the fire, through the rain
All the heartaches, all the pain
You've made it this far, I salute you

#BrotherFiretribe #NowPlaying #Spotify
https://open.spotify.com/track/5WSOU0HzjHVQxhQ19ztbSQ?si=6b2e4a6e11ab4187

Here's tomorrow's yesterday
Fight the good fight all the way
You've made it this far, I salute you
Through the fire, through the rain
All the heartaches, all the pain
You've made it this far, I salute you

#BrotherFiretribe #NowPlaying #Spotify
https://open.spotify.com/track/5WSOU0HzjHVQxhQ19ztbSQ?si=6b2e4a6e11ab4187

Here's tomorrow's yesterday
Fight the good fight all the way
You've made it this far, I salute you
Through the fire, through the rain
All the heartaches, all the pain
You've made it this far, I salute you

#BrotherFiretribe #NowPlaying #Spotify
https://open.spotify.com/track/5WSOU0HzjHVQxhQ19ztbSQ?si=6b2e4a6e11ab4187

Leverage – Gravity Review

By Steel Druhm

Finland’s Leverage are one of those bands that always seemed to operate at the outer fringes of heavy metal. Their 2006 Tides debut showcased a strong 80s rock base with just enough of an over-the-top edge to make it plausible to call them a metal act. Most of the songs reminded me more of Survivor and Night Ranger than any specific metal act, but the writing was catchy enough that it didn’t matter. Follow-ups Blind Fire and Circus Colossus kept the template in place with only modest tweaks, and when very distinctive frontman Pekka Heino decamped, they replaced him well with Kimmo Blom. Blom passed away in 2022, and now Leverage return with a new frontman as they try to soldier on. For 6th album, Gravity, they also added a full-time violinist to expand their sound beyond their familiar rock/metal blueprint. Since I’ve enjoyed all the Leverage albums to some degree, I was curious if they could bounce back from tragedy and keep on delivering the earwormy goods.

I’m happy to report that Gravity is very much a typical Leverage outing in most regards. New singer Paolo Ribaldini (ex-Skiltron) sounds a lot like both Pekka and Kimmo, so there’s no real acclimation period for the longtime Leverage fan. Opening cut “Shooting Star” is everything you’d want and expect from them, with big, bombastic radio rock energy pinging off a tougher metal aesthetic and a vague country-western drawl, and the writing is designed to stick immediately. The chorus is catchy enough to ensure you wear it home like gum in your back hair. Paolo wins you over immediately with bold, forceful vocals that bring enough power to the 80s retro party. From there, Gravity blasts through a series of tracks that balance cheese with iron, radio rock with metal, and the emphasis is always on hooks. “Tales of the Night” belongs on the soundtracks for Rocky III AND IV, and you will want to create your own training montage to this thing. “Moon of Madness” is so Survivor it almost leaves no survivors, but the hooks are there, and the fiddle bits are odd, but interesting.

The band takes some chances and stretch their writing at times, as on “All Seeing Eye” which sounds like a Dio-era Rainbow song that’s been lost in a dusty vault until now. It has that 70s coolness factor and the same grandeur heard on cuts like “Stargazer” and “The Gates of Babylon,” and Paolo really comes into his own with a gritty, badass performance full of gravitas. “King Ghidorah” sounds like a mash-up of Nightbreaker era Riot and the more hard-charging Deep Purple classics, and that means a rabble-rousing good time. Hell, even the nearly 10-minute title track works for the most part, stealing some of Avantasia’s trade secrets about writing ginormous power ballads crammed full of bombast and cheddar. It’s ultimately about 3 minutes too long, but it’s an entertaining tune at its core. The big set-piece tracks suffer some unsightly bloat, but the shorter, more immediate tracks power the album along at a brisk, breezy pace and keep you bopping along.

With the usual Leverage vets all in place and doing their thing, Paolo is given a solid foundation to work with and build from, and he impresses with his macho vocal efforts. He’s enough like past Leverage singers, but he has a few extra gears to reach for when needed. He does the whole Jorn/Coverdale hard rock growl well and brings enough of his own style to the table to sell the material like cupcakes outside a CBD superstore. Tuomas Heikkinen continues to marry hard rock and 80s rock idioms with harder-edged riffwork and makes it all work together. He can be flashy, but he’s the kind of guitarist that puts song before wank. New violinist Lotta Pitkänen is only noticeable at a few key moments, and the rest of the time she’s deep in the background behind the keyboards. I’m not sure she’s needed, but she does provide a nice gloss when audible.

