#cruzdelsurmusic — Public Fediverse posts

The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic rock concept album about the exploits of The Imperial Priestess. GardensTale wasn’t quite as impressed by followup Le Demon De L’Amour, an entire record’s worth of love songs released on Valentine’s Day 2022, but I found it every bit as enjoyable, if not more. Goodnight My Children leaned even more into their classic hard rock sound with razor-sharp songwriting. Mondo Tomorrow is something of a strategy shift for these Aussies, as they attempt to take a rearview-looking genre and apply it to a futuristic, dystopian setting.

In spite of these aspirations, for the most part, Mondo Tomorrow sounds just as retro as its predecessors. Guitar licks and chords of AC/DC or Deep Purple parentage come roaring in to start many of the songs, and the good, old-fashioned lead/rhythm onslaughts by Search and DesTroy and Inverted CruciFox adorn the bridge sections. The blaring Hammond organ also makes a comeback here and there. One key difference, however, is the computerized synthesizer tone that is subtly woven into the other instrumentation to fit the sci-fi theme. Of course, frontwoman Screaming Loz Sutch still sounds incredible. It’s impressive how high she can go without sounding shrill or losing an ounce of grit.

Mondo Tomorrow by The Neptune Power Federation

Mondo Tomorrow delivers more of The Neptune Power Federation’s straightforward and punchy numbers that are likely to resonate with anyone who has ever had a soft spot for classic rock. Sutch shines particularly bright in the ultra-catchy chorus of “And the Bones Decay,” where the harmonizing backing vocals augment her lead vocals (which has not always been the case in the past). “Mondo Tomorrow” is among the tightest and most fun songs in The Neptune Power Federation’s growing discography. “Living in the Gutter” is more mid-paced, with a slightly psychedelic section partway through, which serves as a good refresher. While no track comes close to being bad, “Cybernetic Times” is the least inspiring, with a somewhat lackluster chorus and a reverberating vocal effect that doesn’t work well for me.

As solid as Mondo Tomorrow is overall, I struggle to think of many reasons to reach for it over The Neptune Power Federation’s three previous records. If I want no-nonsense, hook-driven songs, I have Goodnight My Children. If I’m in the mood for more experimental compositions, I turn to Le Demon De L’Amour. For fist-pumping sci-fi-inspired anthems, there’s Memoirs of a Rat Queen. Mondo Tomorrow contains all of these elements, but they feel somewhat diluted. The exception is the funky bass-driven closing track “The Barbarian Dominion,” which is quite good until it changes to a robotic narrator and eerie synths for the last two minutes. This same narration style also opens Mondo Tomorrow, and in both cases, it’s more irksome than immersive.

Still, Mondo Tomorrow is a good entry point for those who may be unfamiliar with The Neptune Power Federation. It’s been satisfying to see them flourish over the years, and they have grown on me more and more with each release. It’s debatable whether the execution of this futuristic album concept was successful, but the music itself has lost none of its enthusiasm or charm. While Mondo Tomorrow doesn’t outdo its older siblings, it is every bit as fantastic a driving companion, and will be receiving further playtime during my trips this summer. Those in search of infectious, nostalgic riffs are highly encouraged to unite with the Federation.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | facebook.com/theneptunepowerfederation
Releases Worldwide: April 10th, 2026

The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic rock concept album about the exploits of The Imperial Priestess. GardensTale wasn’t quite as impressed by followup Le Demon De L’Amour, an entire record’s worth of love songs released on Valentine’s Day 2022, but I found it every bit as enjoyable, if not more. Goodnight My Children leaned even more into their classic hard rock sound with razor-sharp songwriting. Mondo Tomorrow is something of a strategy shift for these Aussies, as they attempt to take a rearview-looking genre and apply it to a futuristic, dystopian setting.

In spite of these aspirations, for the most part, Mondo Tomorrow sounds just as retro as its predecessors. Guitar licks and chords of AC/DC or Deep Purple parentage come roaring in to start many of the songs, and the good, old-fashioned lead/rhythm onslaughts by Search and DesTroy and Inverted CruciFox adorn the bridge sections. The blaring Hammond organ also makes a comeback here and there. One key difference, however, is the computerized synthesizer tone that is subtly woven into the other instrumentation to fit the sci-fi theme. Of course, frontwoman Screaming Loz Sutch still sounds incredible. It’s impressive how high she can go without sounding shrill or losing an ounce of grit.

Mondo Tomorrow by The Neptune Power Federation

Mondo Tomorrow delivers more of The Neptune Power Federation’s straightforward and punchy numbers that are likely to resonate with anyone who has ever had a soft spot for classic rock. Sutch shines particularly bright in the ultra-catchy chorus of “And the Bones Decay,” where the harmonizing backing vocals augment her lead vocals (which has not always been the case in the past). “Mondo Tomorrow” is among the tightest and most fun songs in The Neptune Power Federation’s growing discography. “Living in the Gutter” is more mid-paced, with a slightly psychedelic section partway through, which serves as a good refresher. While no track comes close to being bad, “Cybernetic Times” is the least inspiring, with a somewhat lackluster chorus and a reverberating vocal effect that doesn’t work well for me.

As solid as Mondo Tomorrow is overall, I struggle to think of many reasons to reach for it over The Neptune Power Federation’s three previous records. If I want no-nonsense, hook-driven songs, I have Goodnight My Children. If I’m in the mood for more experimental compositions, I turn to Le Demon De L’Amour. For fist-pumping sci-fi-inspired anthems, there’s Memoirs of a Rat Queen. Mondo Tomorrow contains all of these elements, but they feel somewhat diluted. The exception is the funky bass-driven closing track “The Barbarian Dominion,” which is quite good until it changes to a robotic narrator and eerie synths for the last two minutes. This same narration style also opens Mondo Tomorrow, and in both cases, it’s more irksome than immersive.

Still, Mondo Tomorrow is a good entry point for those who may be unfamiliar with The Neptune Power Federation. It’s been satisfying to see them flourish over the years, and they have grown on me more and more with each release. It’s debatable whether the execution of this futuristic album concept was successful, but the music itself has lost none of its enthusiasm or charm. While Mondo Tomorrow doesn’t outdo its older siblings, it is every bit as fantastic a driving companion, and will be receiving further playtime during my trips this summer. Those in search of infectious, nostalgic riffs are highly encouraged to unite with the Federation.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | facebook.com/theneptunepowerfederation
Releases Worldwide: April 10th, 2026

The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic rock concept album about the exploits of The Imperial Priestess. GardensTale wasn’t quite as impressed by followup Le Demon De L’Amour, an entire record’s worth of love songs released on Valentine’s Day 2022, but I found it every bit as enjoyable, if not more. Goodnight My Children leaned even more into their classic hard rock sound with razor-sharp songwriting. Mondo Tomorrow is something of a strategy shift for these Aussies, as they attempt to take a rearview-looking genre and apply it to a futuristic, dystopian setting.

In spite of these aspirations, for the most part, Mondo Tomorrow sounds just as retro as its predecessors. Guitar licks and chords of AC/DC or Deep Purple parentage come roaring in to start many of the songs, and the good, old-fashioned lead/rhythm onslaughts by Search and DesTroy and Inverted CruciFox adorn the bridge sections. The blaring Hammond organ also makes a comeback here and there. One key difference, however, is the computerized synthesizer tone that is subtly woven into the other instrumentation to fit the sci-fi theme. Of course, frontwoman Screaming Loz Sutch still sounds incredible. It’s impressive how high she can go without sounding shrill or losing an ounce of grit.

Mondo Tomorrow by The Neptune Power Federation

Mondo Tomorrow delivers more of The Neptune Power Federation’s straightforward and punchy numbers that are likely to resonate with anyone who has ever had a soft spot for classic rock. Sutch shines particularly bright in the ultra-catchy chorus of “And the Bones Decay,” where the harmonizing backing vocals augment her lead vocals (which has not always been the case in the past). “Mondo Tomorrow” is among the tightest and most fun songs in The Neptune Power Federation’s growing discography. “Living in the Gutter” is more mid-paced, with a slightly psychedelic section partway through, which serves as a good refresher. While no track comes close to being bad, “Cybernetic Times” is the least inspiring, with a somewhat lackluster chorus and a reverberating vocal effect that doesn’t work well for me.

As solid as Mondo Tomorrow is overall, I struggle to think of many reasons to reach for it over The Neptune Power Federation’s three previous records. If I want no-nonsense, hook-driven songs, I have Goodnight My Children. If I’m in the mood for more experimental compositions, I turn to Le Demon De L’Amour. For fist-pumping sci-fi-inspired anthems, there’s Memoirs of a Rat Queen. Mondo Tomorrow contains all of these elements, but they feel somewhat diluted. The exception is the funky bass-driven closing track “The Barbarian Dominion,” which is quite good until it changes to a robotic narrator and eerie synths for the last two minutes. This same narration style also opens Mondo Tomorrow, and in both cases, it’s more irksome than immersive.

Still, Mondo Tomorrow is a good entry point for those who may be unfamiliar with The Neptune Power Federation. It’s been satisfying to see them flourish over the years, and they have grown on me more and more with each release. It’s debatable whether the execution of this futuristic album concept was successful, but the music itself has lost none of its enthusiasm or charm. While Mondo Tomorrow doesn’t outdo its older siblings, it is every bit as fantastic a driving companion, and will be receiving further playtime during my trips this summer. Those in search of infectious, nostalgic riffs are highly encouraged to unite with the Federation.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | facebook.com/theneptunepowerfederation
Releases Worldwide: April 10th, 2026

The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic rock concept album about the exploits of The Imperial Priestess. GardensTale wasn’t quite as impressed by followup Le Demon De L’Amour, an entire record’s worth of love songs released on Valentine’s Day 2022, but I found it every bit as enjoyable, if not more. Goodnight My Children leaned even more into their classic hard rock sound with razor-sharp songwriting. Mondo Tomorrow is something of a strategy shift for these Aussies, as they attempt to take a rearview-looking genre and apply it to a futuristic, dystopian setting.

In spite of these aspirations, for the most part, Mondo Tomorrow sounds just as retro as its predecessors. Guitar licks and chords of AC/DC or Deep Purple parentage come roaring in to start many of the songs, and the good, old-fashioned lead/rhythm onslaughts by Search and DesTroy and Inverted CruciFox adorn the bridge sections. The blaring Hammond organ also makes a comeback here and there. One key difference, however, is the computerized synthesizer tone that is subtly woven into the other instrumentation to fit the sci-fi theme. Of course, frontwoman Screaming Loz Sutch still sounds incredible. It’s impressive how high she can go without sounding shrill or losing an ounce of grit.

Mondo Tomorrow by The Neptune Power Federation

Mondo Tomorrow delivers more of The Neptune Power Federation’s straightforward and punchy numbers that are likely to resonate with anyone who has ever had a soft spot for classic rock. Sutch shines particularly bright in the ultra-catchy chorus of “And the Bones Decay,” where the harmonizing backing vocals augment her lead vocals (which has not always been the case in the past). “Mondo Tomorrow” is among the tightest and most fun songs in The Neptune Power Federation’s growing discography. “Living in the Gutter” is more mid-paced, with a slightly psychedelic section partway through, which serves as a good refresher. While no track comes close to being bad, “Cybernetic Times” is the least inspiring, with a somewhat lackluster chorus and a reverberating vocal effect that doesn’t work well for me.

As solid as Mondo Tomorrow is overall, I struggle to think of many reasons to reach for it over The Neptune Power Federation’s three previous records. If I want no-nonsense, hook-driven songs, I have Goodnight My Children. If I’m in the mood for more experimental compositions, I turn to Le Demon De L’Amour. For fist-pumping sci-fi-inspired anthems, there’s Memoirs of a Rat Queen. Mondo Tomorrow contains all of these elements, but they feel somewhat diluted. The exception is the funky bass-driven closing track “The Barbarian Dominion,” which is quite good until it changes to a robotic narrator and eerie synths for the last two minutes. This same narration style also opens Mondo Tomorrow, and in both cases, it’s more irksome than immersive.

Still, Mondo Tomorrow is a good entry point for those who may be unfamiliar with The Neptune Power Federation. It’s been satisfying to see them flourish over the years, and they have grown on me more and more with each release. It’s debatable whether the execution of this futuristic album concept was successful, but the music itself has lost none of its enthusiasm or charm. While Mondo Tomorrow doesn’t outdo its older siblings, it is every bit as fantastic a driving companion, and will be receiving further playtime during my trips this summer. Those in search of infectious, nostalgic riffs are highly encouraged to unite with the Federation.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | facebook.com/theneptunepowerfederation
Releases Worldwide: April 10th, 2026

The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic rock concept album about the exploits of The Imperial Priestess. GardensTale wasn’t quite as impressed by followup Le Demon De L’Amour, an entire record’s worth of love songs released on Valentine’s Day 2022, but I found it every bit as enjoyable, if not more. Goodnight My Children leaned even more into their classic hard rock sound with razor-sharp songwriting. Mondo Tomorrow is something of a strategy shift for these Aussies, as they attempt to take a rearview-looking genre and apply it to a futuristic, dystopian setting.

In spite of these aspirations, for the most part, Mondo Tomorrow sounds just as retro as its predecessors. Guitar licks and chords of AC/DC or Deep Purple parentage come roaring in to start many of the songs, and the good, old-fashioned lead/rhythm onslaughts by Search and DesTroy and Inverted CruciFox adorn the bridge sections. The blaring Hammond organ also makes a comeback here and there. One key difference, however, is the computerized synthesizer tone that is subtly woven into the other instrumentation to fit the sci-fi theme. Of course, frontwoman Screaming Loz Sutch still sounds incredible. It’s impressive how high she can go without sounding shrill or losing an ounce of grit.

Mondo Tomorrow by The Neptune Power Federation

Mondo Tomorrow delivers more of The Neptune Power Federation’s straightforward and punchy numbers that are likely to resonate with anyone who has ever had a soft spot for classic rock. Sutch shines particularly bright in the ultra-catchy chorus of “And the Bones Decay,” where the harmonizing backing vocals augment her lead vocals (which has not always been the case in the past). “Mondo Tomorrow” is among the tightest and most fun songs in The Neptune Power Federation’s growing discography. “Living in the Gutter” is more mid-paced, with a slightly psychedelic section partway through, which serves as a good refresher. While no track comes close to being bad, “Cybernetic Times” is the least inspiring, with a somewhat lackluster chorus and a reverberating vocal effect that doesn’t work well for me.

As solid as Mondo Tomorrow is overall, I struggle to think of many reasons to reach for it over The Neptune Power Federation’s three previous records. If I want no-nonsense, hook-driven songs, I have Goodnight My Children. If I’m in the mood for more experimental compositions, I turn to Le Demon De L’Amour. For fist-pumping sci-fi-inspired anthems, there’s Memoirs of a Rat Queen. Mondo Tomorrow contains all of these elements, but they feel somewhat diluted. The exception is the funky bass-driven closing track “The Barbarian Dominion,” which is quite good until it changes to a robotic narrator and eerie synths for the last two minutes. This same narration style also opens Mondo Tomorrow, and in both cases, it’s more irksome than immersive.

Still, Mondo Tomorrow is a good entry point for those who may be unfamiliar with The Neptune Power Federation. It’s been satisfying to see them flourish over the years, and they have grown on me more and more with each release. It’s debatable whether the execution of this futuristic album concept was successful, but the music itself has lost none of its enthusiasm or charm. While Mondo Tomorrow doesn’t outdo its older siblings, it is every bit as fantastic a driving companion, and will be receiving further playtime during my trips this summer. Those in search of infectious, nostalgic riffs are highly encouraged to unite with the Federation.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | facebook.com/theneptunepowerfederation
Releases Worldwide: April 10th, 2026

Mega Colossus – Watch Out! Review

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #4.0 #AmericanMetal #CruzDelSurMusic #DreamTröll #Entertainment #HardRock #HeavyMetal #IronMaiden #Judicator #Kansas #LedZeppelin #Mar26 #MegaColossus #review #reviews #UriahHeep #WatchOut!
https://www.newsbeep.com/us/505952/

Mega Colossus – Watch Out! Review

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #4.0 #AmericanMetal #CruzDelSurMusic #DreamTröll #Entertainment #HardRock #HeavyMetal #IronMaiden #Judicator #Kansas #LedZeppelin #Mar26 #MegaColossus #review #reviews #UriahHeep #WatchOut!
https://www.newsbeep.com/us/505952/

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Greyhawk – Warriors of Greyhawk Review

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #Accept #AmericanMetal #CruzDelSurMusic #Dio #Dragonforce #DreamEvil #Entertainment #Feb26 #Greyhawk #HardRock #HeavyMetal #Helloween #JudasPriest #PowerMetal #review #reviews #WarriorsofGreyhawk
https://www.newsbeep.com/us/465226/

Greyhawk – Warriors of Greyhawk Review

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #Accept #AmericanMetal #CruzDelSurMusic #Dio #Dragonforce #DreamEvil #Entertainment #Feb26 #Greyhawk #HardRock #HeavyMetal #Helloween #JudasPriest #PowerMetal #review #reviews #WarriorsofGreyhawk
https://www.newsbeep.com/us/465226/

Review: Mausoleum Gate “Space, Rituals and Magick’

Release date: Out Now

Label: Cruz Del Sur Music

The Nwothm

Finnish heavy metal cult Mausoleum Gate return with their heavily anticipated third studio album. “Space, Rituals and Magick” is available now via Cruz Del Sur Music on vinyl, CD, and digital formats.

