#epicmetal — Public Fediverse posts

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

Omen: Il Ritorno Epico tra Riff Granitici e Metallo Sabbathiano

https://metal-lore.com/2026/09/14/omen-il-ritorno-epico-tra-riff-granitici-e-metallo-sabbathiano/

Metal aus Chicago: „Ikarus wird zu einer subversiven Figur“

https://www.woxx.lu/metal-aus-chicago-ikarus-wird-zu-einer-subversiven-figur/

Omen: Il Ritorno Epico tra Riff Granitici e Metallo Sabbathiano

https://metal-lore.com/2026/08/31/omen-il-ritorno-epico-tra-riff-granitici-e-metallo-sabbathiano/

Omen: Il Ritorno Epico tra Riff Granitici e Metallo Sabbathiano

https://metal-lore.com/2026/08/31/omen-il-ritorno-epico-tra-riff-granitici-e-metallo-sabbathiano/

Here’s a fun song I figured someone here might enjoy. It’s from a concept album that’s basically “what if He-Man led a DND adventure party through both LOTR and Dr Who.” This song is from the perspective of a Dwarf (LOTR/DND type, and ungendered) who has fallen passionately in love with an Orc (also ungendered). The Dwarf feels deeply torn between that love and the innate Dwarvish compulsion to dig in the earth for precious metals.

A later chorus has a message against bullying, and it warns the adventure leader Adam not to mock his party members, but instead to build up their self-esteem.

https://angusmcsix.bandcamp.com/track/dig-down-feat-van-canto

#PowerMetal #EpicMetal #SymphonicMetal

Here’s a fun song I figured someone here might enjoy. It’s from a concept album that’s basically “what if He-Man led a DND adventure party through both LOTR and Dr Who.” This song is from the perspective of a Dwarf (LOTR/DND type, and ungendered) who has fallen passionately in love with an Orc (also ungendered). The Dwarf feels deeply torn between that love and the innate Dwarvish compulsion to dig in the earth for precious metals.

A later chorus has a message against bullying, and it warns the adventure leader Adam not to mock his party members, but instead to build up their self-esteem.

https://angusmcsix.bandcamp.com/track/dig-down-feat-van-canto

#PowerMetal #EpicMetal #SymphonicMetal

Here’s a fun song I figured someone here might enjoy. It’s from a concept album that’s basically “what if He-Man led a DND adventure party through both LOTR and Dr Who.” This song is from the perspective of a Dwarf (LOTR/DND type, and ungendered) who has fallen passionately in love with an Orc (also ungendered). The Dwarf feels deeply torn between that love and the innate Dwarvish compulsion to dig in the earth for precious metals.

A later chorus has a message against bullying, and it warns the adventure leader Adam not to mock his party members, but instead to build up their self-esteem.

https://angusmcsix.bandcamp.com/track/dig-down-feat-van-canto

#PowerMetal #EpicMetal #SymphonicMetal

Here’s a fun song I figured someone here might enjoy. It’s from a concept album that’s basically “what if He-Man led a DND adventure party through both LOTR and Dr Who.” This song is from the perspective of a Dwarf (LOTR/DND type, and ungendered) who has fallen passionately in love with an Orc (also ungendered). The Dwarf feels deeply torn between that love and the innate Dwarvish compulsion to dig in the earth for precious metals.

A later chorus has a message against bullying, and it warns the adventure leader Adam not to mock his party members, but instead to build up their self-esteem.

https://angusmcsix.bandcamp.com/track/dig-down-feat-van-canto

#PowerMetal #EpicMetal #SymphonicMetal

Culloden – Witchpricker
#HeavyMetal #Metal #NWOBHM #NWOTHM #SpeedMetal #epicmetal #heavymetal #NewcastleUponTyne
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://cullodenuk.bandcamp.com/album/witchpricker

Culloden – Witchpricker
#HeavyMetal #Metal #NWOBHM #NWOTHM #SpeedMetal #epicmetal #heavymetal #NewcastleUponTyne
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://cullodenuk.bandcamp.com/album/witchpricker

