#crimsonglory — Public Fediverse posts

Enroll Crimson Glory in Vacation Bible School, and you get Sacred Warrior. Releasing a string of high-quality, God-honoring prog-power from ’88 to ’91, Sacred Warrior shredded and wailed in seriously glorious fashion on underground hits like Wicked Generation and Master’s Command1, led by the guitar heroics of band leader Jonathan Johnson. But as dust returns to dust, the band burned out quickly, releasing one record in 2013 and, most recently, a single in 2019. However, these dry bones are back up and kicking. Sacred Warrior alumni Johnson, vocalist Erik Schilling, bassist Steve Watkins, and newcomer drummer Michael Feighan (Whitecross) have regrouped under the name Glory of Kings, brandishing their debut album Roots of the Past. Claiming to explore “history, identity, and the enduring influence of the past on the present,” can Glory of Kings reclaim the past glories of Sacred Warrior?

Roots of the Past reaches deep into classic prog metal, offering a solid grounding for Glory of Kings’ debut. Fans of the classic Sacred Warrior sound should find GoK a worthy successor, though they’ve toned down their idolatry of Crimson Glory in favor of a wider array of genre/era touchstones. Roots of the Past boasts a dramatic, yet muscle-bound approach to riffcraft akin to Savatage (“Fairy Tales”), while vocally these Kings took notes from Queensrÿche’s usual operations. It’s not hard to hear Schilling’s crooning on “Mindwar” or the title track and picture a less-washed Geoff Tate there. These Roots draw from slightly fresher influences as well. The calm plucking and grooves of “The Mystery” recalls the softer sides of Symphony X and Pain of Salvation, while the harmonic riffage and layered vocals of “See You in Paradise” evoke Brave New World-era Iron Maiden. None of this is cutting edge, but Roots of the Past shows signs of life in Glory of Kings.2

Unfortunately, Roots of the Past is often a strained and low-energy exaltation. Though Johnson’s capacity for shredding remains untouched (“The Waiting Game,” “Foreshadows”), Roots’ lethargic and muddy compositions feel mechanical, especially in the back half. Songs like “Occam’s Razor” and “The Waiting Game” lack sharp hooks or compelling progressions, made worse by sluggish tempos. Roots’ pacing is also hamstrung by Glory of Kings’ insistence on interludes, interjecting bog-standard movie trailer scores (“Gathering Storm,” “Transcendence”) and “oriental” desert music (“Foreshadows”3) before they can string a couple good songs together and build some momentum. Worst of all, Schilling sounds strained and limited as a vocalist, his voice wavering on the longer phrases (“Mindwar”) and stretched on the higher ones (“The Waiting Game”). All this contributes to a feeling that Roots of the Past isn’t as catchy or exciting as it ought to be, and that Glory of Kings isn’t as potent here as they could be.

Now, the burning question: What kind of Christian metal is this? Is Glory of Kings preachy? Yes, very. Besides the title track, Roots of the Past doesn’t really broach history as much as topical, generic Evangelical talking points. Embracing the mystery of God (“The Mystery”), the promise of Heaven (“See You in Paradise”), the need for repentance now (“The Waiting Game”); Glory of Kings ain’t hiding it under a bush here. This isn’t inherently an issue. Bands like Theocracy and Wytch Hazel have achieved widespread acclaim and connection beyond the Christian world while remaining loud and proud in their faith.4 Where Glory of Kings’ lyrical bent becomes a problem is where they engage in tedious Us-vs-Them dynamics. “Mindwar” and “Fairy Tales” hint at it, but “Occam’s Razor” engages in whole-hog, Facebook-rant tirades against secular science as being willfully ignorant of their One Truth.5 If it wasn’t clear before, it’s obvious afterwards that Roots of the Past is more concerned with proselytizing than anything authentically artistic. I doubt its potential in speaking to anyone outside GoK’s worldview.6

There’s lots of prog-power worse than what Glory of Kings offer on Roots of the Past, but it’s hard to get excited about it whether you buy into Christianity or not. Sacred Warrior could get self-righteous and Bible-thumping too, but their music was vital and electrifying; Roots of the Past is not. Too much of it feels paint-by-the-numbers and tired to merit the sermonizing. If you’re dying for some new prog-power or for a new Sacred Warrior record, give it a listen, for sure. Glory of Kings can spin some metal miracles on occasion, but don’t expect a life-altering transformation from Roots of the Past. Or maybe do. “Mysterious Ways” and all that.

