#epica — Public Fediverse posts

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

Mystfall – Embers of a Dying World Review

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Dialith #Elvellon #EmbersofaDyingWorld #Entertainment #Epica #GreekMetal #Leaves'Eyes #Mar26 #Mystfall #Nightwish #PowerMetal #review #reviews #ScarletRecords #SymphonicMetal #SymphonicPowerMetal #Xandria
https://www.newsbeep.com/us/535011/

Mystfall – Embers of a Dying World Review

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Dialith #Elvellon #EmbersofaDyingWorld #Entertainment #Epica #GreekMetal #Leaves'Eyes #Mar26 #Mystfall #Nightwish #PowerMetal #review #reviews #ScarletRecords #SymphonicMetal #SymphonicPowerMetal #Xandria
https://www.newsbeep.com/us/535011/

https://www.europesays.com/uk/838573/ Mystfall – Embers of a Dying World Review #2026 #30 #Dialith #Elvellon #EmbersOfADyingWorld #Entertainment #epica #GreekMetal #Leaves'Eyes #Mar26 #music #Mystfall #Nightwish #PowerMetal #Review #Reviews #ScarletRecords #SymphonicMetal #SymphonicPowerMetal #UK #UnitedKingdom #Xandria

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic power metal. Cloaked in velvet drapery as I return to these cobbled alleys I used to haunt, those early years steeping in Nightwish, Leaves’ Eyes, Epica, and Xandria wash over me, evoking a nostalgic bliss. Enter Greece’s Mystfall and their sophomore effort Embers of a Dying World. Relatively fresh on the scene, and competing with newer champions like Elvellon or Dialith, do Mystfall have what it takes to make waves?

If nothing else, Mystfall have two big things going for them: a (relatively) meaty guitar tone and the most convincing death growls and blackened rasps in the genre right now. Thanks to a moderately-better-than-industry-standard mix and master, you can clearly hear the bass guitar thundering underneath lush strings and prominent choirs as well. These are items that countless acts in this space neglect or shortchange, but not Mystfall. Thankfully, those items don’t detract from the usual suspects. Operatic mezzo-soprano lead vocals, heavily accented; hooky verse work and soaring choruses; galloping drums and brisk pacing; rich orchestrations; the gang’s all here, and in fine form for the most part. And, in another unexpected breath of fresh air, Embers of a Dying World clocks in at a tidy 38 minutes, with the longest song just barely brushing past five minutes. It seems that on paper, Mystfall fully understood their assignment and gave me everything the world needs in a modern symphocheese record.

Embers Of A Dying World by Mystfall

In practice, Embers of a Dying World acquits itself quite nicely as well. Enlisting the help of studio bassist and harsh vocalist Stelios Varotsakis was an inspired choice, as his counterpoint on both instruments elevates everything it touches (“Embers of a Dying World,” “Fading Memories”). It is my assertion that Mystfall make him a full-fledged member of the band immediately. However, his contributions aren’t so astounding as to distract from Marialena Trikoglou’s siren song, Aris Baris’ chuggy riffs, or Dimitris Miglis’ expressive percussion. Hints of old school Epica melodies (“Crimson Dawn,” “Echoes of Arcadia”), Leaves’ Eyes/Xandria adventurism (“Whispers of the Tempest,” “Guardians of the Earth,” “Cosmic Legends”) and Nightwish double bass bounce (“Sleeper in the Abyss”) coalesce into a fun variety of moods and motifs, all smartly woven together to allow each performer their spotlight. With such a bizarrely tight runtime, Embers of a Dying World is also ridiculously easy to spin multiple times in one session, assisting greatly with long-term memorability.

Unfortunately, Mystfall still struggles to find a distinct identity in the homologous plague the symphonic power metal scene perpetuates. While crafting an enjoyable album that is undoubtedly fun and wholly engaging, its similarity to those bands that originally forged the style is undeniable and obvious. Partly due to the strict and restrictive nature of operatic singing techniques—and the physiological difficulties that committing to that style poses to the exploration of any other kind of singing—Marialena’s technically competent performance here lacks impact and power when pinned against singers who can and do work in multiple disciplines (Simone Simons, Floor Jansen, Veronica Bordacchini). On the instrumental front, Aris Baris’ riffs rarely venture outside of the conventions long upheld in this field, often allowing the orchestrations to take point when leading melodies or initiating motifs. Even the dramatic orchestrations lack the showstopping quality they could have if they were either recorded with a full orchestra or more unique in composition or arrangement.

As a result, Embers of a Dying World feels misplaced in time. Were it released in 1996 or thereabouts, it would’ve constituted an instant hit, a direct competitor to the pack leaders at the time. In 2026, it’s one in a million, albeit better made and brilliantly edited. As maligned by songwriting issues and stylistic banality as symphonic power metal often is, competing for acclaim and attention in that crowded place requires a fierce, striking showing. Mystfall have everything they need to make that showing, but Embers of a Dying World falls just short of that elusive threshold. That said, I’m impressed with it enough to wait avidly for what Mystfall might come up with next!