Formed in 2008, Mausoleum Gate have carved a reputation for their mystical and atmospheric approach to heavy metal, drawing inspiration from obscure gems of the 1980s and beyond. Their latest work continues this tradition, offering a journey into other realms and ancient times with a distinctive sound that remains recognisably their own.

Guitarist Count L.F remarks:

Well the notorious third album shall we say? Or so the legend that I have heard goes. This time with Mausoleum Gate. The album took remarkable time to make for various reasons. Sometimes the song not intended to album was growing a serious epic and so on. Well as we called it -The Church of Isaac 666 (a phrase in Finnish called “Iisakin kirkko” which means a building that is never finished) but here we are! As usual the album differs from previous albums. This seems to be the case with us. Anyway still sounding Mausoleum Gate. This is the point. Our line-up has changed quite a lot since the last album and that of course changes the sound of the band but you can recognise the band. And the melodies and harmonies are still there. This time the compositions are maybe more of a band effort than ever before which gives a new nuances. New members: Jarno Saarinen, Jari Kourunen and Jarno Koskell have brought a great addition to Mausoleum Gate – as well as playing wise and composing wise. The new line-up has been tested live a few times but now its time to reveal the claws in album size! Last but definitely not the least our long time artist Timo Raita who did awesome job this time – again!

Review

Vision Divine is the first track of the album and essentially my introduction to the band. Noticeably straight I get this very organic vibe especially with the drums which do not feel over processed and focus on the acoustic qualities. There are repeating synths phrases and effects that make you feel your travelling through space. I am loving the jump in pacing and the melodic work delivered by the guitars. It just injects this sense of energy which catches your attention instantly. And throughout everything flies forward on top of some great (and sometimes unusually interesting) synth beds).The solo work slots in perfectly adding some flair to the song. And the vocal work helps to gel everything together ultimately creating this very organic, raw and nostalgic sound which has got me tuned in.

Lucifer Shrine shines strong with powerful and bright synth chords to open up the track. Unlike “Vision Divine” the tempo takes a step into the mid tempo range but packs a lot of punch. Notably I am liking the flowing feel of the melodies by both the guitars and synth notes in the background. And due to the mix being being very unrefined or polished you can here nuances, the roughness and grit of the guitar tones. And it is a pleasant listen. The vocals just like the track before are like butter on top of toast. Smooth and just go really well with the music. When the song breaks down to some riffing the synths even jump in for a bit of play. A refreshing break to a lot of the heavy metal and hard rock I have been listening too. Then it starts to get hella’ funky! The bass begins vibing the synths go off on one and the guitars are doing their thing. It comes all back together for one big bout driving towards the end. The vocals here are lower in key and add some nice weight to the song

Sacred Be Thy Throne come in at just around seven minutes so lets see if the length works. The band this time around have dialled things back to a mid/slower tempo pace. The band are all running together giving us some wonderful ideas before transition into a softer section where it is acoustic guitars, rolling snare patterns and calming vocal lines.Even little touches of synth in the background. A great way to bring balance to a song. Then a ripping riff cuts in helping to bring everything else back driving things forward. Things play out for a bit keeping the flow before dropping back down to our acoustic style section. However this time things pick up with some bold and heroic synths lighting up the mix in the background. Soon enough some majestic guitar harmonies shine light on the music and even the synths have a go. And as the sng progresses everything is gradually building in height and tone. The vocals that have played between calm and collected hit moments of energy and strength – especially when stacked.The passion just really holds this track up and high and does so until the very end. I am really digging this song and how the musical structure for not one minute feels boring. The acoustics and calm vocals bring Sacred Be Thy Throne to a close rounded everything off. What a brilliant song!

https://www.youtube.com/watch?v=8OoZ9nH5z24

4. Shine The Night has a very unusual intro. Just imagine you are floating through the darkness of space and matter flies past you. The sounds of synth notes cry from the silent dead void like alien calls. The pulsing bass notes drift in with a 16th note hi-hat beat and glossy guitar riffs. Little tweets of synths cry out all presenting a very spacey vibe. The verses are strong and muscular with driving rhythms and ballsy vocals. There is a couple of times where the verse and main glossy riffs repeat. But later on there are some developments where the things feel heightened and the synths beep noises like a spaceship computer. The whole track really does feel like a trip through space and time. And I really think that the atmosphere and synths are what what create this whole feeling.

5. Space, Rituals And Magick gets down to business with some heavy metal riffing and more spacey vibes with trickling synth melodies and bubbling sound effects in the background. The song has pace and does not mess around getting locked into the riffs all while the bass and drums provide a solid backbone. The vocals have been spot on throughout the whole album just making everything feel together and wholesome. There are some unusual vocal moments which do not feel human but more like a robot which are ace. lines brimming with character and charm. Layered beneath, the synth beds add width and depth, amplifying the atmosphere. The space‑like vibe shines especially bright here, evoking the sensation of flying through an asteroid field. The outro ties everything together seamlessly, rounding off the track as another excellent addition to the release.

We reach the end of this epic journey with the Witches Circle. Now this track comes in at just over eight minutes making it the longest track on the record. And unlike the rest of the album a large part of this track is stripped back. The intro is very merry and glistens bright but that acts as a brief flash before what follows next. Acoustic guitars and warm vocal lines gracefully come in as well as very light tip taps on hand drums. These just help to keep the flow moving forward. The title of Witches Circles is sung at intervals while synth piano notes gradually weave in to the song. And over time ]the music builds, the bass getting a little more interesting, the drums dropping in to a slow and mellow 4/4 beat. Semi acoustic guitar riffing comes in and the synth notes play out in the background. Everything feels so chilled yet retro and nostalgic yet I have travelled back in time. Little guitar melodies sing out delightfully with almost whispering vocal lines joining for a stint. But as we approach the last two minutes the dazzling vibes of the intro section returns and even some ideas like you would hear at American football game flash by. The song closes with a few repeats of the title ending a great and adventurous album!

Conclusion

Overall, this album delivers a cohesive and engaging journey that blends raw, organic instrumentation with rich, space-inspired atmosphere. Each track stands out in its own way, whether through energetic riffs, mid-tempo grooves, or expansive, emotional builds, but they are all tied together by expressive vocals, unpolished warmth, and imaginative synth work. The band moves effortlessly between heavy metal power and cosmic ambience, keeping the album dynamic and never dull. By the time the final track closes, it is clear this release is both adventurous and confidently crafted, offering a refreshing and memorable experience from start to finish.

TheNwothm Score: 10/10

Links

Bandcamp: https://mausoleumgatemetal.bandcamp.com/album/space-rituals-and-magick

Facebook: https://www.facebook.com/MausoleumGate

Instagram: https://www.instagram.com/mausoleumgate/

Label: https://cruzdelsurmusic.bandcamp.com/

https://www.youtube.com/watch?v=TBDbBoZAJL4

Read More Reviews

• Review: Mausoleum Gate “Space, Rituals and Magick’

  22nd Nov 2025

• Review: Hounds “Rise of the Immortals”

  17th Nov 2025

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

#cruzDelSur #cruzDelSurMusic #heavyMetal #mausoleumGate #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #ritualsAndMagick #space #spaceMetal #spaceRock #thenwothm #thenwothmCom

Review: Mausoleum Gate “Space, Rituals and Magick’

Release date: Out Now

Label: Cruz Del Sur Music

The Nwothm

Finnish heavy metal cult Mausoleum Gate return with their heavily anticipated third studio album. “Space, Rituals and Magick” is available now via Cruz Del Sur Music on vinyl, CD, and digital formats.

Formed in 2008, Mausoleum Gate have carved a reputation for their mystical and atmospheric approach to heavy metal, drawing inspiration from obscure gems of the 1980s and beyond. Their latest work continues this tradition, offering a journey into other realms and ancient times with a distinctive sound that remains recognisably their own.

Guitarist Count L.F remarks:

Well the notorious third album shall we say? Or so the legend that I have heard goes. This time with Mausoleum Gate. The album took remarkable time to make for various reasons. Sometimes the song not intended to album was growing a serious epic and so on. Well as we called it -The Church of Isaac 666 (a phrase in Finnish called “Iisakin kirkko” which means a building that is never finished) but here we are! As usual the album differs from previous albums. This seems to be the case with us. Anyway still sounding Mausoleum Gate. This is the point. Our line-up has changed quite a lot since the last album and that of course changes the sound of the band but you can recognise the band. And the melodies and harmonies are still there. This time the compositions are maybe more of a band effort than ever before which gives a new nuances. New members: Jarno Saarinen, Jari Kourunen and Jarno Koskell have brought a great addition to Mausoleum Gate – as well as playing wise and composing wise. The new line-up has been tested live a few times but now its time to reveal the claws in album size! Last but definitely not the least our long time artist Timo Raita who did awesome job this time – again!

Review

Vision Divine is the first track of the album and essentially my introduction to the band. Noticeably straight I get this very organic vibe especially with the drums which do not feel over processed and focus on the acoustic qualities. There are repeating synths phrases and effects that make you feel your travelling through space. I am loving the jump in pacing and the melodic work delivered by the guitars. It just injects this sense of energy which catches your attention instantly. And throughout everything flies forward on top of some great (and sometimes unusually interesting) synth beds).The solo work slots in perfectly adding some flair to the song. And the vocal work helps to gel everything together ultimately creating this very organic, raw and nostalgic sound which has got me tuned in.

Lucifer Shrine shines strong with powerful and bright synth chords to open up the track. Unlike “Vision Divine” the tempo takes a step into the mid tempo range but packs a lot of punch. Notably I am liking the flowing feel of the melodies by both the guitars and synth notes in the background. And due to the mix being being very unrefined or polished you can here nuances, the roughness and grit of the guitar tones. And it is a pleasant listen. The vocals just like the track before are like butter on top of toast. Smooth and just go really well with the music. When the song breaks down to some riffing the synths even jump in for a bit of play. A refreshing break to a lot of the heavy metal and hard rock I have been listening too. Then it starts to get hella’ funky! The bass begins vibing the synths go off on one and the guitars are doing their thing. It comes all back together for one big bout driving towards the end. The vocals here are lower in key and add some nice weight to the song

Sacred Be Thy Throne come in at just around seven minutes so lets see if the length works. The band this time around have dialled things back to a mid/slower tempo pace. The band are all running together giving us some wonderful ideas before transition into a softer section where it is acoustic guitars, rolling snare patterns and calming vocal lines.Even little touches of synth in the background. A great way to bring balance to a song. Then a ripping riff cuts in helping to bring everything else back driving things forward. Things play out for a bit keeping the flow before dropping back down to our acoustic style section. However this time things pick up with some bold and heroic synths lighting up the mix in the background. Soon enough some majestic guitar harmonies shine light on the music and even the synths have a go. And as the sng progresses everything is gradually building in height and tone. The vocals that have played between calm and collected hit moments of energy and strength – especially when stacked.The passion just really holds this track up and high and does so until the very end. I am really digging this song and how the musical structure for not one minute feels boring. The acoustics and calm vocals bring Sacred Be Thy Throne to a close rounded everything off. What a brilliant song!

https://www.youtube.com/watch?v=8OoZ9nH5z24

4. Shine The Night has a very unusual intro. Just imagine you are floating through the darkness of space and matter flies past you. The sounds of synth notes cry from the silent dead void like alien calls. The pulsing bass notes drift in with a 16th note hi-hat beat and glossy guitar riffs. Little tweets of synths cry out all presenting a very spacey vibe. The verses are strong and muscular with driving rhythms and ballsy vocals. There is a couple of times where the verse and main glossy riffs repeat. But later on there are some developments where the things feel heightened and the synths beep noises like a spaceship computer. The whole track really does feel like a trip through space and time. And I really think that the atmosphere and synths are what what create this whole feeling.

5. Space, Rituals And Magick gets down to business with some heavy metal riffing and more spacey vibes with trickling synth melodies and bubbling sound effects in the background. The song has pace and does not mess around getting locked into the riffs all while the bass and drums provide a solid backbone. The vocals have been spot on throughout the whole album just making everything feel together and wholesome. There are some unusual vocal moments which do not feel human but more like a robot which are ace. lines brimming with character and charm. Layered beneath, the synth beds add width and depth, amplifying the atmosphere. The space‑like vibe shines especially bright here, evoking the sensation of flying through an asteroid field. The outro ties everything together seamlessly, rounding off the track as another excellent addition to the release.

We reach the end of this epic journey with the Witches Circle. Now this track comes in at just over eight minutes making it the longest track on the record. And unlike the rest of the album a large part of this track is stripped back. The intro is very merry and glistens bright but that acts as a brief flash before what follows next. Acoustic guitars and warm vocal lines gracefully come in as well as very light tip taps on hand drums. These just help to keep the flow moving forward. The title of Witches Circles is sung at intervals while synth piano notes gradually weave in to the song. And over time ]the music builds, the bass getting a little more interesting, the drums dropping in to a slow and mellow 4/4 beat. Semi acoustic guitar riffing comes in and the synth notes play out in the background. Everything feels so chilled yet retro and nostalgic yet I have travelled back in time. Little guitar melodies sing out delightfully with almost whispering vocal lines joining for a stint. But as we approach the last two minutes the dazzling vibes of the intro section returns and even some ideas like you would hear at American football game flash by. The song closes with a few repeats of the title ending a great and adventurous album!

Conclusion

Overall, this album delivers a cohesive and engaging journey that blends raw, organic instrumentation with rich, space-inspired atmosphere. Each track stands out in its own way, whether through energetic riffs, mid-tempo grooves, or expansive, emotional builds, but they are all tied together by expressive vocals, unpolished warmth, and imaginative synth work. The band moves effortlessly between heavy metal power and cosmic ambience, keeping the album dynamic and never dull. By the time the final track closes, it is clear this release is both adventurous and confidently crafted, offering a refreshing and memorable experience from start to finish.

TheNwothm Score: 10/10

Links

Bandcamp: https://mausoleumgatemetal.bandcamp.com/album/space-rituals-and-magick

Facebook: https://www.facebook.com/MausoleumGate

Instagram: https://www.instagram.com/mausoleumgate/

Label: https://cruzdelsurmusic.bandcamp.com/

https://www.youtube.com/watch?v=TBDbBoZAJL4

Read More Reviews

• Review: Mausoleum Gate “Space, Rituals and Magick’

  22nd Nov 2025

• Review: Hounds “Rise of the Immortals”

  17th Nov 2025

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

#cruzDelSur #cruzDelSurMusic #heavyMetal #mausoleumGate #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #ritualsAndMagick #space #spaceMetal #spaceRock #thenwothm #thenwothmCom

Review: Mausoleum Gate “Space, Rituals and Magick’

Release date: Out Now

Label: Cruz Del Sur Music

The Nwothm

Finnish heavy metal cult Mausoleum Gate return with their heavily anticipated third studio album. “Space, Rituals and Magick” is available now via Cruz Del Sur Music on vinyl, CD, and digital formats.

Formed in 2008, Mausoleum Gate have carved a reputation for their mystical and atmospheric approach to heavy metal, drawing inspiration from obscure gems of the 1980s and beyond. Their latest work continues this tradition, offering a journey into other realms and ancient times with a distinctive sound that remains recognisably their own.

Guitarist Count L.F remarks:

Well the notorious third album shall we say? Or so the legend that I have heard goes. This time with Mausoleum Gate. The album took remarkable time to make for various reasons. Sometimes the song not intended to album was growing a serious epic and so on. Well as we called it -The Church of Isaac 666 (a phrase in Finnish called “Iisakin kirkko” which means a building that is never finished) but here we are! As usual the album differs from previous albums. This seems to be the case with us. Anyway still sounding Mausoleum Gate. This is the point. Our line-up has changed quite a lot since the last album and that of course changes the sound of the band but you can recognise the band. And the melodies and harmonies are still there. This time the compositions are maybe more of a band effort than ever before which gives a new nuances. New members: Jarno Saarinen, Jari Kourunen and Jarno Koskell have brought a great addition to Mausoleum Gate – as well as playing wise and composing wise. The new line-up has been tested live a few times but now its time to reveal the claws in album size! Last but definitely not the least our long time artist Timo Raita who did awesome job this time – again!

Review

Vision Divine is the first track of the album and essentially my introduction to the band. Noticeably straight I get this very organic vibe especially with the drums which do not feel over processed and focus on the acoustic qualities. There are repeating synths phrases and effects that make you feel your travelling through space. I am loving the jump in pacing and the melodic work delivered by the guitars. It just injects this sense of energy which catches your attention instantly. And throughout everything flies forward on top of some great (and sometimes unusually interesting) synth beds).The solo work slots in perfectly adding some flair to the song. And the vocal work helps to gel everything together ultimately creating this very organic, raw and nostalgic sound which has got me tuned in.