Rating: Mixed
DR: 7 | Format Reviewed: 256 kbps MP3
Label: Roxx Records
Websites: facebook.com/GloryOfKingsBand | gloryofkingsband.bandcamp.com
Releases Worldwide: August 14th, 20267

https://www.europesays.com/be-nl/119040/ Progressieve headliners op dag twee van Into the Grave #1914 #Amusement #BE #België #Belgium #CrimsonGlory #doodseskader #Entertainment #EstherTLam #friesland #InsanityAlert #insomnium #IntoTheGrave #itg #Leeuwarden #LoudNoise #mastodon #Music #Muziek #novelization #opia #queensrÿche #StatePower #TheBrowning #TheNarrator #warfield #WingsOfSteel

https://www.europesays.com/nl/282095/ Progressieve headliners op dag twee van Into the Grave #1914 #Amusement #CrimsonGlory #doodseskader #Dutch #Entertainment #EstherTLam #friesland #InsanityAlert #insomnium #IntoTheGrave #itg #LEEUWARDEN #LoudNoise #mastodon #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #novelization #opia #queensrÿche #StatePower #TheBrowning #TheNarrator #warfield #WingsOfSteel

https://www.europesays.com/it/592012/ Il Metal ha mille colori: è gran festa di musica – Foto 1 di 8 #Accept #BallsToTheWall #ColoniePadane #Cremona #CrimsonGlory #Entertainment #Intrattenimento #IT #Italia #Italy #Music #Musica #RottingChrist #Stratovarius #TimoKotipelto #UdoDirkschneider #venom

https://www.europesays.com/es/605235/ Crimson Glory, toda una vida para verlos desplegar sus alas #CRIMSONGLORY #crónicas #Entertainment #Entretenimiento #ES #España #festival #KABIEFEST #Music #Música #Noticias #santurtzi #Spain #trascendence

What usually draws me to an unfamiliar band is an association with a familiar one, a novel concept, a superb album cover, or any combination of the three.1 For Seattle, Washington’s Telomyras and their debut record Duskfall, however, it was their promo’s “For Fans Of” list: Sanctuary, Metallica, Ignea, Crimson Glory, Death, and Seven Spires. This list is thorough War-Hall bait. Though I worried that Telomyras were doing what I normally do while cooking dinner—throw everything I love into it, flavor profiling be damned—I nonetheless eagerly snatched up Duskfall. “What could this possibly sound like?” I thought. Symphonic death thrash? Theater kid extreme prog? Hot garbage? Regardless, Telomyras promises “a unique blend of heavy metal and extreme metal” led by the operatically-trained Sammie Gorham. For me, Duskfall’s success depended on whether Telomyras could harness their multitudinous influences into a cohesive package or not. So, did they?

If you look for it, Telomyras’ FFO list isn’t wholly inappropriate to Duskfall. For starters, there’s a muscular power-thrash vein running through Duskfall, imbuing “Burden” and “Reckoning” with early-Metallica/Sanctuary aggression. Crimson Glory’s influence is primarily felt in the guitar leads (“The Altar”) and overall prog-power approach, but the kick patterns of “Harbinger (…The Eternal Night)” feel straight out of Transcendence, while the Death namedrop seems to arise from Gorham’s cavewoman howls on “Reckoning.” Including Ignea and Seven Spires is false advertising, however. There’s nothing symphonic about Telomyras, and though Gorham performs the beauty-and-beast vocal dynamic solo like the other two acts, her darker tone sounds more akin to Tower’s Sarabeth Linden than the other acts. When Telomyras are at their best (“Attrition,” “The Altar”), Duskfall is an enjoyably thrashy, powerful, and darkly atmospheric exercise in extreme-leaning heavy metal.

