#epica — Public Fediverse posts

En menos de una hora (21:30, tiempo del centro de México) tendremos la segunda parte de nuestra charla sobre la #Odisea, y en especial sobre la versión de Christopher #Nolan.

https://www.youtube.com/live/UKbYL-LpbhM?si=AJSF26o7oI_spxwV

#cine #literatura #épica #poesía #adaptaciones

En menos de una hora (21:30, tiempo del centro de México) tendremos la segunda parte de nuestra charla sobre la #Odisea, y en especial sobre la versión de Christopher #Nolan.

https://www.youtube.com/live/UKbYL-LpbhM?si=AJSF26o7oI_spxwV

#cine #literatura #épica #poesía #adaptaciones

En poco menos de una hora tendremos nuestro programa semanal por #YouTube.
@raxxie y yo hablaremos de la #Odisea (la original, la versión más reciente, y más).
¡Acompáñennos!
https://www.youtube.com/live/h-3TWHikZ3k?si=7i2qL6jReAXyqYon

#cine #literatura #épica #clásicos

En poco menos de una hora tendremos nuestro programa semanal por #YouTube.
@raxxie y yo hablaremos de la #Odisea (la original, la versión más reciente, y más).
¡Acompáñennos!
https://www.youtube.com/live/h-3TWHikZ3k?si=7i2qL6jReAXyqYon

#cine #literatura #épica #clásicos

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.

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.

https://www.wacoca.com/news/2858978/ 2026年6月19日(金)「epica•沖縄」にて、今回で99回目を迎える、DJ DANBOプロデュース【DRIP】日本を代表するインターナショナルDJ、DJ MARTINを迎え開催いたします。 | NEWSCAST #CLUBEPICA #DJ #DJDANBO #DJMARTIN #drip #epica #EpicaOKINAWA #EPICA沖縄 #HipHop #Okinawa #エピカ #エピカ・沖縄 #エピカ沖縄 #エンタメ #ナイトクラブ #パーティー #ハウスミュージック #旅行・お出かけ #沖縄 #沖縄県

https://www.wacoca.com/news/2858978/ 2026年6月19日(金)「epica•沖縄」にて、今回で99回目を迎える、DJ DANBOプロデュース【DRIP】日本を代表するインターナショナルDJ、DJ MARTINを迎え開催いたします。 | NEWSCAST #CLUBEPICA #DJ #DJDANBO #DJMARTIN #drip #epica #EpicaOKINAWA #EPICA沖縄 #HipHop #Okinawa #エピカ #エピカ・沖縄 #エピカ沖縄 #エンタメ #ナイトクラブ #パーティー #ハウスミュージック #旅行・お出かけ #沖縄 #沖縄県

https://www.walknews.com/1321440/ 2026年6月19日(金)「epica•沖縄」にて、今回で99回目を迎える、DJ DANBOプロデュース【DRIP】日本を代表するインターナショナルDJ、DJ MARTINを迎え開催いたします。 | NEWSCAST #CLUBEPICA #DJ #DJDANBO #DJMARTIN #DRIP #EPICA #EpicaOKINAWA #EPICA沖縄 #HipHop #Okinawa #エピカ #エピカ・沖縄 #エピカ沖縄 #エンタメ #ナイトクラブ #パーティー #ハウスミュージック #旅行・お出かけ #沖縄 #沖縄県

https://www.walknews.com/1321440/ 2026年6月19日(金)「epica•沖縄」にて、今回で99回目を迎える、DJ DANBOプロデュース【DRIP】日本を代表するインターナショナルDJ、DJ MARTINを迎え開催いたします。 | NEWSCAST #CLUBEPICA #DJ #DJDANBO #DJMARTIN #DRIP #EPICA #EpicaOKINAWA #EPICA沖縄 #HipHop #Okinawa #エピカ #エピカ・沖縄 #エピカ沖縄 #エンタメ #ナイトクラブ #パーティー #ハウスミュージック #旅行・お出かけ #沖縄 #沖縄県

Watching #Epica's live at Paradiso, 2006.
My 11y/o, about Simone Simons: "oh, it's Ariel, the little mermaid!"

🌊 #throwback alla seconda uscita di #AOQU per il #WorldOceanDay, dedicato all’#Epica marina

Se la terra è lo spazio dominante dell’epica, il mare è il luogo dove la tempra dell’eroe viene veramente testata dal fato e dall’ignoto. “Epica” qui, inteso in senso lato, passando da più tradizionali analisi dell’#Odissea omerica all’immaginario dell’esplorazione marittima in #LegendOfZelda.