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Scarlet Records
Websites: mystfallofficial.com | facebook.com/mystfallofficial
Releases Worldwide: March 20th, 2026

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic power metal. Cloaked in velvet drapery as I return to these cobbled alleys I used to haunt, those early years steeping in Nightwish, Leaves’ Eyes, Epica, and Xandria wash over me, evoking a nostalgic bliss. Enter Greece’s Mystfall and their sophomore effort Embers of a Dying World. Relatively fresh on the scene, and competing with newer champions like Elvellon or Dialith, do Mystfall have what it takes to make waves?

If nothing else, Mystfall have two big things going for them: a (relatively) meaty guitar tone and the most convincing death growls and blackened rasps in the genre right now. Thanks to a moderately-better-than-industry-standard mix and master, you can clearly hear the bass guitar thundering underneath lush strings and prominent choirs as well. These are items that countless acts in this space neglect or shortchange, but not Mystfall. Thankfully, those items don’t detract from the usual suspects. Operatic mezzo-soprano lead vocals, heavily accented; hooky verse work and soaring choruses; galloping drums and brisk pacing; rich orchestrations; the gang’s all here, and in fine form for the most part. And, in another unexpected breath of fresh air, Embers of a Dying World clocks in at a tidy 38 minutes, with the longest song just barely brushing past five minutes. It seems that on paper, Mystfall fully understood their assignment and gave me everything the world needs in a modern symphocheese record.

Embers Of A Dying World by Mystfall

In practice, Embers of a Dying World acquits itself quite nicely as well. Enlisting the help of studio bassist and harsh vocalist Stelios Varotsakis was an inspired choice, as his counterpoint on both instruments elevates everything it touches (“Embers of a Dying World,” “Fading Memories”). It is my assertion that Mystfall make him a full-fledged member of the band immediately. However, his contributions aren’t so astounding as to distract from Marialena Trikoglou’s siren song, Aris Baris’ chuggy riffs, or Dimitris Miglis’ expressive percussion. Hints of old school Epica melodies (“Crimson Dawn,” “Echoes of Arcadia”), Leaves’ Eyes/Xandria adventurism (“Whispers of the Tempest,” “Guardians of the Earth,” “Cosmic Legends”) and Nightwish double bass bounce (“Sleeper in the Abyss”) coalesce into a fun variety of moods and motifs, all smartly woven together to allow each performer their spotlight. With such a bizarrely tight runtime, Embers of a Dying World is also ridiculously easy to spin multiple times in one session, assisting greatly with long-term memorability.

Unfortunately, Mystfall still struggles to find a distinct identity in the homologous plague the symphonic power metal scene perpetuates. While crafting an enjoyable album that is undoubtedly fun and wholly engaging, its similarity to those bands that originally forged the style is undeniable and obvious. Partly due to the strict and restrictive nature of operatic singing techniques—and the physiological difficulties that committing to that style poses to the exploration of any other kind of singing—Marialena’s technically competent performance here lacks impact and power when pinned against singers who can and do work in multiple disciplines (Simone Simons, Floor Jansen, Veronica Bordacchini). On the instrumental front, Aris Baris’ riffs rarely venture outside of the conventions long upheld in this field, often allowing the orchestrations to take point when leading melodies or initiating motifs. Even the dramatic orchestrations lack the showstopping quality they could have if they were either recorded with a full orchestra or more unique in composition or arrangement.

As a result, Embers of a Dying World feels misplaced in time. Were it released in 1996 or thereabouts, it would’ve constituted an instant hit, a direct competitor to the pack leaders at the time. In 2026, it’s one in a million, albeit better made and brilliantly edited. As maligned by songwriting issues and stylistic banality as symphonic power metal often is, competing for acclaim and attention in that crowded place requires a fierce, striking showing. Mystfall have everything they need to make that showing, but Embers of a Dying World falls just short of that elusive threshold. That said, I’m impressed with it enough to wait avidly for what Mystfall might come up with next!

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Scarlet Records
Websites: mystfallofficial.com | facebook.com/mystfallofficial
Releases Worldwide: March 20th, 2026

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic power metal. Cloaked in velvet drapery as I return to these cobbled alleys I used to haunt, those early years steeping in Nightwish, Leaves’ Eyes, Epica, and Xandria wash over me, evoking a nostalgic bliss. Enter Greece’s Mystfall and their sophomore effort Embers of a Dying World. Relatively fresh on the scene, and competing with newer champions like Elvellon or Dialith, do Mystfall have what it takes to make waves?

If nothing else, Mystfall have two big things going for them: a (relatively) meaty guitar tone and the most convincing death growls and blackened rasps in the genre right now. Thanks to a moderately-better-than-industry-standard mix and master, you can clearly hear the bass guitar thundering underneath lush strings and prominent choirs as well. These are items that countless acts in this space neglect or shortchange, but not Mystfall. Thankfully, those items don’t detract from the usual suspects. Operatic mezzo-soprano lead vocals, heavily accented; hooky verse work and soaring choruses; galloping drums and brisk pacing; rich orchestrations; the gang’s all here, and in fine form for the most part. And, in another unexpected breath of fresh air, Embers of a Dying World clocks in at a tidy 38 minutes, with the longest song just barely brushing past five minutes. It seems that on paper, Mystfall fully understood their assignment and gave me everything the world needs in a modern symphocheese record.

