#enforcer — Public Fediverse posts

“I respect the goonery”: Bomani Jones explains why the Spurs must find an enforcer for Wemby https://www.rawchili.com/nba/732105/ #Basketball #BomaniJones #Detroit #DetroitPistons #DillonBrooks #Dort #DraymondGreen #enforcer #IsaiahStewart #JalenDuren #KellyOlynyk #NazReid #NBA #SanAntonio #SanAntonioSpurs #SanAntonio #SanAntonioSpurs #spurs #SpursTimberwolves #TheSpurs #Timberwolves #VictorWembanyama

So, from today the US navy is essentially the mob enforcer extorting protection money from the rest of the world. Isn't that wonderful? Oh, how proud this must make all veterans to see how their legacy is being trashed! Well done USA, well done.
🤬😡🤬😡🤬😡

https://www.yahoo.com/news/politics/article/trump-announces-naval-blockade-of-strait-of-hormuz-after-iran-talks-collapse-over-nuclear-demands-133605926.html

#mob #enforcer #extortion #illegal #war #criminal #POTUS #piracy #USPolitics #USPol

https://www.europesays.com/uk/746492/ Tailgunner – Midnight Blitz Review #2026 #3.0 #Enforcer #EnglishMetal #Entertainment #Feb26 #GunsForHire #HeavyMetal #MidnightBlitz #music #NapalmRecords #PrimalFear #Review #Reviews #Tailgunner #UK #UnitedKingdom #wolf

https://www.europesays.com/ie/323509/ Tailgunner – Midnight Blitz Review #2026 #3.0 #Éire #Enforcer #EnglishMetal #Entertainment #Feb26 #GunsForHire #HeavyMetal #IE #Ireland #MidnightBlitz #Music #NapalmRecords #PrimalFear #Review #Reviews #Tailgunner #wolf

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Carns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

Live roundup #39

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Haunt

More info: https://www.facebook.com/hauntthenation

#2 2 Minutes To Tulsa 2026

More info: https://www.facebook.com/profile.php?id=100091898229431

#3 Speed Queen

More info: https://fb.me/e/88lj0eOFj

#4 Enforcer

More info: https://www.instagram.com/enforcerofficial

#5 Hëiligen

More info: https://www.instagram.com/heiligenheavymetal/

#6 Rock Hard Festival 2026

More info: https://www.rockhard.de/rhfestival

#7 FullMetal Osthessen 

More info: https://www.facebook.com/FullMetalOsthessen

#8 Tyrannt

More info: https://www.instagram.com/tyrannband/

#9 High Voltage La Ceja

More info: https://www.instagram.com/revenge.speedmetal/

#10 Messiah + Amethyst & Klaw

More info: http://www.Eisenwerk.ch

#1 #10 #2 #2MinutesToTulsa2026 #3 #4 #5 #6 #7 #8 #9 #amethyst #angelWitch #enforcer #haunt #heiligen #heavyMetal #lucifer #megaColossus #messiah #nwothm #picture #revenge #sacredWarrior #scavenger #snowblind #speedQueen #thenwothm #thenwothmCom #tyrannt #wytchHazel

Live roundup #39

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Haunt

More info: https://www.facebook.com/hauntthenation

#2 2 Minutes To Tulsa 2026

More info: https://www.facebook.com/profile.php?id=100091898229431

#3 Speed Queen

More info: https://fb.me/e/88lj0eOFj

#4 Enforcer

More info: https://www.instagram.com/enforcerofficial

#5 Hëiligen

More info: https://www.instagram.com/heiligenheavymetal/

#6 Rock Hard Festival 2026

More info: https://www.rockhard.de/rhfestival

#7 FullMetal Osthessen 

More info: https://www.facebook.com/FullMetalOsthessen

#8 Tyrannt

More info: https://www.instagram.com/tyrannband/

#9 High Voltage La Ceja

More info: https://www.instagram.com/revenge.speedmetal/

#10 Messiah + Amethyst & Klaw

More info: http://www.Eisenwerk.ch

#1 #10 #2 #2MinutesToTulsa2026 #3 #4 #5 #6 #7 #8 #9 #amethyst #angelWitch #enforcer #haunt #heiligen #heavyMetal #lucifer #megaColossus #messiah #nwothm #picture #revenge #sacredWarrior #scavenger #snowblind #speedQueen #thenwothm #thenwothmCom #tyrannt #wytchHazel

Live roundup #39

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Haunt

More info: https://www.facebook.com/hauntthenation

#2 2 Minutes To Tulsa 2026

More info: https://www.facebook.com/profile.php?id=100091898229431

#3 Speed Queen

More info: https://fb.me/e/88lj0eOFj

#4 Enforcer

More info: https://www.instagram.com/enforcerofficial

#5 Hëiligen

More info: https://www.instagram.com/heiligenheavymetal/

#6 Rock Hard Festival 2026

More info: https://www.rockhard.de/rhfestival

#7 FullMetal Osthessen 

More info: https://www.facebook.com/FullMetalOsthessen

#8 Tyrannt

More info: https://www.instagram.com/tyrannband/

#9 High Voltage La Ceja

More info: https://www.instagram.com/revenge.speedmetal/

#10 Messiah + Amethyst & Klaw

More info: http://www.Eisenwerk.ch

#1 #10 #2 #2MinutesToTulsa2026 #3 #4 #5 #6 #7 #8 #9 #amethyst #angelWitch #enforcer #haunt #heiligen #heavyMetal #lucifer #megaColossus #messiah #nwothm #picture #revenge #sacredWarrior #scavenger #snowblind #speedQueen #thenwothm #thenwothmCom #tyrannt #wytchHazel

Live roundup #39

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Haunt

More info: https://www.facebook.com/hauntthenation

#2 2 Minutes To Tulsa 2026

More info: https://www.facebook.com/profile.php?id=100091898229431

#3 Speed Queen

More info: https://fb.me/e/88lj0eOFj

#4 Enforcer

More info: https://www.instagram.com/enforcerofficial

#5 Hëiligen

More info: https://www.instagram.com/heiligenheavymetal/

#6 Rock Hard Festival 2026

More info: https://www.rockhard.de/rhfestival

#7 FullMetal Osthessen 

More info: https://www.facebook.com/FullMetalOsthessen

#8 Tyrannt

More info: https://www.instagram.com/tyrannband/

#9 High Voltage La Ceja

More info: https://www.instagram.com/revenge.speedmetal/

#10 Messiah + Amethyst & Klaw

More info: http://www.Eisenwerk.ch

#1 #10 #2 #2MinutesToTulsa2026 #3 #4 #5 #6 #7 #8 #9 #amethyst #angelWitch #enforcer #haunt #heiligen #heavyMetal #lucifer #megaColossus #messiah #nwothm #picture #revenge #sacredWarrior #scavenger #snowblind #speedQueen #thenwothm #thenwothmCom #tyrannt #wytchHazel

Live roundup #39

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Haunt

More info: https://www.facebook.com/hauntthenation

#2 2 Minutes To Tulsa 2026

More info: https://www.facebook.com/profile.php?id=100091898229431

#3 Speed Queen

More info: https://fb.me/e/88lj0eOFj

#4 Enforcer

More info: https://www.instagram.com/enforcerofficial

#5 Hëiligen

More info: https://www.instagram.com/heiligenheavymetal/

#6 Rock Hard Festival 2026

More info: https://www.rockhard.de/rhfestival

#7 FullMetal Osthessen 

More info: https://www.facebook.com/FullMetalOsthessen

#8 Tyrannt

More info: https://www.instagram.com/tyrannband/

#9 High Voltage La Ceja

More info: https://www.instagram.com/revenge.speedmetal/

#10 Messiah + Amethyst & Klaw

More info: http://www.Eisenwerk.ch

#1 #10 #2 #2MinutesToTulsa2026 #3 #4 #5 #6 #7 #8 #9 #amethyst #angelWitch #enforcer #haunt #heiligen #heavyMetal #lucifer #megaColossus #messiah #nwothm #picture #revenge #sacredWarrior #scavenger #snowblind #speedQueen #thenwothm #thenwothmCom #tyrannt #wytchHazel

https://www.europesays.com/uk/552093/ Bergfried – Romantik III Review #1980s #2025 #3.0 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink182 #BloodStar #Dragony #Elvenking #Enforcer #Entertainment #EternalChampion #HardRock #HeavyMetal #HighRollerRecords #Meatloaf #music #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #Review #Reviews #RomantikIII #Smoulder #TheCult #UK #UnitedKingdom