Lucifer Shrine shines strong with powerful and bright synth chords to open up the track. Unlike “Vision Divine” the tempo takes a step into the mid tempo range but packs a lot of punch. Notably I am liking the flowing feel of the melodies by both the guitars and synth notes in the background. And due to the mix being being very unrefined or polished you can here nuances, the roughness and grit of the guitar tones. And it is a pleasant listen. The vocals just like the track before are like butter on top of toast. Smooth and just go really well with the music. When the song breaks down to some riffing the synths even jump in for a bit of play. A refreshing break to a lot of the heavy metal and hard rock I have been listening too. Then it starts to get hella’ funky! The bass begins vibing the synths go off on one and the guitars are doing their thing. It comes all back together for one big bout driving towards the end. The vocals here are lower in key and add some nice weight to the song

Sacred Be Thy Throne come in at just around seven minutes so lets see if the length works. The band this time around have dialled things back to a mid/slower tempo pace. The band are all running together giving us some wonderful ideas before transition into a softer section where it is acoustic guitars, rolling snare patterns and calming vocal lines.Even little touches of synth in the background. A great way to bring balance to a song. Then a ripping riff cuts in helping to bring everything else back driving things forward. Things play out for a bit keeping the flow before dropping back down to our acoustic style section. However this time things pick up with some bold and heroic synths lighting up the mix in the background. Soon enough some majestic guitar harmonies shine light on the music and even the synths have a go. And as the sng progresses everything is gradually building in height and tone. The vocals that have played between calm and collected hit moments of energy and strength – especially when stacked.The passion just really holds this track up and high and does so until the very end. I am really digging this song and how the musical structure for not one minute feels boring. The acoustics and calm vocals bring Sacred Be Thy Throne to a close rounded everything off. What a brilliant song!

https://www.youtube.com/watch?v=8OoZ9nH5z24

4. Shine The Night has a very unusual intro. Just imagine you are floating through the darkness of space and matter flies past you. The sounds of synth notes cry from the silent dead void like alien calls. The pulsing bass notes drift in with a 16th note hi-hat beat and glossy guitar riffs. Little tweets of synths cry out all presenting a very spacey vibe. The verses are strong and muscular with driving rhythms and ballsy vocals. There is a couple of times where the verse and main glossy riffs repeat. But later on there are some developments where the things feel heightened and the synths beep noises like a spaceship computer. The whole track really does feel like a trip through space and time. And I really think that the atmosphere and synths are what what create this whole feeling.

5. Space, Rituals And Magick gets down to business with some heavy metal riffing and more spacey vibes with trickling synth melodies and bubbling sound effects in the background. The song has pace and does not mess around getting locked into the riffs all while the bass and drums provide a solid backbone. The vocals have been spot on throughout the whole album just making everything feel together and wholesome. There are some unusual vocal moments which do not feel human but more like a robot which are ace. lines brimming with character and charm. Layered beneath, the synth beds add width and depth, amplifying the atmosphere. The space‑like vibe shines especially bright here, evoking the sensation of flying through an asteroid field. The outro ties everything together seamlessly, rounding off the track as another excellent addition to the release.

We reach the end of this epic journey with the Witches Circle. Now this track comes in at just over eight minutes making it the longest track on the record. And unlike the rest of the album a large part of this track is stripped back. The intro is very merry and glistens bright but that acts as a brief flash before what follows next. Acoustic guitars and warm vocal lines gracefully come in as well as very light tip taps on hand drums. These just help to keep the flow moving forward. The title of Witches Circles is sung at intervals while synth piano notes gradually weave in to the song. And over time ]the music builds, the bass getting a little more interesting, the drums dropping in to a slow and mellow 4/4 beat. Semi acoustic guitar riffing comes in and the synth notes play out in the background. Everything feels so chilled yet retro and nostalgic yet I have travelled back in time. Little guitar melodies sing out delightfully with almost whispering vocal lines joining for a stint. But as we approach the last two minutes the dazzling vibes of the intro section returns and even some ideas like you would hear at American football game flash by. The song closes with a few repeats of the title ending a great and adventurous album!

Conclusion

Overall, this album delivers a cohesive and engaging journey that blends raw, organic instrumentation with rich, space-inspired atmosphere. Each track stands out in its own way, whether through energetic riffs, mid-tempo grooves, or expansive, emotional builds, but they are all tied together by expressive vocals, unpolished warmth, and imaginative synth work. The band moves effortlessly between heavy metal power and cosmic ambience, keeping the album dynamic and never dull. By the time the final track closes, it is clear this release is both adventurous and confidently crafted, offering a refreshing and memorable experience from start to finish.

TheNwothm Score: 10/10

Links

Bandcamp: https://mausoleumgatemetal.bandcamp.com/album/space-rituals-and-magick

Facebook: https://www.facebook.com/MausoleumGate

Instagram: https://www.instagram.com/mausoleumgate/

Label: https://cruzdelsurmusic.bandcamp.com/

https://www.youtube.com/watch?v=TBDbBoZAJL4

Read More Reviews

• Review: Mausoleum Gate “Space, Rituals and Magick’

  22nd Nov 2025

• Review: Hounds “Rise of the Immortals”

  17th Nov 2025

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

#cruzDelSur #cruzDelSurMusic #heavyMetal #mausoleumGate #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #ritualsAndMagick #space #spaceMetal #spaceRock #thenwothm #thenwothmCom

Review: Mausoleum Gate “Space, Rituals and Magick’

Release date: Out Now

Label: Cruz Del Sur Music

The Nwothm

Finnish heavy metal cult Mausoleum Gate return with their heavily anticipated third studio album. “Space, Rituals and Magick” is available now via Cruz Del Sur Music on vinyl, CD, and digital formats.

Formed in 2008, Mausoleum Gate have carved a reputation for their mystical and atmospheric approach to heavy metal, drawing inspiration from obscure gems of the 1980s and beyond. Their latest work continues this tradition, offering a journey into other realms and ancient times with a distinctive sound that remains recognisably their own.

Guitarist Count L.F remarks:

Well the notorious third album shall we say? Or so the legend that I have heard goes. This time with Mausoleum Gate. The album took remarkable time to make for various reasons. Sometimes the song not intended to album was growing a serious epic and so on. Well as we called it -The Church of Isaac 666 (a phrase in Finnish called “Iisakin kirkko” which means a building that is never finished) but here we are! As usual the album differs from previous albums. This seems to be the case with us. Anyway still sounding Mausoleum Gate. This is the point. Our line-up has changed quite a lot since the last album and that of course changes the sound of the band but you can recognise the band. And the melodies and harmonies are still there. This time the compositions are maybe more of a band effort than ever before which gives a new nuances. New members: Jarno Saarinen, Jari Kourunen and Jarno Koskell have brought a great addition to Mausoleum Gate – as well as playing wise and composing wise. The new line-up has been tested live a few times but now its time to reveal the claws in album size! Last but definitely not the least our long time artist Timo Raita who did awesome job this time – again!

Review

Vision Divine is the first track of the album and essentially my introduction to the band. Noticeably straight I get this very organic vibe especially with the drums which do not feel over processed and focus on the acoustic qualities. There are repeating synths phrases and effects that make you feel your travelling through space. I am loving the jump in pacing and the melodic work delivered by the guitars. It just injects this sense of energy which catches your attention instantly. And throughout everything flies forward on top of some great (and sometimes unusually interesting) synth beds).The solo work slots in perfectly adding some flair to the song. And the vocal work helps to gel everything together ultimately creating this very organic, raw and nostalgic sound which has got me tuned in.

Lucifer Shrine shines strong with powerful and bright synth chords to open up the track. Unlike “Vision Divine” the tempo takes a step into the mid tempo range but packs a lot of punch. Notably I am liking the flowing feel of the melodies by both the guitars and synth notes in the background. And due to the mix being being very unrefined or polished you can here nuances, the roughness and grit of the guitar tones. And it is a pleasant listen. The vocals just like the track before are like butter on top of toast. Smooth and just go really well with the music. When the song breaks down to some riffing the synths even jump in for a bit of play. A refreshing break to a lot of the heavy metal and hard rock I have been listening too. Then it starts to get hella’ funky! The bass begins vibing the synths go off on one and the guitars are doing their thing. It comes all back together for one big bout driving towards the end. The vocals here are lower in key and add some nice weight to the song

Sacred Be Thy Throne come in at just around seven minutes so lets see if the length works. The band this time around have dialled things back to a mid/slower tempo pace. The band are all running together giving us some wonderful ideas before transition into a softer section where it is acoustic guitars, rolling snare patterns and calming vocal lines.Even little touches of synth in the background. A great way to bring balance to a song. Then a ripping riff cuts in helping to bring everything else back driving things forward. Things play out for a bit keeping the flow before dropping back down to our acoustic style section. However this time things pick up with some bold and heroic synths lighting up the mix in the background. Soon enough some majestic guitar harmonies shine light on the music and even the synths have a go. And as the sng progresses everything is gradually building in height and tone. The vocals that have played between calm and collected hit moments of energy and strength – especially when stacked.The passion just really holds this track up and high and does so until the very end. I am really digging this song and how the musical structure for not one minute feels boring. The acoustics and calm vocals bring Sacred Be Thy Throne to a close rounded everything off. What a brilliant song!

https://www.youtube.com/watch?v=8OoZ9nH5z24

4. Shine The Night has a very unusual intro. Just imagine you are floating through the darkness of space and matter flies past you. The sounds of synth notes cry from the silent dead void like alien calls. The pulsing bass notes drift in with a 16th note hi-hat beat and glossy guitar riffs. Little tweets of synths cry out all presenting a very spacey vibe. The verses are strong and muscular with driving rhythms and ballsy vocals. There is a couple of times where the verse and main glossy riffs repeat. But later on there are some developments where the things feel heightened and the synths beep noises like a spaceship computer. The whole track really does feel like a trip through space and time. And I really think that the atmosphere and synths are what what create this whole feeling.

5. Space, Rituals And Magick gets down to business with some heavy metal riffing and more spacey vibes with trickling synth melodies and bubbling sound effects in the background. The song has pace and does not mess around getting locked into the riffs all while the bass and drums provide a solid backbone. The vocals have been spot on throughout the whole album just making everything feel together and wholesome. There are some unusual vocal moments which do not feel human but more like a robot which are ace. lines brimming with character and charm. Layered beneath, the synth beds add width and depth, amplifying the atmosphere. The space‑like vibe shines especially bright here, evoking the sensation of flying through an asteroid field. The outro ties everything together seamlessly, rounding off the track as another excellent addition to the release.

We reach the end of this epic journey with the Witches Circle. Now this track comes in at just over eight minutes making it the longest track on the record. And unlike the rest of the album a large part of this track is stripped back. The intro is very merry and glistens bright but that acts as a brief flash before what follows next. Acoustic guitars and warm vocal lines gracefully come in as well as very light tip taps on hand drums. These just help to keep the flow moving forward. The title of Witches Circles is sung at intervals while synth piano notes gradually weave in to the song. And over time ]the music builds, the bass getting a little more interesting, the drums dropping in to a slow and mellow 4/4 beat. Semi acoustic guitar riffing comes in and the synth notes play out in the background. Everything feels so chilled yet retro and nostalgic yet I have travelled back in time. Little guitar melodies sing out delightfully with almost whispering vocal lines joining for a stint. But as we approach the last two minutes the dazzling vibes of the intro section returns and even some ideas like you would hear at American football game flash by. The song closes with a few repeats of the title ending a great and adventurous album!

Conclusion

Overall, this album delivers a cohesive and engaging journey that blends raw, organic instrumentation with rich, space-inspired atmosphere. Each track stands out in its own way, whether through energetic riffs, mid-tempo grooves, or expansive, emotional builds, but they are all tied together by expressive vocals, unpolished warmth, and imaginative synth work. The band moves effortlessly between heavy metal power and cosmic ambience, keeping the album dynamic and never dull. By the time the final track closes, it is clear this release is both adventurous and confidently crafted, offering a refreshing and memorable experience from start to finish.

TheNwothm Score: 10/10

Links

Bandcamp: https://mausoleumgatemetal.bandcamp.com/album/space-rituals-and-magick

Facebook: https://www.facebook.com/MausoleumGate

Instagram: https://www.instagram.com/mausoleumgate/

Label: https://cruzdelsurmusic.bandcamp.com/

https://www.youtube.com/watch?v=TBDbBoZAJL4

Read More Reviews

• Review: Mausoleum Gate “Space, Rituals and Magick’

  22nd Nov 2025

• Review: Hounds “Rise of the Immortals”

  17th Nov 2025

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

#cruzDelSur #cruzDelSurMusic #heavyMetal #mausoleumGate #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #ritualsAndMagick #space #spaceMetal #spaceRock #thenwothm #thenwothmCom

Review: Mausoleum Gate “Space, Rituals and Magick’

Release date: Out Now

Label: Cruz Del Sur Music

The Nwothm

Finnish heavy metal cult Mausoleum Gate return with their heavily anticipated third studio album. “Space, Rituals and Magick” is available now via Cruz Del Sur Music on vinyl, CD, and digital formats.

Formed in 2008, Mausoleum Gate have carved a reputation for their mystical and atmospheric approach to heavy metal, drawing inspiration from obscure gems of the 1980s and beyond. Their latest work continues this tradition, offering a journey into other realms and ancient times with a distinctive sound that remains recognisably their own.

Guitarist Count L.F remarks:

Well the notorious third album shall we say? Or so the legend that I have heard goes. This time with Mausoleum Gate. The album took remarkable time to make for various reasons. Sometimes the song not intended to album was growing a serious epic and so on. Well as we called it -The Church of Isaac 666 (a phrase in Finnish called “Iisakin kirkko” which means a building that is never finished) but here we are! As usual the album differs from previous albums. This seems to be the case with us. Anyway still sounding Mausoleum Gate. This is the point. Our line-up has changed quite a lot since the last album and that of course changes the sound of the band but you can recognise the band. And the melodies and harmonies are still there. This time the compositions are maybe more of a band effort than ever before which gives a new nuances. New members: Jarno Saarinen, Jari Kourunen and Jarno Koskell have brought a great addition to Mausoleum Gate – as well as playing wise and composing wise. The new line-up has been tested live a few times but now its time to reveal the claws in album size! Last but definitely not the least our long time artist Timo Raita who did awesome job this time – again!

Review

Vision Divine is the first track of the album and essentially my introduction to the band. Noticeably straight I get this very organic vibe especially with the drums which do not feel over processed and focus on the acoustic qualities. There are repeating synths phrases and effects that make you feel your travelling through space. I am loving the jump in pacing and the melodic work delivered by the guitars. It just injects this sense of energy which catches your attention instantly. And throughout everything flies forward on top of some great (and sometimes unusually interesting) synth beds).The solo work slots in perfectly adding some flair to the song. And the vocal work helps to gel everything together ultimately creating this very organic, raw and nostalgic sound which has got me tuned in.

Lucifer Shrine shines strong with powerful and bright synth chords to open up the track. Unlike “Vision Divine” the tempo takes a step into the mid tempo range but packs a lot of punch. Notably I am liking the flowing feel of the melodies by both the guitars and synth notes in the background. And due to the mix being being very unrefined or polished you can here nuances, the roughness and grit of the guitar tones. And it is a pleasant listen. The vocals just like the track before are like butter on top of toast. Smooth and just go really well with the music. When the song breaks down to some riffing the synths even jump in for a bit of play. A refreshing break to a lot of the heavy metal and hard rock I have been listening too. Then it starts to get hella’ funky! The bass begins vibing the synths go off on one and the guitars are doing their thing. It comes all back together for one big bout driving towards the end. The vocals here are lower in key and add some nice weight to the song

Sacred Be Thy Throne come in at just around seven minutes so lets see if the length works. The band this time around have dialled things back to a mid/slower tempo pace. The band are all running together giving us some wonderful ideas before transition into a softer section where it is acoustic guitars, rolling snare patterns and calming vocal lines.Even little touches of synth in the background. A great way to bring balance to a song. Then a ripping riff cuts in helping to bring everything else back driving things forward. Things play out for a bit keeping the flow before dropping back down to our acoustic style section. However this time things pick up with some bold and heroic synths lighting up the mix in the background. Soon enough some majestic guitar harmonies shine light on the music and even the synths have a go. And as the sng progresses everything is gradually building in height and tone. The vocals that have played between calm and collected hit moments of energy and strength – especially when stacked.The passion just really holds this track up and high and does so until the very end. I am really digging this song and how the musical structure for not one minute feels boring. The acoustics and calm vocals bring Sacred Be Thy Throne to a close rounded everything off. What a brilliant song!

https://www.youtube.com/watch?v=8OoZ9nH5z24

4. Shine The Night has a very unusual intro. Just imagine you are floating through the darkness of space and matter flies past you. The sounds of synth notes cry from the silent dead void like alien calls. The pulsing bass notes drift in with a 16th note hi-hat beat and glossy guitar riffs. Little tweets of synths cry out all presenting a very spacey vibe. The verses are strong and muscular with driving rhythms and ballsy vocals. There is a couple of times where the verse and main glossy riffs repeat. But later on there are some developments where the things feel heightened and the synths beep noises like a spaceship computer. The whole track really does feel like a trip through space and time. And I really think that the atmosphere and synths are what what create this whole feeling.