I’ve never been disappointed by a Leverage album, though I have my favorites. Gravity is good enough to drop right in the middle of their discography with a few playlist-worthy cuts that demand poaching. If you like bands in the Brother Firetribe / The Night Flight Orchestra vein, Gravity should be right in your wheelhouse. It’s not quite a must-hear, but it packs enough entertainment value to be worth a flyer. I’m glad they’re still with us. R.I.P. Kimmo.

Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking STREAM
Label: Frontiers Music
Website: facebook.com/leverageofficial
Releases Worldwide: June 20th, 2025

#30 #BrotherFiretribe #FinnishMetal #FrontiersMusic #Gravity #HardRock #HeavyMetal #Journey #Leverage #Rainbow #Review #Reviews #Survivor

Leverage – Gravity Review

By Steel Druhm

Finland’s Leverage are one of those bands that always seemed to operate at the outer fringes of heavy metal. Their 2006 Tides debut showcased a strong 80s rock base with just enough of an over-the-top edge to make it plausible to call them a metal act. Most of the songs reminded me more of Survivor and Night Ranger than any specific metal act, but the writing was catchy enough that it didn’t matter. Follow-ups Blind Fire and Circus Colossus kept the template in place with only modest tweaks, and when very distinctive frontman Pekka Heino decamped, they replaced him well with Kimmo Blom. Blom passed away in 2022, and now Leverage return with a new frontman as they try to soldier on. For 6th album, Gravity, they also added a full-time violinist to expand their sound beyond their familiar rock/metal blueprint. Since I’ve enjoyed all the Leverage albums to some degree, I was curious if they could bounce back from tragedy and keep on delivering the earwormy goods.

I’m happy to report that Gravity is very much a typical Leverage outing in most regards. New singer Paolo Ribaldini (ex-Skiltron) sounds a lot like both Pekka and Kimmo, so there’s no real acclimation period for the longtime Leverage fan. Opening cut “Shooting Star” is everything you’d want and expect from them, with big, bombastic radio rock energy pinging off a tougher metal aesthetic and a vague country-western drawl, and the writing is designed to stick immediately. The chorus is catchy enough to ensure you wear it home like gum in your back hair. Paolo wins you over immediately with bold, forceful vocals that bring enough power to the 80s retro party. From there, Gravity blasts through a series of tracks that balance cheese with iron, radio rock with metal, and the emphasis is always on hooks. “Tales of the Night” belongs on the soundtracks for Rocky III AND IV, and you will want to create your own training montage to this thing. “Moon of Madness” is so Survivor it almost leaves no survivors, but the hooks are there, and the fiddle bits are odd, but interesting.

The band takes some chances and stretch their writing at times, as on “All Seeing Eye” which sounds like a Dio-era Rainbow song that’s been lost in a dusty vault until now. It has that 70s coolness factor and the same grandeur heard on cuts like “Stargazer” and “The Gates of Babylon,” and Paolo really comes into his own with a gritty, badass performance full of gravitas. “King Ghidorah” sounds like a mash-up of Nightbreaker era Riot and the more hard-charging Deep Purple classics, and that means a rabble-rousing good time. Hell, even the nearly 10-minute title track works for the most part, stealing some of Avantasia’s trade secrets about writing ginormous power ballads crammed full of bombast and cheddar. It’s ultimately about 3 minutes too long, but it’s an entertaining tune at its core. The big set-piece tracks suffer some unsightly bloat, but the shorter, more immediate tracks power the album along at a brisk, breezy pace and keep you bopping along.

With the usual Leverage vets all in place and doing their thing, Paolo is given a solid foundation to work with and build from, and he impresses with his macho vocal efforts. He’s enough like past Leverage singers, but he has a few extra gears to reach for when needed. He does the whole Jorn/Coverdale hard rock growl well and brings enough of his own style to the table to sell the material like cupcakes outside a CBD superstore. Tuomas Heikkinen continues to marry hard rock and 80s rock idioms with harder-edged riffwork and makes it all work together. He can be flashy, but he’s the kind of guitarist that puts song before wank. New violinist Lotta Pitkänen is only noticeable at a few key moments, and the rest of the time she’s deep in the background behind the keyboards. I’m not sure she’s needed, but she does provide a nice gloss when audible.