Embers Of A Dying World by Mystfall

In practice, Embers of a Dying World acquits itself quite nicely as well. Enlisting the help of studio bassist and harsh vocalist Stelios Varotsakis was an inspired choice, as his counterpoint on both instruments elevates everything it touches (“Embers of a Dying World,” “Fading Memories”). It is my assertion that Mystfall make him a full-fledged member of the band immediately. However, his contributions aren’t so astounding as to distract from Marialena Trikoglou’s siren song, Aris Baris’ chuggy riffs, or Dimitris Miglis’ expressive percussion. Hints of old school Epica melodies (“Crimson Dawn,” “Echoes of Arcadia”), Leaves’ Eyes/Xandria adventurism (“Whispers of the Tempest,” “Guardians of the Earth,” “Cosmic Legends”) and Nightwish double bass bounce (“Sleeper in the Abyss”) coalesce into a fun variety of moods and motifs, all smartly woven together to allow each performer their spotlight. With such a bizarrely tight runtime, Embers of a Dying World is also ridiculously easy to spin multiple times in one session, assisting greatly with long-term memorability.

Unfortunately, Mystfall still struggles to find a distinct identity in the homologous plague the symphonic power metal scene perpetuates. While crafting an enjoyable album that is undoubtedly fun and wholly engaging, its similarity to those bands that originally forged the style is undeniable and obvious. Partly due to the strict and restrictive nature of operatic singing techniques—and the physiological difficulties that committing to that style poses to the exploration of any other kind of singing—Marialena’s technically competent performance here lacks impact and power when pinned against singers who can and do work in multiple disciplines (Simone Simons, Floor Jansen, Veronica Bordacchini). On the instrumental front, Aris Baris’ riffs rarely venture outside of the conventions long upheld in this field, often allowing the orchestrations to take point when leading melodies or initiating motifs. Even the dramatic orchestrations lack the showstopping quality they could have if they were either recorded with a full orchestra or more unique in composition or arrangement.

As a result, Embers of a Dying World feels misplaced in time. Were it released in 1996 or thereabouts, it would’ve constituted an instant hit, a direct competitor to the pack leaders at the time. In 2026, it’s one in a million, albeit better made and brilliantly edited. As maligned by songwriting issues and stylistic banality as symphonic power metal often is, competing for acclaim and attention in that crowded place requires a fierce, striking showing. Mystfall have everything they need to make that showing, but Embers of a Dying World falls just short of that elusive threshold. That said, I’m impressed with it enough to wait avidly for what Mystfall might come up with next!

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Scarlet Records
Websites: mystfallofficial.com | facebook.com/mystfallofficial
Releases Worldwide: March 20th, 2026

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic power metal. Cloaked in velvet drapery as I return to these cobbled alleys I used to haunt, those early years steeping in Nightwish, Leaves’ Eyes, Epica, and Xandria wash over me, evoking a nostalgic bliss. Enter Greece’s Mystfall and their sophomore effort Embers of a Dying World. Relatively fresh on the scene, and competing with newer champions like Elvellon or Dialith, do Mystfall have what it takes to make waves?

If nothing else, Mystfall have two big things going for them: a (relatively) meaty guitar tone and the most convincing death growls and blackened rasps in the genre right now. Thanks to a moderately-better-than-industry-standard mix and master, you can clearly hear the bass guitar thundering underneath lush strings and prominent choirs as well. These are items that countless acts in this space neglect or shortchange, but not Mystfall. Thankfully, those items don’t detract from the usual suspects. Operatic mezzo-soprano lead vocals, heavily accented; hooky verse work and soaring choruses; galloping drums and brisk pacing; rich orchestrations; the gang’s all here, and in fine form for the most part. And, in another unexpected breath of fresh air, Embers of a Dying World clocks in at a tidy 38 minutes, with the longest song just barely brushing past five minutes. It seems that on paper, Mystfall fully understood their assignment and gave me everything the world needs in a modern symphocheese record.

Embers Of A Dying World by Mystfall

In practice, Embers of a Dying World acquits itself quite nicely as well. Enlisting the help of studio bassist and harsh vocalist Stelios Varotsakis was an inspired choice, as his counterpoint on both instruments elevates everything it touches (“Embers of a Dying World,” “Fading Memories”). It is my assertion that Mystfall make him a full-fledged member of the band immediately. However, his contributions aren’t so astounding as to distract from Marialena Trikoglou’s siren song, Aris Baris’ chuggy riffs, or Dimitris Miglis’ expressive percussion. Hints of old school Epica melodies (“Crimson Dawn,” “Echoes of Arcadia”), Leaves’ Eyes/Xandria adventurism (“Whispers of the Tempest,” “Guardians of the Earth,” “Cosmic Legends”) and Nightwish double bass bounce (“Sleeper in the Abyss”) coalesce into a fun variety of moods and motifs, all smartly woven together to allow each performer their spotlight. With such a bizarrely tight runtime, Embers of a Dying World is also ridiculously easy to spin multiple times in one session, assisting greatly with long-term memorability.