Bergfried – Romantik III Review

After dropping debut EP Romantik I in 2022 and foll…
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https://www.newsbeep.com/uk/246544/

Bergfried – Romantik III Review

By Grin Reaper

After dropping debut EP Romantik I in 2022 and follow-up Romantic II in 2023,1 Austrian-Hungarian duo Bergfried rides in on a wave of 80s nostalgia to deliver debut full-length Romantik III. The conclusion of a trilogy, main character Anna (voiced by Anna de Savoy2) tirelessly roams hell in pursuit of her lost lover. During the search, Anna clashes with God and Devil3 in her quest for love reunited. Bergfried and the Romantik series are the creations of Erech von Lothringen, guitarist on Romantik III and mastermind of Narzissus and Ancient Mastery, among others. While his other projects lean toward black metal, Bergfried forges something entirely different—a rock opera. Does Bergfried’s take on the style breathe new life into a tale as old as time, or would it have been kinder to leave it in the past?

If The Dark Crystal and Star Wars-inspired album art doesn’t clue you in, 80s vibes radiate throughout Romantik III, but not in the way I initially expected. Advance single “Queen of the Dead” sizzles with its Smouldering good hooks. Upon hearing it the first time, the promise of polished steel, bulging breastplates, and synth-laden heavy metal really rattled my saber. Listening through the entire album, however, reveals an altogether different beast. Lead track “Dark Wings” takes off with a riff that could easily nestle into The Cult’s Love, and it doesn’t take long to realize that Romantik III doesn’t follow the boot-trodden, retro heavy metal path of Eternal Champion or Blood Star. Instead, Bergfried’s platter favors an intersection of Meatloaf (“Dark Wings”) and Pat Benatar (“Fallen from Grace”).

Romantik III’s success hinges on Anna de Savoy’s performance, and she mostly triumphs alongside von Lothringen and various guests.4 Never satisfied to linger on one sound for too long, Bergfried bears a handful of ballads (“For the Cursed,” “Star-Crossed Love”), 80s pop rock anthems (“Dark Wings,” “Tears of a Thousand Years”), and a touch of pop punk à la Blink-182 (“Serenades,” after the unadorned piano-ballad intro). Throughout the album, Anna de Savoy brandishes her voice to carry the story forward, harnessing an earnest, commanding presence. Unfortunately, her voice falters on a few occasions (the pre-chorus of “Tears of a Thousand Years,” for example), undermining an otherwise tremendous display of heartfelt conviction. The music supports her effectively, with rollicking guitar, synth, and bass undergirding the tale Anna spins without ever pulling attention away from her for too long. The guitar solos warrant praise as well,5 expanding Romantik III’s sonic range with snappy licks and quicker paces to keep things moving.

An organic mix and slick diversity pervade Romantik III’s nine tracks, preventing Bergfried from getting too mired in morose exposition. That said, some of the slower moments undercut the momentum built by preceding ones. In particular, the transition from “Gates of Fate” to “Serenades” dampens impact. The former is a rousing track that yields to a minute-long piano and vocal passage. “Serenades” eventually picks up, but by then the energy has stalled and requires a jump-start. The same issue recurs between “Tears of a Thousand Years” and “Star-Crossed Love.” Ballads can offer moments to expound on important story elements without distraction, and can also be an effective mechanism to control pace. What works against Bergfried in Romantik III, though, is that the best moments are the upbeat ones. Still, the individual track lengths are concise, and an easy-to-digest, forty-four-minute runtime makes replays easy. The mix and master are also perfectly suited to the 80s atmosphere, with bouncy bass and natural drums recalling production predating loudness wars and digitally-enhanced perfection.

Bergfried’s Romantik III does something many bands struggle with by creating a unique vision and sound that leans heavily on influences without aping them. With further refinement, their next project could be something fabulous, but for the time being Bergfried has bestowed listeners with an intriguing and offbeat album. I enjoyed my time with it, yet I’m not sure I’ll return to the Romatik series often. Given the talent and care that went into crafting it, though, I’ll be acutely attuned to whatever adventure these romantiks embark on next.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#1980s #2025 #30 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink182 #BloodStar #Dragony #Elvenking #Enforcer #EternalChampion #HardRock #HeavyMetal #HighRollerRecords #Meatloaf #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #Review #Reviews #RomantikIII #Smoulder #TheCult

Bergfried – Romantik III Review

By Grin Reaper

After dropping debut EP Romantik I in 2022 and follow-up Romantic II in 2023,1 Austrian-Hungarian duo Bergfried rides in on a wave of 80s nostalgia to deliver debut full-length Romantik III. The conclusion of a trilogy, main character Anna (voiced by Anna de Savoy2) tirelessly roams hell in pursuit of her lost lover. During the search, Anna clashes with God and Devil3 in her quest for love reunited. Bergfried and the Romantik series are the creations of Erech von Lothringen, guitarist on Romantik III and mastermind of Narzissus and Ancient Mastery, among others. While his other projects lean toward black metal, Bergfried forges something entirely different—a rock opera. Does Bergfried’s take on the style breathe new life into a tale as old as time, or would it have been kinder to leave it in the past?

If The Dark Crystal and Star Wars-inspired album art doesn’t clue you in, 80s vibes radiate throughout Romantik III, but not in the way I initially expected. Advance single “Queen of the Dead” sizzles with its Smouldering good hooks. Upon hearing it the first time, the promise of polished steel, bulging breastplates, and synth-laden heavy metal really rattled my saber. Listening through the entire album, however, reveals an altogether different beast. Lead track “Dark Wings” takes off with a riff that could easily nestle into The Cult’s Love, and it doesn’t take long to realize that Romantik III doesn’t follow the boot-trodden, retro heavy metal path of Eternal Champion or Blood Star. Instead, Bergfried’s platter favors an intersection of Meatloaf (“Dark Wings”) and Pat Benatar (“Fallen from Grace”).

Romantik III’s success hinges on Anna de Savoy’s performance, and she mostly triumphs alongside von Lothringen and various guests.4 Never satisfied to linger on one sound for too long, Bergfried bears a handful of ballads (“For the Cursed,” “Star-Crossed Love”), 80s pop rock anthems (“Dark Wings,” “Tears of a Thousand Years”), and a touch of pop punk à la Blink-182 (“Serenades,” after the unadorned piano-ballad intro). Throughout the album, Anna de Savoy brandishes her voice to carry the story forward, harnessing an earnest, commanding presence. Unfortunately, her voice falters on a few occasions (the pre-chorus of “Tears of a Thousand Years,” for example), undermining an otherwise tremendous display of heartfelt conviction. The music supports her effectively, with rollicking guitar, synth, and bass undergirding the tale Anna spins without ever pulling attention away from her for too long. The guitar solos warrant praise as well,5 expanding Romantik III’s sonic range with snappy licks and quicker paces to keep things moving.

An organic mix and slick diversity pervade Romantik III’s nine tracks, preventing Bergfried from getting too mired in morose exposition. That said, some of the slower moments undercut the momentum built by preceding ones. In particular, the transition from “Gates of Fate” to “Serenades” dampens impact. The former is a rousing track that yields to a minute-long piano and vocal passage. “Serenades” eventually picks up, but by then the energy has stalled and requires a jump-start. The same issue recurs between “Tears of a Thousand Years” and “Star-Crossed Love.” Ballads can offer moments to expound on important story elements without distraction, and can also be an effective mechanism to control pace. What works against Bergfried in Romantik III, though, is that the best moments are the upbeat ones. Still, the individual track lengths are concise, and an easy-to-digest, forty-four-minute runtime makes replays easy. The mix and master are also perfectly suited to the 80s atmosphere, with bouncy bass and natural drums recalling production predating loudness wars and digitally-enhanced perfection.

