#epicheavymetal — Public Fediverse posts

Review: Greyhawk “Warriors of Greyhawk”

Release date: 13 February 2026

Label: Cruz Del Sur Music

Gage J. Tolin

Fusing classic US power metal, AOR and all things epic metal; GREYHAWK returns with their third album of triumphant battle hymns.

Refreshed, rejuvenated and ready for adventure; GREYHAWK are back with their third album of epic, melodic power/heavy metal fused with an anthemic AOR angle. Shredding guitars, soaring vocals, powerful rhythms and songs that will stick with you are all a part of this majestic opus.

From the very beginning you will be met with soaring guitars, pounding riffs and a classic heavy/power metal attack from the instrumentals. Grandiose and powerful vocals complete the mix, which is perfectly blended by Henrik Udd’s sublime production which is detailed and grandiose. Daniel Porta has provided artwork for this record and clearly the band have had a strong input on all aspects of the release to make sure the entire experience is gripping for you, the fans.

Not many bands blend the more traditional epic heavy/power metal glory with these AOR elements but GREYHAWK do so marvellously, giving the music not only power but memorability, showing that on their third album – this will definitely stand the test of time. The musicianship is continually improving on all counts, from the crushing drumming to the mind-blowing guitar work to the operatic and stunning vocals. Lovers of all things fantastical, adventurous and metallic will be enchanted, enthralled and bedazzled by this stratospheric effort.

“This album is a return to the epic metal roots that we had on our debut album ‘Keepers of the Flame’”, says founding member Darin Wall, “it also features some faster songs where we explore our love for power metal, as well as some of the 80s AOR vibes we had on the last album ‘Thunderheart’. Songs about inner strength, overcoming obstacles in life, and triumphing in victory are all present here. Creating an experience where the listener can find inspiration from the lyrics and energy of the songs, or detach from reality a bit and get lost in some of the epic fantastical themes is the goal.  Ronnie James Dio is the bands biggest influence as far as lyrical themes go.”

Line-Up
Anthony Corso – Vocals
Jesse Berlin – Lead Guitar 
Rob Steinway – Rhythm Guitar
Darin Wall – Bass
Nate Butler – Drums

Review

Greyhawk begin their third full-length album, and first with vocalist Anthony Corso, with “Ascension”, a song that wastes little time in making its mark. While longtime listeners might be a bit put off by the new singer, this quickly faded for me and I found myself enjoying Anthony’s set of pipes. The AOR influence comes through with gusto, at times sounding very akin to the vocal talents of Steve Perry of Journey or Brad Delp of Boston. It helps to give the album a pronounced melodic and anthemic sound to it that I think makes it stand out from their earlier work. On the instrumental side, I did find the production to be a bit cacophonous at times, but I still found the music largely enjoyable. The guitar solo in particular was a great taste of what was to come on the album.

Taking things into a more thrashy realm was “Land of Ashes”, which offered a blitzing pace and sound that I felt more similar to Holy Grail than previous Greyhawk releases. Drummer Nate Butler is killing it throughout the track, with some thundering beats on the kit. Again, I found Corso’s vocals to be more than solid, and they continued to grow on me. While a shorter track, at 3:26, it definitely makes the most of its minutes (as the saying goes), and though I still wasn’t quite sold on the production, everything else was clicking for me up to now.

“Take A Stand” offered a more chanty and simplistic style of track, and I don’t think that’s a bad thing. As I’ve said in other reviews, I appreciate versatility and this shows just that. On top of that, something about this track made it feel like an old Greyhawk track (can’t quite explain why or how that is). While featuring a proper shredder of a guitar solo, the track kept things close to its chest and never strayed too far from the formula that this sort of track offers. It felt like a lead single, and while I do contend that it was a solid addition to the album, I can’t quite rate it higher than that just yet. Alas, future relistens may change my perception.

“Endless Race” returned us to that more thrashy (speedy?) realm, with an opening that ripped like crazy. The melodic guitar harmony coming in to accentuate it was a cherry on top. Speaking of melody, the way in which Corso delivers the chorus is simply dripping with magic and majesty. For some reason, I found the production to really work in the track’s favor for this one, though I retain that I think it’s a touch too clean. This wasn’t a long track, clocking in at just over 4 minutes, and it actually felt shorter than it really was, but I really think it worked. Good stuff here.

The first, of a few, more lengthy tracks was the title track “Warriors of Greyhawk”. I loved the slow build-up in the beginning for this one, interspersing old recordings of past Greyhawk tracks (really nice touch!). This one had a really great sense of epic washed over it, and the track itself felt like a sort of homage to Greyhawk’s work up to this point. I think this is a pretty strong way to signify that the band is entering a new era with Anthony Corso at the helm. By this point, I really felt like the production was starting to click with me, and the aforementioned Corso’s vocals were doing the same. At just a few ticks over six minutes, this was a bit on the longer side, but it never felt overly such.

“Words of Power” returned us toward the shorter side of tracks for the album, and for this one I was really enjoying Corso’s vocals. While I felt that the overall instrumentation was a touch simplistic for the majority of its runtime, the guitar solo was a brief showcase of wizardry. Someone that I think many will call an MVP of the album though is definitely drummer Nate Butler, who remains in top-form. However, though the vocals, solo, and drumming, were all great, the track overall run a bit hollow for me.

Next up was “Chosen”, which was a more mid-tempo track that served to dish up some extra variety on the album. At times verging on epic, the track featured Corso delivering vocals that I found highly reminiscent of previous Greyhawk singer Rev Taylor, but not in a derivative way. The addition of the band chanting the chorus behind the voice of Corso only helped to elevate the track up the ladder of grandeur. The riffs were simple, but they had a purpose and a weight behind them, something I find easy to appreciate. Pretty solid song here.

“Hyperspace”, a word which I never know whether to hyphenate or not, began as a fairly standard power metal romp, with a slick opening riff. Corso’s vocals here remind me heavily of someone, but I can’t quite my finger on who exactly it is. It’s not so much his performance as it is his delivery and cadence, it’s so familiar. Insane shred-fest of a guitar solo to really steal the show near the end, great stuff all-round.

“Embers Rise” opened with a riff that reminded me a lot of modern Judas Priest or Vicious Rumors (both underrated eras for both bands). The song itself however felt a tad bit underdeveloped or undercooked. On the whole, it was a solid track in all respects, but it definitely felt a touch too safe for me. However, it was one of the few tracks where I can hear the bass through the production and that makes me appreciate it for that.

Changing things up completely was “Rise Above”, the penultimate track, which began with a nice melodic instrumental section that delivered an almost reflective mood. Corso joined in with a deep delivery of the opening lines, only further ushering the song into higher territory. His control over his vocal chords is seriously impressive, the way he can effortlessly switch between the deep and high pitches. Throughout the track, especially by the midpoint, I began to wonder if it was building towards something. My thoughts and ponderings proved correct when the song came to a crescendo with a pretty nice closing sequence (wherein the guitar from the very beginning returned for a spell).

Finally we come to “Eternal Quest”, which opened with an even more melodic guitar part (this one felt much more 80s ballad inspired, like some Ratt or Krokus). The intro sequence lasted a bit over a minute of good buildup before Corso ushered in the song properly with crisp vocals. In terms of tempo, this one kept things more middle-speed for the majority of its runtime, to the point that I admit, it began to feel a touch long in the tooth. A brief, but sharp, guitar solo breaks things up a bit with a nice band-chant sequence that eventually became part of the background (cool touch!). Though overall, I do feel like the prior track was the stronger of the two 6 minute closers.

Conclusion

Greyhawk’s third album introduces fans and newcomers to the arrival of new vocalist Anthony Corso, who showcases his exemplary talents throughout. While the sound is a bit different when compared to their previous releases, it isn’t a massive jump, but rather a gradual one if you’ve followed them for some time. The AOR influence from previous album, “Thunderheart” is definitely refined and pushed more towards the front. However, I do feel that the production was a touch too clean and crisp, and at times just simply too much- though think that chalks more up to personal taste. Building on that, the album had a tendency to feel hot and then cold, rather than feeling like a consistent flow was there (though I could’ve just been in the wrong headspace for it).

TheNwothm Score: 7.5/10

Links

Bandcamp: https://greyhawkmetal.bandcamp.com/album/warriors-of-greyhawk

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

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

Label: https://www.cruzdelsurmusic.com/

Read More Reviews

• Review: Greyhawk “Warriors of Greyhawk”

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  5th Jan 2026

• Review: Dagger “The First Cuts”

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#americanHeavyMetal #AOR #Boston #CruzDelSuMusic #dio #epicHeavyMetal #greyhawk #HeavyMetal #Journey #JudasPriest #Krokus #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #powerMetal #Ratt #Review #thenwothm #thenwothmCom #VICIOUSRUMORS

Dragon Skull – Chaos Fire Vengeance [Things You Might Have Missed 2025]

By Baguette of Bodom

Greece is a surprising hotbed for power metal-adjacent sounds, providing recent gems such as Sunburst last year and Sacred Outcry’s 2023 masterpiece.1 Dragon Skull is a newcomer to these fields of glory, introducing their burly heavy/power style on their promising self-titled EP as recently as 2022. Now, three years later, they were finally ready to unleash their debut Chaos Fire Vengeance on the world. And oh my, what an entrance it is.

Dragon Skull know how to riff like hell and craft anthemic, cataclysmically heavy tunes. In addition to the fist-pumping Manowar feel the band is going for (“Brethren,” “Skull Crusher”), the songwriting is further guided by the spirit of German power metal, something like Brainstorm further reinforced with later Blind Guardian bombast (“Nampat,” “Blood and Souls”). But what makes the instrumentation incendiary is how guitarists Panos Wallach and Chris Brintzikis take influence from several directions at once. This guarantees plenty of variety through the album’s eight tracks, ranging from the dual-harmonized NWoBHM of “Brethren” to the melodeath/meloblack-informed tremolos on “Shield Maiden.” To top it all off, the pummeling war drums of Teo Stamatiadis and gargantuan vocals of Aris Labos lend maximum grit to an already muscular record.

Chaos Fire Vengeance offers a refreshing mixture of ’80s heavy metal and ’00s power metal. Slower, anthemic annihilation is counterpointed by thunderous fury, often during the same song (“Dragon Riders,” Shield Maiden”). The extra melodic death metal DNA brings with it a welcome burst of harsh vocals as well (“War Drums,” “Skeleton Hand”), and the way it all gels effortlessly is impressive. Despite the amount of various elements and influences in the album, the end result is deceivingly simple and effective. It makes Dragon Skull’s style stand out in a similar way Triumpher’s shtick does, but the increased mass and grit of Chaos Fire Vengeance improves the formula from good to face-melting. Though the first half of the album is already potent, the second half is where the band’s ambitions are fully realized. The hooks in “Nampat” and “Skeleton Hand” are immense, and the gargantuan epic “Blood and Souls” is a serious Song o’ the Year contender. I mean, how can you not love a song with Elric and Tanelorn-themed lyrical homages to Cirith Ungol and Blind Guardian?2

Dragon Skull is single-handedly carrying the power metal torch this year. Sure, it might be more heavy/power, but who’s counting? The songwriting is superbly anthemic, and the band knocked it out of the park on their first try in 42 brief minutes. I’ve had some trouble getting all my writing done late in the year for countless reasons, and this album in particular felt difficult to write deeper analysis for. But maybe it’s not necessary. After all, what is a TYMHM but a long-winded way to say “this album rocks, go check it out?” Sometimes it’s just better to keep things short and simple, and all Chaos Fire Vengeance needs is a damn strong barrage of eight massive tunes. Better yet, it’s a brilliant blueprint Dragon Skull can use to further refine their songcraft.

Tracks to Check Out: “Nampat,” “Skeleton Hand,” and “Blood and Souls.”

#2025 #BlindGuardian #Brainstorm #ChaosFireVengeance #CirithUngol #DragonSkull #EpicHeavyMetal #GreekMetal #HeavyMetal #Manowar #PowerMetal #SacredOutcry #SelfReleased #Sunburst #ThingsYouMightHaveMissed2025 #Triumpher #TYMHM

Dragon Skull – Chaos Fire Vengeance [Things You Might Have Missed 2025]

By Baguette of Bodom

Greece is a surprising hotbed for power metal-adjacent sounds, providing recent gems such as Sunburst last year and Sacred Outcry’s 2023 masterpiece.1 Dragon Skull is a newcomer to these fields of glory, introducing their burly heavy/power style on their promising self-titled EP as recently as 2022. Now, three years later, they were finally ready to unleash their debut Chaos Fire Vengeance on the world. And oh my, what an entrance it is.