I’ve never been disappointed by a Leverage album, though I have my favorites. Gravity is good enough to drop right in the middle of their discography with a few playlist-worthy cuts that demand poaching. If you like bands in the Brother Firetribe / The Night Flight Orchestra vein, Gravity should be right in your wheelhouse. It’s not quite a must-hear, but it packs enough entertainment value to be worth a flyer. I’m glad they’re still with us. R.I.P. Kimmo.

Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking STREAM
Label: Frontiers Music
Website: facebook.com/leverageofficial
Releases Worldwide: June 20th, 2025

#30 #BrotherFiretribe #FinnishMetal #FrontiersMusic #Gravity #HardRock #HeavyMetal #Journey #Leverage #Rainbow #Review #Reviews #Survivor

Leverage – Gravity Review

By Steel Druhm

Finland’s Leverage are one of those bands that always seemed to operate at the outer fringes of heavy metal. Their 2006 Tides debut showcased a strong 80s rock base with just enough of an over-the-top edge to make it plausible to call them a metal act. Most of the songs reminded me more of Survivor and Night Ranger than any specific metal act, but the writing was catchy enough that it didn’t matter. Follow-ups Blind Fire and Circus Colossus kept the template in place with only modest tweaks, and when very distinctive frontman Pekka Heino decamped, they replaced him well with Kimmo Blom. Blom passed away in 2022, and now Leverage return with a new frontman as they try to soldier on. For 6th album, Gravity, they also added a full-time violinist to expand their sound beyond their familiar rock/metal blueprint. Since I’ve enjoyed all the Leverage albums to some degree, I was curious if they could bounce back from tragedy and keep on delivering the earwormy goods.

I’m happy to report that Gravity is very much a typical Leverage outing in most regards. New singer Paolo Ribaldini (ex-Skiltron) sounds a lot like both Pekka and Kimmo, so there’s no real acclimation period for the longtime Leverage fan. Opening cut “Shooting Star” is everything you’d want and expect from them, with big, bombastic radio rock energy pinging off a tougher metal aesthetic and a vague country-western drawl, and the writing is designed to stick immediately. The chorus is catchy enough to ensure you wear it home like gum in your back hair. Paolo wins you over immediately with bold, forceful vocals that bring enough power to the 80s retro party. From there, Gravity blasts through a series of tracks that balance cheese with iron, radio rock with metal, and the emphasis is always on hooks. “Tales of the Night” belongs on the soundtracks for Rocky III AND IV, and you will want to create your own training montage to this thing. “Moon of Madness” is so Survivor it almost leaves no survivors, but the hooks are there, and the fiddle bits are odd, but interesting.

The band takes some chances and stretch their writing at times, as on “All Seeing Eye” which sounds like a Dio-era Rainbow song that’s been lost in a dusty vault until now. It has that 70s coolness factor and the same grandeur heard on cuts like “Stargazer” and “The Gates of Babylon,” and Paolo really comes into his own with a gritty, badass performance full of gravitas. “King Ghidorah” sounds like a mash-up of Nightbreaker era Riot and the more hard-charging Deep Purple classics, and that means a rabble-rousing good time. Hell, even the nearly 10-minute title track works for the most part, stealing some of Avantasia’s trade secrets about writing ginormous power ballads crammed full of bombast and cheddar. It’s ultimately about 3 minutes too long, but it’s an entertaining tune at its core. The big set-piece tracks suffer some unsightly bloat, but the shorter, more immediate tracks power the album along at a brisk, breezy pace and keep you bopping along.

With the usual Leverage vets all in place and doing their thing, Paolo is given a solid foundation to work with and build from, and he impresses with his macho vocal efforts. He’s enough like past Leverage singers, but he has a few extra gears to reach for when needed. He does the whole Jorn/Coverdale hard rock growl well and brings enough of his own style to the table to sell the material like cupcakes outside a CBD superstore. Tuomas Heikkinen continues to marry hard rock and 80s rock idioms with harder-edged riffwork and makes it all work together. He can be flashy, but he’s the kind of guitarist that puts song before wank. New violinist Lotta Pitkänen is only noticeable at a few key moments, and the rest of the time she’s deep in the background behind the keyboards. I’m not sure she’s needed, but she does provide a nice gloss when audible.