5. Space, Rituals And Magick gets down to business with some heavy metal riffing and more spacey vibes with trickling synth melodies and bubbling sound effects in the background. The song has pace and does not mess around getting locked into the riffs all while the bass and drums provide a solid backbone. The vocals have been spot on throughout the whole album just making everything feel together and wholesome. There are some unusual vocal moments which do not feel human but more like a robot which are ace. lines brimming with character and charm. Layered beneath, the synth beds add width and depth, amplifying the atmosphere. The space‑like vibe shines especially bright here, evoking the sensation of flying through an asteroid field. The outro ties everything together seamlessly, rounding off the track as another excellent addition to the release.

We reach the end of this epic journey with the Witches Circle. Now this track comes in at just over eight minutes making it the longest track on the record. And unlike the rest of the album a large part of this track is stripped back. The intro is very merry and glistens bright but that acts as a brief flash before what follows next. Acoustic guitars and warm vocal lines gracefully come in as well as very light tip taps on hand drums. These just help to keep the flow moving forward. The title of Witches Circles is sung at intervals while synth piano notes gradually weave in to the song. And over time ]the music builds, the bass getting a little more interesting, the drums dropping in to a slow and mellow 4/4 beat. Semi acoustic guitar riffing comes in and the synth notes play out in the background. Everything feels so chilled yet retro and nostalgic yet I have travelled back in time. Little guitar melodies sing out delightfully with almost whispering vocal lines joining for a stint. But as we approach the last two minutes the dazzling vibes of the intro section returns and even some ideas like you would hear at American football game flash by. The song closes with a few repeats of the title ending a great and adventurous album!

Conclusion

Overall, this album delivers a cohesive and engaging journey that blends raw, organic instrumentation with rich, space-inspired atmosphere. Each track stands out in its own way, whether through energetic riffs, mid-tempo grooves, or expansive, emotional builds, but they are all tied together by expressive vocals, unpolished warmth, and imaginative synth work. The band moves effortlessly between heavy metal power and cosmic ambience, keeping the album dynamic and never dull. By the time the final track closes, it is clear this release is both adventurous and confidently crafted, offering a refreshing and memorable experience from start to finish.

TheNwothm Score: 10/10

Links

Bandcamp: https://mausoleumgatemetal.bandcamp.com/album/space-rituals-and-magick

Facebook: https://www.facebook.com/MausoleumGate

Instagram: https://www.instagram.com/mausoleumgate/

Label: https://cruzdelsurmusic.bandcamp.com/

https://www.youtube.com/watch?v=TBDbBoZAJL4

Read More Reviews

• Review: Mausoleum Gate “Space, Rituals and Magick’

  22nd Nov 2025

• Review: Hounds “Rise of the Immortals”

  17th Nov 2025

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

#cruzDelSur #cruzDelSurMusic #heavyMetal #mausoleumGate #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #ritualsAndMagick #space #spaceMetal #spaceRock #thenwothm #thenwothmCom

TENTATION - Heavy Metal

https://youtu.be/JDu2w0Q6y_M

#music #metal #heavymetal #tentation #cruzdelsurmusic

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to see my beloved Seattle Seahawks reach the precipice of American football via the most awesome post-season arc I could have possibly drawn up, but I also get yet another opportunity to cover my beloved hometown metal heroes, Greyhawk. I’ve written ad nauseam about how I found the band and their brand of hard-rocking traditional metal, and I’ve routinely gushed my appreciation for their commitment to mind-positivity. Yes, it is safe to say that I am a total fanboy. So, it was with a fair bit of trepidation that I sat down with Greyhawk’s third full-length album, Warriors of Greyhawk, knowing it to be the band’s first release since the departure of their distinctive original front man, Revere “Rev” Taylor. I’ve always loved Taylor’s operatic approach to metal singing, so I guess it makes sense that he has moved on to pursue (rather successfully, it appears) a career as a professional opera singer. How does a party carry on after the departure of such a powerful wizard? Let’s find out.

Greyhawk’s sound has been undergoing constant evolution since the band’s beginnings, and Warriors of Greyhawk is no different. Over the years, the straightforward heavy metal of the band’s debut EP has morphed to include elements of speed metal, album-oriented rock, and now, with the introduction of new singer Anthony Corso, a healthy dose of power metal. Corso has a much more “standard” approach to metal vocals than Taylor, and his high register leaves him naturally suited to bridge the gap between classic heavy metal and its cheesiest of cousins. Advance single “Ascension” begins in Priestly fashion before handing out some Helloween candy with Corso’s stratospheric chorus. The track strikes the perfect balance between the band’s traditional past and powerful future.

Warriors Of Greyhawk by Greyhawk

And that balance is a microcosm of the rest of Warriors of Greyhawk. The band’s trad-metal identity is secure with cuts like “Take a Stand,” the Dio-esque title track, and the Accept-able “Embers Rise,” with the latter being the most quintessentially snarl-able heavy metal song I’ve heard so far this year. Thanks to the furious groove laid down by guitarists Jesse Berlin and Rob Steinway and the thunder from bassist Darin “The Bulletproof Barbarian” Wall, the track gives me some serious Dream Evil vibes. But the band just as easily veers into pure power metal with the Running Wild riffing of “Endless Race” and “Land of Ashes, while “Hyperspace” blasts straight to Guitar Hero status with enough pyrotechnics to rival Dragonforce.

I dig the production this time out. It feels big and beefy most of the time, but the leads still have that razor-sharp, molten edge to them—*Chef’s kiss*. About the only misstep I can point to is the inclusion of essentially two epic closers back-to-back in “Rise Above” and “Eternal Quest.” Both songs are good, but I think that “Rise Above” fails to match the quality of its set mates and that Warriors of Greyhawk would feel tighter (at 43 minutes instead of 49) and finish more powerfully had it been axed. The band took a risk by including Rev Taylor beside Corso on album highlight “Chosen,” and I’ll admit that hearing his powerful baritone nearly brings me to tears every time I hear it. But ultimately, the track ends up being a fitting farewell to a foundational figure in the band’s history, and it’s the perfect way for fans to compare Greyhawk’s past to its future. Best of luck on your future endeavors, Rev. Metal’s loss is opera’s gain!

Warriors of Greyhawk is undoubtedly a transitional album as the band finds its way forward with a new vocalist, but it also feels like the songwriting has reached a new level compared to previous efforts. This leaves Greyhawk with enormous potential moving forward, and honestly, without a minor flub at the album’s close, I’d be tempted to hang a 4.0 on this one. Much like those other Hawks of Seattle, apparently, these guys don’t rebuild; they reload. Go Hawks!



Rating: 3.5/5.0
DR: 5 | Format Reviewed: PCM
Label: Cruz del Sur Music
Websites: greyhawkmetal.bandcamp.com | facebook.com/greyhawkheavymetal
Releases Worldwide: February 13th, 2026

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to see my beloved Seattle Seahawks reach the precipice of American football via the most awesome post-season arc I could have possibly drawn up, but I also get yet another opportunity to cover my beloved hometown metal heroes, Greyhawk. I’ve written ad nauseam about how I found the band and their brand of hard-rocking traditional metal, and I’ve routinely gushed my appreciation for their commitment to mind-positivity. Yes, it is safe to say that I am a total fanboy. So, it was with a fair bit of trepidation that I sat down with Greyhawk’s third full-length album, Warriors of Greyhawk, knowing it to be the band’s first release since the departure of their distinctive original front man, Revere “Rev” Taylor. I’ve always loved Taylor’s operatic approach to metal singing, so I guess it makes sense that he has moved on to pursue (rather successfully, it appears) a career as a professional opera singer. How does a party carry on after the departure of such a powerful wizard? Let’s find out.

Greyhawk’s sound has been undergoing constant evolution since the band’s beginnings, and Warriors of Greyhawk is no different. Over the years, the straightforward heavy metal of the band’s debut EP has morphed to include elements of speed metal, album-oriented rock, and now, with the introduction of new singer Anthony Corso, a healthy dose of power metal. Corso has a much more “standard” approach to metal vocals than Taylor, and his high register leaves him naturally suited to bridge the gap between classic heavy metal and its cheesiest of cousins. Advance single “Ascension” begins in Priestly fashion before handing out some Helloween candy with Corso’s stratospheric chorus. The track strikes the perfect balance between the band’s traditional past and powerful future.

Warriors Of Greyhawk by Greyhawk

And that balance is a microcosm of the rest of Warriors of Greyhawk. The band’s trad-metal identity is secure with cuts like “Take a Stand,” the Dio-esque title track, and the Accept-able “Embers Rise,” with the latter being the most quintessentially snarl-able heavy metal song I’ve heard so far this year. Thanks to the furious groove laid down by guitarists Jesse Berlin and Rob Steinway and the thunder from bassist Darin “The Bulletproof Barbarian” Wall, the track gives me some serious Dream Evil vibes. But the band just as easily veers into pure power metal with the Running Wild riffing of “Endless Race” and “Land of Ashes, while “Hyperspace” blasts straight to Guitar Hero status with enough pyrotechnics to rival Dragonforce.

I dig the production this time out. It feels big and beefy most of the time, but the leads still have that razor-sharp, molten edge to them—*Chef’s kiss*. About the only misstep I can point to is the inclusion of essentially two epic closers back-to-back in “Rise Above” and “Eternal Quest.” Both songs are good, but I think that “Rise Above” fails to match the quality of its set mates and that Warriors of Greyhawk would feel tighter (at 43 minutes instead of 49) and finish more powerfully had it been axed. The band took a risk by including Rev Taylor beside Corso on album highlight “Chosen,” and I’ll admit that hearing his powerful baritone nearly brings me to tears every time I hear it. But ultimately, the track ends up being a fitting farewell to a foundational figure in the band’s history, and it’s the perfect way for fans to compare Greyhawk’s past to its future. Best of luck on your future endeavors, Rev. Metal’s loss is opera’s gain!

Warriors of Greyhawk is undoubtedly a transitional album as the band finds its way forward with a new vocalist, but it also feels like the songwriting has reached a new level compared to previous efforts. This leaves Greyhawk with enormous potential moving forward, and honestly, without a minor flub at the album’s close, I’d be tempted to hang a 4.0 on this one. Much like those other Hawks of Seattle, apparently, these guys don’t rebuild; they reload. Go Hawks!



Rating: 3.5/5.0
DR: 5 | Format Reviewed: PCM
Label: Cruz del Sur Music
Websites: greyhawkmetal.bandcamp.com | facebook.com/greyhawkheavymetal
Releases Worldwide: February 13th, 2026

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to see my beloved Seattle Seahawks reach the precipice of American football via the most awesome post-season arc I could have possibly drawn up, but I also get yet another opportunity to cover my beloved hometown metal heroes, Greyhawk. I’ve written ad nauseam about how I found the band and their brand of hard-rocking traditional metal, and I’ve routinely gushed my appreciation for their commitment to mind-positivity. Yes, it is safe to say that I am a total fanboy. So, it was with a fair bit of trepidation that I sat down with Greyhawk’s third full-length album, Warriors of Greyhawk, knowing it to be the band’s first release since the departure of their distinctive original front man, Revere “Rev” Taylor. I’ve always loved Taylor’s operatic approach to metal singing, so I guess it makes sense that he has moved on to pursue (rather successfully, it appears) a career as a professional opera singer. How does a party carry on after the departure of such a powerful wizard? Let’s find out.

Greyhawk’s sound has been undergoing constant evolution since the band’s beginnings, and Warriors of Greyhawk is no different. Over the years, the straightforward heavy metal of the band’s debut EP has morphed to include elements of speed metal, album-oriented rock, and now, with the introduction of new singer Anthony Corso, a healthy dose of power metal. Corso has a much more “standard” approach to metal vocals than Taylor, and his high register leaves him naturally suited to bridge the gap between classic heavy metal and its cheesiest of cousins. Advance single “Ascension” begins in Priestly fashion before handing out some Helloween candy with Corso’s stratospheric chorus. The track strikes the perfect balance between the band’s traditional past and powerful future.

Warriors Of Greyhawk by Greyhawk

And that balance is a microcosm of the rest of Warriors of Greyhawk. The band’s trad-metal identity is secure with cuts like “Take a Stand,” the Dio-esque title track, and the Accept-able “Embers Rise,” with the latter being the most quintessentially snarl-able heavy metal song I’ve heard so far this year. Thanks to the furious groove laid down by guitarists Jesse Berlin and Rob Steinway and the thunder from bassist Darin “The Bulletproof Barbarian” Wall, the track gives me some serious Dream Evil vibes. But the band just as easily veers into pure power metal with the Running Wild riffing of “Endless Race” and “Land of Ashes, while “Hyperspace” blasts straight to Guitar Hero status with enough pyrotechnics to rival Dragonforce.

I dig the production this time out. It feels big and beefy most of the time, but the leads still have that razor-sharp, molten edge to them—*Chef’s kiss*. About the only misstep I can point to is the inclusion of essentially two epic closers back-to-back in “Rise Above” and “Eternal Quest.” Both songs are good, but I think that “Rise Above” fails to match the quality of its set mates and that Warriors of Greyhawk would feel tighter (at 43 minutes instead of 49) and finish more powerfully had it been axed. The band took a risk by including Rev Taylor beside Corso on album highlight “Chosen,” and I’ll admit that hearing his powerful baritone nearly brings me to tears every time I hear it. But ultimately, the track ends up being a fitting farewell to a foundational figure in the band’s history, and it’s the perfect way for fans to compare Greyhawk’s past to its future. Best of luck on your future endeavors, Rev. Metal’s loss is opera’s gain!

Warriors of Greyhawk is undoubtedly a transitional album as the band finds its way forward with a new vocalist, but it also feels like the songwriting has reached a new level compared to previous efforts. This leaves Greyhawk with enormous potential moving forward, and honestly, without a minor flub at the album’s close, I’d be tempted to hang a 4.0 on this one. Much like those other Hawks of Seattle, apparently, these guys don’t rebuild; they reload. Go Hawks!



Rating: 3.5/5.0
DR: 5 | Format Reviewed: PCM
Label: Cruz del Sur Music
Websites: greyhawkmetal.bandcamp.com | facebook.com/greyhawkheavymetal
Releases Worldwide: February 13th, 2026

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to see my beloved Seattle Seahawks reach the precipice of American football via the most awesome post-season arc I could have possibly drawn up, but I also get yet another opportunity to cover my beloved hometown metal heroes, Greyhawk. I’ve written ad nauseam about how I found the band and their brand of hard-rocking traditional metal, and I’ve routinely gushed my appreciation for their commitment to mind-positivity. Yes, it is safe to say that I am a total fanboy. So, it was with a fair bit of trepidation that I sat down with Greyhawk’s third full-length album, Warriors of Greyhawk, knowing it to be the band’s first release since the departure of their distinctive original front man, Revere “Rev” Taylor. I’ve always loved Taylor’s operatic approach to metal singing, so I guess it makes sense that he has moved on to pursue (rather successfully, it appears) a career as a professional opera singer. How does a party carry on after the departure of such a powerful wizard? Let’s find out.

Greyhawk’s sound has been undergoing constant evolution since the band’s beginnings, and Warriors of Greyhawk is no different. Over the years, the straightforward heavy metal of the band’s debut EP has morphed to include elements of speed metal, album-oriented rock, and now, with the introduction of new singer Anthony Corso, a healthy dose of power metal. Corso has a much more “standard” approach to metal vocals than Taylor, and his high register leaves him naturally suited to bridge the gap between classic heavy metal and its cheesiest of cousins. Advance single “Ascension” begins in Priestly fashion before handing out some Helloween candy with Corso’s stratospheric chorus. The track strikes the perfect balance between the band’s traditional past and powerful future.

Warriors Of Greyhawk by Greyhawk

And that balance is a microcosm of the rest of Warriors of Greyhawk. The band’s trad-metal identity is secure with cuts like “Take a Stand,” the Dio-esque title track, and the Accept-able “Embers Rise,” with the latter being the most quintessentially snarl-able heavy metal song I’ve heard so far this year. Thanks to the furious groove laid down by guitarists Jesse Berlin and Rob Steinway and the thunder from bassist Darin “The Bulletproof Barbarian” Wall, the track gives me some serious Dream Evil vibes. But the band just as easily veers into pure power metal with the Running Wild riffing of “Endless Race” and “Land of Ashes, while “Hyperspace” blasts straight to Guitar Hero status with enough pyrotechnics to rival Dragonforce.

I dig the production this time out. It feels big and beefy most of the time, but the leads still have that razor-sharp, molten edge to them—*Chef’s kiss*. About the only misstep I can point to is the inclusion of essentially two epic closers back-to-back in “Rise Above” and “Eternal Quest.” Both songs are good, but I think that “Rise Above” fails to match the quality of its set mates and that Warriors of Greyhawk would feel tighter (at 43 minutes instead of 49) and finish more powerfully had it been axed. The band took a risk by including Rev Taylor beside Corso on album highlight “Chosen,” and I’ll admit that hearing his powerful baritone nearly brings me to tears every time I hear it. But ultimately, the track ends up being a fitting farewell to a foundational figure in the band’s history, and it’s the perfect way for fans to compare Greyhawk’s past to its future. Best of luck on your future endeavors, Rev. Metal’s loss is opera’s gain!