Unfortunately, Mystfall still struggles to find a distinct identity in the homologous plague the symphonic power metal scene perpetuates. While crafting an enjoyable album that is undoubtedly fun and wholly engaging, its similarity to those bands that originally forged the style is undeniable and obvious. Partly due to the strict and restrictive nature of operatic singing techniques—and the physiological difficulties that committing to that style poses to the exploration of any other kind of singing—Marialena’s technically competent performance here lacks impact and power when pinned against singers who can and do work in multiple disciplines (Simone Simons, Floor Jansen, Veronica Bordacchini). On the instrumental front, Aris Baris’ riffs rarely venture outside of the conventions long upheld in this field, often allowing the orchestrations to take point when leading melodies or initiating motifs. Even the dramatic orchestrations lack the showstopping quality they could have if they were either recorded with a full orchestra or more unique in composition or arrangement.

As a result, Embers of a Dying World feels misplaced in time. Were it released in 1996 or thereabouts, it would’ve constituted an instant hit, a direct competitor to the pack leaders at the time. In 2026, it’s one in a million, albeit better made and brilliantly edited. As maligned by songwriting issues and stylistic banality as symphonic power metal often is, competing for acclaim and attention in that crowded place requires a fierce, striking showing. Mystfall have everything they need to make that showing, but Embers of a Dying World falls just short of that elusive threshold. That said, I’m impressed with it enough to wait avidly for what Mystfall might come up with next!

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Scarlet Records
Websites: mystfallofficial.com | facebook.com/mystfallofficial
Releases Worldwide: March 20th, 2026

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic power metal. Cloaked in velvet drapery as I return to these cobbled alleys I used to haunt, those early years steeping in Nightwish, Leaves’ Eyes, Epica, and Xandria wash over me, evoking a nostalgic bliss. Enter Greece’s Mystfall and their sophomore effort Embers of a Dying World. Relatively fresh on the scene, and competing with newer champions like Elvellon or Dialith, do Mystfall have what it takes to make waves?

If nothing else, Mystfall have two big things going for them: a (relatively) meaty guitar tone and the most convincing death growls and blackened rasps in the genre right now. Thanks to a moderately-better-than-industry-standard mix and master, you can clearly hear the bass guitar thundering underneath lush strings and prominent choirs as well. These are items that countless acts in this space neglect or shortchange, but not Mystfall. Thankfully, those items don’t detract from the usual suspects. Operatic mezzo-soprano lead vocals, heavily accented; hooky verse work and soaring choruses; galloping drums and brisk pacing; rich orchestrations; the gang’s all here, and in fine form for the most part. And, in another unexpected breath of fresh air, Embers of a Dying World clocks in at a tidy 38 minutes, with the longest song just barely brushing past five minutes. It seems that on paper, Mystfall fully understood their assignment and gave me everything the world needs in a modern symphocheese record.

Embers Of A Dying World by Mystfall

In practice, Embers of a Dying World acquits itself quite nicely as well. Enlisting the help of studio bassist and harsh vocalist Stelios Varotsakis was an inspired choice, as his counterpoint on both instruments elevates everything it touches (“Embers of a Dying World,” “Fading Memories”). It is my assertion that Mystfall make him a full-fledged member of the band immediately. However, his contributions aren’t so astounding as to distract from Marialena Trikoglou’s siren song, Aris Baris’ chuggy riffs, or Dimitris Miglis’ expressive percussion. Hints of old school Epica melodies (“Crimson Dawn,” “Echoes of Arcadia”), Leaves’ Eyes/Xandria adventurism (“Whispers of the Tempest,” “Guardians of the Earth,” “Cosmic Legends”) and Nightwish double bass bounce (“Sleeper in the Abyss”) coalesce into a fun variety of moods and motifs, all smartly woven together to allow each performer their spotlight. With such a bizarrely tight runtime, Embers of a Dying World is also ridiculously easy to spin multiple times in one session, assisting greatly with long-term memorability.

Unfortunately, Mystfall still struggles to find a distinct identity in the homologous plague the symphonic power metal scene perpetuates. While crafting an enjoyable album that is undoubtedly fun and wholly engaging, its similarity to those bands that originally forged the style is undeniable and obvious. Partly due to the strict and restrictive nature of operatic singing techniques—and the physiological difficulties that committing to that style poses to the exploration of any other kind of singing—Marialena’s technically competent performance here lacks impact and power when pinned against singers who can and do work in multiple disciplines (Simone Simons, Floor Jansen, Veronica Bordacchini). On the instrumental front, Aris Baris’ riffs rarely venture outside of the conventions long upheld in this field, often allowing the orchestrations to take point when leading melodies or initiating motifs. Even the dramatic orchestrations lack the showstopping quality they could have if they were either recorded with a full orchestra or more unique in composition or arrangement.

As a result, Embers of a Dying World feels misplaced in time. Were it released in 1996 or thereabouts, it would’ve constituted an instant hit, a direct competitor to the pack leaders at the time. In 2026, it’s one in a million, albeit better made and brilliantly edited. As maligned by songwriting issues and stylistic banality as symphonic power metal often is, competing for acclaim and attention in that crowded place requires a fierce, striking showing. Mystfall have everything they need to make that showing, but Embers of a Dying World falls just short of that elusive threshold. That said, I’m impressed with it enough to wait avidly for what Mystfall might come up with next!