I’ve never been disappointed by a Leverage album, though I have my favorites. Gravity is good enough to drop right in the middle of their discography with a few playlist-worthy cuts that demand poaching. If you like bands in the Brother Firetribe / The Night Flight Orchestra vein, Gravity should be right in your wheelhouse. It’s not quite a must-hear, but it packs enough entertainment value to be worth a flyer. I’m glad they’re still with us. R.I.P. Kimmo.

Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking STREAM
Label: Frontiers Music
Website: facebook.com/leverageofficial
Releases Worldwide: June 20th, 2025

#30 #BrotherFiretribe #FinnishMetal #FrontiersMusic #Gravity #HardRock #HeavyMetal #Journey #Leverage #Rainbow #Review #Reviews #Survivor

Leverage – Gravity Review

By Steel Druhm

Finland’s Leverage are one of those bands that always seemed to operate at the outer fringes of heavy metal. Their 2006 Tides debut showcased a strong 80s rock base with just enough of an over-the-top edge to make it plausible to call them a metal act. Most of the songs reminded me more of Survivor and Night Ranger than any specific metal act, but the writing was catchy enough that it didn’t matter. Follow-ups Blind Fire and Circus Colossus kept the template in place with only modest tweaks, and when very distinctive frontman Pekka Heino decamped, they replaced him well with Kimmo Blom. Blom passed away in 2022, and now Leverage return with a new frontman as they try to soldier on. For 6th album, Gravity, they also added a full-time violinist to expand their sound beyond their familiar rock/metal blueprint. Since I’ve enjoyed all the Leverage albums to some degree, I was curious if they could bounce back from tragedy and keep on delivering the earwormy goods.

I’m happy to report that Gravity is very much a typical Leverage outing in most regards. New singer Paolo Ribaldini (ex-Skiltron) sounds a lot like both Pekka and Kimmo, so there’s no real acclimation period for the longtime Leverage fan. Opening cut “Shooting Star” is everything you’d want and expect from them, with big, bombastic radio rock energy pinging off a tougher metal aesthetic and a vague country-western drawl, and the writing is designed to stick immediately. The chorus is catchy enough to ensure you wear it home like gum in your back hair. Paolo wins you over immediately with bold, forceful vocals that bring enough power to the 80s retro party. From there, Gravity blasts through a series of tracks that balance cheese with iron, radio rock with metal, and the emphasis is always on hooks. “Tales of the Night” belongs on the soundtracks for Rocky III AND IV, and you will want to create your own training montage to this thing. “Moon of Madness” is so Survivor it almost leaves no survivors, but the hooks are there, and the fiddle bits are odd, but interesting.

The band takes some chances and stretch their writing at times, as on “All Seeing Eye” which sounds like a Dio-era Rainbow song that’s been lost in a dusty vault until now. It has that 70s coolness factor and the same grandeur heard on cuts like “Stargazer” and “The Gates of Babylon,” and Paolo really comes into his own with a gritty, badass performance full of gravitas. “King Ghidorah” sounds like a mash-up of Nightbreaker era Riot and the more hard-charging Deep Purple classics, and that means a rabble-rousing good time. Hell, even the nearly 10-minute title track works for the most part, stealing some of Avantasia’s trade secrets about writing ginormous power ballads crammed full of bombast and cheddar. It’s ultimately about 3 minutes too long, but it’s an entertaining tune at its core. The big set-piece tracks suffer some unsightly bloat, but the shorter, more immediate tracks power the album along at a brisk, breezy pace and keep you bopping along.

With the usual Leverage vets all in place and doing their thing, Paolo is given a solid foundation to work with and build from, and he impresses with his macho vocal efforts. He’s enough like past Leverage singers, but he has a few extra gears to reach for when needed. He does the whole Jorn/Coverdale hard rock growl well and brings enough of his own style to the table to sell the material like cupcakes outside a CBD superstore. Tuomas Heikkinen continues to marry hard rock and 80s rock idioms with harder-edged riffwork and makes it all work together. He can be flashy, but he’s the kind of guitarist that puts song before wank. New violinist Lotta Pitkänen is only noticeable at a few key moments, and the rest of the time she’s deep in the background behind the keyboards. I’m not sure she’s needed, but she does provide a nice gloss when audible.