Warriors of Greyhawk is undoubtedly a transitional album as the band finds its way forward with a new vocalist, but it also feels like the songwriting has reached a new level compared to previous efforts. This leaves Greyhawk with enormous potential moving forward, and honestly, without a minor flub at the album’s close, I’d be tempted to hang a 4.0 on this one. Much like those other Hawks of Seattle, apparently, these guys don’t rebuild; they reload. Go Hawks!



Rating: 3.5/5.0
DR: 5 | Format Reviewed: PCM
Label: Cruz del Sur Music
Websites: greyhawkmetal.bandcamp.com | facebook.com/greyhawkheavymetal
Releases Worldwide: February 13th, 2026

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to see my beloved Seattle Seahawks reach the precipice of American football via the most awesome post-season arc I could have possibly drawn up, but I also get yet another opportunity to cover my beloved hometown metal heroes, Greyhawk. I’ve written ad nauseam about how I found the band and their brand of hard-rocking traditional metal, and I’ve routinely gushed my appreciation for their commitment to mind-positivity. Yes, it is safe to say that I am a total fanboy. So, it was with a fair bit of trepidation that I sat down with Greyhawk’s third full-length album, Warriors of Greyhawk, knowing it to be the band’s first release since the departure of their distinctive original front man, Revere “Rev” Taylor. I’ve always loved Taylor’s operatic approach to metal singing, so I guess it makes sense that he has moved on to pursue (rather successfully, it appears) a career as a professional opera singer. How does a party carry on after the departure of such a powerful wizard? Let’s find out.

Greyhawk’s sound has been undergoing constant evolution since the band’s beginnings, and Warriors of Greyhawk is no different. Over the years, the straightforward heavy metal of the band’s debut EP has morphed to include elements of speed metal, album-oriented rock, and now, with the introduction of new singer Anthony Corso, a healthy dose of power metal. Corso has a much more “standard” approach to metal vocals than Taylor, and his high register leaves him naturally suited to bridge the gap between classic heavy metal and its cheesiest of cousins. Advance single “Ascension” begins in Priestly fashion before handing out some Helloween candy with Corso’s stratospheric chorus. The track strikes the perfect balance between the band’s traditional past and powerful future.

Warriors Of Greyhawk by Greyhawk

And that balance is a microcosm of the rest of Warriors of Greyhawk. The band’s trad-metal identity is secure with cuts like “Take a Stand,” the Dio-esque title track, and the Accept-able “Embers Rise,” with the latter being the most quintessentially snarl-able heavy metal song I’ve heard so far this year. Thanks to the furious groove laid down by guitarists Jesse Berlin and Rob Steinway and the thunder from bassist Darin “The Bulletproof Barbarian” Wall, the track gives me some serious Dream Evil vibes. But the band just as easily veers into pure power metal with the Running Wild riffing of “Endless Race” and “Land of Ashes, while “Hyperspace” blasts straight to Guitar Hero status with enough pyrotechnics to rival Dragonforce.

I dig the production this time out. It feels big and beefy most of the time, but the leads still have that razor-sharp, molten edge to them—*Chef’s kiss*. About the only misstep I can point to is the inclusion of essentially two epic closers back-to-back in “Rise Above” and “Eternal Quest.” Both songs are good, but I think that “Rise Above” fails to match the quality of its set mates and that Warriors of Greyhawk would feel tighter (at 43 minutes instead of 49) and finish more powerfully had it been axed. The band took a risk by including Rev Taylor beside Corso on album highlight “Chosen,” and I’ll admit that hearing his powerful baritone nearly brings me to tears every time I hear it. But ultimately, the track ends up being a fitting farewell to a foundational figure in the band’s history, and it’s the perfect way for fans to compare Greyhawk’s past to its future. Best of luck on your future endeavors, Rev. Metal’s loss is opera’s gain!

Warriors of Greyhawk is undoubtedly a transitional album as the band finds its way forward with a new vocalist, but it also feels like the songwriting has reached a new level compared to previous efforts. This leaves Greyhawk with enormous potential moving forward, and honestly, without a minor flub at the album’s close, I’d be tempted to hang a 4.0 on this one. Much like those other Hawks of Seattle, apparently, these guys don’t rebuild; they reload. Go Hawks!



Rating: 3.5/5.0
DR: 5 | Format Reviewed: PCM
Label: Cruz del Sur Music
Websites: greyhawkmetal.bandcamp.com | facebook.com/greyhawkheavymetal
Releases Worldwide: February 13th, 2026

SMOULDER - The Talisman and the Blade

https://youtu.be/5mOnashhRZc

#music #metal #powermetal #smoulder #cruzdelsurmusic

SPELLBOOK - "Out For Blood" - Official Lyric Video

https://youtu.be/r0-IhJlwg4U

#music #rocknroll #hardrock #spellbook #cruzdelsurmusic

Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]

By Angry Metal Guy

Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).

What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).

Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.

Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.

#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex

Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]

By Angry Metal Guy

Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).

What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).

Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.

Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.

#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex

Grendel’s Sÿster – Katabasis into the Abaton [Things You Might Have Missed 2024]

By Angry Metal Guy

Grendel’s Sÿster’s Katabasis into the Abaton (out August 30th, 2024 from Sur Del Cruz Music [Bandcamp]) caught me off guard. Unlike other members of the Angry Metal Guy staff—such as the venerable, self-aware ape suit they call Druhm who’s just one death away from actually running this show if anything should happen to me—I am not a sucker for just anything that sounds old. Such things do not remind me of my wasted youth, and thus do not earn nostalgia points.1 I was, therefore, thoroughly surprised that, upon listening to Grendel’s Sÿster vicariously through an ill-fated n00b review, I fucking loved it. Billed as “epic metal”—a sound that ranges between “Man do we love Bathory” and, apparently, Grendel’s Sÿster—this German four-piece drops metal that reeks of patchouli and “Atomkraft? Nein, Danke!” to surprising effect. The core of Grendel’s Sÿster’s sound is the combination of fuzzy guitars, bubbly p-bass, and boxy drums into something that will undoubtedly call to mind the ’70s hard rock of your choice: Wishbone Ash, Jethro Tull, Thin Lizzy or nostalgia merchants like Gygax. You know the comps; blend guitar-driven rock with folksy vibes and you have Grendel’s Sÿster nailed down (pretty much).

What differentiates Grendel’s Sÿster from other nostalgiacore acts is twofold: first, unusually catchy hooks (“The Plight of the Sorcerer,” both the start-and-stop intro riff and the gorgeous outro or “Rose Arbor” in its classic gallop and simple melody), and second—and more importantly—is vocalist Caro’s unique voice and delivery. Rather than sounding like a classic metal vocalist, Caro’s approach feels like punk. This punky feel results from her unaffected—that is, forceful and clean with no vibrato—delivery, where she sometimes seems like she’s almost barking melodies in a clear Oxford-via-Stuttgart accent in English. Over catchy, short, and energetic songs, Caro gives Grendel’s Sÿster an edge that vocally evokes X-Ray Spex or Elastica and—when mixed with the folky tendencies in songs like the aforementioned “Rose Arbor”—Flogging Molly. Caro navigates folk (“Golden Key [Won’t Fit]”), metalesque vocal choirs (“Night Owl’s Beak”), and something more dour and ominous (“The Fire That Lights Itself”) with aplomb. But she is at her best when giving unexpected attitude over Grand Magus riffs (“Cosmogeny”).

Katabasis into the Abaton taken as a whole combines energetic performances with unique writing—and an old-school, live feel that works for some, but won’t work for others—but that got under my skin almost immediately. Crazily, I’ve been back to this album repeatedly and can’t seem to quit it. Check the Bandcamp and you’ll get both a German and English version. I can’t decide which I like better, but I do like this record a lot but can’t be trusted to write TYMHMs anymore. This is at least a very good record by my reckoning and should appeal to both folk metal dorks and classic rock/metal retrodorks.2 Give Grendel’s Sÿster its due, this is a damned fine debut album.

Tracks to Check Out: ”Cosmogeny,” “The Plight of the Sorcerer,” “The Fire That Lights Itself” – but really, there isn’t a weak track on here.

#2024 #Aug24 #CruzDelSurMusic #Elastica #FloggingMolly #GrandMagus #GrendelSSÿster #Gygax #HeavyMetal #JethroTull #KatabasisIntoTheAbaton #ThinLizzy #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TradMetal #WishboneAsh #XRaySpex

Attacker – The God Particle Review

By Steel Druhm

New Jersey’s Attacker have a decades-long history but seem to exist in perpetual near-obscurity outside of the Tri-State area. Hitting the scene in 1985 with their Battle at Helm’s Deep debut, they were a part of the US power metal scene along with contemporaries Helstar, Liege Lord, and Jag Panzer. As with others in that movement, they blended Judas Priest and Iron Maiden influences with amped-up speed. The debut went on to become a minor cult classic largely due to the “unusual” vocals of then frontman Bob Mitchell,1 but they missed the boat to greater success due to costly delays in releasing the follow-up platter. They were inactive through the 90s and didn’t drop another album until 2004s Soul Taker, and by then most of their original fanbase was long gone. Since then, however, they’ve refitted and released a series of hard-hitting platters full of trve/classic metal glory with 2013s Giants of Canaan and 2016’s Sins of the World being especially potent. After another momentum-killing layoff, Attacker return with seventh album The God Particle. Will this be the fateful release that finally sees Weehawken, New Jersey’s finest getting greater exposure?

I’ll say this for The God Particle: if it dropped in the 80s I would’ve eaten it up like beer-battered bacon. Thanks to the over-the-top efforts of NJ vocal legend Bobby “Leather Lungs” Lucas (Reverend, ex-Overlorde, ex-Seven Witches), the material sounds like a long-lost Helstar opus and that’s something Steel doesn’t take lightly. The album is a high-octane ode to 80s metal with 2 spiked fists in the air and a “Fuck you!” attitude that only a New Jersey band could deliver this forcefully. Opener “Knights of Terror” comes out swinging with crunchy riffs and in-your-face energy as Bobby rages and screams like a youthful James Rivera mixed with Ronny Munroe. It’s a propulsive construct sure to anger up the blood. “Curse of Creation” sounds like a collaboration between Nevermore and early days Metal Church with Bobby approaching David Wayne levels of vocal hysteria. Michael Benetatos and new slinger Jon Hasselbrink go wild with beefy riffs and wild flourishes and the energy is nigh irresistible. “River of Souls” is a straight-up sledgehammer aimed at your soft melon. It reads like a dialed-up version of trve metal, with churning riffs paving the road and Bobby L. screaming out the work orders like a manic supervisor. It’s not subtle or forward-thinking but it works.

“Kingdom of Fire” is the most Helstar-esque number, sounding like something off their timeless Nosferatu opus and I enjoy the relentlessly churning, urgent riffage teamed with Bobby’s larger-than-life vocals. There’s even some tasty Maiden-adjacent guitar noodling for extra nostalgia-spice. “World in Flames” is another restraint-free burner and I can see this one being wild in a live setting. There are no bad tracks, and though “Stigmatized” can be awkward at times, it’s a fun, bruising slice of adrenalized machismo. At a svelte 33 minutes, The God Particle is all muscle and connective tissue. The songs all slot in the 3-4 minute window ensuring none overstay their welcome. That said, most of the songs dwell in the “good but not quite very good” neighborhood. The album is a fun rampage through the past but unlikely to blow your mind and it likely won’t end up your Album o’ the Year. It’s meat and potatoes throwback metal with balls and a bad attitude and as such, it’s an entertaining spin.

Attacker may only have one original member left in drummer Mike Sabatini, but he’s done a fine job assembling a skilled cast of characters to help him keep the band going. Michael Benetatos and Jon Hasselbrink are very able six-stringers and bring all the heavy metal thunder to the music with a riff bonanza ripped from the 80s and 90s. There’s a healthy dose of classic sounds mixed with speed and they’re clearly having blast ripping it up. When you bring in Bobby Lucas to do vocals, you put a particular time stamp on the material. He’s an old-fashioned metal rager who goes all in, bouncing between Halfordisms, Dickinsonisms and screaming like a Jersey Devil who just stepped on a burning LEGO. He’s good at what he does, but he can overdo things and become grating. For the most part, though, he does a fine job and brings a cosmic shit-ton of energy to the compositions.

I grew up with Attacker (minus the times they abandoned me like some deadbeat dad) and I’ll always have a soft spot for them. When they’re around they make it easy to support them by continuing to churn out metal high in purity and low on frills and trends. The God Particle is another solid slab of 99.9% unadulterated NJ metal and it makes me wish these guys would get on a more reliable visitation schedule. Pairs well with cheap beer and medical waste.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur
Websites: attacker1.bandcamp.com | facebook.com/attackerband | instagram.com/attackermetal
Releases Worldwide: April 12th, 2024

#2024 #30 #AmericanMetal #Apr24 #Attacker #CruzDelSurMusic #HeavyMetal #Helstar #JagPanzer #LiegeLord #Review #Reviews

Attacker – The God Particle Review

By Steel Druhm

New Jersey’s Attacker have a decades-long history but seem to exist in perpetual near-obscurity outside of the Tri-State area. Hitting the scene in 1985 with their Battle at Helm’s Deep debut, they were a part of the US power metal scene along with contemporaries Helstar, Liege Lord, and Jag Panzer. As with others in that movement, they blended Judas Priest and Iron Maiden influences with amped-up speed. The debut went on to become a minor cult classic largely due to the “unusual” vocals of then frontman Bob Mitchell,1 but they missed the boat to greater success due to costly delays in releasing the follow-up platter. They were inactive through the 90s and didn’t drop another album until 2004s Soul Taker, and by then most of their original fanbase was long gone. Since then, however, they’ve refitted and released a series of hard-hitting platters full of trve/classic metal glory with 2013s Giants of Canaan and 2016’s Sins of the World being especially potent. After another momentum-killing layoff, Attacker return with seventh album The God Particle. Will this be the fateful release that finally sees Weehawken, New Jersey’s finest getting greater exposure?

I’ll say this for The God Particle: if it dropped in the 80s I would’ve eaten it up like beer-battered bacon. Thanks to the over-the-top efforts of NJ vocal legend Bobby “Leather Lungs” Lucas (Reverend, ex-Overlorde, ex-Seven Witches), the material sounds like a long-lost Helstar opus and that’s something Steel doesn’t take lightly. The album is a high-octane ode to 80s metal with 2 spiked fists in the air and a “Fuck you!” attitude that only a New Jersey band could deliver this forcefully. Opener “Knights of Terror” comes out swinging with crunchy riffs and in-your-face energy as Bobby rages and screams like a youthful James Rivera mixed with Ronny Munroe. It’s a propulsive construct sure to anger up the blood. “Curse of Creation” sounds like a collaboration between Nevermore and early days Metal Church with Bobby approaching David Wayne levels of vocal hysteria. Michael Benetatos and new slinger Jon Hasselbrink go wild with beefy riffs and wild flourishes and the energy is nigh irresistible. “River of Souls” is a straight-up sledgehammer aimed at your soft melon. It reads like a dialed-up version of trve metal, with churning riffs paving the road and Bobby L. screaming out the work orders like a manic supervisor. It’s not subtle or forward-thinking but it works.

“Kingdom of Fire” is the most Helstar-esque number, sounding like something off their timeless Nosferatu opus and I enjoy the relentlessly churning, urgent riffage teamed with Bobby’s larger-than-life vocals. There’s even some tasty Maiden-adjacent guitar noodling for extra nostalgia-spice. “World in Flames” is another restraint-free burner and I can see this one being wild in a live setting. There are no bad tracks, and though “Stigmatized” can be awkward at times, it’s a fun, bruising slice of adrenalized machismo. At a svelte 33 minutes, The God Particle is all muscle and connective tissue. The songs all slot in the 3-4 minute window ensuring none overstay their welcome. That said, most of the songs dwell in the “good but not quite very good” neighborhood. The album is a fun rampage through the past but unlikely to blow your mind and it likely won’t end up your Album o’ the Year. It’s meat and potatoes throwback metal with balls and a bad attitude and as such, it’s an entertaining spin.

Attacker may only have one original member left in drummer Mike Sabatini, but he’s done a fine job assembling a skilled cast of characters to help him keep the band going. Michael Benetatos and Jon Hasselbrink are very able six-stringers and bring all the heavy metal thunder to the music with a riff bonanza ripped from the 80s and 90s. There’s a healthy dose of classic sounds mixed with speed and they’re clearly having blast ripping it up. When you bring in Bobby Lucas to do vocals, you put a particular time stamp on the material. He’s an old-fashioned metal rager who goes all in, bouncing between Halfordisms, Dickinsonisms and screaming like a Jersey Devil who just stepped on a burning LEGO. He’s good at what he does, but he can overdo things and become grating. For the most part, though, he does a fine job and brings a cosmic shit-ton of energy to the compositions.