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Scarlet Records
Websites: mystfallofficial.com | facebook.com/mystfallofficial
Releases Worldwide: March 20th, 2026

La spaventosa grotta oracolare di Trofonio, teatro per lo psicodramma del sottosuolo
https://www.jacoporanieri.com/blog/?p=43889

#tradizioni #grecia #storie #miti #epica #personaggi #racconti #oracoli #profezie #siti #archeologia #storici #mondoantico #epocaromana #Beozia #zeus #trance #droghe #sottosuolo #caverne #profondità #divinità #sovrani

#Epica #epic #épique #epique #EPOS #kentmonkman #monkman #misschiefeagletestikle #muralistasmexicanos #Rivera #Orozco #alfarosiqueiros #Siqueiros #diegorivera #joseclementeorozco #DavidAlfaroSiqueiros #neocolonialismo #colonialismo
https://www.lavozdelsur.es/opinion/miss-chief-eagle-testikle_345236_102.html

Glasya – Fear Review

By Twelve

It’s been a fair minute since Glasya last graced these parts. The Portuguese symphonic power metal band first appeared in these halls in 2019 with their debut, Heaven’s Demise. I was personally not impressed, I’m sad to say—it offered little in the way of originality, and my feeling was that Glasya sounded like a hodgepodge of their contemporaries. Still, the band is one of genuinely talented musicians, and I believed at the time the project had promise. Six years later, they’re onto their third full-length, Fear, and I couldn’t help taking a look, curious simply to know if Glasya has come into its own in 2025.

Perhaps unsurprisingly, Fear still sounds like it’s been influenced by the same bands that have been influencing symphonic power metal for the last two decades. My promo sheet even informs me that the music is ideal for fans of Nightwish, Epica, and Visions of Atlantis. So straightaway, you have a good idea of what you’re getting: big orchestrations, operatic flourishes, more focus on keys than guitars. Songs are upbeat, choruses are big, and Eduarda Soeiro’s vocal performance is impressively grand. But I can’t claim Glasya has no clear identity anymore. The fast pace (see “Hunt of the Haunted” and “In Debris”) reminds me of Silver Bullet, and there’s definite aggression to the guitars (Hugo Esteves and Bruno Prates) that gets the head nodding early and often. Davon van Dave’s orchestrations are both more elaborate and dialled back, making them feel better merged with the music. On Fear, Glasya sound more confident and more self-assured than I’ve heard before, and it’s a great change from their debut.

Fear is a concept album that follows a woman confronted by and overcoming her fears, and, unexpectedly, it’s here that I start to find fault. The decision to embed a narrative into the music is a fine one, and one Glasya have employed before, but there are two particular elements of Fear that detract from the experience for me, both of which seem to point back to it being a concept album. The first is the voice acting. Eleven of Fear’s fourteen songs begin with between five and thirty seconds of story in the form of voice acting. Talented musicians our singers may be, but these segments feel cheesy and forced, at best breaking the flow of the songs and at worst being an active distraction. The penultimate scene, in “The Ultimate Challenge,” introduces a new character who heroically sacrifices himself for our protagonist in a moment that could be moving were it not so jarring—or confusing.

The second is the length. With fourteen songs, Fear clocks in at sixty-six minutes, a mighty length that makes the back half feel tired. There just isn’t enough variety in the sound to justify so much music. Further, songs like “Stuck in a Cobweb” feel longer than they need to be, with interludes that slows down otherwise bombastic tracks to enunciate narrative lyrics. For the first half of Fear, I find I’m really enjoying myself, but after a while, the intricate keys start to sound the same, the exciting riffs blend together, and no matter when you check the runtime, there are still somehow five tracks to go. The back half isn’t bad by any stretch—”In a Flooding Room” and “The Cold of Dark” are a particularly effective duo—but it feels weighed down by itself. As it runs on, I notice that Antonio Durães’s bass and Bruno Ramos’s drums are too quiet to lift up “The Ultimate Challenge.” I get to “The Confrontation” and feel like I’ve heard its riff somewhere before. It’s a real shame, too—alone, the material is strong, but it feels like Glasya made decisions in service of their concept that bring the experience down.

There is a very strong 40-minute album in Fear. In fact, if it simply ended with “Rescue,” I think it would be a much better experience. That’s a hard thing to write—we love “less is more” at Angry Metal Guy, but I’m still sad to say that I could have given Glasya a higher score if there was just less of Fear. As is, I can only say that it is an improvement from Heaven’s Demise, that I will be coming back to some isolated tracks, and that I am still eager to hear what this band does next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | facebook.com/GlasyaOfficial
Releases Worldwide: October 24th, 2025

#25 #2025 #Epica #fear #Glasya #Nightwish #Oct25 #PortugeseMetal #PowerMetal #Review #Reviews #ScarletRecords #SilverBullet #SymphonicMetal #VisionsOfAtlantis

Glasya – Fear Review

By Twelve

It’s been a fair minute since Glasya last graced these parts. The Portuguese symphonic power metal band first appeared in these halls in 2019 with their debut, Heaven’s Demise. I was personally not impressed, I’m sad to say—it offered little in the way of originality, and my feeling was that Glasya sounded like a hodgepodge of their contemporaries. Still, the band is one of genuinely talented musicians, and I believed at the time the project had promise. Six years later, they’re onto their third full-length, Fear, and I couldn’t help taking a look, curious simply to know if Glasya has come into its own in 2025.