I’ve never been disappointed by a Leverage album, though I have my favorites. Gravity is good enough to drop right in the middle of their discography with a few playlist-worthy cuts that demand poaching. If you like bands in the Brother Firetribe / The Night Flight Orchestra vein, Gravity should be right in your wheelhouse. It’s not quite a must-hear, but it packs enough entertainment value to be worth a flyer. I’m glad they’re still with us. R.I.P. Kimmo.

Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking STREAM
Label: Frontiers Music
Website: facebook.com/leverageofficial
Releases Worldwide: June 20th, 2025

#30 #BrotherFiretribe #FinnishMetal #FrontiersMusic #Gravity #HardRock #HeavyMetal #Journey #Leverage #Rainbow #Review #Reviews #Survivor

Queen of Dreams – Subnivium Review

By Twelve

Here’s a fun fact for you: a subnivium is an ecosystem that thrives in the space between snow and ground. It’s a surprisingly dense topic, and my initial goal of summarizing it here was fully thwarted by just a few minutes of research. Suffice it to say, it’s surprisingly complex, and unexpectedly interesting, which makes it a great metaphor for this album of the same name, the second full-length release from the U.S.’s Queen of Dreams. Subnivium purports to be a work of progressive power metal inspired by European acts in similar genres—but like the system it’s named for, it is full of welcome surprises.

It might be slightly more accurate to describe Subnivium as being a power metal album with progressive and European influences. “Radiant,” the album opener gives this impression the moment you hit play—the album kicks off with energy and aplomb, keys and guitars (Ally and Caleb Scott respectively, with Tom Brown contributing even more guitars) competing for your heart as fast as they can go1. It reminds a bit of Stratovarius, and a touch of Symphony X, and the modern sound and progressive approach are refreshing. Even when Queen of Dreams slow down, as on “Call to Shadow” and “The Shape of Our Lives,” they keep up the energy, with drummer Dan Love and bassist Sky Talbott-Settle playing superb supporting roles. At any given moment, Subnivium is energetic, heavy, and a lot of fun to listen to.

I do feel bad dedicating so much of this next paragraph to one band member, but Lnz Praznak’s singing is a powerhouse that aligns exceptionally well with the songwriting. The chorus in “When Iron Chariots Prevail” is made by her delivery, with infectiously catchy vocal lines. She has a similar effect in the breakneck “Untethered,” the heaviest song on the album, where she duets with Caleb Scott’s raspy screams to elevate an already great power metal tune. The power in her delivery, alongside the way Scott’s snarls are pushed back in the mix, makes Unleash the Archers the best comparison I can give for what Queen of Dreams is doing here2, except that they also have a keyboard and use it to fantastic effect.

There are notes of experimentation throughout Subnivium that help to keep proceedings fresh, though a few moments work better than others. “Shield Anvil” opens with an AOR-style riff and keys duo that sets it apart without needing to stray too much from the core sound. The epic touches that adorn “Beneath the Ice and Snow” make it an effective slow burn and album highlight. The only one I’m not sure works is the closer, “End of the Road.” Written as a duo based on Tolkien’s Túrin and Glaurung, it features rough cleans from Caleb Scott in a “beauty and the beast” style duet over eight minutes (three longer than the next-longest on the 45-minute album). The sudden shift in style alongside the length disrupts the album’s flow somewhat, especially since Scott’s vocals have, to this point, been focused on rasps that have been much quieter in the mix. With that said, the end of the song is a gorgeous way to close out Subnivium, as Scott and Praznak herald beautiful keys and lead guitar at a genuinely touching climax.