Bergfried’s Romantik III does something many bands struggle with by creating a unique vision and sound that leans heavily on influences without aping them. With further refinement, their next project could be something fabulous, but for the time being Bergfried has bestowed listeners with an intriguing and offbeat album. I enjoyed my time with it, yet I’m not sure I’ll return to the Romatik series often. Given the talent and care that went into crafting it, though, I’ll be acutely attuned to whatever adventure these romantiks embark on next.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#1980s #2025 #30 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink182 #BloodStar #Dragony #Elvenking #Enforcer #EternalChampion #HardRock #HeavyMetal #HighRollerRecords #Meatloaf #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #Review #Reviews #RomantikIII #Smoulder #TheCult

Bergfried – Romantik III Review

By Grin Reaper

After dropping debut EP Romantik I in 2022 and follow-up Romantic II in 2023,1 Austrian-Hungarian duo Bergfried rides in on a wave of 80s nostalgia to deliver debut full-length Romantik III. The conclusion of a trilogy, main character Anna (voiced by Anna de Savoy2) tirelessly roams hell in pursuit of her lost lover. During the search, Anna clashes with God and Devil3 in her quest for love reunited. Bergfried and the Romantik series are the creations of Erech von Lothringen, guitarist on Romantik III and mastermind of Narzissus and Ancient Mastery, among others. While his other projects lean toward black metal, Bergfried forges something entirely different—a rock opera. Does Bergfried’s take on the style breathe new life into a tale as old as time, or would it have been kinder to leave it in the past?

If The Dark Crystal and Star Wars-inspired album art doesn’t clue you in, 80s vibes radiate throughout Romantik III, but not in the way I initially expected. Advance single “Queen of the Dead” sizzles with its Smouldering good hooks. Upon hearing it the first time, the promise of polished steel, bulging breastplates, and synth-laden heavy metal really rattled my saber. Listening through the entire album, however, reveals an altogether different beast. Lead track “Dark Wings” takes off with a riff that could easily nestle into The Cult’s Love, and it doesn’t take long to realize that Romantik III doesn’t follow the boot-trodden, retro heavy metal path of Eternal Champion or Blood Star. Instead, Bergfried’s platter favors an intersection of Meatloaf (“Dark Wings”) and Pat Benatar (“Fallen from Grace”).

Romantik III’s success hinges on Anna de Savoy’s performance, and she mostly triumphs alongside von Lothringen and various guests.4 Never satisfied to linger on one sound for too long, Bergfried bears a handful of ballads (“For the Cursed,” “Star-Crossed Love”), 80s pop rock anthems (“Dark Wings,” “Tears of a Thousand Years”), and a touch of pop punk à la Blink-182 (“Serenades,” after the unadorned piano-ballad intro). Throughout the album, Anna de Savoy brandishes her voice to carry the story forward, harnessing an earnest, commanding presence. Unfortunately, her voice falters on a few occasions (the pre-chorus of “Tears of a Thousand Years,” for example), undermining an otherwise tremendous display of heartfelt conviction. The music supports her effectively, with rollicking guitar, synth, and bass undergirding the tale Anna spins without ever pulling attention away from her for too long. The guitar solos warrant praise as well,5 expanding Romantik III’s sonic range with snappy licks and quicker paces to keep things moving.

An organic mix and slick diversity pervade Romantik III’s nine tracks, preventing Bergfried from getting too mired in morose exposition. That said, some of the slower moments undercut the momentum built by preceding ones. In particular, the transition from “Gates of Fate” to “Serenades” dampens impact. The former is a rousing track that yields to a minute-long piano and vocal passage. “Serenades” eventually picks up, but by then the energy has stalled and requires a jump-start. The same issue recurs between “Tears of a Thousand Years” and “Star-Crossed Love.” Ballads can offer moments to expound on important story elements without distraction, and can also be an effective mechanism to control pace. What works against Bergfried in Romantik III, though, is that the best moments are the upbeat ones. Still, the individual track lengths are concise, and an easy-to-digest, forty-four-minute runtime makes replays easy. The mix and master are also perfectly suited to the 80s atmosphere, with bouncy bass and natural drums recalling production predating loudness wars and digitally-enhanced perfection.

Bergfried’s Romantik III does something many bands struggle with by creating a unique vision and sound that leans heavily on influences without aping them. With further refinement, their next project could be something fabulous, but for the time being Bergfried has bestowed listeners with an intriguing and offbeat album. I enjoyed my time with it, yet I’m not sure I’ll return to the Romatik series often. Given the talent and care that went into crafting it, though, I’ll be acutely attuned to whatever adventure these romantiks embark on next.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#1980s #2025 #30 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink182 #BloodStar #Dragony #Elvenking #Enforcer #EternalChampion #HardRock #HeavyMetal #HighRollerRecords #Meatloaf #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #Review #Reviews #RomantikIII #Smoulder #TheCult

Bergfried – Romantik III Review

By Grin Reaper

After dropping debut EP Romantik I in 2022 and follow-up Romantic II in 2023,1 Austrian-Hungarian duo Bergfried rides in on a wave of 80s nostalgia to deliver debut full-length Romantik III. The conclusion of a trilogy, main character Anna (voiced by Anna de Savoy2) tirelessly roams hell in pursuit of her lost lover. During the search, Anna clashes with God and Devil3 in her quest for love reunited. Bergfried and the Romantik series are the creations of Erech von Lothringen, guitarist on Romantik III and mastermind of Narzissus and Ancient Mastery, among others. While his other projects lean toward black metal, Bergfried forges something entirely different—a rock opera. Does Bergfried’s take on the style breathe new life into a tale as old as time, or would it have been kinder to leave it in the past?

If The Dark Crystal and Star Wars-inspired album art doesn’t clue you in, 80s vibes radiate throughout Romantik III, but not in the way I initially expected. Advance single “Queen of the Dead” sizzles with its Smouldering good hooks. Upon hearing it the first time, the promise of polished steel, bulging breastplates, and synth-laden heavy metal really rattled my saber. Listening through the entire album, however, reveals an altogether different beast. Lead track “Dark Wings” takes off with a riff that could easily nestle into The Cult’s Love, and it doesn’t take long to realize that Romantik III doesn’t follow the boot-trodden, retro heavy metal path of Eternal Champion or Blood Star. Instead, Bergfried’s platter favors an intersection of Meatloaf (“Dark Wings”) and Pat Benatar (“Fallen from Grace”).

Romantik III’s success hinges on Anna de Savoy’s performance, and she mostly triumphs alongside von Lothringen and various guests.4 Never satisfied to linger on one sound for too long, Bergfried bears a handful of ballads (“For the Cursed,” “Star-Crossed Love”), 80s pop rock anthems (“Dark Wings,” “Tears of a Thousand Years”), and a touch of pop punk à la Blink-182 (“Serenades,” after the unadorned piano-ballad intro). Throughout the album, Anna de Savoy brandishes her voice to carry the story forward, harnessing an earnest, commanding presence. Unfortunately, her voice falters on a few occasions (the pre-chorus of “Tears of a Thousand Years,” for example), undermining an otherwise tremendous display of heartfelt conviction. The music supports her effectively, with rollicking guitar, synth, and bass undergirding the tale Anna spins without ever pulling attention away from her for too long. The guitar solos warrant praise as well,5 expanding Romantik III’s sonic range with snappy licks and quicker paces to keep things moving.

