#dgm — Public Fediverse posts

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

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#EuropeSays #EU #Europa #DeutscheGütegemeinschaftMöbele.V. #DGM #EmpCo #EU-Richtlinie #EuropäischeUnion
https://www.europesays.com/europa/76946/

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Friedrich-Baur-Institut verbessert Therapien für seltene Erkrankungen. 70. Jubiläum an der LMU.

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https://www.europesays.com/de/1142648/

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https://www.europesays.com/afrique/139156/ Météo. Températures en baisse ce mercredi 24 juin, chaleur persistante au Sud et dans l’Oriental, temps instable sur l’Atlas #climat #dgm #Maroc #Météo #Météorologie

https://www.europesays.com/afrique/135521/ Météo. Chaleur en hausse dans la majorité du Royaume ce samedi 20 juin, avec des orages localisés à l’Est #climat #dgm #Maroc #Météo #Météorologie #températures

https://www.europesays.com/afrique/130667/ Météo. Temps chaud sur le Sud et le Sud-Est, baisses de températures sur les plaines Nord et Centre ce lundi 15 juin #climat #dgm #Maroc #Météo #Météorologie #températures

https://www.europesays.com/afrique/129764/ Météo. Températures en baisse sur le Royaume ce dimanche 14 juin, avec quelques orages sur l’extrême sud des provinces sahariennes #climat #dgm #Maroc #Météo #Météorologie #températures

https://www.europesays.com/afrique/128891/ Météo. Fortes chaleurs sur le Sud et averses orageuses attendues sur l’Atlas et l’Oriental ce samedi 13 juin #climat #dgm #Maroc #Météo #Météorologie #températures

https://www.europesays.com/afrique/128024/ Météo. Mercure en hausse ou peu variable sur le Royaume ce vendredi 12 juin, avec un temps chaud sur les provinces sahariennes #climat #dgm #Maroc #Météo #Météorologie #températures

HyperAgents, 자기 개선 방식까지 수정하는 AI 에이전트 등장

https://aisparkup.com/posts/11126

HyperAgents, 자기 개선 방식까지 수정하는 AI 에이전트 등장

https://aisparkup.com/posts/11126

HyperAgents, 자기 개선 방식까지 수정하는 AI 에이전트 등장

https://aisparkup.com/posts/11126

HyperAgents, 자기 개선 방식까지 수정하는 AI 에이전트 등장

https://aisparkup.com/posts/11126

Happy Valentine's Day 💝🫕 #oc #ocxcanon #dgm

Wochenrückblick, Ausgabe 127 (2026-05)

Themen:

🧴 Etwas bessere Sprühflaschen für den Haushalt

💻 Neuer USB 3.2-Hub

🗺️ Neue Layer für Bikerouter

🤓 Lights of the Sea – Karte mit animierten Leuchtfeuern und Tonnen

🦣 iPhanpy – Phanpy als native iOS-App

👨‍💻 (Zu) viel Arbeit…

🔊 In dieser Woche gehört: Oberst & Buchner, Friction, sayuara

#Wochenrückblick #Haushalt #Hardware #USB #Bikerouter #Kartografie #Webmap #DGM #Luftbild #Geländemodell #Mastodon #Phanpy #iOS #Techno

https://www.marcusjaschen.de/blog/2026/2026-05/

Wochenrückblick, Ausgabe 127 (2026-05)

Themen:

🧴 Etwas bessere Sprühflaschen für den Haushalt

💻 Neuer USB 3.2-Hub

🗺️ Neue Layer für Bikerouter

🤓 Lights of the Sea – Karte mit animierten Leuchtfeuern und Tonnen

🦣 iPhanpy – Phanpy als native iOS-App

👨‍💻 (Zu) viel Arbeit…

🔊 In dieser Woche gehört: Oberst & Buchner, Friction, sayuara

#Wochenrückblick #Haushalt #Hardware #USB #Bikerouter #Kartografie #Webmap #DGM #Luftbild #Geländemodell #Mastodon #Phanpy #iOS #Techno

https://www.marcusjaschen.de/blog/2026/2026-05/

Wochenrückblick, Ausgabe 127 (2026-05)

Themen:

🧴 Etwas bessere Sprühflaschen für den Haushalt

💻 Neuer USB 3.2-Hub

🗺️ Neue Layer für Bikerouter

🤓 Lights of the Sea – Karte mit animierten Leuchtfeuern und Tonnen

🦣 iPhanpy – Phanpy als native iOS-App

👨‍💻 (Zu) viel Arbeit…

🔊 In dieser Woche gehört: Oberst & Buchner, Friction, sayuara

#Wochenrückblick #Haushalt #Hardware #USB #Bikerouter #Kartografie #Webmap #DGM #Luftbild #Geländemodell #Mastodon #Phanpy #iOS #Techno

https://www.marcusjaschen.de/blog/2026/2026-05/

Wochenrückblick, Ausgabe 127 (2026-05)

Themen:

🧴 Etwas bessere Sprühflaschen für den Haushalt

💻 Neuer USB 3.2-Hub

🗺️ Neue Layer für Bikerouter

🤓 Lights of the Sea – Karte mit animierten Leuchtfeuern und Tonnen

🦣 iPhanpy – Phanpy als native iOS-App

👨‍💻 (Zu) viel Arbeit…

🔊 In dieser Woche gehört: Oberst & Buchner, Friction, sayuara

#Wochenrückblick #Haushalt #Hardware #USB #Bikerouter #Kartografie #Webmap #DGM #Luftbild #Geländemodell #Mastodon #Phanpy #iOS #Techno

https://www.marcusjaschen.de/blog/2026/2026-05/

Masters at work! #DGM #metal #livemusic #progressivemetal #music #italia #live #centralerockpub #erba