Like the seasonal microhabitat itself, Subnivium is an unexpected delight of an album. It is energetic, confident, fun, and very well-written. Queen of Dreams take a familiar sound and apply an exciting and effective formula, the kind of ideas that refresh and revitalize a genre that is so prone to the same old thing. I really can’t wait to see what they do next, and I suspect I’ll be happily listening to Subnivium until that time comes.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: queenofdreams.bandcamp.com | facebook.com/QueenofDreamsBand
Releases Worldwide: January 31st, 2025

#2025 #35 #AmericanMetal #BrotherFiretribe #Jan25 #PowerMetal #ProgressiveMetal #QueenOfDreams #Review #Reviews #SelfRelease #Stratovarius #Subnivium #SymphonyX #UnleashTheArchers

Queen of Dreams – Subnivium Review

By Twelve

Here’s a fun fact for you: a subnivium is an ecosystem that thrives in the space between snow and ground. It’s a surprisingly dense topic, and my initial goal of summarizing it here was fully thwarted by just a few minutes of research. Suffice it to say, it’s surprisingly complex, and unexpectedly interesting, which makes it a great metaphor for this album of the same name, the second full-length release from the U.S.’s Queen of Dreams. Subnivium purports to be a work of progressive power metal inspired by European acts in similar genres—but like the system it’s named for, it is full of welcome surprises.

It might be slightly more accurate to describe Subnivium as being a power metal album with progressive and European influences. “Radiant,” the album opener gives this impression the moment you hit play—the album kicks off with energy and aplomb, keys and guitars (Ally and Caleb Scott respectively, with Tom Brown contributing even more guitars) competing for your heart as fast as they can go1. It reminds a bit of Stratovarius, and a touch of Symphony X, and the modern sound and progressive approach are refreshing. Even when Queen of Dreams slow down, as on “Call to Shadow” and “The Shape of Our Lives,” they keep up the energy, with drummer Dan Love and bassist Sky Talbott-Settle playing superb supporting roles. At any given moment, Subnivium is energetic, heavy, and a lot of fun to listen to.

I do feel bad dedicating so much of this next paragraph to one band member, but Lnz Praznak’s singing is a powerhouse that aligns exceptionally well with the songwriting. The chorus in “When Iron Chariots Prevail” is made by her delivery, with infectiously catchy vocal lines. She has a similar effect in the breakneck “Untethered,” the heaviest song on the album, where she duets with Caleb Scott’s raspy screams to elevate an already great power metal tune. The power in her delivery, alongside the way Scott’s snarls are pushed back in the mix, makes Unleash the Archers the best comparison I can give for what Queen of Dreams is doing here2, except that they also have a keyboard and use it to fantastic effect.

There are notes of experimentation throughout Subnivium that help to keep proceedings fresh, though a few moments work better than others. “Shield Anvil” opens with an AOR-style riff and keys duo that sets it apart without needing to stray too much from the core sound. The epic touches that adorn “Beneath the Ice and Snow” make it an effective slow burn and album highlight. The only one I’m not sure works is the closer, “End of the Road.” Written as a duo based on Tolkien’s Túrin and Glaurung, it features rough cleans from Caleb Scott in a “beauty and the beast” style duet over eight minutes (three longer than the next-longest on the 45-minute album). The sudden shift in style alongside the length disrupts the album’s flow somewhat, especially since Scott’s vocals have, to this point, been focused on rasps that have been much quieter in the mix. With that said, the end of the song is a gorgeous way to close out Subnivium, as Scott and Praznak herald beautiful keys and lead guitar at a genuinely touching climax.

Like the seasonal microhabitat itself, Subnivium is an unexpected delight of an album. It is energetic, confident, fun, and very well-written. Queen of Dreams take a familiar sound and apply an exciting and effective formula, the kind of ideas that refresh and revitalize a genre that is so prone to the same old thing. I really can’t wait to see what they do next, and I suspect I’ll be happily listening to Subnivium until that time comes.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: queenofdreams.bandcamp.com | facebook.com/QueenofDreamsBand
Releases Worldwide: January 31st, 2025

#2025 #35 #AmericanMetal #BrotherFiretribe #Jan25 #PowerMetal #ProgressiveMetal #QueenOfDreams #Review #Reviews #SelfRelease #Stratovarius #Subnivium #SymphonyX #UnleashTheArchers

Queen of Dreams – Subnivium Review

By Twelve

Here’s a fun fact for you: a subnivium is an ecosystem that thrives in the space between snow and ground. It’s a surprisingly dense topic, and my initial goal of summarizing it here was fully thwarted by just a few minutes of research. Suffice it to say, it’s surprisingly complex, and unexpectedly interesting, which makes it a great metaphor for this album of the same name, the second full-length release from the U.S.’s Queen of Dreams. Subnivium purports to be a work of progressive power metal inspired by European acts in similar genres—but like the system it’s named for, it is full of welcome surprises.