Dragon Skull know how to riff like hell and craft anthemic, cataclysmically heavy tunes. In addition to the fist-pumping Manowar feel the band is going for (“Brethren,” “Skull Crusher”), the songwriting is further guided by the spirit of German power metal, something like Brainstorm further reinforced with later Blind Guardian bombast (“Nampat,” “Blood and Souls”). But what makes the instrumentation incendiary is how guitarists Panos Wallach and Chris Brintzikis take influence from several directions at once. This guarantees plenty of variety through the album’s eight tracks, ranging from the dual-harmonized NWoBHM of “Brethren” to the melodeath/meloblack-informed tremolos on “Shield Maiden.” To top it all off, the pummeling war drums of Teo Stamatiadis and gargantuan vocals of Aris Labos lend maximum grit to an already muscular record.

Chaos Fire Vengeance offers a refreshing mixture of ’80s heavy metal and ’00s power metal. Slower, anthemic annihilation is counterpointed by thunderous fury, often during the same song (“Dragon Riders,” Shield Maiden”). The extra melodic death metal DNA brings with it a welcome burst of harsh vocals as well (“War Drums,” “Skeleton Hand”), and the way it all gels effortlessly is impressive. Despite the amount of various elements and influences in the album, the end result is deceivingly simple and effective. It makes Dragon Skull’s style stand out in a similar way Triumpher’s shtick does, but the increased mass and grit of Chaos Fire Vengeance improves the formula from good to face-melting. Though the first half of the album is already potent, the second half is where the band’s ambitions are fully realized. The hooks in “Nampat” and “Skeleton Hand” are immense, and the gargantuan epic “Blood and Souls” is a serious Song o’ the Year contender. I mean, how can you not love a song with Elric and Tanelorn-themed lyrical homages to Cirith Ungol and Blind Guardian?2

Dragon Skull is single-handedly carrying the power metal torch this year. Sure, it might be more heavy/power, but who’s counting? The songwriting is superbly anthemic, and the band knocked it out of the park on their first try in 42 brief minutes. I’ve had some trouble getting all my writing done late in the year for countless reasons, and this album in particular felt difficult to write deeper analysis for. But maybe it’s not necessary. After all, what is a TYMHM but a long-winded way to say “this album rocks, go check it out?” Sometimes it’s just better to keep things short and simple, and all Chaos Fire Vengeance needs is a damn strong barrage of eight massive tunes. Better yet, it’s a brilliant blueprint Dragon Skull can use to further refine their songcraft.

Tracks to Check Out: “Nampat,” “Skeleton Hand,” and “Blood and Souls.”

#2025 #BlindGuardian #Brainstorm #ChaosFireVengeance #CirithUngol #DragonSkull #EpicHeavyMetal #GreekMetal #HeavyMetal #Manowar #PowerMetal #SacredOutcry #SelfReleased #Sunburst #ThingsYouMightHaveMissed2025 #Triumpher #TYMHM

Dragon Skull – Chaos Fire Vengeance [Things You Might Have Missed 2025]

By Baguette of Bodom

Greece is a surprising hotbed for power metal-adjacent sounds, providing recent gems such as Sunburst last year and Sacred Outcry’s 2023 masterpiece.1 Dragon Skull is a newcomer to these fields of glory, introducing their burly heavy/power style on their promising self-titled EP as recently as 2022. Now, three years later, they were finally ready to unleash their debut Chaos Fire Vengeance on the world. And oh my, what an entrance it is.

Dragon Skull know how to riff like hell and craft anthemic, cataclysmically heavy tunes. In addition to the fist-pumping Manowar feel the band is going for (“Brethren,” “Skull Crusher”), the songwriting is further guided by the spirit of German power metal, something like Brainstorm further reinforced with later Blind Guardian bombast (“Nampat,” “Blood and Souls”). But what makes the instrumentation incendiary is how guitarists Panos Wallach and Chris Brintzikis take influence from several directions at once. This guarantees plenty of variety through the album’s eight tracks, ranging from the dual-harmonized NWoBHM of “Brethren” to the melodeath/meloblack-informed tremolos on “Shield Maiden.” To top it all off, the pummeling war drums of Teo Stamatiadis and gargantuan vocals of Aris Labos lend maximum grit to an already muscular record.

Chaos Fire Vengeance offers a refreshing mixture of ’80s heavy metal and ’00s power metal. Slower, anthemic annihilation is counterpointed by thunderous fury, often during the same song (“Dragon Riders,” Shield Maiden”). The extra melodic death metal DNA brings with it a welcome burst of harsh vocals as well (“War Drums,” “Skeleton Hand”), and the way it all gels effortlessly is impressive. Despite the amount of various elements and influences in the album, the end result is deceivingly simple and effective. It makes Dragon Skull’s style stand out in a similar way Triumpher’s shtick does, but the increased mass and grit of Chaos Fire Vengeance improves the formula from good to face-melting. Though the first half of the album is already potent, the second half is where the band’s ambitions are fully realized. The hooks in “Nampat” and “Skeleton Hand” are immense, and the gargantuan epic “Blood and Souls” is a serious Song o’ the Year contender. I mean, how can you not love a song with Elric and Tanelorn-themed lyrical homages to Cirith Ungol and Blind Guardian?2

Dragon Skull is single-handedly carrying the power metal torch this year. Sure, it might be more heavy/power, but who’s counting? The songwriting is superbly anthemic, and the band knocked it out of the park on their first try in 42 brief minutes. I’ve had some trouble getting all my writing done late in the year for countless reasons, and this album in particular felt difficult to write deeper analysis for. But maybe it’s not necessary. After all, what is a TYMHM but a long-winded way to say “this album rocks, go check it out?” Sometimes it’s just better to keep things short and simple, and all Chaos Fire Vengeance needs is a damn strong barrage of eight massive tunes. Better yet, it’s a brilliant blueprint Dragon Skull can use to further refine their songcraft.

Tracks to Check Out: “Nampat,” “Skeleton Hand,” and “Blood and Souls.”

#2025 #BlindGuardian #Brainstorm #ChaosFireVengeance #CirithUngol #DragonSkull #EpicHeavyMetal #GreekMetal #HeavyMetal #Manowar #PowerMetal #SacredOutcry #SelfReleased #Sunburst #ThingsYouMightHaveMissed2025 #Triumpher #TYMHM

Dragon Skull – Chaos Fire Vengeance [Things You Might Have Missed 2025]

By Baguette of Bodom

Greece is a surprising hotbed for power metal-adjacent sounds, providing recent gems such as Sunburst last year and Sacred Outcry’s 2023 masterpiece.1 Dragon Skull is a newcomer to these fields of glory, introducing their burly heavy/power style on their promising self-titled EP as recently as 2022. Now, three years later, they were finally ready to unleash their debut Chaos Fire Vengeance on the world. And oh my, what an entrance it is.

Dragon Skull know how to riff like hell and craft anthemic, cataclysmically heavy tunes. In addition to the fist-pumping Manowar feel the band is going for (“Brethren,” “Skull Crusher”), the songwriting is further guided by the spirit of German power metal, something like Brainstorm further reinforced with later Blind Guardian bombast (“Nampat,” “Blood and Souls”). But what makes the instrumentation incendiary is how guitarists Panos Wallach and Chris Brintzikis take influence from several directions at once. This guarantees plenty of variety through the album’s eight tracks, ranging from the dual-harmonized NWoBHM of “Brethren” to the melodeath/meloblack-informed tremolos on “Shield Maiden.” To top it all off, the pummeling war drums of Teo Stamatiadis and gargantuan vocals of Aris Labos lend maximum grit to an already muscular record.

Chaos Fire Vengeance offers a refreshing mixture of ’80s heavy metal and ’00s power metal. Slower, anthemic annihilation is counterpointed by thunderous fury, often during the same song (“Dragon Riders,” Shield Maiden”). The extra melodic death metal DNA brings with it a welcome burst of harsh vocals as well (“War Drums,” “Skeleton Hand”), and the way it all gels effortlessly is impressive. Despite the amount of various elements and influences in the album, the end result is deceivingly simple and effective. It makes Dragon Skull’s style stand out in a similar way Triumpher’s shtick does, but the increased mass and grit of Chaos Fire Vengeance improves the formula from good to face-melting. Though the first half of the album is already potent, the second half is where the band’s ambitions are fully realized. The hooks in “Nampat” and “Skeleton Hand” are immense, and the gargantuan epic “Blood and Souls” is a serious Song o’ the Year contender. I mean, how can you not love a song with Elric and Tanelorn-themed lyrical homages to Cirith Ungol and Blind Guardian?2

Dragon Skull is single-handedly carrying the power metal torch this year. Sure, it might be more heavy/power, but who’s counting? The songwriting is superbly anthemic, and the band knocked it out of the park on their first try in 42 brief minutes. I’ve had some trouble getting all my writing done late in the year for countless reasons, and this album in particular felt difficult to write deeper analysis for. But maybe it’s not necessary. After all, what is a TYMHM but a long-winded way to say “this album rocks, go check it out?” Sometimes it’s just better to keep things short and simple, and all Chaos Fire Vengeance needs is a damn strong barrage of eight massive tunes. Better yet, it’s a brilliant blueprint Dragon Skull can use to further refine their songcraft.

Tracks to Check Out: “Nampat,” “Skeleton Hand,” and “Blood and Souls.”

#2025 #BlindGuardian #Brainstorm #ChaosFireVengeance #CirithUngol #DragonSkull #EpicHeavyMetal #GreekMetal #HeavyMetal #Manowar #PowerMetal #SacredOutcry #SelfReleased #Sunburst #ThingsYouMightHaveMissed2025 #Triumpher #TYMHM

Dragon Skull – Chaos Fire Vengeance [Things You Might Have Missed 2025]

By Baguette of Bodom

Greece is a surprising hotbed for power metal-adjacent sounds, providing recent gems such as Sunburst last year and Sacred Outcry’s 2023 masterpiece.1 Dragon Skull is a newcomer to these fields of glory, introducing their burly heavy/power style on their promising self-titled EP as recently as 2022. Now, three years later, they were finally ready to unleash their debut Chaos Fire Vengeance on the world. And oh my, what an entrance it is.

Dragon Skull know how to riff like hell and craft anthemic, cataclysmically heavy tunes. In addition to the fist-pumping Manowar feel the band is going for (“Brethren,” “Skull Crusher”), the songwriting is further guided by the spirit of German power metal, something like Brainstorm further reinforced with later Blind Guardian bombast (“Nampat,” “Blood and Souls”). But what makes the instrumentation incendiary is how guitarists Panos Wallach and Chris Brintzikis take influence from several directions at once. This guarantees plenty of variety through the album’s eight tracks, ranging from the dual-harmonized NWoBHM of “Brethren” to the melodeath/meloblack-informed tremolos on “Shield Maiden.” To top it all off, the pummeling war drums of Teo Stamatiadis and gargantuan vocals of Aris Labos lend maximum grit to an already muscular record.

Chaos Fire Vengeance offers a refreshing mixture of ’80s heavy metal and ’00s power metal. Slower, anthemic annihilation is counterpointed by thunderous fury, often during the same song (“Dragon Riders,” Shield Maiden”). The extra melodic death metal DNA brings with it a welcome burst of harsh vocals as well (“War Drums,” “Skeleton Hand”), and the way it all gels effortlessly is impressive. Despite the amount of various elements and influences in the album, the end result is deceivingly simple and effective. It makes Dragon Skull’s style stand out in a similar way Triumpher’s shtick does, but the increased mass and grit of Chaos Fire Vengeance improves the formula from good to face-melting. Though the first half of the album is already potent, the second half is where the band’s ambitions are fully realized. The hooks in “Nampat” and “Skeleton Hand” are immense, and the gargantuan epic “Blood and Souls” is a serious Song o’ the Year contender. I mean, how can you not love a song with Elric and Tanelorn-themed lyrical homages to Cirith Ungol and Blind Guardian?2

Dragon Skull is single-handedly carrying the power metal torch this year. Sure, it might be more heavy/power, but who’s counting? The songwriting is superbly anthemic, and the band knocked it out of the park on their first try in 42 brief minutes. I’ve had some trouble getting all my writing done late in the year for countless reasons, and this album in particular felt difficult to write deeper analysis for. But maybe it’s not necessary. After all, what is a TYMHM but a long-winded way to say “this album rocks, go check it out?” Sometimes it’s just better to keep things short and simple, and all Chaos Fire Vengeance needs is a damn strong barrage of eight massive tunes. Better yet, it’s a brilliant blueprint Dragon Skull can use to further refine their songcraft.