Though Telomyras are a talented bunch, Duskfall suffers from chemistry issues. In the guitar department, Telomyras can crush some respectable riffing by way of half-time Metallica chugs (“Witch”), speedy palm-mutes (“Burden”), and bruising thrash chops (“Attrition”). The solos on Duskfall are exquisite; they’re not especially flashy, but they bring a frantic energy to “Burden” and an 80’s power ballad pathos to “Duskfall” without resorting to basic Boomer Bends either. However, problems arise with how the instrumentals fail to mesh with the vocals. Gorham’s cleans sound off production- and performance-wise, sounding much muddier than everything else and at times out of sync with the rest of the band, almost like a karaoke take of itself (“Begin the End”). She also frequently leans flat, which stands out due to the aforementioned production issues and are especially evident during the layered vocal segments (“Reckoning,” “Attrition”). Interestingly, Gorham’s harsh vocals don’t have these issues at all, making Telomyras’ more extreme-influenced cuts like “Harbinger (…The Eternal Night)” and “Attrition” Duskfall’s smoothest cuts. Otherwise, Duskfall sounds like a band not exactly on the same page.

The real trouble with Duskfall is, somehow, that Telomyras play way too close to their chest. Telomyras can riff, but much of Duskfall is stuck in a mid-paced, meat-and-potatoes heavy metal mode playing out stock riffs. By the time “Begin the End” rolls around, I’ve heard everything simply too many times. Further production issues mute Duskfall’s potential, leaving Telomyras’ low end dull and high end slathered in copious gain. But the sad part of Duskfall is that it’s just too reserved to succeed in the genre. There are few soaring hooks, no truly nasty solos, and the only drastic tonal shift—”Duskfall” bringing in the whole band for the climax—feels jarring and unearned. There’s nothing wrong with honest pocket playing, but when the drums, riffs, solos, and vocals are all in the pocket, that pocket gets cramped and leaves the listener without a hook to grasp. It leaves Duskfall feeling fairly banal, which is just disappointing considering the evident talent behind it and the promise of Telomyras’ influences.

I was initially concerned that Telomyras would be balancing too many ideas, but, conversely, Duskfall doesn’t do enough to stand out. Duskfall too easily slips into the background while listening, and precious few moments stick in my memory afterwards. What kills me about this is that Telomyras are evidently better musicians than what’s being played on Duskfall. Better production would’ve certainly helped, but no amount of mixing can redeem songwriting without audacity. Hopefully, Duskfall is only an awkward first step for a band still getting their footing, as its best moments prove that Telomyras possess a serious upside. Here’s to hoping dawn breaks on that potential next time.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: facebook.com/Telomyras | telomyras.bandcamp.com
Releases Worldwide: May 8th, 2026

https://www.europesays.com/nl/190109/ Crimson Glory – Chasing The Hydra #2026 #Amusement #BraveworldsRecords #ChasingTheHydra #CrimsonGlory #Dutch #Entertainment #FatesWarning #HeirApparent #lethal #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #ProgressieveMetal #ProgressievePowerMetal #queensrÿche #recensie #recon #SacredWarrior #Sanctuary #savatage #VerenigdeStaten #watchtower #ZwareMetalen

https://www.europesays.com/be-nl/48063/ Crimson Glory – Chasing The Hydra #2026 #Amusement #BE #België #Belgium #BraveworldsRecords #ChasingTheHydra #CrimsonGlory #Entertainment #FatesWarning #HeirApparent #lethal #Music #Muziek #ProgressieveMetal #ProgressievePowerMetal #queensrÿche #recensie #recon #SacredWarrior #sanctuary #savatage #VerenigdeStaten #watchtower #ZwareMetalen

CRIMSON GLORY (Estats Units) presenta nou àlbum: "Chasing the Hydra" #CrimsonGlory #ProgressiveHeavy #PowerMetal #Abril2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

In a move am not sure many saw coming, legendary late 80's power metallers Crimson Glory have returned with a new album (their first since 1999).