It might be slightly more accurate to describe Subnivium as being a power metal album with progressive and European influences. “Radiant,” the album opener gives this impression the moment you hit play—the album kicks off with energy and aplomb, keys and guitars (Ally and Caleb Scott respectively, with Tom Brown contributing even more guitars) competing for your heart as fast as they can go1. It reminds a bit of Stratovarius, and a touch of Symphony X, and the modern sound and progressive approach are refreshing. Even when Queen of Dreams slow down, as on “Call to Shadow” and “The Shape of Our Lives,” they keep up the energy, with drummer Dan Love and bassist Sky Talbott-Settle playing superb supporting roles. At any given moment, Subnivium is energetic, heavy, and a lot of fun to listen to.

I do feel bad dedicating so much of this next paragraph to one band member, but Lnz Praznak’s singing is a powerhouse that aligns exceptionally well with the songwriting. The chorus in “When Iron Chariots Prevail” is made by her delivery, with infectiously catchy vocal lines. She has a similar effect in the breakneck “Untethered,” the heaviest song on the album, where she duets with Caleb Scott’s raspy screams to elevate an already great power metal tune. The power in her delivery, alongside the way Scott’s snarls are pushed back in the mix, makes Unleash the Archers the best comparison I can give for what Queen of Dreams is doing here2, except that they also have a keyboard and use it to fantastic effect.

There are notes of experimentation throughout Subnivium that help to keep proceedings fresh, though a few moments work better than others. “Shield Anvil” opens with an AOR-style riff and keys duo that sets it apart without needing to stray too much from the core sound. The epic touches that adorn “Beneath the Ice and Snow” make it an effective slow burn and album highlight. The only one I’m not sure works is the closer, “End of the Road.” Written as a duo based on Tolkien’s Túrin and Glaurung, it features rough cleans from Caleb Scott in a “beauty and the beast” style duet over eight minutes (three longer than the next-longest on the 45-minute album). The sudden shift in style alongside the length disrupts the album’s flow somewhat, especially since Scott’s vocals have, to this point, been focused on rasps that have been much quieter in the mix. With that said, the end of the song is a gorgeous way to close out Subnivium, as Scott and Praznak herald beautiful keys and lead guitar at a genuinely touching climax.

Like the seasonal microhabitat itself, Subnivium is an unexpected delight of an album. It is energetic, confident, fun, and very well-written. Queen of Dreams take a familiar sound and apply an exciting and effective formula, the kind of ideas that refresh and revitalize a genre that is so prone to the same old thing. I really can’t wait to see what they do next, and I suspect I’ll be happily listening to Subnivium until that time comes.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: queenofdreams.bandcamp.com | facebook.com/QueenofDreamsBand
Releases Worldwide: January 31st, 2025

#2025 #35 #AmericanMetal #BrotherFiretribe #Jan25 #PowerMetal #ProgressiveMetal #QueenOfDreams #Review #Reviews #SelfRelease #Stratovarius #Subnivium #SymphonyX #UnleashTheArchers

As usual, I'm working, and get distracted AF by music for a while. Today it's between #brotherfiretribe and #ourladypeace . Don't send help. I'm okay. 😄

https://youtu.be/cfirMzhV2N0?si=MoLLc3aTZIemu06A

As usual, I'm working, and get distracted AF by music for a while. Today it's between #brotherfiretribe and #ourladypeace . Don't send help. I'm okay. 😄

https://youtu.be/cfirMzhV2N0?si=MoLLc3aTZIemu06A

As usual, I'm working, and get distracted AF by music for a while. Today it's between #brotherfiretribe and #ourladypeace . Don't send help. I'm okay. 😄

https://youtu.be/cfirMzhV2N0?si=MoLLc3aTZIemu06A

As usual, I'm working, and get distracted AF by music for a while. Today it's between #brotherfiretribe and #ourladypeace . Don't send help. I'm okay. 😄

https://youtu.be/cfirMzhV2N0?si=MoLLc3aTZIemu06A