Culloden – Witchpricker
#HeavyMetal #Metal #NWOBHM #NWOTHM #SpeedMetal #epicmetal #heavymetal #NewcastleUponTyne
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://cullodenuk.bandcamp.com/album/witchpricker

Culloden – Witchpricker
#HeavyMetal #Metal #NWOBHM #NWOTHM #SpeedMetal #epicmetal #heavymetal #NewcastleUponTyne
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://cullodenuk.bandcamp.com/album/witchpricker

Culloden – Witchpricker
#HeavyMetal #Metal #NWOBHM #NWOTHM #SpeedMetal #epicmetal #heavymetal #NewcastleUponTyne
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://cullodenuk.bandcamp.com/album/witchpricker

Illwind – The Unfolding at the End of Light Review

Sometimes a new band starts up and chooses a godawful n…
#NewsBeep #News #Music #2026 #3.0 #Arcada #Argul #BlackSabbath #BloodIncantation #Cobra #DoomMetal #Entertainment #EpicMetal #IllWind #Illwind #Jul26 #LynyrdSkynyrd #PersonalRecords #PeruvianMetal #PinkFloyd #Radiohead #review #Reviews #Sorcerer #StonerDoom #StonerMetal #theStooges #TheUnfoldingattheEndofLight #UK #UnitedKingdom #Visigoth #Windhand #YOB
https://www.newsbeep.com/uk/705448/

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Il Segreto del Vero Rock: Perché la Tua Chitarra Ha Bisogno di un Mastro Liutaio (E Dove Trovarlo!)

https://metal-lore.com/2026/07/20/il-segreto-del-vero-rock-perche-la-tua-chitarra-ha-bisogno-di-un-mastro-liutaio-e-dove-trovarlo/

Il Segreto del Vero Rock: Perché la Tua Chitarra Ha Bisogno di un Mastro Liutaio (E Dove Trovarlo!)

https://metal-lore.com/2026/07/20/il-segreto-del-vero-rock-perche-la-tua-chitarra-ha-bisogno-di-un-mastro-liutaio-e-dove-trovarlo/

#NowPlaying the recent album "Eternal Dagger" by the band #IronKobra from #Germany

#EpicMetal #HeavyMetal #AlbumsOf2026

Personal Rating: 4 / 10
🟠🟠🟠🟠⚪⚪⚪⚪⚪⚪

Recommended Tracks: "Eternal Dagger", "Silver Strings and Iron Wings", "Fliehen"

https://ironkobra.bandcamp.com/album/eternal-dagger

SIGYN return with “The Crawlers”, a fierce Finnish melodeath strike packed with razor-sharp riffs, epic melodies and cinematic darkness.

Read more:
https://www.audiartist.com/sigyn-the-crawlers-finnish-melodeath/
Follow @sigynofficial

#SIGYN #TheCrawlers #FinnishMetal #Melodeath #MelodicDeathMetal #EpicMetal #NewMusic

ETERNAL DAGGER RELEASE ... TODAY!

Time since MIGHT & MAGIC:
11 years.
4,061 days.
5,847,840 minutes.
Enough time to listen to the IRON MAIDEN album 143,564 times.

And now, the time has come.

OUR THIRD ALBUM ETERNAL DAGGER IS OUT TODAY!

We will present some songs tomorrow at Der Detze Rockt, where you will also be able to purchase it in person. We will update the merch on our bandcamp store shortly.

Thanks for the support. It means the world to us.
#IronKobra #EternalDagger #HeavyMetal #SpeedMetal #EpicMetal #metal #rock #nwothm

ETERNAL DAGGER RELEASE ... TODAY!

Time since MIGHT & MAGIC:
11 years.
4,061 days.
5,847,840 minutes.
Enough time to listen to the IRON MAIDEN album 143,564 times.

And now, the time has come.

OUR THIRD ALBUM ETERNAL DAGGER IS OUT TODAY!

We will present some songs tomorrow at Der Detze Rockt, where you will also be able to purchase it in person. We will update the merch on our bandcamp store shortly.

Thanks for the support. It means the world to us.
#IronKobra #EternalDagger #HeavyMetal #SpeedMetal #EpicMetal #metal #rock #nwothm

ETERNAL DAGGER RELEASE ... TODAY!