Tracks to Check Out: “Nampat,” “Skeleton Hand,” and “Blood and Souls.”

#2025 #BlindGuardian #Brainstorm #ChaosFireVengeance #CirithUngol #DragonSkull #EpicHeavyMetal #GreekMetal #HeavyMetal #Manowar #PowerMetal #SacredOutcry #SelfReleased #Sunburst #ThingsYouMightHaveMissed2025 #Triumpher #TYMHM

Dolmen Gate – Echoes of Ancient Tales [Things You Might Have Missed 2025]

By Baguette of Bodom

You can never have too many swords. This has always been the truth, and Portugal’s Ravensire was well aware of it, following in the triumphant heavy metal footsteps of fellow countrymen Ironsword for three albums. Even when fate would strike down Ravensire in 2020, drummer Alex and guitarist Nuno1 remained undeterred. They formed a new lineup under the Dolmen Gate banner and got to work immediately. Debut EP Finis Imperii released in 2023, debut album Gateways of Eternity followed last year, and now they are already up to second album Echoes of Ancient Tales merely another year later. While this could seem like rushing things to some, it’s clear to me Dolmen Gate is striking while the iron is hot, and they’re just getting warmed up.

Echoes of Ancient Tales is a direct upgrade over an already strong debut. The core of their sound still channels the epic, riff-forward demeanor of Manilla Road and early Manowar. If you’re familiar with other swordy revival acts like Gatekeeper and the aforementioned Ironsword, you’ll have a good idea of what you’re in for. NWoBHM gallops (“The Maze,” “The Prophecy”) in the vein of Satan further refine the album, increasing its variety and olde cred. Alex furiously pounds the drums while Kiko and Artur duel out riffs for days, utilizing both speedy (“Carthage Eternal”) and stompy (“A Tale of Time’s End”) songwriting philosophies in Cirith Ungol fashion. Ana’s vocals deliver the same smoky, subdued tone that enhances the music and gives the band even more of a standout personality. Better yet, Echoes of Ancient Tales fixes the only real problem I had with the debut: buried vocals. Not only does Ana sing with more confidence and power, her role is also more central and upfront—justifiably so.

Dolmen Gate’s songwriting is growing in strength, and the band is only getting heavier. The early one-two punch of “Souls to Sea” transitioning into “The Maze” alone makes their direction loud and clear, and it shows the band isn’t satisfied just sitting in one corner musically. As always, authenticity is the key factor in revival-style music, and Dolmen Gate passes the test with flying colors. They sound like they have the same influences as their favorite bands but are also aware of their musical surroundings in less olde times. The almighty riff is the most important building block here, and the band knows this well. Guitar and drum patterns from many varieties of heavy metal—and some of its heavier offshoots too—help to craft both catchy anthems (“The Maze,” “Carthage Eternal”) and epic long-form tunes (“Souls to Sea,” “Afore the Storm” into “We Are the Storm”) without missing a beat.

Echoes of Ancient Tales is, without questio,n the best pure heavy metal record of the year. A lot of newer epic heavy metal bands have popped up during the past decade, and many of them have the right idea. But it feels like the change of bands and lineups was the kick the ex-Ravensire folk needed to take that next step. Dolmen Gate is one of the best and most authentic so far, both songwriting and production-wise, while also doing something that’s uniquely theirs. Raise your swords and enter the gate!

Tracks to Check Out: “The Maze,” “A Tale of Time’s End,” and “We Are the Storm.”

#2025 #CirithUngol #DolmenGate #EchoesOfAncientTales #EpicHeavyMetal #Gatekeeper #HeavyMetal #Ironsword #ManillaRoad #Manowar #NoRemorseRecords #PortugueseMetal #Ravensire #Satan #ThingsYouMightHaveMissed2025

STEEL ARCTUS (Grècia) presenta nou àlbum: "Dreamruler" #SteelArctus #EpicHeavyMetal #Novembre2025 #Grècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

STEEL ARCTUS (Grècia) presenta nou àlbum: "Dreamruler" #SteelArctus #EpicHeavyMetal #Novembre2025 #Grècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Review: Tabernacle “The Iron Tabernacle”

Release date: Out Now

Label: Stormspell Records

The Nwothm

Epic power doom with mystical progressive vibes. Formed in 2019, Tabernacle channels the spirit of Manilla Road, Omen, and Viking era Bathory into a sound that is hauntingly melodic and crushingly epic. Emerging from early Judas Priest–inspired roots, the trio of Rayner (guitars and vocals), Jasper (bass), and Shawn (drums) forged a darker path with their 2021 demo Terror in Thrace. Their debut full-length, The Iron Tabernacle, expands that vision with progressive flourishes reminiscent of Fates Warning (The Spectre Within) and Adramelch (Irae Melanox), weaving tales of ancient bloodshed, fallen empires, and spectral tragedy. For fans of Scald, Vendel, and the arcane edge of epic metal.

Release features:

• Jewel Case release with multi-page booklet featuring info, credits, lyrics, band photos
• Debut album by the Middle Eastern epic power doom combo with historical themes and progressive influences
• CD pressing limited to 300 copies worldwide

Review

Treasure Voyages is the intro song on the album and straight away there is an instance of calm. Acoustic guitars come in playing gentle, soft melodies against an airy backdrop and toms and eventually a weird synth which felt a bit out of place. But I love how easy going this intro feels. It almost feels emotions in passing. Great little start

Hannibal’s Crossing comes in like a neanderthal or troll with a club hunting down an enemy. The guitar tones are gritty and the whole low tone of the music gives it this edge, this sinister feel. Imagine riffs that feel meaty, something that you can really sink your teeth into and chew on. This style of heavy metal feels like a reflection of a cave dweller, or something dark that you would not want to cross paths with. In terms of pace the song remains steady throughout keeping everything tight and locked in. It is when the solo hits that the pace drops down to slow swagger helping listeners really get into the riffs. There is am interesting part of the song where the riffs start to break up and bits begin to dissolve where we the bass comes through.

On the Bloodied Fields of Westphalia opens with a flash of drums before dragging us into the riffs. Just like Hannibal’s Crossing everything feels very organic and at the same time slightly eerie. There was a moment where some of the riffs reminded of megadeth’s Five Magics but more earthy which was pretty cool. One vibe I do get from the music is that it feels very casual, a looseness to things and I am not sure if that is a good or bad thing. Almost if you have woken up from sleepless night. The music so far leans into epic/heavy-doom territories giving the music some weight, which to be honest suits the vocal style. Either way the song remains in that mid tempo kind of spot with raw riffs and an authentic feel.

The Curse of Akkad comes in with gliding strings before the rhythms and bass drop in. The music has this hopping feel in terms of the riff delivery adding some character to the music. Sometimes I do get this feeling that things are being pushed or trying to be held together, just down to how loose and relaxed the music is played. I am not sure if that is down to musicianship or the attitude of the members but It feels odd and a bit strange.There just feels like there is a lack of punch and I got this feeling in the last two tracks. The one thing that this song does deliver on is the chorus. The layered vocals and the vocal melody itself sounds very exotic like it is from distant sands. This shows when the creativity spark ignites and shows off what can be achieved.

The Legacy of Malik Ambar starts of with guitar effects before transitioning into the main body of the song. The music itself at times just feels sleepy and mellow in ways yet the rhythms jolt emphasising drum hits. All of this is going on while the bass wonders along in thought projecting its mind out loud. There are some interesting riffs going on but I am waiting for something to jump out and excite me. Maybe I am bias as I am more into faster stuff but even the slow feel of things is not hitting very hard. This is a track of almost 9 minutes and when we approach the second half of the song it feels like it could have been a second song. There is slightly more play in the pacing but the length for me started to burn my interest admittedly. It did pick up towards the end which woke me up slightly but I wished that been more present in the song.

The Dawn Weeps makes me think of of some space bing talking with the subtle strings and organ esque gently playing in the background. The spoken passage definitely captures your attention and is a surprising change in the rhythm of the album. But I am curious how it fits into the whole narrative of the album.

These Crying Seas is the final track on the album and once again takes a mid tempo approach with cascading riffs and rumbling drum ideas. The verses step up with the vocals a little bit as they feel brighter and a bit more creative in direction. In general the music leans on more weighty hungry riffs to drive the song forward. The tempo does pick up and It is a refreshing change in an album which sits predominantly at mid tempo speeds. Either way the riffs still feel dark and creepy which has been the majority of the record. Another solid and straightforward song that takes the album out.

Conclusion

Taken as a whole, the album feels like a band still exploring and developing its sound. There are moments of atmosphere and flashes of creativity, particularly in the choruses and occasional shifts in pacing, but much of the record sits in a mid‑tempo zone that doesn’t always deliver the excitement or punch it seems to reach for. The looseness in performance adds a raw, organic quality, yet at times it drifts into casualness that undercuts the impact. What emerges is a body of work that shows promise and identity in formation, but also leaves the sense that the band’s most compelling statement is still ahead of them.

TheNwothm Score: 7/10

Links

Bandcamp: https://tabernacle-hm.bandcamp.com/album/terror-in-thrace

Facebook: https://www.facebook.com/tabernacle.metal/

Instagram: https://www.instagram.com/tabernaclemetal?utm_source=qr

Label: https://stormspell.bigcartel.com/product/tabernacle-the-iron-tabernacle-cd-preorder

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

Read More Reviews

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

• Review: Ninth Circle – “Anthem of the Immortal”

  12th Nov 2025

#doom #epicHeavyMetal #heavyDoom #HeavyMetal #NewAlbum #NWOTHM #Review #stormspellRecords #Tabernacle #TheIronTabernacle

Review: Tabernacle “The Iron Tabernacle”

Release date: Out Now

Label: Stormspell Records

The Nwothm

Epic power doom with mystical progressive vibes. Formed in 2019, Tabernacle channels the spirit of Manilla Road, Omen, and Viking era Bathory into a sound that is hauntingly melodic and crushingly epic. Emerging from early Judas Priest–inspired roots, the trio of Rayner (guitars and vocals), Jasper (bass), and Shawn (drums) forged a darker path with their 2021 demo Terror in Thrace. Their debut full-length, The Iron Tabernacle, expands that vision with progressive flourishes reminiscent of Fates Warning (The Spectre Within) and Adramelch (Irae Melanox), weaving tales of ancient bloodshed, fallen empires, and spectral tragedy. For fans of Scald, Vendel, and the arcane edge of epic metal.

Release features:

• Jewel Case release with multi-page booklet featuring info, credits, lyrics, band photos
• Debut album by the Middle Eastern epic power doom combo with historical themes and progressive influences
• CD pressing limited to 300 copies worldwide

Review

Treasure Voyages is the intro song on the album and straight away there is an instance of calm. Acoustic guitars come in playing gentle, soft melodies against an airy backdrop and toms and eventually a weird synth which felt a bit out of place. But I love how easy going this intro feels. It almost feels emotions in passing. Great little start

Hannibal’s Crossing comes in like a neanderthal or troll with a club hunting down an enemy. The guitar tones are gritty and the whole low tone of the music gives it this edge, this sinister feel. Imagine riffs that feel meaty, something that you can really sink your teeth into and chew on. This style of heavy metal feels like a reflection of a cave dweller, or something dark that you would not want to cross paths with. In terms of pace the song remains steady throughout keeping everything tight and locked in. It is when the solo hits that the pace drops down to slow swagger helping listeners really get into the riffs. There is am interesting part of the song where the riffs start to break up and bits begin to dissolve where we the bass comes through.

On the Bloodied Fields of Westphalia opens with a flash of drums before dragging us into the riffs. Just like Hannibal’s Crossing everything feels very organic and at the same time slightly eerie. There was a moment where some of the riffs reminded of megadeth’s Five Magics but more earthy which was pretty cool. One vibe I do get from the music is that it feels very casual, a looseness to things and I am not sure if that is a good or bad thing. Almost if you have woken up from sleepless night. The music so far leans into epic/heavy-doom territories giving the music some weight, which to be honest suits the vocal style. Either way the song remains in that mid tempo kind of spot with raw riffs and an authentic feel.