Masters at work! #DGM #metal #livemusic #progressivemetal #music #italia #live #centralerockpub #erba

Masters at work! #DGM #metal #livemusic #progressivemetal #music #italia #live #centralerockpub #erba

Masters at work! #DGM #metal #livemusic #progressivemetal #music #italia #live #centralerockpub #erba

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

Illusia – Mind over Matter Review

By Killjoy

In the music business, the line between hobby and professional endeavor is often blurry. For brand-new musicians, the line might even be non-existent. And, every once in a while, a record graces our promo pile that is undeniably pure and authentic in a way only possible if its creator pours something deeply personal into the music. There is little doubt that this was the case for Jason Tyler when he formed Illusia in Manchester, UK. He took on a few bandmates and guest vocalists to help bring his progressive metal debut Mind over Matter to life, though he retains most of the songwriting and recording duties. How well might his passion project connect with a wider audience upon first exposure?

In some respects, Illusia is to prog as Fellowship is to power metal. In addition to an overarching affirming narrative,1 Mind over Matter boasts tons of colorful, sing-along choruses and tunes that will surely strike some as corny. But, like with Fellowship, no one can deny that they come from a place of earnestness. Sonically, Mind over Matter is a joyous mashup of Neal Morse’s sentimental prog rock and Ayreon’s zany keyboard wizardry. Tyler is skilled at leveraging the instruments at his disposal in complex yet catchy ways. Organ, guitar, synths, bass, and piano are layered in lockstep to weave a rich melodic tapestry, often paired with intricate drum rhythms in a fashion reminiscent of Seventh Wonder or DGM. In lesser hands, this might sound like a complete jumble, but Illusia demonstrates a compositional maturity beyond its fledgling status.

Illusia generally prioritizes emotional resonance over technical showmanship. Perhaps the most defining characteristic of Mind over Matter is its heavy reliance on tranquil ballad-esque songs. Of these, “Daydream” is by far my favorite, its piano arpeggios and poignant strings creating an affecting mood. The softer tracks are generally interspersed well with the more upbeat ones, although the back-to-back placement of “Anemoia” and “Shine Through the Night” leads to minor engagement snags. Still, a record with this many ballads should not work as well as this one does. The more technical aspects of Mind over Matter manifest in somewhat subtle ways. Dec Doyle’s guitar solos and Tyler’s keyboard melodies, while primarily uplifting, can be dazzling as well (“Delirium,” “Solace Divine”). Also, though not the main highlight of Mind over Matter, Tyler is a sneakily talented drummer, deftly brandishing syncopated rhythms throughout “What If.”

However, the vocals are where the consistency fluctuates and falters. Jason Tyler handles the majority of the singing, though in Ayreon fashion, he enlists the talents of several guest vocalists to bring the story to life. When possible, Tyler sticks to his more comfortable mid-to-low ranges while letting the guests take the higher ones, a strategy which works well with DGM’s Mark Basile (“Solace Divine”) and Chrysalïd’s Emannuel Thorsen (“Delirium”). But when he reaches for higher notes (“Arrival,” “Alone”), his vocal strain weakens the music’s emotive impact. Additionally, his harmonization with the other vocalists often feels tenuous, particularly with Alessia Scolletti’s near-shouting in the final chorus of “Shine Through the Night,” an unexpected letdown given her outstanding prior work with Temperance. Mind over Matter’s lush compositions are crying out for similar-caliber vocal talent, a taste of which comes from Lisa Skinner’s (Sorceress of Sin) gritty and occasionally operatic performance in the punchy “Dream Dance.”

While much of progressive metal is meant to tug heartstrings, Illusia displays an unflinching degree of tenderness and vulnerability that I haven’t heard too often. Mind over Matter may be unpolished, but not nearly as much as one might expect from the very first attempt of a self-produced artist. The songwriting, musicianship, and production are warm and inviting, with few moments during the hour-long runtime during which my attention wavers. Despite—and maybe because of—some vocal imperfections, Mind over Matter feels genuinely and profoundly human. And in a world where art is becoming increasingly artificial and superficial, that’s ultimately what matters most.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: illusia.bandcamp.com | instagram.com/jtptyler
Releases Worldwide: August 22nd, 2025

Show 1 footnote

1. About an individual who retreats within their mind to escape the injustices of reality and their unseen struggle to find inner peace. ↩

#2025 #35 #Aug25 #Ayreon #BritishMetal #Chrysalïd #DGM #Fellowship #Illusia #MindOverMatter #NealMorse #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfRelease #SeventhWonder #SorceressOfSin #Temperance

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

Hauled ass to get this done on time. Happy Birthday to the best character of all time. 💖 Up a little early for my late friend Eden, the #1 Komui fan, who lived 12 hours ahead.

#fanart #art #mastoart #dgm #DGrayMan

Hauled ass to get this done on time. Happy Birthday to the best character of all time. 💖 Up a little early for my late friend Eden, the #1 Komui fan, who lived 12 hours ahead.

#fanart #art #mastoart #dgm #DGrayMan

Hauled ass to get this done on time. Happy Birthday to the best character of all time. 💖 Up a little early for my late friend Eden, the #1 Komui fan, who lived 12 hours ahead.

#fanart #art #mastoart #dgm #DGrayMan

a pay-what-you-want commission for someone! thank you for the opportunity to draw a sfw komubak!! (it's been so long...)

commission me! https://wasongo.art/com/commission

#fanart #dgm #komubak #mastoart #art #commissions #artcommissions

a pay-what-you-want commission for someone! thank you for the opportunity to draw a sfw komubak!! (it's been so long...)

commission me! https://wasongo.art/com/commission

#fanart #dgm #komubak #mastoart #art #commissions #artcommissions