Time since MIGHT & MAGIC:
11 years.
4,061 days.
5,847,840 minutes.
Enough time to listen to the IRON MAIDEN album 143,564 times.

And now, the time has come.

OUR THIRD ALBUM ETERNAL DAGGER IS OUT TODAY!

We will present some songs tomorrow at Der Detze Rockt, where you will also be able to purchase it in person. We will update the merch on our bandcamp store shortly.

Thanks for the support. It means the world to us.
#IronKobra #EternalDagger #HeavyMetal #SpeedMetal #EpicMetal #metal #rock #nwothm

ETERNAL DAGGER RELEASE ... TODAY!

Time since MIGHT & MAGIC:
11 years.
4,061 days.
5,847,840 minutes.
Enough time to listen to the IRON MAIDEN album 143,564 times.

And now, the time has come.

OUR THIRD ALBUM ETERNAL DAGGER IS OUT TODAY!

We will present some songs tomorrow at Der Detze Rockt, where you will also be able to purchase it in person. We will update the merch on our bandcamp store shortly.

Thanks for the support. It means the world to us.
#IronKobra #EternalDagger #HeavyMetal #SpeedMetal #EpicMetal #metal #rock #nwothm

ETERNAL DAGGER RELEASE ... TODAY!

Time since MIGHT & MAGIC:
11 years.
4,061 days.
5,847,840 minutes.
Enough time to listen to the IRON MAIDEN album 143,564 times.

And now, the time has come.

OUR THIRD ALBUM ETERNAL DAGGER IS OUT TODAY!

We will present some songs tomorrow at Der Detze Rockt, where you will also be able to purchase it in person. We will update the merch on our bandcamp store shortly.

Thanks for the support. It means the world to us.
#IronKobra #EternalDagger #HeavyMetal #SpeedMetal #EpicMetal #metal #rock #nwothm

:headbanger: FULL ALBUM STREAM :headbanger:

We are proud to present to you, in collaboration with Decibel Magazine, our upcoming album ETERNAL DAGGER in its entirety!

ETERNAL DAGGER will release this Friday, with our official release party at DETZE ROCKT Festival on Saturday. Don't forget to pre-order the album at Dying Victims Productions! #HeavyMetal #IronKobra #metal #SpeedMetal #EpicMetal #EternalDagger
https://www.decibelmagazine.com/2026/06/15/full-album-stream-iron-kobra-eternal-dagger/

:headbanger: FULL ALBUM STREAM :headbanger:

We are proud to present to you, in collaboration with Decibel Magazine, our upcoming album ETERNAL DAGGER in its entirety!

ETERNAL DAGGER will release this Friday, with our official release party at DETZE ROCKT Festival on Saturday. Don't forget to pre-order the album at Dying Victims Productions! #HeavyMetal #IronKobra #metal #SpeedMetal #EpicMetal #EternalDagger
https://www.decibelmagazine.com/2026/06/15/full-album-stream-iron-kobra-eternal-dagger/

:headbanger: FULL ALBUM STREAM :headbanger:

We are proud to present to you, in collaboration with Decibel Magazine, our upcoming album ETERNAL DAGGER in its entirety!

ETERNAL DAGGER will release this Friday, with our official release party at DETZE ROCKT Festival on Saturday. Don't forget to pre-order the album at Dying Victims Productions! #HeavyMetal #IronKobra #metal #SpeedMetal #EpicMetal #EternalDagger
https://www.decibelmagazine.com/2026/06/15/full-album-stream-iron-kobra-eternal-dagger/

:headbanger: FULL ALBUM STREAM :headbanger:

We are proud to present to you, in collaboration with Decibel Magazine, our upcoming album ETERNAL DAGGER in its entirety!

ETERNAL DAGGER will release this Friday, with our official release party at DETZE ROCKT Festival on Saturday. Don't forget to pre-order the album at Dying Victims Productions! #HeavyMetal #IronKobra #metal #SpeedMetal #EpicMetal #EternalDagger
https://www.decibelmagazine.com/2026/06/15/full-album-stream-iron-kobra-eternal-dagger/

:headbanger: FULL ALBUM STREAM :headbanger:

We are proud to present to you, in collaboration with Decibel Magazine, our upcoming album ETERNAL DAGGER in its entirety!