The Curse of Akkad comes in with gliding strings before the rhythms and bass drop in. The music has this hopping feel in terms of the riff delivery adding some character to the music. Sometimes I do get this feeling that things are being pushed or trying to be held together, just down to how loose and relaxed the music is played. I am not sure if that is down to musicianship or the attitude of the members but It feels odd and a bit strange.There just feels like there is a lack of punch and I got this feeling in the last two tracks. The one thing that this song does deliver on is the chorus. The layered vocals and the vocal melody itself sounds very exotic like it is from distant sands. This shows when the creativity spark ignites and shows off what can be achieved.

The Legacy of Malik Ambar starts of with guitar effects before transitioning into the main body of the song. The music itself at times just feels sleepy and mellow in ways yet the rhythms jolt emphasising drum hits. All of this is going on while the bass wonders along in thought projecting its mind out loud. There are some interesting riffs going on but I am waiting for something to jump out and excite me. Maybe I am bias as I am more into faster stuff but even the slow feel of things is not hitting very hard. This is a track of almost 9 minutes and when we approach the second half of the song it feels like it could have been a second song. There is slightly more play in the pacing but the length for me started to burn my interest admittedly. It did pick up towards the end which woke me up slightly but I wished that been more present in the song.

The Dawn Weeps makes me think of of some space bing talking with the subtle strings and organ esque gently playing in the background. The spoken passage definitely captures your attention and is a surprising change in the rhythm of the album. But I am curious how it fits into the whole narrative of the album.

These Crying Seas is the final track on the album and once again takes a mid tempo approach with cascading riffs and rumbling drum ideas. The verses step up with the vocals a little bit as they feel brighter and a bit more creative in direction. In general the music leans on more weighty hungry riffs to drive the song forward. The tempo does pick up and It is a refreshing change in an album which sits predominantly at mid tempo speeds. Either way the riffs still feel dark and creepy which has been the majority of the record. Another solid and straightforward song that takes the album out.

Conclusion

Taken as a whole, the album feels like a band still exploring and developing its sound. There are moments of atmosphere and flashes of creativity, particularly in the choruses and occasional shifts in pacing, but much of the record sits in a mid‑tempo zone that doesn’t always deliver the excitement or punch it seems to reach for. The looseness in performance adds a raw, organic quality, yet at times it drifts into casualness that undercuts the impact. What emerges is a body of work that shows promise and identity in formation, but also leaves the sense that the band’s most compelling statement is still ahead of them.

TheNwothm Score: 7/10

Links

Bandcamp: https://tabernacle-hm.bandcamp.com/album/terror-in-thrace

Facebook: https://www.facebook.com/tabernacle.metal/

Instagram: https://www.instagram.com/tabernaclemetal?utm_source=qr

Label: https://stormspell.bigcartel.com/product/tabernacle-the-iron-tabernacle-cd-preorder

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

Read More Reviews

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

• Review: Ninth Circle – “Anthem of the Immortal”

  12th Nov 2025

#doom #epicHeavyMetal #heavyDoom #HeavyMetal #NewAlbum #NWOTHM #Review #stormspellRecords #Tabernacle #TheIronTabernacle

Review: Tabernacle “The Iron Tabernacle”

Release date: Out Now

Label: Stormspell Records

The Nwothm

Epic power doom with mystical progressive vibes. Formed in 2019, Tabernacle channels the spirit of Manilla Road, Omen, and Viking era Bathory into a sound that is hauntingly melodic and crushingly epic. Emerging from early Judas Priest–inspired roots, the trio of Rayner (guitars and vocals), Jasper (bass), and Shawn (drums) forged a darker path with their 2021 demo Terror in Thrace. Their debut full-length, The Iron Tabernacle, expands that vision with progressive flourishes reminiscent of Fates Warning (The Spectre Within) and Adramelch (Irae Melanox), weaving tales of ancient bloodshed, fallen empires, and spectral tragedy. For fans of Scald, Vendel, and the arcane edge of epic metal.

Release features:

• Jewel Case release with multi-page booklet featuring info, credits, lyrics, band photos
• Debut album by the Middle Eastern epic power doom combo with historical themes and progressive influences
• CD pressing limited to 300 copies worldwide

Review

Treasure Voyages is the intro song on the album and straight away there is an instance of calm. Acoustic guitars come in playing gentle, soft melodies against an airy backdrop and toms and eventually a weird synth which felt a bit out of place. But I love how easy going this intro feels. It almost feels emotions in passing. Great little start

Hannibal’s Crossing comes in like a neanderthal or troll with a club hunting down an enemy. The guitar tones are gritty and the whole low tone of the music gives it this edge, this sinister feel. Imagine riffs that feel meaty, something that you can really sink your teeth into and chew on. This style of heavy metal feels like a reflection of a cave dweller, or something dark that you would not want to cross paths with. In terms of pace the song remains steady throughout keeping everything tight and locked in. It is when the solo hits that the pace drops down to slow swagger helping listeners really get into the riffs. There is am interesting part of the song where the riffs start to break up and bits begin to dissolve where we the bass comes through.

On the Bloodied Fields of Westphalia opens with a flash of drums before dragging us into the riffs. Just like Hannibal’s Crossing everything feels very organic and at the same time slightly eerie. There was a moment where some of the riffs reminded of megadeth’s Five Magics but more earthy which was pretty cool. One vibe I do get from the music is that it feels very casual, a looseness to things and I am not sure if that is a good or bad thing. Almost if you have woken up from sleepless night. The music so far leans into epic/heavy-doom territories giving the music some weight, which to be honest suits the vocal style. Either way the song remains in that mid tempo kind of spot with raw riffs and an authentic feel.

The Curse of Akkad comes in with gliding strings before the rhythms and bass drop in. The music has this hopping feel in terms of the riff delivery adding some character to the music. Sometimes I do get this feeling that things are being pushed or trying to be held together, just down to how loose and relaxed the music is played. I am not sure if that is down to musicianship or the attitude of the members but It feels odd and a bit strange.There just feels like there is a lack of punch and I got this feeling in the last two tracks. The one thing that this song does deliver on is the chorus. The layered vocals and the vocal melody itself sounds very exotic like it is from distant sands. This shows when the creativity spark ignites and shows off what can be achieved.

The Legacy of Malik Ambar starts of with guitar effects before transitioning into the main body of the song. The music itself at times just feels sleepy and mellow in ways yet the rhythms jolt emphasising drum hits. All of this is going on while the bass wonders along in thought projecting its mind out loud. There are some interesting riffs going on but I am waiting for something to jump out and excite me. Maybe I am bias as I am more into faster stuff but even the slow feel of things is not hitting very hard. This is a track of almost 9 minutes and when we approach the second half of the song it feels like it could have been a second song. There is slightly more play in the pacing but the length for me started to burn my interest admittedly. It did pick up towards the end which woke me up slightly but I wished that been more present in the song.

The Dawn Weeps makes me think of of some space bing talking with the subtle strings and organ esque gently playing in the background. The spoken passage definitely captures your attention and is a surprising change in the rhythm of the album. But I am curious how it fits into the whole narrative of the album.

These Crying Seas is the final track on the album and once again takes a mid tempo approach with cascading riffs and rumbling drum ideas. The verses step up with the vocals a little bit as they feel brighter and a bit more creative in direction. In general the music leans on more weighty hungry riffs to drive the song forward. The tempo does pick up and It is a refreshing change in an album which sits predominantly at mid tempo speeds. Either way the riffs still feel dark and creepy which has been the majority of the record. Another solid and straightforward song that takes the album out.

Conclusion

Taken as a whole, the album feels like a band still exploring and developing its sound. There are moments of atmosphere and flashes of creativity, particularly in the choruses and occasional shifts in pacing, but much of the record sits in a mid‑tempo zone that doesn’t always deliver the excitement or punch it seems to reach for. The looseness in performance adds a raw, organic quality, yet at times it drifts into casualness that undercuts the impact. What emerges is a body of work that shows promise and identity in formation, but also leaves the sense that the band’s most compelling statement is still ahead of them.

TheNwothm Score: 7/10

Links

Bandcamp: https://tabernacle-hm.bandcamp.com/album/terror-in-thrace

Facebook: https://www.facebook.com/tabernacle.metal/

Instagram: https://www.instagram.com/tabernaclemetal?utm_source=qr

Label: https://stormspell.bigcartel.com/product/tabernacle-the-iron-tabernacle-cd-preorder

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

Read More Reviews

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

• Review: Ninth Circle – “Anthem of the Immortal”

  12th Nov 2025

#doom #epicHeavyMetal #heavyDoom #HeavyMetal #NewAlbum #NWOTHM #Review #stormspellRecords #Tabernacle #TheIronTabernacle

Review: Tabernacle “The Iron Tabernacle”

Release date: Out Now

Label: Stormspell Records

The Nwothm

Epic power doom with mystical progressive vibes. Formed in 2019, Tabernacle channels the spirit of Manilla Road, Omen, and Viking era Bathory into a sound that is hauntingly melodic and crushingly epic. Emerging from early Judas Priest–inspired roots, the trio of Rayner (guitars and vocals), Jasper (bass), and Shawn (drums) forged a darker path with their 2021 demo Terror in Thrace. Their debut full-length, The Iron Tabernacle, expands that vision with progressive flourishes reminiscent of Fates Warning (The Spectre Within) and Adramelch (Irae Melanox), weaving tales of ancient bloodshed, fallen empires, and spectral tragedy. For fans of Scald, Vendel, and the arcane edge of epic metal.

Release features:

• Jewel Case release with multi-page booklet featuring info, credits, lyrics, band photos
• Debut album by the Middle Eastern epic power doom combo with historical themes and progressive influences
• CD pressing limited to 300 copies worldwide

Review

Treasure Voyages is the intro song on the album and straight away there is an instance of calm. Acoustic guitars come in playing gentle, soft melodies against an airy backdrop and toms and eventually a weird synth which felt a bit out of place. But I love how easy going this intro feels. It almost feels emotions in passing. Great little start

Hannibal’s Crossing comes in like a neanderthal or troll with a club hunting down an enemy. The guitar tones are gritty and the whole low tone of the music gives it this edge, this sinister feel. Imagine riffs that feel meaty, something that you can really sink your teeth into and chew on. This style of heavy metal feels like a reflection of a cave dweller, or something dark that you would not want to cross paths with. In terms of pace the song remains steady throughout keeping everything tight and locked in. It is when the solo hits that the pace drops down to slow swagger helping listeners really get into the riffs. There is am interesting part of the song where the riffs start to break up and bits begin to dissolve where we the bass comes through.

On the Bloodied Fields of Westphalia opens with a flash of drums before dragging us into the riffs. Just like Hannibal’s Crossing everything feels very organic and at the same time slightly eerie. There was a moment where some of the riffs reminded of megadeth’s Five Magics but more earthy which was pretty cool. One vibe I do get from the music is that it feels very casual, a looseness to things and I am not sure if that is a good or bad thing. Almost if you have woken up from sleepless night. The music so far leans into epic/heavy-doom territories giving the music some weight, which to be honest suits the vocal style. Either way the song remains in that mid tempo kind of spot with raw riffs and an authentic feel.

The Curse of Akkad comes in with gliding strings before the rhythms and bass drop in. The music has this hopping feel in terms of the riff delivery adding some character to the music. Sometimes I do get this feeling that things are being pushed or trying to be held together, just down to how loose and relaxed the music is played. I am not sure if that is down to musicianship or the attitude of the members but It feels odd and a bit strange.There just feels like there is a lack of punch and I got this feeling in the last two tracks. The one thing that this song does deliver on is the chorus. The layered vocals and the vocal melody itself sounds very exotic like it is from distant sands. This shows when the creativity spark ignites and shows off what can be achieved.

The Legacy of Malik Ambar starts of with guitar effects before transitioning into the main body of the song. The music itself at times just feels sleepy and mellow in ways yet the rhythms jolt emphasising drum hits. All of this is going on while the bass wonders along in thought projecting its mind out loud. There are some interesting riffs going on but I am waiting for something to jump out and excite me. Maybe I am bias as I am more into faster stuff but even the slow feel of things is not hitting very hard. This is a track of almost 9 minutes and when we approach the second half of the song it feels like it could have been a second song. There is slightly more play in the pacing but the length for me started to burn my interest admittedly. It did pick up towards the end which woke me up slightly but I wished that been more present in the song.

The Dawn Weeps makes me think of of some space bing talking with the subtle strings and organ esque gently playing in the background. The spoken passage definitely captures your attention and is a surprising change in the rhythm of the album. But I am curious how it fits into the whole narrative of the album.