I grew up with Attacker (minus the times they abandoned me like some deadbeat dad) and I’ll always have a soft spot for them. When they’re around they make it easy to support them by continuing to churn out metal high in purity and low on frills and trends. The God Particle is another solid slab of 99.9% unadulterated NJ metal and it makes me wish these guys would get on a more reliable visitation schedule. Pairs well with cheap beer and medical waste.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur
Websites: attacker1.bandcamp.com | facebook.com/attackerband | instagram.com/attackermetal
Releases Worldwide: April 12th, 2024

#2024 #30 #AmericanMetal #Apr24 #Attacker #CruzDelSurMusic #HeavyMetal #Helstar #JagPanzer #LiegeLord #Review #Reviews

Attacker – The God Particle Review

By Steel Druhm

New Jersey’s Attacker have a decades-long history but seem to exist in perpetual near-obscurity outside of the Tri-State area. Hitting the scene in 1985 with their Battle at Helm’s Deep debut, they were a part of the US power metal scene along with contemporaries Helstar, Liege Lord, and Jag Panzer. As with others in that movement, they blended Judas Priest and Iron Maiden influences with amped-up speed. The debut went on to become a minor cult classic largely due to the “unusual” vocals of then frontman Bob Mitchell,1 but they missed the boat to greater success due to costly delays in releasing the follow-up platter. They were inactive through the 90s and didn’t drop another album until 2004s Soul Taker, and by then most of their original fanbase was long gone. Since then, however, they’ve refitted and released a series of hard-hitting platters full of trve/classic metal glory with 2013s Giants of Canaan and 2016’s Sins of the World being especially potent. After another momentum-killing layoff, Attacker return with seventh album The God Particle. Will this be the fateful release that finally sees Weehawken, New Jersey’s finest getting greater exposure?

I’ll say this for The God Particle: if it dropped in the 80s I would’ve eaten it up like beer-battered bacon. Thanks to the over-the-top efforts of NJ vocal legend Bobby “Leather Lungs” Lucas (Reverend, ex-Overlorde, ex-Seven Witches), the material sounds like a long-lost Helstar opus and that’s something Steel doesn’t take lightly. The album is a high-octane ode to 80s metal with 2 spiked fists in the air and a “Fuck you!” attitude that only a New Jersey band could deliver this forcefully. Opener “Knights of Terror” comes out swinging with crunchy riffs and in-your-face energy as Bobby rages and screams like a youthful James Rivera mixed with Ronny Munroe. It’s a propulsive construct sure to anger up the blood. “Curse of Creation” sounds like a collaboration between Nevermore and early days Metal Church with Bobby approaching David Wayne levels of vocal hysteria. Michael Benetatos and new slinger Jon Hasselbrink go wild with beefy riffs and wild flourishes and the energy is nigh irresistible. “River of Souls” is a straight-up sledgehammer aimed at your soft melon. It reads like a dialed-up version of trve metal, with churning riffs paving the road and Bobby L. screaming out the work orders like a manic supervisor. It’s not subtle or forward-thinking but it works.

“Kingdom of Fire” is the most Helstar-esque number, sounding like something off their timeless Nosferatu opus and I enjoy the relentlessly churning, urgent riffage teamed with Bobby’s larger-than-life vocals. There’s even some tasty Maiden-adjacent guitar noodling for extra nostalgia-spice. “World in Flames” is another restraint-free burner and I can see this one being wild in a live setting. There are no bad tracks, and though “Stigmatized” can be awkward at times, it’s a fun, bruising slice of adrenalized machismo. At a svelte 33 minutes, The God Particle is all muscle and connective tissue. The songs all slot in the 3-4 minute window ensuring none overstay their welcome. That said, most of the songs dwell in the “good but not quite very good” neighborhood. The album is a fun rampage through the past but unlikely to blow your mind and it likely won’t end up your Album o’ the Year. It’s meat and potatoes throwback metal with balls and a bad attitude and as such, it’s an entertaining spin.

Attacker may only have one original member left in drummer Mike Sabatini, but he’s done a fine job assembling a skilled cast of characters to help him keep the band going. Michael Benetatos and Jon Hasselbrink are very able six-stringers and bring all the heavy metal thunder to the music with a riff bonanza ripped from the 80s and 90s. There’s a healthy dose of classic sounds mixed with speed and they’re clearly having blast ripping it up. When you bring in Bobby Lucas to do vocals, you put a particular time stamp on the material. He’s an old-fashioned metal rager who goes all in, bouncing between Halfordisms, Dickinsonisms and screaming like a Jersey Devil who just stepped on a burning LEGO. He’s good at what he does, but he can overdo things and become grating. For the most part, though, he does a fine job and brings a cosmic shit-ton of energy to the compositions.

I grew up with Attacker (minus the times they abandoned me like some deadbeat dad) and I’ll always have a soft spot for them. When they’re around they make it easy to support them by continuing to churn out metal high in purity and low on frills and trends. The God Particle is another solid slab of 99.9% unadulterated NJ metal and it makes me wish these guys would get on a more reliable visitation schedule. Pairs well with cheap beer and medical waste.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur
Websites: attacker1.bandcamp.com | facebook.com/attackerband | instagram.com/attackermetal
Releases Worldwide: April 12th, 2024

#2024 #30 #AmericanMetal #Apr24 #Attacker #CruzDelSurMusic #HeavyMetal #Helstar #JagPanzer #LiegeLord #Review #Reviews

https://www.europesays.com/uk/289375/ Phantom Spell – Heather & Hearth Review #2025 #4.0 #BlackSites #Camel #CruzDelSurMusic #Entertainment #Heather&Hearth #IronMaiden #Jul25 #Kansas #ManillaRoad #music #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #UK #UnitedKingdom #WishboneAsh

Phantom Spell – Heather & Hearth Review

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back…
#NewsBeep #News #Music #2025 #4.0 #BlackSites #Camel #CruzDelSurMusic #Entertainment #Heather&Hearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #UK #UnitedKingdom #WishboneAsh
https://www.newsbeep.com/uk/21168/

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

Fer De Lance – Fires on the Mountainside Review

By Steel Druhm

Back in 2020, we were introduced to the epic and trve heavy metal assault of Chicago’s Fer De Lance. They attempted to harness the martial sounds of classic heavy metal and doom and blend it with the might of Viking era Bathorycore for an alchemic concoction sure to warhammer the eggshell skulls of the untrve. The Hyperborean was an album that foretold of greatness, but the sometimes awkward songwriting kept it from crossing the Rainbow Bridge and ascending to Valhalla. Now they’re back to fight their way back to the top of the epic metal food chain with sophomore opus Fires on the Mountainside, and things sound a lot different this time. The battle plans remain unchanged, but now the warriors bring a more seasoned and deadly level of skill to the struggle. With influences ranging from Crypt Sermon, Candlemass, Manowar, Bathory, and SIG:AR:TYR to use in their crusade of conquest, can Fer De Lance drive their enemies before them and hear the lamentations of their women? Can they paint the snow red as they plant the flag of domination over all pretenders and would-be usurpers? Stay tuned!

Opening an album with a nearly 13 minute song takes a certain amount of ballsy bravado, and the title track Fer De Lance drop on us demonstrates why they feel so cocksure. It’s a massive, sweeping overdose of epic metal that visits all corners of the genre and defiles the tombs of their forefathers. It comes into being with stirring but restrained, flamenco-inspired guitar work that sets the table for a grand adventure even the craftiest Dungeon Master would struggle to conceive. From there, things escalate rapidly into bold traditional metal led forcefully by MP Papai (ex-Professor Emeritus), who brings an enormous vocal range to the campaign, soaring boldly over spirit-embiggening riffs that climb to the Godz on high. There’s a strong Crypt Sermon vibe at first, but around the 4th minute, things take a hard turn toward Hammerheart-era Bathory and Ereb Altor with MP lapsing into blackened barks. It all comes together seamlessly with beautiful and striking guitars paving the way up the mountain of doom. It’s a massive song that takes you to breathtaking places to meet fascinating people (and kill them), and your chest size will grow by several inches by the time this workout ends. “Ravens Fly (Dreams of Daidalos)” is no smaller in epicness, though it’s considerably shorter. It channels Bathorycore at first before folksy and power metal elements surge forward. MP adopts a very Hansi-heavy vocal style as things veer into Blind Guardian over-the-toppness, and the adroit mix of styles really impresses and somehow hangs together to deliver a world-sized ass whooping.

Later track “Death Thrives (Where Walls Divide)” is another showstopper with a darker, more ominous sound and stunning guitar play, and then out of left field, you get sucker punched by a massive Lost Horizon influence with MP moving from blackened croaks to Daniel Heiman ear-shattering highs and power metal saturation bombing. But wait, there’s more! “The Feast of Echoes” is an absolute winner with a major Dio-era Black Sabbath / Rainbow vibe and 70s organ work swelling to generate layers of classic metal extravagance. But that Viking edge is never far removed, and things regularly drop to more extreme depths to add gristle and sinew to the composition. It all just freaking works! Are there weak points in the armor? Sadly, yes. “Fire and Goldf” is a good mood piece with amazing guitar heroics, but it doesn’t really go anywhere. Closer “Tempest Stele”(why isn’t this “Tempest STEEL”??) is good with lots of interesting elements rising and falling, but it doesn’t equal the album’s high points. Just shy of 49 minutes, Fires on the Mountainside is a pleasure to experience, and even the presence of several long-form cuts doesn’t make it feel too dense of impenetrable. The production/mastering by Arthur Rizk is deft and allows you to hear what is going on, even when things get very busy. My one criticism is that there are moments when you get a “wall of sound” effect when everything runs at 11. It’s still vastly better than the mix on the debut, though.

There are too many accolades to distribute here to do everyone justice. MP Papai puts on an absolute clinic on metal vocals, ranging far and wide across genres and styles, doing everything humanly possible to put the weighty material over the top. I’m shocked at how diverse and adventurous he is from track to track, and some of those high notes are un-fucking-believable. MP also kills it on guitar along with J. Geist, serving up heaping helpings of elegant, fanciful noodles alongside an avalanche of muscular, macho riffs and doomy harmonies. They leave no stone unturned in their quest to imbue the compositions with a mammoth atmosphere, and at multiple point,s you’ll be stupefied by the beauty of their playing. The kit manhandling by Scud also must be credited. He brings a Scott Columbus (Manowar) work ethic to the raiding party, pounding the drums with furious anger to summon the War Godz of olde.

Back in 2022, I predicted Fer De Lance could be a dangerous competitor in the epic metal arena if they smoothed out their songcrafting. It’s very smooth now, and those who oppose them should extinguish their campfires and flee to the hills. Fires on the Mountainside is the album I wanted from Fer De Lance last time. It’s a wild, free-spirited, and refreshingly over-the-top offensive, and it will roll over your feeble defenses like waves over sea rocks. Welcome your new epic overlords.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur
Websites: ferdelancemetal.bandcamp.com | facebook.com/ferdelancemetal | instagram.com/ferdelancechicago
Releases Worldwide: June 27th, 2025

#2025 #40 #AmericanMetal #AtlanteanKodex #Bathory #CruzDelSurMusic #EpicHeavyMetal #ErebAltor #HeavyMetal #Review #Reviews #SIGARTYR #TheHyperborean

Fer De Lance – Fires on the Mountainside Review

By Steel Druhm

Back in 2020, we were introduced to the epic and trve heavy metal assault of Chicago’s Fer De Lance. They attempted to harness the martial sounds of classic heavy metal and doom and blend it with the might of Viking era Bathorycore for an alchemic concoction sure to warhammer the eggshell skulls of the untrve. The Hyperborean was an album that foretold of greatness, but the sometimes awkward songwriting kept it from crossing the Rainbow Bridge and ascending to Valhalla. Now they’re back to fight their way back to the top of the epic metal food chain with sophomore opus Fires on the Mountainside, and things sound a lot different this time. The battle plans remain unchanged, but now the warriors bring a more seasoned and deadly level of skill to the struggle. With influences ranging from Crypt Sermon, Candlemass, Manowar, Bathory, and SIG:AR:TYR to use in their crusade of conquest, can Fer De Lance drive their enemies before them and hear the lamentations of their women? Can they paint the snow red as they plant the flag of domination over all pretenders and would-be usurpers? Stay tuned!

Opening an album with a nearly 13 minute song takes a certain amount of ballsy bravado, and the title track Fer De Lance drop on us demonstrates why they feel so cocksure. It’s a massive, sweeping overdose of epic metal that visits all corners of the genre and defiles the tombs of their forefathers. It comes into being with stirring but restrained, flamenco-inspired guitar work that sets the table for a grand adventure even the craftiest Dungeon Master would struggle to conceive. From there, things escalate rapidly into bold traditional metal led forcefully by MP Papai (ex-Professor Emeritus), who brings an enormous vocal range to the campaign, soaring boldly over spirit-embiggening riffs that climb to the Godz on high. There’s a strong Crypt Sermon vibe at first, but around the 4th minute, things take a hard turn toward Hammerheart-era Bathory and Ereb Altor with MP lapsing into blackened barks. It all comes together seamlessly with beautiful and striking guitars paving the way up the mountain of doom. It’s a massive song that takes you to breathtaking places to meet fascinating people (and kill them), and your chest size will grow by several inches by the time this workout ends. “Ravens Fly (Dreams of Daidalos)” is no smaller in epicness, though it’s considerably shorter. It channels Bathorycore at first before folksy and power metal elements surge forward. MP adopts a very Hansi-heavy vocal style as things veer into Blind Guardian over-the-toppness, and the adroit mix of styles really impresses and somehow hangs together to deliver a world-sized ass whooping.

Later track “Death Thrives (Where Walls Divide)” is another showstopper with a darker, more ominous sound and stunning guitar play, and then out of left field, you get sucker punched by a massive Lost Horizon influence with MP moving from blackened croaks to Daniel Heiman ear-shattering highs and power metal saturation bombing. But wait, there’s more! “The Feast of Echoes” is an absolute winner with a major Dio-era Black Sabbath / Rainbow vibe and 70s organ work swelling to generate layers of classic metal extravagance. But that Viking edge is never far removed, and things regularly drop to more extreme depths to add gristle and sinew to the composition. It all just freaking works! Are there weak points in the armor? Sadly, yes. “Fire and Goldf” is a good mood piece with amazing guitar heroics, but it doesn’t really go anywhere. Closer “Tempest Stele”(why isn’t this “Tempest STEEL”??) is good with lots of interesting elements rising and falling, but it doesn’t equal the album’s high points. Just shy of 49 minutes, Fires on the Mountainside is a pleasure to experience, and even the presence of several long-form cuts doesn’t make it feel too dense of impenetrable. The production/mastering by Arthur Rizk is deft and allows you to hear what is going on, even when things get very busy. My one criticism is that there are moments when you get a “wall of sound” effect when everything runs at 11. It’s still vastly better than the mix on the debut, though.

There are too many accolades to distribute here to do everyone justice. MP Papai puts on an absolute clinic on metal vocals, ranging far and wide across genres and styles, doing everything humanly possible to put the weighty material over the top. I’m shocked at how diverse and adventurous he is from track to track, and some of those high notes are un-fucking-believable. MP also kills it on guitar along with J. Geist, serving up heaping helpings of elegant, fanciful noodles alongside an avalanche of muscular, macho riffs and doomy harmonies. They leave no stone unturned in their quest to imbue the compositions with a mammoth atmosphere, and at multiple point,s you’ll be stupefied by the beauty of their playing. The kit manhandling by Scud also must be credited. He brings a Scott Columbus (Manowar) work ethic to the raiding party, pounding the drums with furious anger to summon the War Godz of olde.

Back in 2022, I predicted Fer De Lance could be a dangerous competitor in the epic metal arena if they smoothed out their songcrafting. It’s very smooth now, and those who oppose them should extinguish their campfires and flee to the hills. Fires on the Mountainside is the album I wanted from Fer De Lance last time. It’s a wild, free-spirited, and refreshingly over-the-top offensive, and it will roll over your feeble defenses like waves over sea rocks. Welcome your new epic overlords.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur
Websites: ferdelancemetal.bandcamp.com | facebook.com/ferdelancemetal | instagram.com/ferdelancechicago
Releases Worldwide: June 27th, 2025

#2025 #40 #AmericanMetal #AtlanteanKodex #Bathory #CruzDelSurMusic #EpicHeavyMetal #ErebAltor #HeavyMetal #Review #Reviews #SIGARTYR #TheHyperborean

Fer De Lance – Fires on the Mountainside Review

By Steel Druhm

Back in 2020, we were introduced to the epic and trve heavy metal assault of Chicago’s Fer De Lance. They attempted to harness the martial sounds of classic heavy metal and doom and blend it with the might of Viking era Bathorycore for an alchemic concoction sure to warhammer the eggshell skulls of the untrve. The Hyperborean was an album that foretold of greatness, but the sometimes awkward songwriting kept it from crossing the Rainbow Bridge and ascending to Valhalla. Now they’re back to fight their way back to the top of the epic metal food chain with sophomore opus Fires on the Mountainside, and things sound a lot different this time. The battle plans remain unchanged, but now the warriors bring a more seasoned and deadly level of skill to the struggle. With influences ranging from Crypt Sermon, Candlemass, Manowar, Bathory, and SIG:AR:TYR to use in their crusade of conquest, can Fer De Lance drive their enemies before them and hear the lamentations of their women? Can they paint the snow red as they plant the flag of domination over all pretenders and would-be usurpers? Stay tuned!