ETERNAL DAGGER will release this Friday, with our official release party at DETZE ROCKT Festival on Saturday. Don't forget to pre-order the album at Dying Victims Productions! #HeavyMetal #IronKobra #metal #SpeedMetal #EpicMetal #EternalDagger
https://www.decibelmagazine.com/2026/06/15/full-album-stream-iron-kobra-eternal-dagger/

Dal “Maestro” alla Tabula Rasa: la TV italiana preferisce il playback al Guitar Solo

https://metal-lore.com/2026/06/15/dal-maestro-alla-tabula-rasa-la-tv-italiana-preferisce-il-playback-al-guitar-solo/

🗡️ETERNAL DAGGER 🗡️
We are incredibly proud to present in collaboration with metal.de the third single from our upcoming third album ETERNAL DAGGER which releases in less than a month!

This is the eponymous title track ETERNAL DAGGER, an epic journey towards the stars and back again. Join us in the discovery of the unknown, the exploration of the wicked, and the uncovering of musical secrets that should have remained undiscovered.

ETERNAL DAGGER releases June 19 on Dying Victims Productions on LP/CD/MC.
https://www.youtube.com/watch?v=ZMIMkLKUu9c #IronKobra #HeavyMetal #EpicMetal

🗡️ETERNAL DAGGER 🗡️
We are incredibly proud to present in collaboration with metal.de the third single from our upcoming third album ETERNAL DAGGER which releases in less than a month!

This is the eponymous title track ETERNAL DAGGER, an epic journey towards the stars and back again. Join us in the discovery of the unknown, the exploration of the wicked, and the uncovering of musical secrets that should have remained undiscovered.

ETERNAL DAGGER releases June 19 on Dying Victims Productions on LP/CD/MC.
https://www.youtube.com/watch?v=ZMIMkLKUu9c #IronKobra #HeavyMetal #EpicMetal

🗡️ETERNAL DAGGER 🗡️
We are incredibly proud to present in collaboration with metal.de the third single from our upcoming third album ETERNAL DAGGER which releases in less than a month!

This is the eponymous title track ETERNAL DAGGER, an epic journey towards the stars and back again. Join us in the discovery of the unknown, the exploration of the wicked, and the uncovering of musical secrets that should have remained undiscovered.

ETERNAL DAGGER releases June 19 on Dying Victims Productions on LP/CD/MC.
https://www.youtube.com/watch?v=ZMIMkLKUu9c #IronKobra #HeavyMetal #EpicMetal

🗡️ETERNAL DAGGER 🗡️
We are incredibly proud to present in collaboration with metal.de the third single from our upcoming third album ETERNAL DAGGER which releases in less than a month!

This is the eponymous title track ETERNAL DAGGER, an epic journey towards the stars and back again. Join us in the discovery of the unknown, the exploration of the wicked, and the uncovering of musical secrets that should have remained undiscovered.

ETERNAL DAGGER releases June 19 on Dying Victims Productions on LP/CD/MC.
https://www.youtube.com/watch?v=ZMIMkLKUu9c #IronKobra #HeavyMetal #EpicMetal

🗡️ETERNAL DAGGER 🗡️
We are incredibly proud to present in collaboration with metal.de the third single from our upcoming third album ETERNAL DAGGER which releases in less than a month!

This is the eponymous title track ETERNAL DAGGER, an epic journey towards the stars and back again. Join us in the discovery of the unknown, the exploration of the wicked, and the uncovering of musical secrets that should have remained undiscovered.