⬇️In #OpenAccess qui: https://riviste.unimi.it/index.php/aoqu/issue/view/1488?mtm_campaign=mastodon
@cultura

🌊 #throwback alla seconda uscita di #AOQU per il #WorldOceanDay, dedicato all’#Epica marina

Se la terra è lo spazio dominante dell’epica, il mare è il luogo dove la tempra dell’eroe viene veramente testata dal fato e dall’ignoto. “Epica” qui, inteso in senso lato, passando da più tradizionali analisi dell’#Odissea omerica all’immaginario dell’esplorazione marittima in #LegendOfZelda.

⬇️In #OpenAccess qui: https://riviste.unimi.it/index.php/aoqu/issue/view/1488?mtm_campaign=mastodon
@cultura

 Horarios Zlive 2026 que activa Metal Town en Zamora con el 90% del aforo liquidado
Info en 👉  https://www.guitarcalavera.com/horarios-zlive-2026/
#BlazeBayley #BuryTomorrow #Emperor #Epica #H.E.A.T. #Opeth #S.A. #Saxon #Tesseract #ZLiveRockFest #guitarcalavera #guitarcalaveramagazine
https://www.guitarcalavera.com/horarios-zlive-2026/?utm_medium=Guitar%20Calavera%20&fsp_sid=3645&utm_source=Mastodon%20&utm_campaign=horarios-zlive-2026%20

🎻🌊 New cover on The Cello Diaries 🎻🌊

Sirens of Blood and Water by Epica, arranged as a cello quartet.

#Epica #CelloCover #SymphonicMetal #MetalMusic #Cello

https://youtu.be/5jf6KCOWf6E?list=PL1oWOhSICk7BNqoLtbVmLEHeNnGEuk9Qr

🎻🌊 New cover on The Cello Diaries 🎻🌊

Sirens of Blood and Water by Epica, arranged as a cello quartet.

#Epica #CelloCover #SymphonicMetal #MetalMusic #Cello

https://youtu.be/5jf6KCOWf6E?list=PL1oWOhSICk7BNqoLtbVmLEHeNnGEuk9Qr

Song: Never enough
Band: #Epica
Album: The divine conspiracy
Year: 2007
Genre: #HeavyMetal

"(Enough)
It was,
Never enough that I gave to you
All of the horror that you've put me through
(Never enough)
How can I make up my mind this time?
This is where I will draw the line"

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

Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=32779520346f4491

Song: Never enough
Band: #Epica
Album: The divine conspiracy
Year: 2007
Genre: #HeavyMetal

"(Enough)
It was,
Never enough that I gave to you
All of the horror that you've put me through
(Never enough)
How can I make up my mind this time?
This is where I will draw the line"

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

Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=32779520346f4491

Omerys descendió como un dios solar sobre el campo de batalla. Shin resistió hasta que el planeta mismo comenzó a quebrarse bajo sus pies. Elisium ardió, los mares del vacío despertaron…
https://fictograma.com/d/2934-los-viajes-de-shin

#books #literature #writing #epica

Omerys descendió como un dios solar sobre el campo de batalla. Shin resistió hasta que el planeta mismo comenzó a quebrarse bajo sus pies. Elisium ardió, los mares del vacío despertaron…
https://fictograma.com/d/2934-los-viajes-de-shin

#books #literature #writing #epica

Omerys descendió como un dios solar sobre el campo de batalla. Shin resistió hasta que el planeta mismo comenzó a quebrarse bajo sus pies. Elisium ardió, los mares del vacío despertaron…
https://fictograma.com/d/2934-los-viajes-de-shin

#books #literature #writing #epica

Omerys descendió como un dios solar sobre el campo de batalla. Shin resistió hasta que el planeta mismo comenzó a quebrarse bajo sus pies. Elisium ardió, los mares del vacío despertaron…
https://fictograma.com/d/2934-los-viajes-de-shin

#books #literature #writing #epica

Epica share a live version of "Cross The Divide" from their sold-out Ziggo Dome show.
Details: https://metalinsider.net/video/epica-unveil-cross-the-divide-live-video-from-sold-out-ziggo-dome-show

#Epica #SymphonicMetal #LiveMusic #MetalNews

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

𝗘𝗽𝗶𝗰𝗮 𝗸𝗼𝗻𝗱𝗶𝗴𝘁 𝗱𝗲𝗿𝗱𝗲 𝗷𝘂𝗯𝗶𝗹𝗲𝘂𝗺𝘀𝗵𝗼𝘄 𝗶𝗻 𝗖𝗮𝗿𝗿é 𝗮𝗮𝗻

De symfonische metalband Epica heeft dinsdag bekendgemaakt een derde jubileumshow in Koninklijk Theater Carré Amsterdam te geven. De derde show vindt plaats op zondag 31 januari 2027, meldt concertorganisator MOJO. Onlangs kondigde de Nederlandse band al concerten voor 29 en 30 januari 2027 aan.