An organic mix and slick diversity pervade Romantik III’s nine tracks, preventing Bergfried from getting too mired in morose exposition. That said, some of the slower moments undercut the momentum built by preceding ones. In particular, the transition from “Gates of Fate” to “Serenades” dampens impact. The former is a rousing track that yields to a minute-long piano and vocal passage. “Serenades” eventually picks up, but by then the energy has stalled and requires a jump-start. The same issue recurs between “Tears of a Thousand Years” and “Star-Crossed Love.” Ballads can offer moments to expound on important story elements without distraction, and can also be an effective mechanism to control pace. What works against Bergfried in Romantik III, though, is that the best moments are the upbeat ones. Still, the individual track lengths are concise, and an easy-to-digest, forty-four-minute runtime makes replays easy. The mix and master are also perfectly suited to the 80s atmosphere, with bouncy bass and natural drums recalling production predating loudness wars and digitally-enhanced perfection.

Bergfried’s Romantik III does something many bands struggle with by creating a unique vision and sound that leans heavily on influences without aping them. With further refinement, their next project could be something fabulous, but for the time being Bergfried has bestowed listeners with an intriguing and offbeat album. I enjoyed my time with it, yet I’m not sure I’ll return to the Romatik series often. Given the talent and care that went into crafting it, though, I’ll be acutely attuned to whatever adventure these romantiks embark on next.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#1980s #2025 #30 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink182 #BloodStar #Dragony #Elvenking #Enforcer #EternalChampion #HardRock #HeavyMetal #HighRollerRecords #Meatloaf #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #Review #Reviews #RomantikIII #Smoulder #TheCult

Bergfried – Romantik III Review

By Grin Reaper

After dropping debut EP Romantik I in 2022 and follow-up Romantic II in 2023,1 Austrian-Hungarian duo Bergfried rides in on a wave of 80s nostalgia to deliver debut full-length Romantik III. The conclusion of a trilogy, main character Anna (voiced by Anna de Savoy2) tirelessly roams hell in pursuit of her lost lover. During the search, Anna clashes with God and Devil3 in her quest for love reunited. Bergfried and the Romantik series are the creations of Erech von Lothringen, guitarist on Romantik III and mastermind of Narzissus and Ancient Mastery, among others. While his other projects lean toward black metal, Bergfried forges something entirely different—a rock opera. Does Bergfried’s take on the style breathe new life into a tale as old as time, or would it have been kinder to leave it in the past?

If The Dark Crystal and Star Wars-inspired album art doesn’t clue you in, 80s vibes radiate throughout Romantik III, but not in the way I initially expected. Advance single “Queen of the Dead” sizzles with its Smouldering good hooks. Upon hearing it the first time, the promise of polished steel, bulging breastplates, and synth-laden heavy metal really rattled my saber. Listening through the entire album, however, reveals an altogether different beast. Lead track “Dark Wings” takes off with a riff that could easily nestle into The Cult’s Love, and it doesn’t take long to realize that Romantik III doesn’t follow the boot-trodden, retro heavy metal path of Eternal Champion or Blood Star. Instead, Bergfried’s platter favors an intersection of Meatloaf (“Dark Wings”) and Pat Benatar (“Fallen from Grace”).

Romantik III’s success hinges on Anna de Savoy’s performance, and she mostly triumphs alongside von Lothringen and various guests.4 Never satisfied to linger on one sound for too long, Bergfried bears a handful of ballads (“For the Cursed,” “Star-Crossed Love”), 80s pop rock anthems (“Dark Wings,” “Tears of a Thousand Years”), and a touch of pop punk à la Blink-182 (“Serenades,” after the unadorned piano-ballad intro). Throughout the album, Anna de Savoy brandishes her voice to carry the story forward, harnessing an earnest, commanding presence. Unfortunately, her voice falters on a few occasions (the pre-chorus of “Tears of a Thousand Years,” for example), undermining an otherwise tremendous display of heartfelt conviction. The music supports her effectively, with rollicking guitar, synth, and bass undergirding the tale Anna spins without ever pulling attention away from her for too long. The guitar solos warrant praise as well,5 expanding Romantik III’s sonic range with snappy licks and quicker paces to keep things moving.

An organic mix and slick diversity pervade Romantik III’s nine tracks, preventing Bergfried from getting too mired in morose exposition. That said, some of the slower moments undercut the momentum built by preceding ones. In particular, the transition from “Gates of Fate” to “Serenades” dampens impact. The former is a rousing track that yields to a minute-long piano and vocal passage. “Serenades” eventually picks up, but by then the energy has stalled and requires a jump-start. The same issue recurs between “Tears of a Thousand Years” and “Star-Crossed Love.” Ballads can offer moments to expound on important story elements without distraction, and can also be an effective mechanism to control pace. What works against Bergfried in Romantik III, though, is that the best moments are the upbeat ones. Still, the individual track lengths are concise, and an easy-to-digest, forty-four-minute runtime makes replays easy. The mix and master are also perfectly suited to the 80s atmosphere, with bouncy bass and natural drums recalling production predating loudness wars and digitally-enhanced perfection.

Bergfried’s Romantik III does something many bands struggle with by creating a unique vision and sound that leans heavily on influences without aping them. With further refinement, their next project could be something fabulous, but for the time being Bergfried has bestowed listeners with an intriguing and offbeat album. I enjoyed my time with it, yet I’m not sure I’ll return to the Romatik series often. Given the talent and care that went into crafting it, though, I’ll be acutely attuned to whatever adventure these romantiks embark on next.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#1980s #2025 #30 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink182 #BloodStar #Dragony #Elvenking #Enforcer #EternalChampion #HardRock #HeavyMetal #HighRollerRecords #Meatloaf #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #Review #Reviews #RomantikIII #Smoulder #TheCult

Why the New York Islanders need more muscle to protect Matthew Schaefer | NHL News https://www.rawchili.com/nhl/286244/ #AndersLee #defenseman #Enforcer #Hockey #islanders #MatthewSchaefer #NewYork #NewYorkIslanders #NewYork #NewYorkIslanders #NHL #NhlDraft2025 #NikitaZadorov #PhysicalPlayInHockey #ProtectingYoungPlayers #RookieSeason

#enforcer é bom demais! Pqp! #heavymetal

Morgen will ich mal wieder in's #NewForce nach #Erlangen. Die Forcler haben einen Abend unter dem Motto „Screams from the Underground" quasi genau für mich vorbereitet. Als Musikwunschliste kann ich dann einfach meine Kutte hinter die DJ-Theke reichen 😁 — freu' mich drauf!

> „Wir widmen uns den Abend über jüngeren Vertretern des traditionellen Metal, d.h. wir spielen aus aus den Bereichen New Wave of Traditional Heavy Metal, Speed Metal, US Metal und Epic Doom der letzten Jahre.
Freut euch auf #Enforcer, #AtlanteanKodex, #UntoOthers, #Visigoth aber auch @mechanictyrants, #RiotCity, #NightDemon & Konsorten!“

Iron Spell – From the Grave Review

By Steel Druhm

Sometimes, we in the AMG Writers Guild grab a promo based solely on the band or album name, or the combination thereof. If it features any derivative of the word “vomit,” you know Mark Z will put his dirty paws all over it. If it has a wonky, prog-tastic moniker, Dolphin Whisper will seize the means of wank production. And if an alloy gets name-dropped, chances are Yours Steely will snatch it quicker than you can say CROM! That’s what brought me to Chile’s Iron Spell and their sophomore release, From the Grave. These chaps have been minimally active since they dropped their debut back in 2016, releasing a single some years and nothing other years. Now they’re finally back in the hunt with a proper new record, and boy does it scream 80s metal with leather-lunged ferocity. It has a NWoBHM foundation, but features nods to the US power metal scene and early speed metal. It’s harder to get more entrenched in the Wheelhouse of Steel than that, so the odds of my letting that creepy floating vampire monster into my humble abode are high.

Things open like a drunken pub brawl in London circa 1979 with “Curse of the Ushers.” It sounds like the earliest days of the British metal explosion, with that trademark punky gallop and unpolished vocals full of piss, motor oil, and beans. It’s a vibrant mash-up of olden acts like Satan, Diamond Head, and Savage, and it plays right into what AMG Himself describes as my “NostalgiaCore” fetish. It isn’t far from what Enforcer and Wolf do, but this feels a bit more authentic to the NWoBHM beginnings. It’s just a fun fucking song with classic heavy metal burned into its genetic code. From there, Iron Spell rip through a collection of old timey tunes that feel like they were exhumed from 1982. “Release from Darkness” is a rabble-rouser that uncorks the high-energy spirit of classic metal while shoving an iron fist down your throat. Then the band shake things up by launching into a 5-plus minute instrumental that brings the thunder to the tundra in happy abundance. I’m not the biggest instrumental appreciator, but this one kicks arse and wins you over with scads of wild and woolly guitar heroics that are tough to resist.