Perhaps unsurprisingly, Fear still sounds like it’s been influenced by the same bands that have been influencing symphonic power metal for the last two decades. My promo sheet even informs me that the music is ideal for fans of Nightwish, Epica, and Visions of Atlantis. So straightaway, you have a good idea of what you’re getting: big orchestrations, operatic flourishes, more focus on keys than guitars. Songs are upbeat, choruses are big, and Eduarda Soeiro’s vocal performance is impressively grand. But I can’t claim Glasya has no clear identity anymore. The fast pace (see “Hunt of the Haunted” and “In Debris”) reminds me of Silver Bullet, and there’s definite aggression to the guitars (Hugo Esteves and Bruno Prates) that gets the head nodding early and often. Davon van Dave’s orchestrations are both more elaborate and dialled back, making them feel better merged with the music. On Fear, Glasya sound more confident and more self-assured than I’ve heard before, and it’s a great change from their debut.

Fear is a concept album that follows a woman confronted by and overcoming her fears, and, unexpectedly, it’s here that I start to find fault. The decision to embed a narrative into the music is a fine one, and one Glasya have employed before, but there are two particular elements of Fear that detract from the experience for me, both of which seem to point back to it being a concept album. The first is the voice acting. Eleven of Fear’s fourteen songs begin with between five and thirty seconds of story in the form of voice acting. Talented musicians our singers may be, but these segments feel cheesy and forced, at best breaking the flow of the songs and at worst being an active distraction. The penultimate scene, in “The Ultimate Challenge,” introduces a new character who heroically sacrifices himself for our protagonist in a moment that could be moving were it not so jarring—or confusing.

The second is the length. With fourteen songs, Fear clocks in at sixty-six minutes, a mighty length that makes the back half feel tired. There just isn’t enough variety in the sound to justify so much music. Further, songs like “Stuck in a Cobweb” feel longer than they need to be, with interludes that slows down otherwise bombastic tracks to enunciate narrative lyrics. For the first half of Fear, I find I’m really enjoying myself, but after a while, the intricate keys start to sound the same, the exciting riffs blend together, and no matter when you check the runtime, there are still somehow five tracks to go. The back half isn’t bad by any stretch—”In a Flooding Room” and “The Cold of Dark” are a particularly effective duo—but it feels weighed down by itself. As it runs on, I notice that Antonio Durães’s bass and Bruno Ramos’s drums are too quiet to lift up “The Ultimate Challenge.” I get to “The Confrontation” and feel like I’ve heard its riff somewhere before. It’s a real shame, too—alone, the material is strong, but it feels like Glasya made decisions in service of their concept that bring the experience down.

There is a very strong 40-minute album in Fear. In fact, if it simply ended with “Rescue,” I think it would be a much better experience. That’s a hard thing to write—we love “less is more” at Angry Metal Guy, but I’m still sad to say that I could have given Glasya a higher score if there was just less of Fear. As is, I can only say that it is an improvement from Heaven’s Demise, that I will be coming back to some isolated tracks, and that I am still eager to hear what this band does next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | facebook.com/GlasyaOfficial
Releases Worldwide: October 24th, 2025

#25 #2025 #Epica #fear #Glasya #Nightwish #Oct25 #PortugeseMetal #PowerMetal #Review #Reviews #ScarletRecords #SilverBullet #SymphonicMetal #VisionsOfAtlantis

Glasya – Fear Review

By Twelve

It’s been a fair minute since Glasya last graced these parts. The Portuguese symphonic power metal band first appeared in these halls in 2019 with their debut, Heaven’s Demise. I was personally not impressed, I’m sad to say—it offered little in the way of originality, and my feeling was that Glasya sounded like a hodgepodge of their contemporaries. Still, the band is one of genuinely talented musicians, and I believed at the time the project had promise. Six years later, they’re onto their third full-length, Fear, and I couldn’t help taking a look, curious simply to know if Glasya has come into its own in 2025.

Perhaps unsurprisingly, Fear still sounds like it’s been influenced by the same bands that have been influencing symphonic power metal for the last two decades. My promo sheet even informs me that the music is ideal for fans of Nightwish, Epica, and Visions of Atlantis. So straightaway, you have a good idea of what you’re getting: big orchestrations, operatic flourishes, more focus on keys than guitars. Songs are upbeat, choruses are big, and Eduarda Soeiro’s vocal performance is impressively grand. But I can’t claim Glasya has no clear identity anymore. The fast pace (see “Hunt of the Haunted” and “In Debris”) reminds me of Silver Bullet, and there’s definite aggression to the guitars (Hugo Esteves and Bruno Prates) that gets the head nodding early and often. Davon van Dave’s orchestrations are both more elaborate and dialled back, making them feel better merged with the music. On Fear, Glasya sound more confident and more self-assured than I’ve heard before, and it’s a great change from their debut.

Fear is a concept album that follows a woman confronted by and overcoming her fears, and, unexpectedly, it’s here that I start to find fault. The decision to embed a narrative into the music is a fine one, and one Glasya have employed before, but there are two particular elements of Fear that detract from the experience for me, both of which seem to point back to it being a concept album. The first is the voice acting. Eleven of Fear’s fourteen songs begin with between five and thirty seconds of story in the form of voice acting. Talented musicians our singers may be, but these segments feel cheesy and forced, at best breaking the flow of the songs and at worst being an active distraction. The penultimate scene, in “The Ultimate Challenge,” introduces a new character who heroically sacrifices himself for our protagonist in a moment that could be moving were it not so jarring—or confusing.