These Crying Seas is the final track on the album and once again takes a mid tempo approach with cascading riffs and rumbling drum ideas. The verses step up with the vocals a little bit as they feel brighter and a bit more creative in direction. In general the music leans on more weighty hungry riffs to drive the song forward. The tempo does pick up and It is a refreshing change in an album which sits predominantly at mid tempo speeds. Either way the riffs still feel dark and creepy which has been the majority of the record. Another solid and straightforward song that takes the album out.

Conclusion

Taken as a whole, the album feels like a band still exploring and developing its sound. There are moments of atmosphere and flashes of creativity, particularly in the choruses and occasional shifts in pacing, but much of the record sits in a mid‑tempo zone that doesn’t always deliver the excitement or punch it seems to reach for. The looseness in performance adds a raw, organic quality, yet at times it drifts into casualness that undercuts the impact. What emerges is a body of work that shows promise and identity in formation, but also leaves the sense that the band’s most compelling statement is still ahead of them.

TheNwothm Score: 7/10

Links

Bandcamp: https://tabernacle-hm.bandcamp.com/album/terror-in-thrace

Facebook: https://www.facebook.com/tabernacle.metal/

Instagram: https://www.instagram.com/tabernaclemetal?utm_source=qr

Label: https://stormspell.bigcartel.com/product/tabernacle-the-iron-tabernacle-cd-preorder

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

Read More Reviews

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

• Review: Ninth Circle – “Anthem of the Immortal”

  12th Nov 2025

#doom #epicHeavyMetal #heavyDoom #HeavyMetal #NewAlbum #NWOTHM #Review #stormspellRecords #Tabernacle #TheIronTabernacle

Review: Tabernacle “The Iron Tabernacle”

Release date: Out Now

Label: Stormspell Records

The Nwothm

Epic power doom with mystical progressive vibes. Formed in 2019, Tabernacle channels the spirit of Manilla Road, Omen, and Viking era Bathory into a sound that is hauntingly melodic and crushingly epic. Emerging from early Judas Priest–inspired roots, the trio of Rayner (guitars and vocals), Jasper (bass), and Shawn (drums) forged a darker path with their 2021 demo Terror in Thrace. Their debut full-length, The Iron Tabernacle, expands that vision with progressive flourishes reminiscent of Fates Warning (The Spectre Within) and Adramelch (Irae Melanox), weaving tales of ancient bloodshed, fallen empires, and spectral tragedy. For fans of Scald, Vendel, and the arcane edge of epic metal.

Release features:

• Jewel Case release with multi-page booklet featuring info, credits, lyrics, band photos
• Debut album by the Middle Eastern epic power doom combo with historical themes and progressive influences
• CD pressing limited to 300 copies worldwide

Review

Treasure Voyages is the intro song on the album and straight away there is an instance of calm. Acoustic guitars come in playing gentle, soft melodies against an airy backdrop and toms and eventually a weird synth which felt a bit out of place. But I love how easy going this intro feels. It almost feels emotions in passing. Great little start

Hannibal’s Crossing comes in like a neanderthal or troll with a club hunting down an enemy. The guitar tones are gritty and the whole low tone of the music gives it this edge, this sinister feel. Imagine riffs that feel meaty, something that you can really sink your teeth into and chew on. This style of heavy metal feels like a reflection of a cave dweller, or something dark that you would not want to cross paths with. In terms of pace the song remains steady throughout keeping everything tight and locked in. It is when the solo hits that the pace drops down to slow swagger helping listeners really get into the riffs. There is am interesting part of the song where the riffs start to break up and bits begin to dissolve where we the bass comes through.

On the Bloodied Fields of Westphalia opens with a flash of drums before dragging us into the riffs. Just like Hannibal’s Crossing everything feels very organic and at the same time slightly eerie. There was a moment where some of the riffs reminded of megadeth’s Five Magics but more earthy which was pretty cool. One vibe I do get from the music is that it feels very casual, a looseness to things and I am not sure if that is a good or bad thing. Almost if you have woken up from sleepless night. The music so far leans into epic/heavy-doom territories giving the music some weight, which to be honest suits the vocal style. Either way the song remains in that mid tempo kind of spot with raw riffs and an authentic feel.

The Curse of Akkad comes in with gliding strings before the rhythms and bass drop in. The music has this hopping feel in terms of the riff delivery adding some character to the music. Sometimes I do get this feeling that things are being pushed or trying to be held together, just down to how loose and relaxed the music is played. I am not sure if that is down to musicianship or the attitude of the members but It feels odd and a bit strange.There just feels like there is a lack of punch and I got this feeling in the last two tracks. The one thing that this song does deliver on is the chorus. The layered vocals and the vocal melody itself sounds very exotic like it is from distant sands. This shows when the creativity spark ignites and shows off what can be achieved.

The Legacy of Malik Ambar starts of with guitar effects before transitioning into the main body of the song. The music itself at times just feels sleepy and mellow in ways yet the rhythms jolt emphasising drum hits. All of this is going on while the bass wonders along in thought projecting its mind out loud. There are some interesting riffs going on but I am waiting for something to jump out and excite me. Maybe I am bias as I am more into faster stuff but even the slow feel of things is not hitting very hard. This is a track of almost 9 minutes and when we approach the second half of the song it feels like it could have been a second song. There is slightly more play in the pacing but the length for me started to burn my interest admittedly. It did pick up towards the end which woke me up slightly but I wished that been more present in the song.

The Dawn Weeps makes me think of of some space bing talking with the subtle strings and organ esque gently playing in the background. The spoken passage definitely captures your attention and is a surprising change in the rhythm of the album. But I am curious how it fits into the whole narrative of the album.

These Crying Seas is the final track on the album and once again takes a mid tempo approach with cascading riffs and rumbling drum ideas. The verses step up with the vocals a little bit as they feel brighter and a bit more creative in direction. In general the music leans on more weighty hungry riffs to drive the song forward. The tempo does pick up and It is a refreshing change in an album which sits predominantly at mid tempo speeds. Either way the riffs still feel dark and creepy which has been the majority of the record. Another solid and straightforward song that takes the album out.

Conclusion

Taken as a whole, the album feels like a band still exploring and developing its sound. There are moments of atmosphere and flashes of creativity, particularly in the choruses and occasional shifts in pacing, but much of the record sits in a mid‑tempo zone that doesn’t always deliver the excitement or punch it seems to reach for. The looseness in performance adds a raw, organic quality, yet at times it drifts into casualness that undercuts the impact. What emerges is a body of work that shows promise and identity in formation, but also leaves the sense that the band’s most compelling statement is still ahead of them.

TheNwothm Score: 7/10

Links

Bandcamp: https://tabernacle-hm.bandcamp.com/album/terror-in-thrace

Facebook: https://www.facebook.com/tabernacle.metal/

Instagram: https://www.instagram.com/tabernaclemetal?utm_source=qr

Label: https://stormspell.bigcartel.com/product/tabernacle-the-iron-tabernacle-cd-preorder

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

Read More Reviews

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

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  12th Nov 2025

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Black Soul Horde – Symphony of Chaos Review

By Steel Druhm

Has it really been 4 years since Horrors from the Void dropped? The third full-length from Greek trve metal/power unit Black Soul Horde was a rollicking, rowdy mash-up of 80s traditional metal, power, and all things trve. Old-timey Manilla Road influences coexisted alongside Agent Steel and Jag Panzer idioms, and newer retro acts like Visigoth and Eternal Champion. This was more than an olde head like Yours Steely could resist, and the fun factor and broad sword quotient got it stamped with a fat 4.0. Now we get the follow-up, which has some mighty big war booties to fill. The Horde haven’t changed their approach for Symphony of Chaos, so all the same elements are in place and ready to rake for our hearts, minds, and black souls. Will the siege equipment be as stout and formidable this time? Let’s kick those wooden tires and see what we’re dealing with here.

Things kick off to a gloriously 80s start with “Lady of Shadows,” which at once reminds me of Crimson Glory and Trial (Sweden), with a spicy coating of Eternal Champion’s loincloth. It’s instantly catchy and enjoyable, fusing the best bits of classic 80s metal and Euro-power for a sound that’s tougher and sturdier than you’d expect. Jim Kotsis tops it all with his odd, high-register, nasal-as-fook vocals. “What the Night Invokes” keeps that good times rolling with hints of Sanctuary and a bigger dose of Eternal Champion. I’m not sure what Kotsis is singing about, but it sounds like he keeps hailing Mole Man or Moth Man, and either way, I support it. When “A Scream in the Snow” hits, things reach the next level. This is such a classic throwback metal tune that it shakes my primate brain into fatty mush and makes me want to throw ape cake at friends and foes alike. If you aren’t sharpening your raiding axe by the halfway point, I don’t want your weak ass on my Viking Cruise. The riffs have teeth, and Kotsis provides just the right blend of machismo and gloss as he takes the chorus to the house.

I’ll say this about Symphony of Chaos: the hits just keep on coming. “The Creatures of the Night” is another stellar slab of classic metal with a power metal infusion. The badass and bitey guitar work reminds me of Wolf, and there’s just the right punch and hook factor to sell it like cheese-coated bacon. “Wrath of the Pharaohs” is an absolute snobberknocker of trve metal wonder merging early Annihilator vibes with Steel Prophet dramatic bombast. “Death’s Parade” is another headbanger’s delight where Kotsis uncorks death vocals at key moments, and the chorus is grand and mighty. The album is pretty damn consistent, with only “Julian Graves” and closer “Dance of the Eternal Shadows” sinking below the high level of their peers slightly. At a tight 43-plus minutes and with all songs in the 3-5 minute window, things move and groove with urgency and pop.

Costas P. and John T. bring a lively and potent guitar magic to the material, tossing out beefy 80s riffs and seasoning them with power frills and trve grit as needed. There are plenty of inspired moments that greatly elevate songs, and they have a knack for bringing the right amount of heavy metal thunder at key junctures. Jim Kotsis continues to impress with his odd but versatile vocals. Sometimes a dead ringer for Lance King (ex-Pyramaze, ex-Balance of Power), other times quite like Jason Tarpey (Eternal Champion), with Warrel Dane-isms popping up too, he’s got the kind of voice that’s perfectly suited to what Black Soul Horde are doing. As with Horrors from the Void, it’s the slick songcraft that wins the day and takes this from a cute retro rocker to that next level of essential metal.

Symphony of Chaos is one of the most consistently entertaining “heavy metal” albums of 2025, and were it not for a few minor step-downs in writing, this would be another 4.0. Honestly, it almost got there anyway. There are great cuts here, and enough pure metal glory to fill the hearts of the faithful. Black Soul Horde have that “it” factor and know how to deliver the retro metal goods better than most, and Symphony of Chaos is another testament to their mastery of the olden ways. Get this shaggy altered beast in your ears and run with the pack.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 256 kbps mp3
Label: Vinyl Store
Websites: blacksoulhorde.bandcamp.com | facebook.com/blacksoulhorde | instagram.com/blacksoulhorde
Releases Worldwide: October 31st, 2025

#35 #BlackSoulHorde #CrimsonGlory #EpicHeavyMetal #EternalChampion #GreekMetal #HeavyMetal #HorrorsFromTheVoid #Oct25 #PowerMetal #Review #Reviews #SymphonyOfChaos #Trial #VinylStore

Black Soul Horde – Symphony of Chaos Review

By Steel Druhm

Has it really been 4 years since Horrors from the Void dropped? The third full-length from Greek trve metal/power unit Black Soul Horde was a rollicking, rowdy mash-up of 80s traditional metal, power, and all things trve. Old-timey Manilla Road influences coexisted alongside Agent Steel and Jag Panzer idioms, and newer retro acts like Visigoth and Eternal Champion. This was more than an olde head like Yours Steely could resist, and the fun factor and broad sword quotient got it stamped with a fat 4.0. Now we get the follow-up, which has some mighty big war booties to fill. The Horde haven’t changed their approach for Symphony of Chaos, so all the same elements are in place and ready to rake for our hearts, minds, and black souls. Will the siege equipment be as stout and formidable this time? Let’s kick those wooden tires and see what we’re dealing with here.