As From the Grave soldiered on, I kept waiting for the bottom to fall out, but it never did. Song after song brings the 80s magic to the party and makes you love the past. Even when “Whispers of Sorrow” shamelessly poaches the guitar lines from Queensrÿche’s “Breaking the Silence,” it still ends up a hard-charging beast feaster with more entertainment value than Lars Ulrich trapped in a hot tar dunking booth. I defy you to spin “Devil King” and not throw horns or execute your best stadium-ready air guitar maneuvers. It’s that kind of tune, and you’ll eat it up if you have any joy left in your jaded soul. Elsewhere, “Deep in the Night” will be my unofficial anthem for this summer as it’s made for loud play whilst slugging cold beers with derelicts and dear ones alike. Without any song tripping and faceplanting, From the Grave ends up a high-spirited romp through the salad days of metal while requiring zero I.Q. points to appreciate what Iron Spell are smelting. At just under 41 minutes, it’s the ideal length, and the songs all burn by in a flash. This is The Way.

This album is a guitar fiend’s wet dream. Fire Jack and Raven (their actual legal names) bring all the chaos, charm, and over-the-toppiness of 80s metal to their riffing, shredding, and lusty soloing. These boys can rip up a fretboard and do so at every opportunity. The rough n’ ready riffs are plentiful and punchy, and when it’s time for dueling solos, you get PainkillerERED. They go all in on the six-string abuse in the name of excess, leaving you rocked hard and put away moist. Frontman Merciless K.co (wut) has a wild vocal approach, sometimes sounding like Enforcer’s Olof Wikstrand, occasionally like Wolf’s Niklas Stålvind, and other times like a Screaming Mimi. His delivery is raw and unpolished, and at points his tone and pitch wander off the reservation, but it doesn’t even matter. The vocal pandemonium is a big part of the album’s charm, and it works for Iron Spell even when it absolutely shouldn’t.

From the Grave is a delightfully unhinged trip back to the early days of metal’s majesty, and I’ll be spinning it a ton as a salve for the emotional wounds left by Ozzy’s passing. This is like a party in a can, and you should crack it open and see what happens next. We all need a little pick-me-up right now, right? Iron Spell has you covered in unbridled 80s glory.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims
Websites: facebook.com/ironspell | instagram.com/iron.spell
Releases Worldwide: July 25th, 2025

#2025 #35 #ChileanMetal #DyingVictimsProductions #Enforcer #FromTheGrave #IronSpell #Jul25 #NOWBHM #Review #Reviews #Satan #Savage #Wolf

Iron Spell – From the Grave Review

By Steel Druhm

Sometimes, we in the AMG Writers Guild grab a promo based solely on the band or album name, or the combination thereof. If it features any derivative of the word “vomit,” you know Mark Z will put his dirty paws all over it. If it has a wonky, prog-tastic moniker, Dolphin Whisper will seize the means of wank production. And if an alloy gets name-dropped, chances are Yours Steely will snatch it quicker than you can say CROM! That’s what brought me to Chile’s Iron Spell and their sophomore release, From the Grave. These chaps have been minimally active since they dropped their debut back in 2016, releasing a single some years and nothing other years. Now they’re finally back in the hunt with a proper new record, and boy does it scream 80s metal with leather-lunged ferocity. It has a NWoBHM foundation, but features nods to the US power metal scene and early speed metal. It’s harder to get more entrenched in the Wheelhouse of Steel than that, so the odds of my letting that creepy floating vampire monster into my humble abode are high.

Things open like a drunken pub brawl in London circa 1979 with “Curse of the Ushers.” It sounds like the earliest days of the British metal explosion, with that trademark punky gallop and unpolished vocals full of piss, motor oil, and beans. It’s a vibrant mash-up of olden acts like Satan, Diamond Head, and Savage, and it plays right into what AMG Himself describes as my “NostalgiaCore” fetish. It isn’t far from what Enforcer and Wolf do, but this feels a bit more authentic to the NWoBHM beginnings. It’s just a fun fucking song with classic heavy metal burned into its genetic code. From there, Iron Spell rip through a collection of old timey tunes that feel like they were exhumed from 1982. “Release from Darkness” is a rabble-rouser that uncorks the high-energy spirit of classic metal while shoving an iron fist down your throat. Then the band shake things up by launching into a 5-plus minute instrumental that brings the thunder to the tundra in happy abundance. I’m not the biggest instrumental appreciator, but this one kicks arse and wins you over with scads of wild and woolly guitar heroics that are tough to resist.

As From the Grave soldiered on, I kept waiting for the bottom to fall out, but it never did. Song after song brings the 80s magic to the party and makes you love the past. Even when “Whispers of Sorrow” shamelessly poaches the guitar lines from Queensrÿche’s “Breaking the Silence,” it still ends up a hard-charging beast feaster with more entertainment value than Lars Ulrich trapped in a hot tar dunking booth. I defy you to spin “Devil King” and not throw horns or execute your best stadium-ready air guitar maneuvers. It’s that kind of tune, and you’ll eat it up if you have any joy left in your jaded soul. Elsewhere, “Deep in the Night” will be my unofficial anthem for this summer as it’s made for loud play whilst slugging cold beers with derelicts and dear ones alike. Without any song tripping and faceplanting, From the Grave ends up a high-spirited romp through the salad days of metal while requiring zero I.Q. points to appreciate what Iron Spell are smelting. At just under 41 minutes, it’s the ideal length, and the songs all burn by in a flash. This is The Way.

This album is a guitar fiend’s wet dream. Fire Jack and Raven (their actual legal names) bring all the chaos, charm, and over-the-toppiness of 80s metal to their riffing, shredding, and lusty soloing. These boys can rip up a fretboard and do so at every opportunity. The rough n’ ready riffs are plentiful and punchy, and when it’s time for dueling solos, you get PainkillerERED. They go all in on the six-string abuse in the name of excess, leaving you rocked hard and put away moist. Frontman Merciless K.co (wut) has a wild vocal approach, sometimes sounding like Enforcer’s Olof Wikstrand, occasionally like Wolf’s Niklas Stålvind, and other times like a Screaming Mimi. His delivery is raw and unpolished, and at points his tone and pitch wander off the reservation, but it doesn’t even matter. The vocal pandemonium is a big part of the album’s charm, and it works for Iron Spell even when it absolutely shouldn’t.

From the Grave is a delightfully unhinged trip back to the early days of metal’s majesty, and I’ll be spinning it a ton as a salve for the emotional wounds left by Ozzy’s passing. This is like a party in a can, and you should crack it open and see what happens next. We all need a little pick-me-up right now, right? Iron Spell has you covered in unbridled 80s glory.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims
Websites: facebook.com/ironspell | instagram.com/iron.spell
Releases Worldwide: July 25th, 2025

#2025 #35 #ChileanMetal #DyingVictimsProductions #Enforcer #FromTheGrave #IronSpell #Jul25 #NOWBHM #Review #Reviews #Satan #Savage #Wolf

Iron Spell – From the Grave Review

By Steel Druhm

Sometimes, we in the AMG Writers Guild grab a promo based solely on the band or album name, or the combination thereof. If it features any derivative of the word “vomit,” you know Mark Z will put his dirty paws all over it. If it has a wonky, prog-tastic moniker, Dolphin Whisper will seize the means of wank production. And if an alloy gets name-dropped, chances are Yours Steely will snatch it quicker than you can say CROM! That’s what brought me to Chile’s Iron Spell and their sophomore release, From the Grave. These chaps have been minimally active since they dropped their debut back in 2016, releasing a single some years and nothing other years. Now they’re finally back in the hunt with a proper new record, and boy does it scream 80s metal with leather-lunged ferocity. It has a NWoBHM foundation, but features nods to the US power metal scene and early speed metal. It’s harder to get more entrenched in the Wheelhouse of Steel than that, so the odds of my letting that creepy floating vampire monster into my humble abode are high.