The second is the length. With fourteen songs, Fear clocks in at sixty-six minutes, a mighty length that makes the back half feel tired. There just isn’t enough variety in the sound to justify so much music. Further, songs like “Stuck in a Cobweb” feel longer than they need to be, with interludes that slows down otherwise bombastic tracks to enunciate narrative lyrics. For the first half of Fear, I find I’m really enjoying myself, but after a while, the intricate keys start to sound the same, the exciting riffs blend together, and no matter when you check the runtime, there are still somehow five tracks to go. The back half isn’t bad by any stretch—”In a Flooding Room” and “The Cold of Dark” are a particularly effective duo—but it feels weighed down by itself. As it runs on, I notice that Antonio Durães’s bass and Bruno Ramos’s drums are too quiet to lift up “The Ultimate Challenge.” I get to “The Confrontation” and feel like I’ve heard its riff somewhere before. It’s a real shame, too—alone, the material is strong, but it feels like Glasya made decisions in service of their concept that bring the experience down.

There is a very strong 40-minute album in Fear. In fact, if it simply ended with “Rescue,” I think it would be a much better experience. That’s a hard thing to write—we love “less is more” at Angry Metal Guy, but I’m still sad to say that I could have given Glasya a higher score if there was just less of Fear. As is, I can only say that it is an improvement from Heaven’s Demise, that I will be coming back to some isolated tracks, and that I am still eager to hear what this band does next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | facebook.com/GlasyaOfficial
Releases Worldwide: October 24th, 2025

#25 #2025 #Epica #fear #Glasya #Nightwish #Oct25 #PortugeseMetal #PowerMetal #Review #Reviews #ScarletRecords #SilverBullet #SymphonicMetal #VisionsOfAtlantis

Glasya – Fear Review

By Twelve

It’s been a fair minute since Glasya last graced these parts. The Portuguese symphonic power metal band first appeared in these halls in 2019 with their debut, Heaven’s Demise. I was personally not impressed, I’m sad to say—it offered little in the way of originality, and my feeling was that Glasya sounded like a hodgepodge of their contemporaries. Still, the band is one of genuinely talented musicians, and I believed at the time the project had promise. Six years later, they’re onto their third full-length, Fear, and I couldn’t help taking a look, curious simply to know if Glasya has come into its own in 2025.

Perhaps unsurprisingly, Fear still sounds like it’s been influenced by the same bands that have been influencing symphonic power metal for the last two decades. My promo sheet even informs me that the music is ideal for fans of Nightwish, Epica, and Visions of Atlantis. So straightaway, you have a good idea of what you’re getting: big orchestrations, operatic flourishes, more focus on keys than guitars. Songs are upbeat, choruses are big, and Eduarda Soeiro’s vocal performance is impressively grand. But I can’t claim Glasya has no clear identity anymore. The fast pace (see “Hunt of the Haunted” and “In Debris”) reminds me of Silver Bullet, and there’s definite aggression to the guitars (Hugo Esteves and Bruno Prates) that gets the head nodding early and often. Davon van Dave’s orchestrations are both more elaborate and dialled back, making them feel better merged with the music. On Fear, Glasya sound more confident and more self-assured than I’ve heard before, and it’s a great change from their debut.

Fear is a concept album that follows a woman confronted by and overcoming her fears, and, unexpectedly, it’s here that I start to find fault. The decision to embed a narrative into the music is a fine one, and one Glasya have employed before, but there are two particular elements of Fear that detract from the experience for me, both of which seem to point back to it being a concept album. The first is the voice acting. Eleven of Fear’s fourteen songs begin with between five and thirty seconds of story in the form of voice acting. Talented musicians our singers may be, but these segments feel cheesy and forced, at best breaking the flow of the songs and at worst being an active distraction. The penultimate scene, in “The Ultimate Challenge,” introduces a new character who heroically sacrifices himself for our protagonist in a moment that could be moving were it not so jarring—or confusing.

The second is the length. With fourteen songs, Fear clocks in at sixty-six minutes, a mighty length that makes the back half feel tired. There just isn’t enough variety in the sound to justify so much music. Further, songs like “Stuck in a Cobweb” feel longer than they need to be, with interludes that slows down otherwise bombastic tracks to enunciate narrative lyrics. For the first half of Fear, I find I’m really enjoying myself, but after a while, the intricate keys start to sound the same, the exciting riffs blend together, and no matter when you check the runtime, there are still somehow five tracks to go. The back half isn’t bad by any stretch—”In a Flooding Room” and “The Cold of Dark” are a particularly effective duo—but it feels weighed down by itself. As it runs on, I notice that Antonio Durães’s bass and Bruno Ramos’s drums are too quiet to lift up “The Ultimate Challenge.” I get to “The Confrontation” and feel like I’ve heard its riff somewhere before. It’s a real shame, too—alone, the material is strong, but it feels like Glasya made decisions in service of their concept that bring the experience down.