Things kick off to a gloriously 80s start with “Lady of Shadows,” which at once reminds me of Crimson Glory and Trial (Sweden), with a spicy coating of Eternal Champion’s loincloth. It’s instantly catchy and enjoyable, fusing the best bits of classic 80s metal and Euro-power for a sound that’s tougher and sturdier than you’d expect. Jim Kotsis tops it all with his odd, high-register, nasal-as-fook vocals. “What the Night Invokes” keeps that good times rolling with hints of Sanctuary and a bigger dose of Eternal Champion. I’m not sure what Kotsis is singing about, but it sounds like he keeps hailing Mole Man or Moth Man, and either way, I support it. When “A Scream in the Snow” hits, things reach the next level. This is such a classic throwback metal tune that it shakes my primate brain into fatty mush and makes me want to throw ape cake at friends and foes alike. If you aren’t sharpening your raiding axe by the halfway point, I don’t want your weak ass on my Viking Cruise. The riffs have teeth, and Kotsis provides just the right blend of machismo and gloss as he takes the chorus to the house.

I’ll say this about Symphony of Chaos: the hits just keep on coming. “The Creatures of the Night” is another stellar slab of classic metal with a power metal infusion. The badass and bitey guitar work reminds me of Wolf, and there’s just the right punch and hook factor to sell it like cheese-coated bacon. “Wrath of the Pharaohs” is an absolute snobberknocker of trve metal wonder merging early Annihilator vibes with Steel Prophet dramatic bombast. “Death’s Parade” is another headbanger’s delight where Kotsis uncorks death vocals at key moments, and the chorus is grand and mighty. The album is pretty damn consistent, with only “Julian Graves” and closer “Dance of the Eternal Shadows” sinking below the high level of their peers slightly. At a tight 43-plus minutes and with all songs in the 3-5 minute window, things move and groove with urgency and pop.

Costas P. and John T. bring a lively and potent guitar magic to the material, tossing out beefy 80s riffs and seasoning them with power frills and trve grit as needed. There are plenty of inspired moments that greatly elevate songs, and they have a knack for bringing the right amount of heavy metal thunder at key junctures. Jim Kotsis continues to impress with his odd but versatile vocals. Sometimes a dead ringer for Lance King (ex-Pyramaze, ex-Balance of Power), other times quite like Jason Tarpey (Eternal Champion), with Warrel Dane-isms popping up too, he’s got the kind of voice that’s perfectly suited to what Black Soul Horde are doing. As with Horrors from the Void, it’s the slick songcraft that wins the day and takes this from a cute retro rocker to that next level of essential metal.

Symphony of Chaos is one of the most consistently entertaining “heavy metal” albums of 2025, and were it not for a few minor step-downs in writing, this would be another 4.0. Honestly, it almost got there anyway. There are great cuts here, and enough pure metal glory to fill the hearts of the faithful. Black Soul Horde have that “it” factor and know how to deliver the retro metal goods better than most, and Symphony of Chaos is another testament to their mastery of the olden ways. Get this shaggy altered beast in your ears and run with the pack.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 256 kbps mp3
Label: Vinyl Store
Websites: blacksoulhorde.bandcamp.com | facebook.com/blacksoulhorde | instagram.com/blacksoulhorde
Releases Worldwide: October 31st, 2025

#35 #BlackSoulHorde #CrimsonGlory #EpicHeavyMetal #EternalChampion #GreekMetal #HeavyMetal #HorrorsFromTheVoid #Oct25 #PowerMetal #Review #Reviews #SymphonyOfChaos #Trial #VinylStore

Black Soul Horde – Symphony of Chaos Review

By Steel Druhm

Has it really been 4 years since Horrors from the Void dropped? The third full-length from Greek trve metal/power unit Black Soul Horde was a rollicking, rowdy mash-up of 80s traditional metal, power, and all things trve. Old-timey Manilla Road influences coexisted alongside Agent Steel and Jag Panzer idioms, and newer retro acts like Visigoth and Eternal Champion. This was more than an olde head like Yours Steely could resist, and the fun factor and broad sword quotient got it stamped with a fat 4.0. Now we get the follow-up, which has some mighty big war booties to fill. The Horde haven’t changed their approach for Symphony of Chaos, so all the same elements are in place and ready to rake for our hearts, minds, and black souls. Will the siege equipment be as stout and formidable this time? Let’s kick those wooden tires and see what we’re dealing with here.

Things kick off to a gloriously 80s start with “Lady of Shadows,” which at once reminds me of Crimson Glory and Trial (Sweden), with a spicy coating of Eternal Champion’s loincloth. It’s instantly catchy and enjoyable, fusing the best bits of classic 80s metal and Euro-power for a sound that’s tougher and sturdier than you’d expect. Jim Kotsis tops it all with his odd, high-register, nasal-as-fook vocals. “What the Night Invokes” keeps that good times rolling with hints of Sanctuary and a bigger dose of Eternal Champion. I’m not sure what Kotsis is singing about, but it sounds like he keeps hailing Mole Man or Moth Man, and either way, I support it. When “A Scream in the Snow” hits, things reach the next level. This is such a classic throwback metal tune that it shakes my primate brain into fatty mush and makes me want to throw ape cake at friends and foes alike. If you aren’t sharpening your raiding axe by the halfway point, I don’t want your weak ass on my Viking Cruise. The riffs have teeth, and Kotsis provides just the right blend of machismo and gloss as he takes the chorus to the house.

I’ll say this about Symphony of Chaos: the hits just keep on coming. “The Creatures of the Night” is another stellar slab of classic metal with a power metal infusion. The badass and bitey guitar work reminds me of Wolf, and there’s just the right punch and hook factor to sell it like cheese-coated bacon. “Wrath of the Pharaohs” is an absolute snobberknocker of trve metal wonder merging early Annihilator vibes with Steel Prophet dramatic bombast. “Death’s Parade” is another headbanger’s delight where Kotsis uncorks death vocals at key moments, and the chorus is grand and mighty. The album is pretty damn consistent, with only “Julian Graves” and closer “Dance of the Eternal Shadows” sinking below the high level of their peers slightly. At a tight 43-plus minutes and with all songs in the 3-5 minute window, things move and groove with urgency and pop.

Costas P. and John T. bring a lively and potent guitar magic to the material, tossing out beefy 80s riffs and seasoning them with power frills and trve grit as needed. There are plenty of inspired moments that greatly elevate songs, and they have a knack for bringing the right amount of heavy metal thunder at key junctures. Jim Kotsis continues to impress with his odd but versatile vocals. Sometimes a dead ringer for Lance King (ex-Pyramaze, ex-Balance of Power), other times quite like Jason Tarpey (Eternal Champion), with Warrel Dane-isms popping up too, he’s got the kind of voice that’s perfectly suited to what Black Soul Horde are doing. As with Horrors from the Void, it’s the slick songcraft that wins the day and takes this from a cute retro rocker to that next level of essential metal.

Symphony of Chaos is one of the most consistently entertaining “heavy metal” albums of 2025, and were it not for a few minor step-downs in writing, this would be another 4.0. Honestly, it almost got there anyway. There are great cuts here, and enough pure metal glory to fill the hearts of the faithful. Black Soul Horde have that “it” factor and know how to deliver the retro metal goods better than most, and Symphony of Chaos is another testament to their mastery of the olden ways. Get this shaggy altered beast in your ears and run with the pack.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 256 kbps mp3
Label: Vinyl Store
Websites: blacksoulhorde.bandcamp.com | facebook.com/blacksoulhorde | instagram.com/blacksoulhorde
Releases Worldwide: October 31st, 2025

#35 #BlackSoulHorde #CrimsonGlory #EpicHeavyMetal #EternalChampion #GreekMetal #HeavyMetal #HorrorsFromTheVoid #Oct25 #PowerMetal #Review #Reviews #SymphonyOfChaos #Trial #VinylStore

Black Soul Horde – Symphony of Chaos Review

By Steel Druhm

Has it really been 4 years since Horrors from the Void dropped? The third full-length from Greek trve metal/power unit Black Soul Horde was a rollicking, rowdy mash-up of 80s traditional metal, power, and all things trve. Old-timey Manilla Road influences coexisted alongside Agent Steel and Jag Panzer idioms, and newer retro acts like Visigoth and Eternal Champion. This was more than an olde head like Yours Steely could resist, and the fun factor and broad sword quotient got it stamped with a fat 4.0. Now we get the follow-up, which has some mighty big war booties to fill. The Horde haven’t changed their approach for Symphony of Chaos, so all the same elements are in place and ready to rake for our hearts, minds, and black souls. Will the siege equipment be as stout and formidable this time? Let’s kick those wooden tires and see what we’re dealing with here.

Things kick off to a gloriously 80s start with “Lady of Shadows,” which at once reminds me of Crimson Glory and Trial (Sweden), with a spicy coating of Eternal Champion’s loincloth. It’s instantly catchy and enjoyable, fusing the best bits of classic 80s metal and Euro-power for a sound that’s tougher and sturdier than you’d expect. Jim Kotsis tops it all with his odd, high-register, nasal-as-fook vocals. “What the Night Invokes” keeps that good times rolling with hints of Sanctuary and a bigger dose of Eternal Champion. I’m not sure what Kotsis is singing about, but it sounds like he keeps hailing Mole Man or Moth Man, and either way, I support it. When “A Scream in the Snow” hits, things reach the next level. This is such a classic throwback metal tune that it shakes my primate brain into fatty mush and makes me want to throw ape cake at friends and foes alike. If you aren’t sharpening your raiding axe by the halfway point, I don’t want your weak ass on my Viking Cruise. The riffs have teeth, and Kotsis provides just the right blend of machismo and gloss as he takes the chorus to the house.

I’ll say this about Symphony of Chaos: the hits just keep on coming. “The Creatures of the Night” is another stellar slab of classic metal with a power metal infusion. The badass and bitey guitar work reminds me of Wolf, and there’s just the right punch and hook factor to sell it like cheese-coated bacon. “Wrath of the Pharaohs” is an absolute snobberknocker of trve metal wonder merging early Annihilator vibes with Steel Prophet dramatic bombast. “Death’s Parade” is another headbanger’s delight where Kotsis uncorks death vocals at key moments, and the chorus is grand and mighty. The album is pretty damn consistent, with only “Julian Graves” and closer “Dance of the Eternal Shadows” sinking below the high level of their peers slightly. At a tight 43-plus minutes and with all songs in the 3-5 minute window, things move and groove with urgency and pop.

Costas P. and John T. bring a lively and potent guitar magic to the material, tossing out beefy 80s riffs and seasoning them with power frills and trve grit as needed. There are plenty of inspired moments that greatly elevate songs, and they have a knack for bringing the right amount of heavy metal thunder at key junctures. Jim Kotsis continues to impress with his odd but versatile vocals. Sometimes a dead ringer for Lance King (ex-Pyramaze, ex-Balance of Power), other times quite like Jason Tarpey (Eternal Champion), with Warrel Dane-isms popping up too, he’s got the kind of voice that’s perfectly suited to what Black Soul Horde are doing. As with Horrors from the Void, it’s the slick songcraft that wins the day and takes this from a cute retro rocker to that next level of essential metal.

Symphony of Chaos is one of the most consistently entertaining “heavy metal” albums of 2025, and were it not for a few minor step-downs in writing, this would be another 4.0. Honestly, it almost got there anyway. There are great cuts here, and enough pure metal glory to fill the hearts of the faithful. Black Soul Horde have that “it” factor and know how to deliver the retro metal goods better than most, and Symphony of Chaos is another testament to their mastery of the olden ways. Get this shaggy altered beast in your ears and run with the pack.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 256 kbps mp3
Label: Vinyl Store
Websites: blacksoulhorde.bandcamp.com | facebook.com/blacksoulhorde | instagram.com/blacksoulhorde
Releases Worldwide: October 31st, 2025

#35 #BlackSoulHorde #CrimsonGlory #EpicHeavyMetal #EternalChampion #GreekMetal #HeavyMetal #HorrorsFromTheVoid #Oct25 #PowerMetal #Review #Reviews #SymphonyOfChaos #Trial #VinylStore

Black Soul Horde – Symphony of Chaos Review

By Steel Druhm

Has it really been 4 years since Horrors from the Void dropped? The third full-length from Greek trve metal/power unit Black Soul Horde was a rollicking, rowdy mash-up of 80s traditional metal, power, and all things trve. Old-timey Manilla Road influences coexisted alongside Agent Steel and Jag Panzer idioms, and newer retro acts like Visigoth and Eternal Champion. This was more than an olde head like Yours Steely could resist, and the fun factor and broad sword quotient got it stamped with a fat 4.0. Now we get the follow-up, which has some mighty big war booties to fill. The Horde haven’t changed their approach for Symphony of Chaos, so all the same elements are in place and ready to rake for our hearts, minds, and black souls. Will the siege equipment be as stout and formidable this time? Let’s kick those wooden tires and see what we’re dealing with here.