https://www.rtl.nl/boulevard/artikel/5595502/epica-kondigt-derde-jubileumshow-carre-aan

#Epica #jubileumshow #Carré

𝗘𝗽𝗶𝗰𝗮 𝗸𝗼𝗻𝗱𝗶𝗴𝘁 𝗱𝗲𝗿𝗱𝗲 𝗷𝘂𝗯𝗶𝗹𝗲𝘂𝗺𝘀𝗵𝗼𝘄 𝗶𝗻 𝗖𝗮𝗿𝗿é 𝗮𝗮𝗻

De symfonische metalband Epica heeft dinsdag bekendgemaakt een derde jubileumshow in Koninklijk Theater Carré Amsterdam te geven. De derde show vindt plaats op zondag 31 januari 2027, meldt concertorganisator MOJO. Onlangs kondigde de Nederlandse band al concerten voor 29 en 30 januari 2027 aan.

https://www.rtl.nl/boulevard/artikel/5595502/epica-kondigt-derde-jubileumshow-carre-aan

#Epica #jubileumshow #Carré

𝗘𝗽𝗶𝗰𝗮 𝗴𝗲𝗲𝗳𝘁 𝗷𝘂𝗯𝗶𝗹𝗲𝘂𝗺𝗰𝗼𝗻𝗰𝗲𝗿𝘁 𝗶𝗻 𝗖𝗮𝗿𝗿é

Epica geeft op 29 januari 2027 een jubileumconcert in het Koninklijk Theater Carré in Amsterdam. Dat heeft concertorganisator MOJO bekendgemaakt. Het optreden staat in het teken van het 25-jarig bestaan van de band en maakt deel uit van een jubileumjaar met verschillende speciale shows wereldwijd.

https://www.rtl.nl/boulevard/artikel/5592580/epica-geeft-jubileumconcert-carre

#Epica #Jubileumconcert #Carre

𝗘𝗽𝗶𝗰𝗮 𝗴𝗲𝗲𝗳𝘁 𝗷𝘂𝗯𝗶𝗹𝗲𝘂𝗺𝗰𝗼𝗻𝗰𝗲𝗿𝘁 𝗶𝗻 𝗖𝗮𝗿𝗿é

Epica geeft op 29 januari 2027 een jubileumconcert in het Koninklijk Theater Carré in Amsterdam. Dat heeft concertorganisator MOJO bekendgemaakt. Het optreden staat in het teken van het 25-jarig bestaan van de band en maakt deel uit van een jubileumjaar met verschillende speciale shows wereldwijd.

https://www.rtl.nl/boulevard/artikel/5592580/epica-geeft-jubileumconcert-carre

#Epica #Jubileumconcert #Carre

Jemand Lust und Zeit sehr spontan heute Abend mit zu #Epica, #Amaranthe und #CharlotteWessels in #Frankfurt (am Main) zu kommen? Hab ne Karte über und mag die unter Ticketpreis für 50€ abgeben.

Freu mich, wenn die Karte nicht verfällt.

#Metal #Konzert #Jahrhunderthalle

Jemand Lust und Zeit sehr spontan heute Abend mit zu #Epica, #Amaranthe und #CharlotteWessels in #Frankfurt (am Main) zu kommen? Hab ne Karte über und mag die unter Ticketpreis für 50€ abgeben.

Freu mich, wenn die Karte nicht verfällt.

#Metal #Konzert #Jahrhunderthalle

Yesterday was a blast seeing Charlotte Wessels, #Epica and #Amaranthe live in #Budapest. I love concerts, even if getting to places is becoming more expensive. Why do I live so far away from the good venues? Next will be #Vomitory next month 🤘

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

Danke #Amaranthe und #Epica für den tollen Abend in Leipzig letzten Samstag!

New post: Epica drop live version of “Eye of the Storm” from sold-out Amsterdam show https://moshville.co.uk/news/video/2026/03/epica-drop-live-version-of-eye-of-the-storm-from-sold-out-amsterdam-show/ #Epica

📕 ¡NUEVO LIBRISIMO #43 con Lola Llatas que nos presenta LA HIJA DEL INVIERNO, publicada por @duermevelaed !
- #Fantasía #épica
- Referencias a La Historia Interminable
- Personajes femeninos con muchos matices

https://youtu.be/MHv8t5Uufgs