There is a very strong 40-minute album in Fear. In fact, if it simply ended with “Rescue,” I think it would be a much better experience. That’s a hard thing to write—we love “less is more” at Angry Metal Guy, but I’m still sad to say that I could have given Glasya a higher score if there was just less of Fear. As is, I can only say that it is an improvement from Heaven’s Demise, that I will be coming back to some isolated tracks, and that I am still eager to hear what this band does next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | facebook.com/GlasyaOfficial
Releases Worldwide: October 24th, 2025

#25 #2025 #Epica #fear #Glasya #Nightwish #Oct25 #PortugeseMetal #PowerMetal #Review #Reviews #ScarletRecords #SilverBullet #SymphonicMetal #VisionsOfAtlantis

Glasya – Fear Review

By Twelve

It’s been a fair minute since Glasya last graced these parts. The Portuguese symphonic power metal band first appeared in these halls in 2019 with their debut, Heaven’s Demise. I was personally not impressed, I’m sad to say—it offered little in the way of originality, and my feeling was that Glasya sounded like a hodgepodge of their contemporaries. Still, the band is one of genuinely talented musicians, and I believed at the time the project had promise. Six years later, they’re onto their third full-length, Fear, and I couldn’t help taking a look, curious simply to know if Glasya has come into its own in 2025.

Perhaps unsurprisingly, Fear still sounds like it’s been influenced by the same bands that have been influencing symphonic power metal for the last two decades. My promo sheet even informs me that the music is ideal for fans of Nightwish, Epica, and Visions of Atlantis. So straightaway, you have a good idea of what you’re getting: big orchestrations, operatic flourishes, more focus on keys than guitars. Songs are upbeat, choruses are big, and Eduarda Soeiro’s vocal performance is impressively grand. But I can’t claim Glasya has no clear identity anymore. The fast pace (see “Hunt of the Haunted” and “In Debris”) reminds me of Silver Bullet, and there’s definite aggression to the guitars (Hugo Esteves and Bruno Prates) that gets the head nodding early and often. Davon van Dave’s orchestrations are both more elaborate and dialled back, making them feel better merged with the music. On Fear, Glasya sound more confident and more self-assured than I’ve heard before, and it’s a great change from their debut.

Fear is a concept album that follows a woman confronted by and overcoming her fears, and, unexpectedly, it’s here that I start to find fault. The decision to embed a narrative into the music is a fine one, and one Glasya have employed before, but there are two particular elements of Fear that detract from the experience for me, both of which seem to point back to it being a concept album. The first is the voice acting. Eleven of Fear’s fourteen songs begin with between five and thirty seconds of story in the form of voice acting. Talented musicians our singers may be, but these segments feel cheesy and forced, at best breaking the flow of the songs and at worst being an active distraction. The penultimate scene, in “The Ultimate Challenge,” introduces a new character who heroically sacrifices himself for our protagonist in a moment that could be moving were it not so jarring—or confusing.

The second is the length. With fourteen songs, Fear clocks in at sixty-six minutes, a mighty length that makes the back half feel tired. There just isn’t enough variety in the sound to justify so much music. Further, songs like “Stuck in a Cobweb” feel longer than they need to be, with interludes that slows down otherwise bombastic tracks to enunciate narrative lyrics. For the first half of Fear, I find I’m really enjoying myself, but after a while, the intricate keys start to sound the same, the exciting riffs blend together, and no matter when you check the runtime, there are still somehow five tracks to go. The back half isn’t bad by any stretch—”In a Flooding Room” and “The Cold of Dark” are a particularly effective duo—but it feels weighed down by itself. As it runs on, I notice that Antonio Durães’s bass and Bruno Ramos’s drums are too quiet to lift up “The Ultimate Challenge.” I get to “The Confrontation” and feel like I’ve heard its riff somewhere before. It’s a real shame, too—alone, the material is strong, but it feels like Glasya made decisions in service of their concept that bring the experience down.

There is a very strong 40-minute album in Fear. In fact, if it simply ended with “Rescue,” I think it would be a much better experience. That’s a hard thing to write—we love “less is more” at Angry Metal Guy, but I’m still sad to say that I could have given Glasya a higher score if there was just less of Fear. As is, I can only say that it is an improvement from Heaven’s Demise, that I will be coming back to some isolated tracks, and that I am still eager to hear what this band does next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | facebook.com/GlasyaOfficial
Releases Worldwide: October 24th, 2025

#25 #2025 #Epica #fear #Glasya #Nightwish #Oct25 #PortugeseMetal #PowerMetal #Review #Reviews #ScarletRecords #SilverBullet #SymphonicMetal #VisionsOfAtlantis

New post: Festival Review: Hellfest 2025 Day 2 – Clisson, France (20th June 2025) https://www.moshville.co.uk/reviews/gig-review/2025/07/festival-review-hellfest-2025-day-2-clisson-france-20th-june-2025/ #AmiraElfeky #Årabrot #BurningWitches #Epica

ADORO IL GENIO - SLACK WYRM

Ma... 'sta cosa del post-modernismo?

#adoroilgenio #12giugno #SlackWyrm #Ferragus #reboot #comics #fumetto #fumetti #fantasy #drago #Draghi #dracaris🔥 #vignettedivertenti #Vignette #avventura #epica #impresa #stagioni #4stagioni #neve #meteorologia #meteo #inverno #maledizione #testardaggine #epicaavventura #modernismo #postmodernismo