Things kick off to a gloriously 80s start with “Lady of Shadows,” which at once reminds me of Crimson Glory and Trial (Sweden), with a spicy coating of Eternal Champion’s loincloth. It’s instantly catchy and enjoyable, fusing the best bits of classic 80s metal and Euro-power for a sound that’s tougher and sturdier than you’d expect. Jim Kotsis tops it all with his odd, high-register, nasal-as-fook vocals. “What the Night Invokes” keeps that good times rolling with hints of Sanctuary and a bigger dose of Eternal Champion. I’m not sure what Kotsis is singing about, but it sounds like he keeps hailing Mole Man or Moth Man, and either way, I support it. When “A Scream in the Snow” hits, things reach the next level. This is such a classic throwback metal tune that it shakes my primate brain into fatty mush and makes me want to throw ape cake at friends and foes alike. If you aren’t sharpening your raiding axe by the halfway point, I don’t want your weak ass on my Viking Cruise. The riffs have teeth, and Kotsis provides just the right blend of machismo and gloss as he takes the chorus to the house.

I’ll say this about Symphony of Chaos: the hits just keep on coming. “The Creatures of the Night” is another stellar slab of classic metal with a power metal infusion. The badass and bitey guitar work reminds me of Wolf, and there’s just the right punch and hook factor to sell it like cheese-coated bacon. “Wrath of the Pharaohs” is an absolute snobberknocker of trve metal wonder merging early Annihilator vibes with Steel Prophet dramatic bombast. “Death’s Parade” is another headbanger’s delight where Kotsis uncorks death vocals at key moments, and the chorus is grand and mighty. The album is pretty damn consistent, with only “Julian Graves” and closer “Dance of the Eternal Shadows” sinking below the high level of their peers slightly. At a tight 43-plus minutes and with all songs in the 3-5 minute window, things move and groove with urgency and pop.

Costas P. and John T. bring a lively and potent guitar magic to the material, tossing out beefy 80s riffs and seasoning them with power frills and trve grit as needed. There are plenty of inspired moments that greatly elevate songs, and they have a knack for bringing the right amount of heavy metal thunder at key junctures. Jim Kotsis continues to impress with his odd but versatile vocals. Sometimes a dead ringer for Lance King (ex-Pyramaze, ex-Balance of Power), other times quite like Jason Tarpey (Eternal Champion), with Warrel Dane-isms popping up too, he’s got the kind of voice that’s perfectly suited to what Black Soul Horde are doing. As with Horrors from the Void, it’s the slick songcraft that wins the day and takes this from a cute retro rocker to that next level of essential metal.

Symphony of Chaos is one of the most consistently entertaining “heavy metal” albums of 2025, and were it not for a few minor step-downs in writing, this would be another 4.0. Honestly, it almost got there anyway. There are great cuts here, and enough pure metal glory to fill the hearts of the faithful. Black Soul Horde have that “it” factor and know how to deliver the retro metal goods better than most, and Symphony of Chaos is another testament to their mastery of the olden ways. Get this shaggy altered beast in your ears and run with the pack.

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 256 kbps mp3
Label: Vinyl Store
Websites: blacksoulhorde.bandcamp.com | facebook.com/blacksoulhorde | instagram.com/blacksoulhorde
Releases Worldwide: October 31st, 2025

#35 #BlackSoulHorde #CrimsonGlory #EpicHeavyMetal #EternalChampion #GreekMetal #HeavyMetal #HorrorsFromTheVoid #Oct25 #PowerMetal #Review #Reviews #SymphonyOfChaos #Trial #VinylStore

DOLMEN GATE (Portugal) presenta nou àlbum: "Echoes of Ancient Tales" #DolmenGate #EpicHeavyMetal #Octubre2025 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TABERNACLE (Emirats Àrabs Units) presenta nou àlbum: "The Iron Tabernacle" #Tabernacle #EpicHeavyMetal #Setembre2025 #EmiratsÀrabsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TABERNACLE (Emirats Àrabs Units) presenta nou àlbum: "The Iron Tabernacle" #Tabernacle #EpicHeavyMetal #Setembre2025 #EmiratsÀrabsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TABERNACLE (Emirats Àrabs Units) presenta nou àlbum: "The Iron Tabernacle" #Tabernacle #EpicHeavyMetal #Setembre2025 #EmiratsÀrabsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TABERNACLE (Emirats Àrabs Units) presenta nou àlbum: "The Iron Tabernacle" #Tabernacle #EpicHeavyMetal #Setembre2025 #EmiratsÀrabsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TABERNACLE (Emirats Àrabs Units) presenta nou àlbum: "The Iron Tabernacle" #Tabernacle #EpicHeavyMetal #Setembre2025 #EmiratsÀrabsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

WYRM BURDEN (Estats Units) presenta nou EP: "Strange & Sorcerous" #WyrmBurden #EpicHeavyMetal #Maig2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

Under Ruins – Age of the Void Review

By Steel Druhm

Some metal aficionados may remember German prog-power act Lanfear. They released some killer material in the mid-aughts, with The Art Effect and Another Golden Rage being especially tasty, and I stamped a mighty 4.0 on their 2012 effort, This Harmonic Consonance. It’s been almost 11 years since they’ve released anything, and it appears they are finished, but here comes Under Ruins, a new project made up of members of Lanfear and Them. On their Age of the Void debut, they offer prog-infused epic metal with an interesting blend of influences that run the gamut from Manowar to Fates Warning. This is an album full of large-scale set pieces loaded with power, poise, and emotion, all highly polished and classy as fook, delivered by talented vets with major chops. What could possibly go wrong with such a winning formula?

As it turns out, very little. This is the kind of album that makes you wonder where these cats have been all your life. After a table-setting intro rife with anticipation, you’re launched into the 7-plus minute epic “Eighteen Hundred and Froze to Death” (ESL stumble?). It’s a massive song that sounds like a collaboration between Evergrey and Tad Morose. It’s powerful and gripping, and though the lyrics scream trve metal, everything is draped in deep melancholy and sadboi aesthetics. It’s brilliant and beautiful, and the vocals by Lanfear frontman Nuno Miguel de Barros Fernandes hit you right in the feelz. This is grand, sweeping, epic doom-adjacent gold. “Lost Amidst the Unfathomable Abyss” keeps the epic gravy flowing hot and juicy, maintaining a sense of sadness while striving for a strident bravado. Imagine if you can a sadboi Manowar recounting the emotional consequences of battle and conquest. Thundering war drums join fist-pumping, chest-thumping riffage as Nuno sings of grand deeds and the consequences thereof. It’s rabble-rousing and cautionary, which is odd but brilliant. The big stuff keeps coming with “Moonlit Requiem,” which is like a prog-power mega-ballad borrowing from Fates Warning albums like No Exit and Perfect Symmetry and the best elements of Tad Morose and Lanfear. This is one of those songs you love immediately, and I’m blown away by the songwriting prowess the band demonstrates so early into their existence. It’s massive at nearly 8 minutes, and they use every second to get you invested and hanging on every note. The chorus is emotive and powerful, and the epic conclusion with Manowar-esque chanting and majestic soloing is stunning.

All praise above notwithstanding, the best song here may be “Whispered Curses, Woe Unleashed,” which is like the perfect fusion of Lance King era Pyramaze, Manowar, and Visigoth.1 You get classic Manowar thundering and galloping, but with an ever-present sense of loss as Nuno tells of the horrific consequences that follow a senseless act. This is epic, trve metal done at a very high level and with a unique twist. Nuno again puts on a vocal clinic, squeezing every ounce of emotion from the listener as the song unspools. This stuff is just next level, and it has something special going on. Ginormous epic “Great Drowning of Men” borrows from Atlantean Kodex, Evergrey, and Iron Maiden as it weaves a massive yarn that may or may not be about pirates. This ain’t no Running Wild booty smacking shore excursion though, folks! This is huge, deadly serious stuff with more myth and fable than you can stuff in your trunk. At 45 minutes, Age of the Void is the ideal length. You get a handful of HUGE songs, but the pacing and track placement prevent the album from feeling overstuffed in that Senjutsu way. The production is big and bold, giving the drums the earth-shaking power this kind of music demands, and the guitars are given real weight and beef.

I loved Nuno’s work with Lanfear, and after not hearing him on anything new for so long, it’s great to find him in top form here. He’s got the perfect voice for prog-power, and now he proves he can handle epic metal just as well. His smooth delivery and ability to project emotion carry these songs to a higher plane. Equally masterful is the guitar work by Achim Rauscher (ex-Lanfear) and Markus Ullrich (Them, ex-Lanfear). They bring a pornicopia of brawny, badass riffs and emotionally stirring solos to the table, traveling from Iced Earth beef to Evergrey sadboi as the material requires and delivering many memorable moments along the way. Special props go to Sascha de Lima Beul for his massive performance on the kit. He channels the spirit of the late great Scott Columbus of Manowar as he pounds the drums into the Earth’s core and makes every song feel vibrant and forceful. The man is a monster.

Age of the Void is the second album in a row that took me out back and kicked my Score Counter. This is an inspired and inspiring mega-dose of epic metal with balls, brains, and stained class. Under Ruins make a huge splash on their opening salvo, and you should hear it ASAP. I mean like today!

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: FHM Records
Websites: facebook.com/underruins | instagram.com/under.ruins
Releases Worldwide: May 2nd, 2025

#2025 #40 #AgeOfTheVoid #EpicHeavyMetal #Evergrey #FatesWarning #FHMRecords #GermanMetal #HeavyMetal #IronMaiden #Lanfear #Manowar #Pyramaze #Review #Reviews #TadMorose #Them #UnderRuins

Under Ruins – Age of the Void Review

By Steel Druhm

Some metal aficionados may remember German prog-power act Lanfear. They released some killer material in the mid-aughts, with The Art Effect and Another Golden Rage being especially tasty, and I stamped a mighty 4.0 on their 2012 effort, This Harmonic Consonance. It’s been almost 11 years since they’ve released anything, and it appears they are finished, but here comes Under Ruins, a new project made up of members of Lanfear and Them. On their Age of the Void debut, they offer prog-infused epic metal with an interesting blend of influences that run the gamut from Manowar to Fates Warning. This is an album full of large-scale set pieces loaded with power, poise, and emotion, all highly polished and classy as fook, delivered by talented vets with major chops. What could possibly go wrong with such a winning formula?

As it turns out, very little. This is the kind of album that makes you wonder where these cats have been all your life. After a table-setting intro rife with anticipation, you’re launched into the 7-plus minute epic “Eighteen Hundred and Froze to Death” (ESL stumble?). It’s a massive song that sounds like a collaboration between Evergrey and Tad Morose. It’s powerful and gripping, and though the lyrics scream trve metal, everything is draped in deep melancholy and sadboi aesthetics. It’s brilliant and beautiful, and the vocals by Lanfear frontman Nuno Miguel de Barros Fernandes hit you right in the feelz. This is grand, sweeping, epic doom-adjacent gold. “Lost Amidst the Unfathomable Abyss” keeps the epic gravy flowing hot and juicy, maintaining a sense of sadness while striving for a strident bravado. Imagine if you can a sadboi Manowar recounting the emotional consequences of battle and conquest. Thundering war drums join fist-pumping, chest-thumping riffage as Nuno sings of grand deeds and the consequences thereof. It’s rabble-rousing and cautionary, which is odd but brilliant. The big stuff keeps coming with “Moonlit Requiem,” which is like a prog-power mega-ballad borrowing from Fates Warning albums like No Exit and Perfect Symmetry and the best elements of Tad Morose and Lanfear. This is one of those songs you love immediately, and I’m blown away by the songwriting prowess the band demonstrates so early into their existence. It’s massive at nearly 8 minutes, and they use every second to get you invested and hanging on every note. The chorus is emotive and powerful, and the epic conclusion with Manowar-esque chanting and majestic soloing is stunning.