Things open like a drunken pub brawl in London circa 1979 with “Curse of the Ushers.” It sounds like the earliest days of the British metal explosion, with that trademark punky gallop and unpolished vocals full of piss, motor oil, and beans. It’s a vibrant mash-up of olden acts like Satan, Diamond Head, and Savage, and it plays right into what AMG Himself describes as my “NostalgiaCore” fetish. It isn’t far from what Enforcer and Wolf do, but this feels a bit more authentic to the NWoBHM beginnings. It’s just a fun fucking song with classic heavy metal burned into its genetic code. From there, Iron Spell rip through a collection of old timey tunes that feel like they were exhumed from 1982. “Release from Darkness” is a rabble-rouser that uncorks the high-energy spirit of classic metal while shoving an iron fist down your throat. Then the band shake things up by launching into a 5-plus minute instrumental that brings the thunder to the tundra in happy abundance. I’m not the biggest instrumental appreciator, but this one kicks arse and wins you over with scads of wild and woolly guitar heroics that are tough to resist.

As From the Grave soldiered on, I kept waiting for the bottom to fall out, but it never did. Song after song brings the 80s magic to the party and makes you love the past. Even when “Whispers of Sorrow” shamelessly poaches the guitar lines from Queensrÿche’s “Breaking the Silence,” it still ends up a hard-charging beast feaster with more entertainment value than Lars Ulrich trapped in a hot tar dunking booth. I defy you to spin “Devil King” and not throw horns or execute your best stadium-ready air guitar maneuvers. It’s that kind of tune, and you’ll eat it up if you have any joy left in your jaded soul. Elsewhere, “Deep in the Night” will be my unofficial anthem for this summer as it’s made for loud play whilst slugging cold beers with derelicts and dear ones alike. Without any song tripping and faceplanting, From the Grave ends up a high-spirited romp through the salad days of metal while requiring zero I.Q. points to appreciate what Iron Spell are smelting. At just under 41 minutes, it’s the ideal length, and the songs all burn by in a flash. This is The Way.

This album is a guitar fiend’s wet dream. Fire Jack and Raven (their actual legal names) bring all the chaos, charm, and over-the-toppiness of 80s metal to their riffing, shredding, and lusty soloing. These boys can rip up a fretboard and do so at every opportunity. The rough n’ ready riffs are plentiful and punchy, and when it’s time for dueling solos, you get PainkillerERED. They go all in on the six-string abuse in the name of excess, leaving you rocked hard and put away moist. Frontman Merciless K.co (wut) has a wild vocal approach, sometimes sounding like Enforcer’s Olof Wikstrand, occasionally like Wolf’s Niklas Stålvind, and other times like a Screaming Mimi. His delivery is raw and unpolished, and at points his tone and pitch wander off the reservation, but it doesn’t even matter. The vocal pandemonium is a big part of the album’s charm, and it works for Iron Spell even when it absolutely shouldn’t.

From the Grave is a delightfully unhinged trip back to the early days of metal’s majesty, and I’ll be spinning it a ton as a salve for the emotional wounds left by Ozzy’s passing. This is like a party in a can, and you should crack it open and see what happens next. We all need a little pick-me-up right now, right? Iron Spell has you covered in unbridled 80s glory.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims
Websites: facebook.com/ironspell | instagram.com/iron.spell
Releases Worldwide: July 25th, 2025

#2025 #35 #ChileanMetal #DyingVictimsProductions #Enforcer #FromTheGrave #IronSpell #Jul25 #NOWBHM #Review #Reviews #Satan #Savage #Wolf

Iron Spell – From the Grave Review

By Steel Druhm

Sometimes, we in the AMG Writers Guild grab a promo based solely on the band or album name, or the combination thereof. If it features any derivative of the word “vomit,” you know Mark Z will put his dirty paws all over it. If it has a wonky, prog-tastic moniker, Dolphin Whisper will seize the means of wank production. And if an alloy gets name-dropped, chances are Yours Steely will snatch it quicker than you can say CROM! That’s what brought me to Chile’s Iron Spell and their sophomore release, From the Grave. These chaps have been minimally active since they dropped their debut back in 2016, releasing a single some years and nothing other years. Now they’re finally back in the hunt with a proper new record, and boy does it scream 80s metal with leather-lunged ferocity. It has a NWoBHM foundation, but features nods to the US power metal scene and early speed metal. It’s harder to get more entrenched in the Wheelhouse of Steel than that, so the odds of my letting that creepy floating vampire monster into my humble abode are high.

Things open like a drunken pub brawl in London circa 1979 with “Curse of the Ushers.” It sounds like the earliest days of the British metal explosion, with that trademark punky gallop and unpolished vocals full of piss, motor oil, and beans. It’s a vibrant mash-up of olden acts like Satan, Diamond Head, and Savage, and it plays right into what AMG Himself describes as my “NostalgiaCore” fetish. It isn’t far from what Enforcer and Wolf do, but this feels a bit more authentic to the NWoBHM beginnings. It’s just a fun fucking song with classic heavy metal burned into its genetic code. From there, Iron Spell rip through a collection of old timey tunes that feel like they were exhumed from 1982. “Release from Darkness” is a rabble-rouser that uncorks the high-energy spirit of classic metal while shoving an iron fist down your throat. Then the band shake things up by launching into a 5-plus minute instrumental that brings the thunder to the tundra in happy abundance. I’m not the biggest instrumental appreciator, but this one kicks arse and wins you over with scads of wild and woolly guitar heroics that are tough to resist.

As From the Grave soldiered on, I kept waiting for the bottom to fall out, but it never did. Song after song brings the 80s magic to the party and makes you love the past. Even when “Whispers of Sorrow” shamelessly poaches the guitar lines from Queensrÿche’s “Breaking the Silence,” it still ends up a hard-charging beast feaster with more entertainment value than Lars Ulrich trapped in a hot tar dunking booth. I defy you to spin “Devil King” and not throw horns or execute your best stadium-ready air guitar maneuvers. It’s that kind of tune, and you’ll eat it up if you have any joy left in your jaded soul. Elsewhere, “Deep in the Night” will be my unofficial anthem for this summer as it’s made for loud play whilst slugging cold beers with derelicts and dear ones alike. Without any song tripping and faceplanting, From the Grave ends up a high-spirited romp through the salad days of metal while requiring zero I.Q. points to appreciate what Iron Spell are smelting. At just under 41 minutes, it’s the ideal length, and the songs all burn by in a flash. This is The Way.

This album is a guitar fiend’s wet dream. Fire Jack and Raven (their actual legal names) bring all the chaos, charm, and over-the-toppiness of 80s metal to their riffing, shredding, and lusty soloing. These boys can rip up a fretboard and do so at every opportunity. The rough n’ ready riffs are plentiful and punchy, and when it’s time for dueling solos, you get PainkillerERED. They go all in on the six-string abuse in the name of excess, leaving you rocked hard and put away moist. Frontman Merciless K.co (wut) has a wild vocal approach, sometimes sounding like Enforcer’s Olof Wikstrand, occasionally like Wolf’s Niklas Stålvind, and other times like a Screaming Mimi. His delivery is raw and unpolished, and at points his tone and pitch wander off the reservation, but it doesn’t even matter. The vocal pandemonium is a big part of the album’s charm, and it works for Iron Spell even when it absolutely shouldn’t.