Opening an album with a nearly 13 minute song takes a certain amount of ballsy bravado, and the title track Fer De Lance drop on us demonstrates why they feel so cocksure. It’s a massive, sweeping overdose of epic metal that visits all corners of the genre and defiles the tombs of their forefathers. It comes into being with stirring but restrained, flamenco-inspired guitar work that sets the table for a grand adventure even the craftiest Dungeon Master would struggle to conceive. From there, things escalate rapidly into bold traditional metal led forcefully by MP Papai (ex-Professor Emeritus), who brings an enormous vocal range to the campaign, soaring boldly over spirit-embiggening riffs that climb to the Godz on high. There’s a strong Crypt Sermon vibe at first, but around the 4th minute, things take a hard turn toward Hammerheart-era Bathory and Ereb Altor with MP lapsing into blackened barks. It all comes together seamlessly with beautiful and striking guitars paving the way up the mountain of doom. It’s a massive song that takes you to breathtaking places to meet fascinating people (and kill them), and your chest size will grow by several inches by the time this workout ends. “Ravens Fly (Dreams of Daidalos)” is no smaller in epicness, though it’s considerably shorter. It channels Bathorycore at first before folksy and power metal elements surge forward. MP adopts a very Hansi-heavy vocal style as things veer into Blind Guardian over-the-toppness, and the adroit mix of styles really impresses and somehow hangs together to deliver a world-sized ass whooping.

Later track “Death Thrives (Where Walls Divide)” is another showstopper with a darker, more ominous sound and stunning guitar play, and then out of left field, you get sucker punched by a massive Lost Horizon influence with MP moving from blackened croaks to Daniel Heiman ear-shattering highs and power metal saturation bombing. But wait, there’s more! “The Feast of Echoes” is an absolute winner with a major Dio-era Black Sabbath / Rainbow vibe and 70s organ work swelling to generate layers of classic metal extravagance. But that Viking edge is never far removed, and things regularly drop to more extreme depths to add gristle and sinew to the composition. It all just freaking works! Are there weak points in the armor? Sadly, yes. “Fire and Goldf” is a good mood piece with amazing guitar heroics, but it doesn’t really go anywhere. Closer “Tempest Stele”(why isn’t this “Tempest STEEL”??) is good with lots of interesting elements rising and falling, but it doesn’t equal the album’s high points. Just shy of 49 minutes, Fires on the Mountainside is a pleasure to experience, and even the presence of several long-form cuts doesn’t make it feel too dense of impenetrable. The production/mastering by Arthur Rizk is deft and allows you to hear what is going on, even when things get very busy. My one criticism is that there are moments when you get a “wall of sound” effect when everything runs at 11. It’s still vastly better than the mix on the debut, though.

There are too many accolades to distribute here to do everyone justice. MP Papai puts on an absolute clinic on metal vocals, ranging far and wide across genres and styles, doing everything humanly possible to put the weighty material over the top. I’m shocked at how diverse and adventurous he is from track to track, and some of those high notes are un-fucking-believable. MP also kills it on guitar along with J. Geist, serving up heaping helpings of elegant, fanciful noodles alongside an avalanche of muscular, macho riffs and doomy harmonies. They leave no stone unturned in their quest to imbue the compositions with a mammoth atmosphere, and at multiple point,s you’ll be stupefied by the beauty of their playing. The kit manhandling by Scud also must be credited. He brings a Scott Columbus (Manowar) work ethic to the raiding party, pounding the drums with furious anger to summon the War Godz of olde.

Back in 2022, I predicted Fer De Lance could be a dangerous competitor in the epic metal arena if they smoothed out their songcrafting. It’s very smooth now, and those who oppose them should extinguish their campfires and flee to the hills. Fires on the Mountainside is the album I wanted from Fer De Lance last time. It’s a wild, free-spirited, and refreshingly over-the-top offensive, and it will roll over your feeble defenses like waves over sea rocks. Welcome your new epic overlords.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur
Websites: ferdelancemetal.bandcamp.com | facebook.com/ferdelancemetal | instagram.com/ferdelancechicago
Releases Worldwide: June 27th, 2025

#2025 #40 #AmericanMetal #AtlanteanKodex #Bathory #CruzDelSurMusic #EpicHeavyMetal #ErebAltor #HeavyMetal #Review #Reviews #SIGARTYR #TheHyperborean

Fer De Lance – Fires on the Mountainside Review

By Steel Druhm

Back in 2020, we were introduced to the epic and trve heavy metal assault of Chicago’s Fer De Lance. They attempted to harness the martial sounds of classic heavy metal and doom and blend it with the might of Viking era Bathorycore for an alchemic concoction sure to warhammer the eggshell skulls of the untrve. The Hyperborean was an album that foretold of greatness, but the sometimes awkward songwriting kept it from crossing the Rainbow Bridge and ascending to Valhalla. Now they’re back to fight their way back to the top of the epic metal food chain with sophomore opus Fires on the Mountainside, and things sound a lot different this time. The battle plans remain unchanged, but now the warriors bring a more seasoned and deadly level of skill to the struggle. With influences ranging from Crypt Sermon, Candlemass, Manowar, Bathory, and SIG:AR:TYR to use in their crusade of conquest, can Fer De Lance drive their enemies before them and hear the lamentations of their women? Can they paint the snow red as they plant the flag of domination over all pretenders and would-be usurpers? Stay tuned!

Opening an album with a nearly 13 minute song takes a certain amount of ballsy bravado, and the title track Fer De Lance drop on us demonstrates why they feel so cocksure. It’s a massive, sweeping overdose of epic metal that visits all corners of the genre and defiles the tombs of their forefathers. It comes into being with stirring but restrained, flamenco-inspired guitar work that sets the table for a grand adventure even the craftiest Dungeon Master would struggle to conceive. From there, things escalate rapidly into bold traditional metal led forcefully by MP Papai (ex-Professor Emeritus), who brings an enormous vocal range to the campaign, soaring boldly over spirit-embiggening riffs that climb to the Godz on high. There’s a strong Crypt Sermon vibe at first, but around the 4th minute, things take a hard turn toward Hammerheart-era Bathory and Ereb Altor with MP lapsing into blackened barks. It all comes together seamlessly with beautiful and striking guitars paving the way up the mountain of doom. It’s a massive song that takes you to breathtaking places to meet fascinating people (and kill them), and your chest size will grow by several inches by the time this workout ends. “Ravens Fly (Dreams of Daidalos)” is no smaller in epicness, though it’s considerably shorter. It channels Bathorycore at first before folksy and power metal elements surge forward. MP adopts a very Hansi-heavy vocal style as things veer into Blind Guardian over-the-toppness, and the adroit mix of styles really impresses and somehow hangs together to deliver a world-sized ass whooping.

Later track “Death Thrives (Where Walls Divide)” is another showstopper with a darker, more ominous sound and stunning guitar play, and then out of left field, you get sucker punched by a massive Lost Horizon influence with MP moving from blackened croaks to Daniel Heiman ear-shattering highs and power metal saturation bombing. But wait, there’s more! “The Feast of Echoes” is an absolute winner with a major Dio-era Black Sabbath / Rainbow vibe and 70s organ work swelling to generate layers of classic metal extravagance. But that Viking edge is never far removed, and things regularly drop to more extreme depths to add gristle and sinew to the composition. It all just freaking works! Are there weak points in the armor? Sadly, yes. “Fire and Goldf” is a good mood piece with amazing guitar heroics, but it doesn’t really go anywhere. Closer “Tempest Stele”(why isn’t this “Tempest STEEL”??) is good with lots of interesting elements rising and falling, but it doesn’t equal the album’s high points. Just shy of 49 minutes, Fires on the Mountainside is a pleasure to experience, and even the presence of several long-form cuts doesn’t make it feel too dense of impenetrable. The production/mastering by Arthur Rizk is deft and allows you to hear what is going on, even when things get very busy. My one criticism is that there are moments when you get a “wall of sound” effect when everything runs at 11. It’s still vastly better than the mix on the debut, though.

There are too many accolades to distribute here to do everyone justice. MP Papai puts on an absolute clinic on metal vocals, ranging far and wide across genres and styles, doing everything humanly possible to put the weighty material over the top. I’m shocked at how diverse and adventurous he is from track to track, and some of those high notes are un-fucking-believable. MP also kills it on guitar along with J. Geist, serving up heaping helpings of elegant, fanciful noodles alongside an avalanche of muscular, macho riffs and doomy harmonies. They leave no stone unturned in their quest to imbue the compositions with a mammoth atmosphere, and at multiple point,s you’ll be stupefied by the beauty of their playing. The kit manhandling by Scud also must be credited. He brings a Scott Columbus (Manowar) work ethic to the raiding party, pounding the drums with furious anger to summon the War Godz of olde.

Back in 2022, I predicted Fer De Lance could be a dangerous competitor in the epic metal arena if they smoothed out their songcrafting. It’s very smooth now, and those who oppose them should extinguish their campfires and flee to the hills. Fires on the Mountainside is the album I wanted from Fer De Lance last time. It’s a wild, free-spirited, and refreshingly over-the-top offensive, and it will roll over your feeble defenses like waves over sea rocks. Welcome your new epic overlords.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur
Websites: ferdelancemetal.bandcamp.com | facebook.com/ferdelancemetal | instagram.com/ferdelancechicago
Releases Worldwide: June 27th, 2025

#2025 #40 #AmericanMetal #AtlanteanKodex #Bathory #CruzDelSurMusic #EpicHeavyMetal #ErebAltor #HeavyMetal #Review #Reviews #SIGARTYR #TheHyperborean

Tower – Let There Be Dark Review

By Steel Druhm

Back in the Year of Our Plague 2021, New York City’s own Tower came out of nowhere and delivered a massive sucker punch to an unsuspecting Steely with their appropriately titled sophomore opus Shock to the System. It was a powerhouse ode to classic 80s metal full of sizzling guitar work and the massive vocals of Sarabeth Linden. It mixed the best elements of early US metal and NWoBHM, touching on nostalgia acts like Riot City and Enforcer along with classic units like Chastain and Oz and it hit significantly above its weight. 2025 brings the sequel, Let There Be Dark, and it’s business as usual at the Tower of Power as they dig deep into the 80s metal crypts for retro gold. But can they catch lightning in a hobo wine bottle twice? Pray for retro mojo.

The recipe that worked so well last time is still in use, but Tower try out some softer shades now too. Opener “Under the Chapel” is a barn scorcher full of dazzling riffwork leveraging the raucous, punky edge of NWoBHM, but rather than coming in at 12 and staying there, Sarabeth opts for seductive croons over brute force at times, using her enchanting siren song to create a more diverse experience. The aggressive music pairs very well with Sarabeth’s shifting tones and the song sticks in the grey matter immediately. The title track is another in-your-face rocker leaning on 80s speed metal, providing Sarabeth the perfect foundation to roar and soar. The chorus is a simple but elegant fist-pumper and their rowdy retro magic shines brightly. The high point arrives with “Holy Water,” which is just a lean, mean metal tune full of pugnacious attitude, ripping guitar work, and mammoth vocals. Sarabeth goes all in here, showing all phases of her range as she destroys the universe like an Infinity Gauntlet set to “Pulpify.” This woman has the Kovorka!

Elsewhere, “Book of the Hidden” scores another big win for Tower, finding an epic level in their sound that marries well with the straightforward, no-nonsense riff hooliganism, making the whole thing reek of 1983. To change things up, they deliver a seething power ballad called “And I Cry” where Sarabeth wallows in emotional tumult. Sarabeth shines, forcing your rapt attention despite the maudlin mechanics. Better still is “Don’t You Say” where they borrow a lot from the classic Judas Priest brooder “Night Comes Down.” While Let There Be Dark is a wild, entertaining ride, it’s not without a few minor issues. Both “And I Cry” and the very Mötörhead-esque “Iron Clad” are good but not quite next level, and closer “The Hammer” is a badass song that runs a bit too long at nearly 7 minutes. The presence of 2 short interludes on an album running just 39 minutes also seems unnecessary. The overall writing level is very good but a bit less righteous than on Shock to the System. Still, when this thing smokes, you get burned by trveness.

Sararbeth Linden is the vibrant core of the band, with her vocals doing much of the heavy lifting. She has the rough-hewn rasp of Janis Joplin and the breathy power of a young Cher and I continue to be awed by the size and scope of her voice. The lady sounds massive at all volumes and she’s exceptionally versatile. She can blow the doors off with a leather-lunged roar and beguile with a soft lilt. It occurs to me that what Tower and Nite do musically isn’t that far apart, but boy, what a difference a talented vocalist makes. Imagine Sarabeth dropping into the middle of a Nite track? BOOM goes the dynamite! Speaking of explosives, James Danzo and Zak Penley use their wanton guitar heroics to fight Sarabeth for your attention. Their playing reminds me a lot of Satan’s Russ Tippins and Steve Ramsey as they rip off flaming riffs, hooky harmonies, and face-melting solos. They capture the early 80s metal sound and dabble in punk and speed elements to spice things up. Together with bassist Phillip Arman and new kit killer Keith Mikus, they lay out a wonderful soundscape for Sarabeth to chew on, and chew she certainly does.

Let There Be Dark is another notch in the win column for the little New York City band that could. It’s not as rabid as Shock to the System but it isn’t far off the bite mark. Tower are the band to watch in the retro metal space now and they have the talent to do anything they want. Climb this Tower to the tippy-top and hurl yourself into the retroverse.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur
Websites: towernyc.bandcamp.com | facebook.com/towernyc | instagram.com/towernyc
Releases Worldwide: March 21st, 2025

#2025 #35 #AmericanMetal #Chastain #CruzDelSurMusic #Enforcer #HeavyMetal #LetThereBeDark #Mar25 #Nite #Oz #Review #Reviews #RiotCity #Satan #ShockToTheSystem #Tower

Tower – Let There Be Dark Review

By Steel Druhm

Back in the Year of Our Plague 2021, New York City’s own Tower came out of nowhere and delivered a massive sucker punch to an unsuspecting Steely with their appropriately titled sophomore opus Shock to the System. It was a powerhouse ode to classic 80s metal full of sizzling guitar work and the massive vocals of Sarabeth Linden. It mixed the best elements of early US metal and NWoBHM, touching on nostalgia acts like Riot City and Enforcer along with classic units like Chastain and Oz and it hit significantly above its weight. 2025 brings the sequel, Let There Be Dark, and it’s business as usual at the Tower of Power as they dig deep into the 80s metal crypts for retro gold. But can they catch lightning in a hobo wine bottle twice? Pray for retro mojo.

The recipe that worked so well last time is still in use, but Tower try out some softer shades now too. Opener “Under the Chapel” is a barn scorcher full of dazzling riffwork leveraging the raucous, punky edge of NWoBHM, but rather than coming in at 12 and staying there, Sarabeth opts for seductive croons over brute force at times, using her enchanting siren song to create a more diverse experience. The aggressive music pairs very well with Sarabeth’s shifting tones and the song sticks in the grey matter immediately. The title track is another in-your-face rocker leaning on 80s speed metal, providing Sarabeth the perfect foundation to roar and soar. The chorus is a simple but elegant fist-pumper and their rowdy retro magic shines brightly. The high point arrives with “Holy Water,” which is just a lean, mean metal tune full of pugnacious attitude, ripping guitar work, and mammoth vocals. Sarabeth goes all in here, showing all phases of her range as she destroys the universe like an Infinity Gauntlet set to “Pulpify.” This woman has the Kovorka!

Elsewhere, “Book of the Hidden” scores another big win for Tower, finding an epic level in their sound that marries well with the straightforward, no-nonsense riff hooliganism, making the whole thing reek of 1983. To change things up, they deliver a seething power ballad called “And I Cry” where Sarabeth wallows in emotional tumult. Sarabeth shines, forcing your rapt attention despite the maudlin mechanics. Better still is “Don’t You Say” where they borrow a lot from the classic Judas Priest brooder “Night Comes Down.” While Let There Be Dark is a wild, entertaining ride, it’s not without a few minor issues. Both “And I Cry” and the very Mötörhead-esque “Iron Clad” are good but not quite next level, and closer “The Hammer” is a badass song that runs a bit too long at nearly 7 minutes. The presence of 2 short interludes on an album running just 39 minutes also seems unnecessary. The overall writing level is very good but a bit less righteous than on Shock to the System. Still, when this thing smokes, you get burned by trveness.