All praise above notwithstanding, the best song here may be “Whispered Curses, Woe Unleashed,” which is like the perfect fusion of Lance King era Pyramaze, Manowar, and Visigoth.1 You get classic Manowar thundering and galloping, but with an ever-present sense of loss as Nuno tells of the horrific consequences that follow a senseless act. This is epic, trve metal done at a very high level and with a unique twist. Nuno again puts on a vocal clinic, squeezing every ounce of emotion from the listener as the song unspools. This stuff is just next level, and it has something special going on. Ginormous epic “Great Drowning of Men” borrows from Atlantean Kodex, Evergrey, and Iron Maiden as it weaves a massive yarn that may or may not be about pirates. This ain’t no Running Wild booty smacking shore excursion though, folks! This is huge, deadly serious stuff with more myth and fable than you can stuff in your trunk. At 45 minutes, Age of the Void is the ideal length. You get a handful of HUGE songs, but the pacing and track placement prevent the album from feeling overstuffed in that Senjutsu way. The production is big and bold, giving the drums the earth-shaking power this kind of music demands, and the guitars are given real weight and beef.

I loved Nuno’s work with Lanfear, and after not hearing him on anything new for so long, it’s great to find him in top form here. He’s got the perfect voice for prog-power, and now he proves he can handle epic metal just as well. His smooth delivery and ability to project emotion carry these songs to a higher plane. Equally masterful is the guitar work by Achim Rauscher (ex-Lanfear) and Markus Ullrich (Them, ex-Lanfear). They bring a pornicopia of brawny, badass riffs and emotionally stirring solos to the table, traveling from Iced Earth beef to Evergrey sadboi as the material requires and delivering many memorable moments along the way. Special props go to Sascha de Lima Beul for his massive performance on the kit. He channels the spirit of the late great Scott Columbus of Manowar as he pounds the drums into the Earth’s core and makes every song feel vibrant and forceful. The man is a monster.

Age of the Void is the second album in a row that took me out back and kicked my Score Counter. This is an inspired and inspiring mega-dose of epic metal with balls, brains, and stained class. Under Ruins make a huge splash on their opening salvo, and you should hear it ASAP. I mean like today!

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: FHM Records
Websites: facebook.com/underruins | instagram.com/under.ruins
Releases Worldwide: May 2nd, 2025

#2025 #40 #AgeOfTheVoid #EpicHeavyMetal #Evergrey #FatesWarning #FHMRecords #GermanMetal #HeavyMetal #IronMaiden #Lanfear #Manowar #Pyramaze #Review #Reviews #TadMorose #Them #UnderRuins

Under Ruins – Age of the Void Review

By Steel Druhm

Some metal aficionados may remember German prog-power act Lanfear. They released some killer material in the mid-aughts, with The Art Effect and Another Golden Rage being especially tasty, and I stamped a mighty 4.0 on their 2012 effort, This Harmonic Consonance. It’s been almost 11 years since they’ve released anything, and it appears they are finished, but here comes Under Ruins, a new project made up of members of Lanfear and Them. On their Age of the Void debut, they offer prog-infused epic metal with an interesting blend of influences that run the gamut from Manowar to Fates Warning. This is an album full of large-scale set pieces loaded with power, poise, and emotion, all highly polished and classy as fook, delivered by talented vets with major chops. What could possibly go wrong with such a winning formula?

As it turns out, very little. This is the kind of album that makes you wonder where these cats have been all your life. After a table-setting intro rife with anticipation, you’re launched into the 7-plus minute epic “Eighteen Hundred and Froze to Death” (ESL stumble?). It’s a massive song that sounds like a collaboration between Evergrey and Tad Morose. It’s powerful and gripping, and though the lyrics scream trve metal, everything is draped in deep melancholy and sadboi aesthetics. It’s brilliant and beautiful, and the vocals by Lanfear frontman Nuno Miguel de Barros Fernandes hit you right in the feelz. This is grand, sweeping, epic doom-adjacent gold. “Lost Amidst the Unfathomable Abyss” keeps the epic gravy flowing hot and juicy, maintaining a sense of sadness while striving for a strident bravado. Imagine if you can a sadboi Manowar recounting the emotional consequences of battle and conquest. Thundering war drums join fist-pumping, chest-thumping riffage as Nuno sings of grand deeds and the consequences thereof. It’s rabble-rousing and cautionary, which is odd but brilliant. The big stuff keeps coming with “Moonlit Requiem,” which is like a prog-power mega-ballad borrowing from Fates Warning albums like No Exit and Perfect Symmetry and the best elements of Tad Morose and Lanfear. This is one of those songs you love immediately, and I’m blown away by the songwriting prowess the band demonstrates so early into their existence. It’s massive at nearly 8 minutes, and they use every second to get you invested and hanging on every note. The chorus is emotive and powerful, and the epic conclusion with Manowar-esque chanting and majestic soloing is stunning.

All praise above notwithstanding, the best song here may be “Whispered Curses, Woe Unleashed,” which is like the perfect fusion of Lance King era Pyramaze, Manowar, and Visigoth.1 You get classic Manowar thundering and galloping, but with an ever-present sense of loss as Nuno tells of the horrific consequences that follow a senseless act. This is epic, trve metal done at a very high level and with a unique twist. Nuno again puts on a vocal clinic, squeezing every ounce of emotion from the listener as the song unspools. This stuff is just next level, and it has something special going on. Ginormous epic “Great Drowning of Men” borrows from Atlantean Kodex, Evergrey, and Iron Maiden as it weaves a massive yarn that may or may not be about pirates. This ain’t no Running Wild booty smacking shore excursion though, folks! This is huge, deadly serious stuff with more myth and fable than you can stuff in your trunk. At 45 minutes, Age of the Void is the ideal length. You get a handful of HUGE songs, but the pacing and track placement prevent the album from feeling overstuffed in that Senjutsu way. The production is big and bold, giving the drums the earth-shaking power this kind of music demands, and the guitars are given real weight and beef.

I loved Nuno’s work with Lanfear, and after not hearing him on anything new for so long, it’s great to find him in top form here. He’s got the perfect voice for prog-power, and now he proves he can handle epic metal just as well. His smooth delivery and ability to project emotion carry these songs to a higher plane. Equally masterful is the guitar work by Achim Rauscher (ex-Lanfear) and Markus Ullrich (Them, ex-Lanfear). They bring a pornicopia of brawny, badass riffs and emotionally stirring solos to the table, traveling from Iced Earth beef to Evergrey sadboi as the material requires and delivering many memorable moments along the way. Special props go to Sascha de Lima Beul for his massive performance on the kit. He channels the spirit of the late great Scott Columbus of Manowar as he pounds the drums into the Earth’s core and makes every song feel vibrant and forceful. The man is a monster.

Age of the Void is the second album in a row that took me out back and kicked my Score Counter. This is an inspired and inspiring mega-dose of epic metal with balls, brains, and stained class. Under Ruins make a huge splash on their opening salvo, and you should hear it ASAP. I mean like today!

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: FHM Records
Websites: facebook.com/underruins | instagram.com/under.ruins
Releases Worldwide: May 2nd, 2025

#2025 #40 #AgeOfTheVoid #EpicHeavyMetal #Evergrey #FatesWarning #FHMRecords #GermanMetal #HeavyMetal #IronMaiden #Lanfear #Manowar #Pyramaze #Review #Reviews #TadMorose #Them #UnderRuins

Under Ruins – Age of the Void Review

By Steel Druhm

Some metal aficionados may remember German prog-power act Lanfear. They released some killer material in the mid-aughts, with The Art Effect and Another Golden Rage being especially tasty, and I stamped a mighty 4.0 on their 2012 effort, This Harmonic Consonance. It’s been almost 11 years since they’ve released anything, and it appears they are finished, but here comes Under Ruins, a new project made up of members of Lanfear and Them. On their Age of the Void debut, they offer prog-infused epic metal with an interesting blend of influences that run the gamut from Manowar to Fates Warning. This is an album full of large-scale set pieces loaded with power, poise, and emotion, all highly polished and classy as fook, delivered by talented vets with major chops. What could possibly go wrong with such a winning formula?

As it turns out, very little. This is the kind of album that makes you wonder where these cats have been all your life. After a table-setting intro rife with anticipation, you’re launched into the 7-plus minute epic “Eighteen Hundred and Froze to Death” (ESL stumble?). It’s a massive song that sounds like a collaboration between Evergrey and Tad Morose. It’s powerful and gripping, and though the lyrics scream trve metal, everything is draped in deep melancholy and sadboi aesthetics. It’s brilliant and beautiful, and the vocals by Lanfear frontman Nuno Miguel de Barros Fernandes hit you right in the feelz. This is grand, sweeping, epic doom-adjacent gold. “Lost Amidst the Unfathomable Abyss” keeps the epic gravy flowing hot and juicy, maintaining a sense of sadness while striving for a strident bravado. Imagine if you can a sadboi Manowar recounting the emotional consequences of battle and conquest. Thundering war drums join fist-pumping, chest-thumping riffage as Nuno sings of grand deeds and the consequences thereof. It’s rabble-rousing and cautionary, which is odd but brilliant. The big stuff keeps coming with “Moonlit Requiem,” which is like a prog-power mega-ballad borrowing from Fates Warning albums like No Exit and Perfect Symmetry and the best elements of Tad Morose and Lanfear. This is one of those songs you love immediately, and I’m blown away by the songwriting prowess the band demonstrates so early into their existence. It’s massive at nearly 8 minutes, and they use every second to get you invested and hanging on every note. The chorus is emotive and powerful, and the epic conclusion with Manowar-esque chanting and majestic soloing is stunning.

All praise above notwithstanding, the best song here may be “Whispered Curses, Woe Unleashed,” which is like the perfect fusion of Lance King era Pyramaze, Manowar, and Visigoth.1 You get classic Manowar thundering and galloping, but with an ever-present sense of loss as Nuno tells of the horrific consequences that follow a senseless act. This is epic, trve metal done at a very high level and with a unique twist. Nuno again puts on a vocal clinic, squeezing every ounce of emotion from the listener as the song unspools. This stuff is just next level, and it has something special going on. Ginormous epic “Great Drowning of Men” borrows from Atlantean Kodex, Evergrey, and Iron Maiden as it weaves a massive yarn that may or may not be about pirates. This ain’t no Running Wild booty smacking shore excursion though, folks! This is huge, deadly serious stuff with more myth and fable than you can stuff in your trunk. At 45 minutes, Age of the Void is the ideal length. You get a handful of HUGE songs, but the pacing and track placement prevent the album from feeling overstuffed in that Senjutsu way. The production is big and bold, giving the drums the earth-shaking power this kind of music demands, and the guitars are given real weight and beef.

I loved Nuno’s work with Lanfear, and after not hearing him on anything new for so long, it’s great to find him in top form here. He’s got the perfect voice for prog-power, and now he proves he can handle epic metal just as well. His smooth delivery and ability to project emotion carry these songs to a higher plane. Equally masterful is the guitar work by Achim Rauscher (ex-Lanfear) and Markus Ullrich (Them, ex-Lanfear). They bring a pornicopia of brawny, badass riffs and emotionally stirring solos to the table, traveling from Iced Earth beef to Evergrey sadboi as the material requires and delivering many memorable moments along the way. Special props go to Sascha de Lima Beul for his massive performance on the kit. He channels the spirit of the late great Scott Columbus of Manowar as he pounds the drums into the Earth’s core and makes every song feel vibrant and forceful. The man is a monster.

Age of the Void is the second album in a row that took me out back and kicked my Score Counter. This is an inspired and inspiring mega-dose of epic metal with balls, brains, and stained class. Under Ruins make a huge splash on their opening salvo, and you should hear it ASAP. I mean like today!

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: FHM Records
Websites: facebook.com/underruins | instagram.com/under.ruins
Releases Worldwide: May 2nd, 2025

#2025 #40 #AgeOfTheVoid #EpicHeavyMetal #Evergrey #FatesWarning #FHMRecords #GermanMetal #HeavyMetal #IronMaiden #Lanfear #Manowar #Pyramaze #Review #Reviews #TadMorose #Them #UnderRuins

BRAVERIDE (Grècia) presenta nou àlbum: "The Great Awakening" #Braveride #EpicHeavyMetal #Abril2025 #Grècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

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https://youtube.com/results?search_query=Manilla+Road+Crystal+Logic+Necropolis
https://genius.com/Manilla-road-necropolis-lyrics
#heavymetal #epicmetal #epicheavymetal #metal #Powermetal

#NowPlaying #TheMetalDogIsNowPlaying
#ManillaRoad
Crystal Logic
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https://youtube.com/results?search_query=Manilla+Road+Crystal+Logic+Necropolis
https://genius.com/Manilla-road-necropolis-lyrics
#heavymetal #epicmetal #epicheavymetal #metal #Powermetal

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https://youtu.be/HUmlJ6MrC18

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