From the Grave is a delightfully unhinged trip back to the early days of metal’s majesty, and I’ll be spinning it a ton as a salve for the emotional wounds left by Ozzy’s passing. This is like a party in a can, and you should crack it open and see what happens next. We all need a little pick-me-up right now, right? Iron Spell has you covered in unbridled 80s glory.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims
Websites: facebook.com/ironspell | instagram.com/iron.spell
Releases Worldwide: July 25th, 2025

#2025 #35 #ChileanMetal #DyingVictimsProductions #Enforcer #FromTheGrave #IronSpell #Jul25 #NOWBHM #Review #Reviews #Satan #Savage #Wolf

Iron Spell – From the Grave Review

By Steel Druhm

Sometimes, we in the AMG Writers Guild grab a promo based solely on the band or album name, or the combination thereof. If it features any derivative of the word “vomit,” you know Mark Z will put his dirty paws all over it. If it has a wonky, prog-tastic moniker, Dolphin Whisper will seize the means of wank production. And if an alloy gets name-dropped, chances are Yours Steely will snatch it quicker than you can say CROM! That’s what brought me to Chile’s Iron Spell and their sophomore release, From the Grave. These chaps have been minimally active since they dropped their debut back in 2016, releasing a single some years and nothing other years. Now they’re finally back in the hunt with a proper new record, and boy does it scream 80s metal with leather-lunged ferocity. It has a NWoBHM foundation, but features nods to the US power metal scene and early speed metal. It’s harder to get more entrenched in the Wheelhouse of Steel than that, so the odds of my letting that creepy floating vampire monster into my humble abode are high.

Things open like a drunken pub brawl in London circa 1979 with “Curse of the Ushers.” It sounds like the earliest days of the British metal explosion, with that trademark punky gallop and unpolished vocals full of piss, motor oil, and beans. It’s a vibrant mash-up of olden acts like Satan, Diamond Head, and Savage, and it plays right into what AMG Himself describes as my “NostalgiaCore” fetish. It isn’t far from what Enforcer and Wolf do, but this feels a bit more authentic to the NWoBHM beginnings. It’s just a fun fucking song with classic heavy metal burned into its genetic code. From there, Iron Spell rip through a collection of old timey tunes that feel like they were exhumed from 1982. “Release from Darkness” is a rabble-rouser that uncorks the high-energy spirit of classic metal while shoving an iron fist down your throat. Then the band shake things up by launching into a 5-plus minute instrumental that brings the thunder to the tundra in happy abundance. I’m not the biggest instrumental appreciator, but this one kicks arse and wins you over with scads of wild and woolly guitar heroics that are tough to resist.

As From the Grave soldiered on, I kept waiting for the bottom to fall out, but it never did. Song after song brings the 80s magic to the party and makes you love the past. Even when “Whispers of Sorrow” shamelessly poaches the guitar lines from Queensrÿche’s “Breaking the Silence,” it still ends up a hard-charging beast feaster with more entertainment value than Lars Ulrich trapped in a hot tar dunking booth. I defy you to spin “Devil King” and not throw horns or execute your best stadium-ready air guitar maneuvers. It’s that kind of tune, and you’ll eat it up if you have any joy left in your jaded soul. Elsewhere, “Deep in the Night” will be my unofficial anthem for this summer as it’s made for loud play whilst slugging cold beers with derelicts and dear ones alike. Without any song tripping and faceplanting, From the Grave ends up a high-spirited romp through the salad days of metal while requiring zero I.Q. points to appreciate what Iron Spell are smelting. At just under 41 minutes, it’s the ideal length, and the songs all burn by in a flash. This is The Way.

This album is a guitar fiend’s wet dream. Fire Jack and Raven (their actual legal names) bring all the chaos, charm, and over-the-toppiness of 80s metal to their riffing, shredding, and lusty soloing. These boys can rip up a fretboard and do so at every opportunity. The rough n’ ready riffs are plentiful and punchy, and when it’s time for dueling solos, you get PainkillerERED. They go all in on the six-string abuse in the name of excess, leaving you rocked hard and put away moist. Frontman Merciless K.co (wut) has a wild vocal approach, sometimes sounding like Enforcer’s Olof Wikstrand, occasionally like Wolf’s Niklas Stålvind, and other times like a Screaming Mimi. His delivery is raw and unpolished, and at points his tone and pitch wander off the reservation, but it doesn’t even matter. The vocal pandemonium is a big part of the album’s charm, and it works for Iron Spell even when it absolutely shouldn’t.

From the Grave is a delightfully unhinged trip back to the early days of metal’s majesty, and I’ll be spinning it a ton as a salve for the emotional wounds left by Ozzy’s passing. This is like a party in a can, and you should crack it open and see what happens next. We all need a little pick-me-up right now, right? Iron Spell has you covered in unbridled 80s glory.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims
Websites: facebook.com/ironspell | instagram.com/iron.spell
Releases Worldwide: July 25th, 2025

#2025 #35 #ChileanMetal #DyingVictimsProductions #Enforcer #FromTheGrave #IronSpell #Jul25 #NOWBHM #Review #Reviews #Satan #Savage #Wolf

Mit dem Besuch auf Muskelrock in Schweden haben @Spitzbuebin und ich uns ein kleines Träumchen erfüllt.

Einziger Nachteil: Unsere Messlatte für Festivals hängt jetzt einen ganzen Meter höher.

Alle Eindrücke hier: https://andwil.de/weblog/muskelrock-2025

#metal #muskelrock #festival #electriceelshock #seax #helvetesport #templar #saxon #ambush #bronze #agusa #covenjapan #tonnerre #ridersofrohan #stallion #enforcer #castlerat #sabbat #midnatt #sanhedrin #airraid #smoulder #metalucifer #savagemaster

Mit dem Besuch auf Muskelrock in Schweden haben @Spitzbuebin und ich uns ein kleines Träumchen erfüllt.

Einziger Nachteil: Unsere Messlatte für Festivals hängt jetzt einen ganzen Meter höher.

Alle Eindrücke hier: https://andwil.de/weblog/muskelrock-2025

#metal #muskelrock #festival #electriceelshock #seax #helvetesport #templar #saxon #ambush #bronze #agusa #covenjapan #tonnerre #ridersofrohan #stallion #enforcer #castlerat #sabbat #midnatt #sanhedrin #airraid #smoulder #metalucifer #savagemaster

Mit dem Besuch auf Muskelrock in Schweden haben @Spitzbuebin und ich uns ein kleines Träumchen erfüllt.

Einziger Nachteil: Unsere Messlatte für Festivals hängt jetzt einen ganzen Meter höher.

Alle Eindrücke hier: https://andwil.de/weblog/muskelrock-2025

#metal #muskelrock #festival #electriceelshock #seax #helvetesport #templar #saxon #ambush #bronze #agusa #covenjapan #tonnerre #ridersofrohan #stallion #enforcer #castlerat #sabbat #midnatt #sanhedrin #airraid #smoulder #metalucifer #savagemaster

Mit dem Besuch auf Muskelrock in Schweden haben @Spitzbuebin und ich uns ein kleines Träumchen erfüllt.

Einziger Nachteil: Unsere Messlatte für Festivals hängt jetzt einen ganzen Meter höher.

Alle Eindrücke hier: https://andwil.de/weblog/muskelrock-2025

#metal #muskelrock #festival #electriceelshock #seax #helvetesport #templar #saxon #ambush #bronze #agusa #covenjapan #tonnerre #ridersofrohan #stallion #enforcer #castlerat #sabbat #midnatt #sanhedrin #airraid #smoulder #metalucifer #savagemaster

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

K-2SO Head #RogueOne & All T-Shirts 👕 $17 #TEEPUBLIC SALE

#starwars #k2so #droid #enforcer #starwarsrogueone #andor #rebelscum #rebelalliance #irebel

LINK:
>>> https://www.teepublic.com/t-shirt/67992750-space-war-rebel-droid-rogue-head?store_id=2675636

New Artist announced for Motocultor Festival 2025: 🔥 Enforcer 🔥

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Motocultor_Festival_2025 #Enforcer #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

‘It’s a Psyop’: Inside #ElonMusk’s Empty Ultimatum - #Trump #billionaire #enforcer told #federal workers they needed to justify themselves—or else. Then the administration changed its mind. #bully #bullying #harassment #corruption #politics #doge #democracy #constitution #firing #threats #threatening #mentalhealth https://www.theatlantic.com/politics/archive/2025/02/elon-musk-federal-workers-fired/681824/?gift=YEBuXAvhOS4l5kcj6eh-Yxx2Q5pxoNmgqpXlRcc6bgk

K-2SO Head #RogueOne & All T-Shirts 👕 $17 #TEEPUBLIC SALE

#starwars #k2so #droid #enforcer #starwarsrogueone #andor #rebelscum #rebelalliance #irebel

LINK:

https://www.teepublic.com/t-shirt/67992750-space-war-rebel-droid-rogue-head?store_id=2675636

[back to original WaPo exclusive]

…even before #Trump took office, a #DOGE team that included #ElonMusk’s top aides — who have links to his companies but little to no #government or #political experience — was planning actions far beyond DOGE’s original remit of reducing the government’s size & spending.