https://youtu.be/yPOl0WqJRRk

#HeavyMetal #PowerMetal #CrimsonGlory #ProgressiveMetal #ProgMetal

Crimson Glory hold a special place in my own personal Metal Hall o’ Fame. I was a huge fan of their 1986 debut with its classic Queensrÿche-style and larger-than-life energy. Midnight immediately became one of my favorite vocalists, and I was dazzled by the way the band took classic metal idioms and made them feel so grand and elegant. 1988s Transcendence took their sound even further, getting proggier, heavier, and more epic in scope. This is the album that essentially invented the progpower genre. At that point in time, the band seemed poised to achieve amazing things and conquer the metaverse. Then they dropped Strange and Beautiful in 1991, and the wheels came off the Glory cart hard. To call that album a dumpster fire of a sellout is an understatement, and it still makes me wonder what the holy fuck the band was thinking when they released it. It’s on par with Celtic Frost’s Cold Lake, Metallica’s St. Anger, or Krokus’ Change of Address, and it will forever live in infamy as a career killer. Unsurprisingly, the band fell apart after that, with Midnight departing for good, leaving disgruntled fans to reflect on what might have been. The band attempted a jump-start in 1999, but Astronomica was nowhere near the quality of the early albums, and the band sank back into self-inflicted oblivion. 26 years later, three of the original members are attempting a new comeback with Chasing the Hydra. The cynic in me wondered why they’d even bother. They created 2 all-time classic metal albums, and nothing they do now could come close to rivaling them. With great expectations as their eternal enemy, it’s much more likely they’d only diminish the luster of their stellar releases. Still, the naive teen in me hoped for a miraculous rebirth of the band I still love. Where does Chasing the Hydra fall between those polar opposite scenarios? As you might expect, somewhere in the middle.

Aided no doubt by a set of very low expectations, I’ve been pleasantly surprised by Chasing the Hydra. Obviously, it can’t touch the classic albums with a 100-foot Poke Em Pole, but it’s effective, entertaining progpower with enough of the classic Crimson Glory sound to trigger nostalgic reminiscing. Opener “Redden the Sun” is aggressive and urgent as new vocalist, Travis Willis, shows off his impressive collection of pipes. The guitarwork from OG Ben Jackson and new axe Mark Borgmeyer is fluid and technical, and the song itself is decent, though it gets a bit scattered. The title track opens with the lead riff from Transcendence classic “Red Sharks,” which is either cool or cornball, I can’t decide. The song sounds more like something off Sanctuary’s debut than Crimson Glory, but it’s good nonetheless, although Willis overdoes it at times. The first real winner comes with “Broken Together,” which sounds enough like vintage Glory where you could imagine it appearing on the early classics. Wills sounds so close to Midnight as to be unsettling, and the whole package has that same strange power the old albums did. “Angel in My Nightmare” is a sprawling epic that plays out like a pastiche of “Lonely in Love” and “Azrael,” and it takes you on an interesting voyage through the various eras of the band (wisely excluding Strange and Beautiful). It’s a bit too long, but the goods are delivered.

“Indelible Ashes” is another success story, sounding like the love child of 80s Crimson Glory and Rage for Order era Queensrÿche. Wills moves between Midnight and Geof Tate homage vocals, and this is another cut that feels like the logical successor to the Transcendence material. “Beyond the Unknown” is another win where Wills shifts tone to sound almost exactly like Lance King, and the chorus sounds like essential Pyramaze. The only song that doesn’t really gel for me is “Armor Against Fate,” where the writing gets too herky-jerky and proggy, jettisoning transitions to skitter from idea to idea. Even then, it isn’t bad, and the chorus sticks in the head. At 47 minutes, and with most songs in the 4-5 minute frame, Chasing the Hydra ends up an easy spin with a nice ebb and flow.

A lot of the success of Chasing the Hydra comes down to the vocal magic of Travis Wills. Yes, the guy can emulate Midnight, which is no easy feat, but he doesn’t spend the entirety of the album trying to be a clone. He shifts tones and styles to suit the material and generally does a bang-up job elevating the solid-to-above-average material. Ben Jackson and new axe Mark Borgmeyer do a great job decorating each song with the right mix of burly riffage and pretty, ethereal harmonies, never drifting too far into Cheese Meadows. There’s a surprising amount of scrotal power on some of these tracks, which offsets the lighter moments.

If you ran into me at a drunken New Year’s Eve shindig last December and told me I’d be giving good reviews to Metal Church and Crimson Glory in 2026, I’d have denounced you as a fool and a charlatan. Here we are, though, and I underrated Metal Church! Chasing the Hydra is the album we should have gotten in 1991. It may be 34 years late, but better that than never. The Glory days may not be behind us after all. I hope that somewhere in the Great Beyond, Midnight is smiling.



Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: BraveWords
Websites: theofficialcrimsonglory.com | facebook.com/crimsonglory |
Releases Worldwide: April 17th, 2026

Crimson Glory 26 Yıl Sonra Yeni Albümle Dönüyor

#CrimsonGlory #progmetal #prog

https://los-endos.com/crimson-glory-26-yil-sonra-yeni-albumle-donuyor/