Sararbeth Linden is the vibrant core of the band, with her vocals doing much of the heavy lifting. She has the rough-hewn rasp of Janis Joplin and the breathy power of a young Cher and I continue to be awed by the size and scope of her voice. The lady sounds massive at all volumes and she’s exceptionally versatile. She can blow the doors off with a leather-lunged roar and beguile with a soft lilt. It occurs to me that what Tower and Nite do musically isn’t that far apart, but boy, what a difference a talented vocalist makes. Imagine Sarabeth dropping into the middle of a Nite track? BOOM goes the dynamite! Speaking of explosives, James Danzo and Zak Penley use their wanton guitar heroics to fight Sarabeth for your attention. Their playing reminds me a lot of Satan’s Russ Tippins and Steve Ramsey as they rip off flaming riffs, hooky harmonies, and face-melting solos. They capture the early 80s metal sound and dabble in punk and speed elements to spice things up. Together with bassist Phillip Arman and new kit killer Keith Mikus, they lay out a wonderful soundscape for Sarabeth to chew on, and chew she certainly does.

Let There Be Dark is another notch in the win column for the little New York City band that could. It’s not as rabid as Shock to the System but it isn’t far off the bite mark. Tower are the band to watch in the retro metal space now and they have the talent to do anything they want. Climb this Tower to the tippy-top and hurl yourself into the retroverse.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur
Websites: towernyc.bandcamp.com | facebook.com/towernyc | instagram.com/towernyc
Releases Worldwide: March 21st, 2025

#2025 #35 #AmericanMetal #Chastain #CruzDelSurMusic #Enforcer #HeavyMetal #LetThereBeDark #Mar25 #Nite #Oz #Review #Reviews #RiotCity #Satan #ShockToTheSystem #Tower

Tower – Let There Be Dark Review

By Steel Druhm

Back in the Year of Our Plague 2021, New York City’s own Tower came out of nowhere and delivered a massive sucker punch to an unsuspecting Steely with their appropriately titled sophomore opus Shock to the System. It was a powerhouse ode to classic 80s metal full of sizzling guitar work and the massive vocals of Sarabeth Linden. It mixed the best elements of early US metal and NWoBHM, touching on nostalgia acts like Riot City and Enforcer along with classic units like Chastain and Oz and it hit significantly above its weight. 2025 brings the sequel, Let There Be Dark, and it’s business as usual at the Tower of Power as they dig deep into the 80s metal crypts for retro gold. But can they catch lightning in a hobo wine bottle twice? Pray for retro mojo.

The recipe that worked so well last time is still in use, but Tower try out some softer shades now too. Opener “Under the Chapel” is a barn scorcher full of dazzling riffwork leveraging the raucous, punky edge of NWoBHM, but rather than coming in at 12 and staying there, Sarabeth opts for seductive croons over brute force at times, using her enchanting siren song to create a more diverse experience. The aggressive music pairs very well with Sarabeth’s shifting tones and the song sticks in the grey matter immediately. The title track is another in-your-face rocker leaning on 80s speed metal, providing Sarabeth the perfect foundation to roar and soar. The chorus is a simple but elegant fist-pumper and their rowdy retro magic shines brightly. The high point arrives with “Holy Water,” which is just a lean, mean metal tune full of pugnacious attitude, ripping guitar work, and mammoth vocals. Sarabeth goes all in here, showing all phases of her range as she destroys the universe like an Infinity Gauntlet set to “Pulpify.” This woman has the Kovorka!

Elsewhere, “Book of the Hidden” scores another big win for Tower, finding an epic level in their sound that marries well with the straightforward, no-nonsense riff hooliganism, making the whole thing reek of 1983. To change things up, they deliver a seething power ballad called “And I Cry” where Sarabeth wallows in emotional tumult. Sarabeth shines, forcing your rapt attention despite the maudlin mechanics. Better still is “Don’t You Say” where they borrow a lot from the classic Judas Priest brooder “Night Comes Down.” While Let There Be Dark is a wild, entertaining ride, it’s not without a few minor issues. Both “And I Cry” and the very Mötörhead-esque “Iron Clad” are good but not quite next level, and closer “The Hammer” is a badass song that runs a bit too long at nearly 7 minutes. The presence of 2 short interludes on an album running just 39 minutes also seems unnecessary. The overall writing level is very good but a bit less righteous than on Shock to the System. Still, when this thing smokes, you get burned by trveness.

Sararbeth Linden is the vibrant core of the band, with her vocals doing much of the heavy lifting. She has the rough-hewn rasp of Janis Joplin and the breathy power of a young Cher and I continue to be awed by the size and scope of her voice. The lady sounds massive at all volumes and she’s exceptionally versatile. She can blow the doors off with a leather-lunged roar and beguile with a soft lilt. It occurs to me that what Tower and Nite do musically isn’t that far apart, but boy, what a difference a talented vocalist makes. Imagine Sarabeth dropping into the middle of a Nite track? BOOM goes the dynamite! Speaking of explosives, James Danzo and Zak Penley use their wanton guitar heroics to fight Sarabeth for your attention. Their playing reminds me a lot of Satan’s Russ Tippins and Steve Ramsey as they rip off flaming riffs, hooky harmonies, and face-melting solos. They capture the early 80s metal sound and dabble in punk and speed elements to spice things up. Together with bassist Phillip Arman and new kit killer Keith Mikus, they lay out a wonderful soundscape for Sarabeth to chew on, and chew she certainly does.

Let There Be Dark is another notch in the win column for the little New York City band that could. It’s not as rabid as Shock to the System but it isn’t far off the bite mark. Tower are the band to watch in the retro metal space now and they have the talent to do anything they want. Climb this Tower to the tippy-top and hurl yourself into the retroverse.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur
Websites: towernyc.bandcamp.com | facebook.com/towernyc | instagram.com/towernyc
Releases Worldwide: March 21st, 2025

#2025 #35 #AmericanMetal #Chastain #CruzDelSurMusic #Enforcer #HeavyMetal #LetThereBeDark #Mar25 #Nite #Oz #Review #Reviews #RiotCity #Satan #ShockToTheSystem #Tower

Tower – Let There Be Dark Review

By Steel Druhm

Back in the Year of Our Plague 2021, New York City’s own Tower came out of nowhere and delivered a massive sucker punch to an unsuspecting Steely with their appropriately titled sophomore opus Shock to the System. It was a powerhouse ode to classic 80s metal full of sizzling guitar work and the massive vocals of Sarabeth Linden. It mixed the best elements of early US metal and NWoBHM, touching on nostalgia acts like Riot City and Enforcer along with classic units like Chastain and Oz and it hit significantly above its weight. 2025 brings the sequel, Let There Be Dark, and it’s business as usual at the Tower of Power as they dig deep into the 80s metal crypts for retro gold. But can they catch lightning in a hobo wine bottle twice? Pray for retro mojo.

The recipe that worked so well last time is still in use, but Tower try out some softer shades now too. Opener “Under the Chapel” is a barn scorcher full of dazzling riffwork leveraging the raucous, punky edge of NWoBHM, but rather than coming in at 12 and staying there, Sarabeth opts for seductive croons over brute force at times, using her enchanting siren song to create a more diverse experience. The aggressive music pairs very well with Sarabeth’s shifting tones and the song sticks in the grey matter immediately. The title track is another in-your-face rocker leaning on 80s speed metal, providing Sarabeth the perfect foundation to roar and soar. The chorus is a simple but elegant fist-pumper and their rowdy retro magic shines brightly. The high point arrives with “Holy Water,” which is just a lean, mean metal tune full of pugnacious attitude, ripping guitar work, and mammoth vocals. Sarabeth goes all in here, showing all phases of her range as she destroys the universe like an Infinity Gauntlet set to “Pulpify.” This woman has the Kovorka!

Elsewhere, “Book of the Hidden” scores another big win for Tower, finding an epic level in their sound that marries well with the straightforward, no-nonsense riff hooliganism, making the whole thing reek of 1983. To change things up, they deliver a seething power ballad called “And I Cry” where Sarabeth wallows in emotional tumult. Sarabeth shines, forcing your rapt attention despite the maudlin mechanics. Better still is “Don’t You Say” where they borrow a lot from the classic Judas Priest brooder “Night Comes Down.” While Let There Be Dark is a wild, entertaining ride, it’s not without a few minor issues. Both “And I Cry” and the very Mötörhead-esque “Iron Clad” are good but not quite next level, and closer “The Hammer” is a badass song that runs a bit too long at nearly 7 minutes. The presence of 2 short interludes on an album running just 39 minutes also seems unnecessary. The overall writing level is very good but a bit less righteous than on Shock to the System. Still, when this thing smokes, you get burned by trveness.

Sararbeth Linden is the vibrant core of the band, with her vocals doing much of the heavy lifting. She has the rough-hewn rasp of Janis Joplin and the breathy power of a young Cher and I continue to be awed by the size and scope of her voice. The lady sounds massive at all volumes and she’s exceptionally versatile. She can blow the doors off with a leather-lunged roar and beguile with a soft lilt. It occurs to me that what Tower and Nite do musically isn’t that far apart, but boy, what a difference a talented vocalist makes. Imagine Sarabeth dropping into the middle of a Nite track? BOOM goes the dynamite! Speaking of explosives, James Danzo and Zak Penley use their wanton guitar heroics to fight Sarabeth for your attention. Their playing reminds me a lot of Satan’s Russ Tippins and Steve Ramsey as they rip off flaming riffs, hooky harmonies, and face-melting solos. They capture the early 80s metal sound and dabble in punk and speed elements to spice things up. Together with bassist Phillip Arman and new kit killer Keith Mikus, they lay out a wonderful soundscape for Sarabeth to chew on, and chew she certainly does.

Let There Be Dark is another notch in the win column for the little New York City band that could. It’s not as rabid as Shock to the System but it isn’t far off the bite mark. Tower are the band to watch in the retro metal space now and they have the talent to do anything they want. Climb this Tower to the tippy-top and hurl yourself into the retroverse.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur
Websites: towernyc.bandcamp.com | facebook.com/towernyc | instagram.com/towernyc
Releases Worldwide: March 21st, 2025

#2025 #35 #AmericanMetal #Chastain #CruzDelSurMusic #Enforcer #HeavyMetal #LetThereBeDark #Mar25 #Nite #Oz #Review #Reviews #RiotCity #Satan #ShockToTheSystem #Tower

The Neptune Power Federation – Goodnight My Children Review

By GardensTale

I have a soft spot for these Australian weirdos. Memoirs of a Rat Queen bowled me over back in 2019 and I still spin “Rat Queen” and “I’ll Make a Man Out of You” regularly. Follow-up Le Demon De L’amour didn’t quite tickle my fancy the same way, though, with an overall less impactful and memorable tracklist that contained only one real banger. It seems love songs didn’t capture the off-kilter theatrical vibe where The Neptune Power Federation is strongest. The concept for Goodnight My Children is fairytales and bedtime stories, which can really go either way. Underwhelming sweetness or a wonky wonderland, what does the Imperial Priestess Screaming Loz Sutch have in store for us this year?

”Let us Begin” doesn’t muck about for long. Blasting out of the gates with psych-laden guitars wailing and Sutch’s confident voice hollering, the track sets the tone for an old-school hard rock blast with a lot of energy and an addictive sense of joy. From this point on, the band jumps from fairy tale to fairy tale, from locked-up princesses to mysterious crones to kings going insane. The concept works in the band’s favor, as Goodnight My Children does feel like a storybook, with the tracks a natural analog for chapters, tying everything together neatly. The variety between the songs underlines this notion further. “Lock & Key” has a rebellious streak that stands in stark contrast to the pastel despair of “Woe Be Father’s Troubled Mind.” “Evermore” is an absolute banger of a Boston track that makes great use of the background vocals, but it comes right before “Hariette Mae,” which starts off as creepy as the Federation’s ever got, and end with ‘Run now, my little ones, for cometh Hari Mae!’

Where the distance between the worst and best tracks on the previous albums was sizeable, Goodnight My Children is a much more uniform affair without significant outliers. The “Lock & Key” chorus doesn’t gel with me, but it’s an otherwise fun track, albeit the weakest on the album in general. That also means there’s nothing that hits quite as hard as the band’s best, though. “Let Us Begin” and “Evermore” get close, but the former is too short and the latter not focused enough to reach those lofty heights. Rest assured, none of the blame for that lies with the performances. The guitarwork is especially strong, the solos emulating the peak of 70’s hard rock and the riffs a slew of addictive hooks straight outta AOR, the latter further empowered by the solid drums.

But the real draw remains the vocals. Sutch is in excellent form, taking confident command of the spotlight and conveying a wide range of moods and characters without breaking a sweat. The amount of background vocals is still higher than I’d like, but they’re integrated into the songs better than ever before, whether used in barbershop configurations (“Woe Be Father’s Troubled Mind”), quick call-and-response setups (“Betrothed to the Serpent”) or Beach Boys style ‘pah-paah’s and ‘oh-ooh’s (“Evermore”). The mix is balanced well, even when the music gets crowded, and the master is crisp. Along with the very concise songwriting (less than 35 minutes total), it makes for an incredibly relistenable album.

Overall, Goodnight My Children is a return to form for The Neptune Power Federation. A fun and jaunty ride through the land of imagination, the concept is perfect for Sutch to let loose at her most theatrical, and the instrumentation more than keeps up with her excellent vocal work. You can get lost in it, have a chuckle at the sardonic lyrics, or just rock out at the riffs cruising down the highway. It may not change the world, but few bands are doing this style better or with more personality than the Federation in this day and age, and I’m happy to hear the Aussies get back into the groove.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | theneptunepowerfederation.com | facebook.com/theneptunepowerfederation
Releases Worldwide: March 8th, 2024

#2024 #35 #AustralianMetalMetal #BeachBoys #Boston #CruzDelSurMusic #GoodnightMyChildren #HardRock #HeavyMetal #Mar24 #PsychedelicRock #Review #Reviews #TheNeptunePowerFederation

The Neptune Power Federation – Goodnight My Children Review

By GardensTale

I have a soft spot for these Australian weirdos. Memoirs of a Rat Queen bowled me over back in 2019 and I still spin “Rat Queen” and “I’ll Make a Man Out of You” regularly. Follow-up Le Demon De L’amour didn’t quite tickle my fancy the same way, though, with an overall less impactful and memorable tracklist that contained only one real banger. It seems love songs didn’t capture the off-kilter theatrical vibe where The Neptune Power Federation is strongest. The concept for Goodnight My Children is fairytales and bedtime stories, which can really go either way. Underwhelming sweetness or a wonky wonderland, what does the Imperial Priestess Screaming Loz Sutch have in store for us this year?

”Let us Begin” doesn’t muck about for long. Blasting out of the gates with psych-laden guitars wailing and Sutch’s confident voice hollering, the track sets the tone for an old-school hard rock blast with a lot of energy and an addictive sense of joy. From this point on, the band jumps from fairy tale to fairy tale, from locked-up princesses to mysterious crones to kings going insane. The concept works in the band’s favor, as Goodnight My Children does feel like a storybook, with the tracks a natural analog for chapters, tying everything together neatly. The variety between the songs underlines this notion further. “Lock & Key” has a rebellious streak that stands in stark contrast to the pastel despair of “Woe Be Father’s Troubled Mind.” “Evermore” is an absolute banger of a Boston track that makes great use of the background vocals, but it comes right before “Hariette Mae,” which starts off as creepy as the Federation’s ever got, and end with ‘Run now, my little ones, for cometh Hari Mae!’

Where the distance between the worst and best tracks on the previous albums was sizeable, Goodnight My Children is a much more uniform affair without significant outliers. The “Lock & Key” chorus doesn’t gel with me, but it’s an otherwise fun track, albeit the weakest on the album in general. That also means there’s nothing that hits quite as hard as the band’s best, though. “Let Us Begin” and “Evermore” get close, but the former is too short and the latter not focused enough to reach those lofty heights. Rest assured, none of the blame for that lies with the performances. The guitarwork is especially strong, the solos emulating the peak of 70’s hard rock and the riffs a slew of addictive hooks straight outta AOR, the latter further empowered by the solid drums.

But the real draw remains the vocals. Sutch is in excellent form, taking confident command of the spotlight and conveying a wide range of moods and characters without breaking a sweat. The amount of background vocals is still higher than I’d like, but they’re integrated into the songs better than ever before, whether used in barbershop configurations (“Woe Be Father’s Troubled Mind”), quick call-and-response setups (“Betrothed to the Serpent”) or Beach Boys style ‘pah-paah’s and ‘oh-ooh’s (“Evermore”). The mix is balanced well, even when the music gets crowded, and the master is crisp. Along with the very concise songwriting (less than 35 minutes total), it makes for an incredibly relistenable album.

Overall, Goodnight My Children is a return to form for The Neptune Power Federation. A fun and jaunty ride through the land of imagination, the concept is perfect for Sutch to let loose at her most theatrical, and the instrumentation more than keeps up with her excellent vocal work. You can get lost in it, have a chuckle at the sardonic lyrics, or just rock out at the riffs cruising down the highway. It may not change the world, but few bands are doing this style better or with more personality than the Federation in this day and age, and I’m happy to hear the Aussies get back into the groove.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz Del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | theneptunepowerfederation.com | facebook.com/theneptunepowerfederation
Releases Worldwide: March 8th, 2024

#2024 #35 #AustralianMetalMetal #BeachBoys #Boston #CruzDelSurMusic #GoodnightMyChildren #HardRock #HeavyMetal #Mar24 #PsychedelicRock #Review #Reviews #TheNeptunePowerFederation