The weeks leading up to the inauguration, DOGE positioned & envisioned itself as the executor & #enforcer of Trump’s #ExecutiveOrder against #diversity.

#law #USpol #TrumpCoup #sturmabteilung

🔊 #NowPlaying on #KEXP's #SeekAndDestroy

Enforcer:
🎵 Coming Alive

#Enforcer

https://enforcer.bandcamp.com/track/coming-alive

https://open.spotify.com/track/1h3itLRDBxhIpFQRnbTLry

🎶 show playlist 👇
https://open.spotify.com/playlist/1uZ3GLf6lDtDqJSQrY0lMU

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

The European Union's #digital #enforcer wrote an open letter to tech mogul #Elon #Musk on Monday
ahead of a planned interview with former United States President #Donald #Trump
to remind him of 💥the EU’s rules on promoting #hate #speech.💥

Trump announced last week that he is sitting down with Musk for a “major interview,” which will be livestreamed on X.

Europe's Digital Commissioner #Thierry #Breton reminded the world's richest man of his ♦️legal obligation to stop the "amplification of harmful content."♦️

Breton posted :
"As there is a risk of amplification of potentially harmful content in [the European Union] in connection with events with major audience around the world,
I sent this letter to @ElonMusk."

Responding to Breton, Musk tweeted out a meme containing the words:
❗️"Take a big step back and literally, fuck your own face!"❗️

Musk has also drawn the ire of lawmakers in the United Kingdom in the past week
for his platform's role in the race riots that have rocked the country,
his sharing of false information that the U.K. was going to open detainment camps for rioters,
and his war of words with Muslim ex-First Minister of Scotland Humza Yousaf in which Musk said of Yousaf:
“Scotland gave him
everything and yet he loathes white people.”

Musk's recent descent into posting innuendo, half-truths and outright lies on the platform has caused concern among lawmakers around the world.
https://www.politico.eu/article/eu-warns-elon-musk-hate-speech-donald-trump-interview-breton-x/

The European Union's #digital #enforcer wrote an open letter to tech mogul #Elon #Musk on Monday
ahead of a planned interview with former United States President #Donald #Trump
to remind him of 💥the EU’s rules on promoting #hate #speech.💥

Trump announced last week that he is sitting down with Musk for a “major interview,” which will be livestreamed on X.

Europe's Digital Commissioner #Thierry #Breton reminded the world's richest man of his ♦️legal obligation to stop the "amplification of harmful content."♦️

Breton posted :
"As there is a risk of amplification of potentially harmful content in [the European Union] in connection with events with major audience around the world,
I sent this letter to @ElonMusk."

Responding to Breton, Musk tweeted out a meme containing the words:
❗️"Take a big step back and literally, fuck your own face!"❗️

Musk has also drawn the ire of lawmakers in the United Kingdom in the past week
for his platform's role in the race riots that have rocked the country,
his sharing of false information that the U.K. was going to open detainment camps for rioters,
and his war of words with Muslim ex-First Minister of Scotland Humza Yousaf in which Musk said of Yousaf:
“Scotland gave him
everything and yet he loathes white people.”

Musk's recent descent into posting innuendo, half-truths and outright lies on the platform has caused concern among lawmakers around the world.
https://www.politico.eu/article/eu-warns-elon-musk-hate-speech-donald-trump-interview-breton-x/

The European Union's #digital #enforcer wrote an open letter to tech mogul #Elon #Musk on Monday
ahead of a planned interview with former United States President #Donald #Trump
to remind him of 💥the EU’s rules on promoting #hate #speech.💥

Trump announced last week that he is sitting down with Musk for a “major interview,” which will be livestreamed on X.

Europe's Digital Commissioner #Thierry #Breton reminded the world's richest man of his ♦️legal obligation to stop the "amplification of harmful content."♦️

Breton posted :
"As there is a risk of amplification of potentially harmful content in [the European Union] in connection with events with major audience around the world,
I sent this letter to @ElonMusk."

Responding to Breton, Musk tweeted out a meme containing the words:
❗️"Take a big step back and literally, fuck your own face!"❗️

Musk has also drawn the ire of lawmakers in the United Kingdom in the past week
for his platform's role in the race riots that have rocked the country,
his sharing of false information that the U.K. was going to open detainment camps for rioters,
and his war of words with Muslim ex-First Minister of Scotland Humza Yousaf in which Musk said of Yousaf:
“Scotland gave him
everything and yet he loathes white people.”

Musk's recent descent into posting innuendo, half-truths and outright lies on the platform has caused concern among lawmakers around the world.
https://www.politico.eu/article/eu-warns-elon-musk-hate-speech-donald-trump-interview-breton-x/

#SamuelAlito sees himself as an #enforcer of #morality, not a mere #judge of the #law.

In unguarded #remarks, Alito expresses his #belief that there is no #compromise with #opponents of "#godliness." #ImpeachAlito

#Women #Transgender #LGBTQ #LGBTQIA #Conservatives #Extremism #Fascism #Religion #RepublicanParty #Hate #Bigotry #Violence #Genocide #Discrimination #Homophobia #Misogyny #Transphobia #ThePartyOfHate #EmptyThePews

https://www.lgbtqnation.com/2024/06/samuel-alito-sees-himself-as-an-enforcer-of-morality-not-a-mere-judge-of-the-law/

#SamuelAlito sees himself as an #enforcer of #morality, not a mere #judge of the #law.

In unguarded #remarks, Alito expresses his #belief that there is no #compromise with #opponents of "#godliness." #ImpeachAlito

#Women #Transgender #LGBTQ #LGBTQIA #Conservatives #Extremism #Fascism #Religion #RepublicanParty #Hate #Bigotry #Violence #Genocide #Discrimination #Homophobia #Misogyny #Transphobia #ThePartyOfHate #EmptyThePews

https://www.lgbtqnation.com/2024/06/samuel-alito-sees-himself-as-an-enforcer-of-morality-not-a-mere-judge-of-the-law/

#SamuelAlito sees himself as an #enforcer of #morality, not a mere #judge of the #law.

In unguarded #remarks, Alito expresses his #belief that there is no #compromise with #opponents of "#godliness." #ImpeachAlito

#Women #Transgender #LGBTQ #LGBTQIA #Conservatives #Extremism #Fascism #Religion #RepublicanParty #Hate #Bigotry #Violence #Genocide #Discrimination #Homophobia #Misogyny #Transphobia #ThePartyOfHate #EmptyThePews

https://www.lgbtqnation.com/2024/06/samuel-alito-sees-himself-as-an-enforcer-of-morality-not-a-mere-judge-of-the-law/

#SamuelAlito sees himself as an #enforcer of #morality, not a mere #judge of the #law.

In unguarded #remarks, Alito expresses his #belief that there is no #compromise with #opponents of "#godliness." #ImpeachAlito

#Women #Transgender #LGBTQ #LGBTQIA #Conservatives #Extremism #Fascism #Religion #RepublicanParty #Hate #Bigotry #Violence #Genocide #Discrimination #Homophobia #Misogyny #Transphobia #ThePartyOfHate #EmptyThePews

https://www.lgbtqnation.com/2024/06/samuel-alito-sees-himself-as-an-enforcer-of-morality-not-a-mere-judge-of-the-law/