ETERNAL DAGGER releases June 19 on Dying Victims Productions on LP/CD/MC.
https://www.youtube.com/watch?v=ZMIMkLKUu9c #IronKobra #HeavyMetal #EpicMetal

Self-Titled Saturday | Wintersun (2004, Finland)

...And we're back! As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by Yuki. This is the debut album of the "extreme majestic technical epic melodic metal" band Wintersun, at this stage essentially the one-man project of Jari Mäenpää, previously of folk metal band Ensiferum.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/05/23/self-titled-saturday-wintersun-2004-finland/

Want to skip straight to the music? Here's a Songlink: https://album.link/i/1456964736. Also, a remastered/refined 2.0 version was released in 2017, so here's that Bandcamp: https://wintersun.bandcamp.com/album/wintersun-20

Happy listening! 🤘

#Wintersun #MelodicDeathMetal #SymphonicMetal #EpicMetal #metal #Finland #music #1001OtherAlbums

Self-Titled Saturday | Wintersun (2004, Finland)

...And we're back! As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by Yuki. This is the debut album of the "extreme majestic technical epic melodic metal" band Wintersun, at this stage essentially the one-man project of Jari Mäenpää, previously of folk metal band Ensiferum.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/05/23/self-titled-saturday-wintersun-2004-finland/

Want to skip straight to the music? Here's a Songlink: https://album.link/i/1456964736. Also, a remastered/refined 2.0 version was released in 2017, so here's that Bandcamp: https://wintersun.bandcamp.com/album/wintersun-20

Happy listening! 🤘

#Wintersun #MelodicDeathMetal #SymphonicMetal #EpicMetal #metal #Finland #music #1001OtherAlbums

Self-Titled Saturday | Wintersun (2004, Finland)

...And we're back! As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by Yuki. This is the debut album of the "extreme majestic technical epic melodic metal" band Wintersun, at this stage essentially the one-man project of Jari Mäenpää, previously of folk metal band Ensiferum.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/05/23/self-titled-saturday-wintersun-2004-finland/

Want to skip straight to the music? Here's a Songlink: https://album.link/i/1456964736. Also, a remastered/refined 2.0 version was released in 2017, so here's that Bandcamp: https://wintersun.bandcamp.com/album/wintersun-20

Happy listening! 🤘

#Wintersun #MelodicDeathMetal #SymphonicMetal #EpicMetal #metal #Finland #music #1001OtherAlbums

Self-Titled Saturday | Wintersun (2004, Finland)

...And we're back! As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by Yuki. This is the debut album of the "extreme majestic technical epic melodic metal" band Wintersun, at this stage essentially the one-man project of Jari Mäenpää, previously of folk metal band Ensiferum.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/05/23/self-titled-saturday-wintersun-2004-finland/

Want to skip straight to the music? Here's a Songlink: https://album.link/i/1456964736. Also, a remastered/refined 2.0 version was released in 2017, so here's that Bandcamp: https://wintersun.bandcamp.com/album/wintersun-20

Happy listening! 🤘

#Wintersun #MelodicDeathMetal #SymphonicMetal #EpicMetal #metal #Finland #music #1001OtherAlbums

Self-Titled Saturday | Wintersun (2004, Finland)

As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by @Yuki. Here’s a quick rundown:

• Point of origin(s): Finnish singer, songwriter, and multi-instrumentalist Jari Mäenpää started this band as a side project while he was in the folk metal band Ensiferum (as the vocalist and second guitarist), and then made it his full-time gig when they fired him in 2004 due to scheduling conflicts between the two projects. The s/t album we look at here was the debut, and was essentially a one-man show plus Kai “The Grinder” Hahto on drums.
• Tasting notes: According to Mäenpää, this is “Extreme Majestic Technical Epic Melodic Metal”. And by ‘tasting notes’, please note we perhaps aren’t meant to actually taste this one – as the liner notes state (with a happy face behind): “Please buy this album, don’t suck it! Or else…you’re a sucker!”
• Standout track: “Death and the Healing” (but, also, they’re all excellent)
• Where are they now?: Soon after the release of s/t, the lineup would round out with Teemu Mäntysaari on guitars and Jukka Koskinen on bass. Both Hahto and Koskinen would later join symphonic metal band Nightwish and then both effectively leave Wintersun to solely play in Nightwish, and Mäntysaari joined Megadeth in 2023. In their 20+ years, Wintersun has released three additional studio albums, the most recent being 2024’s Time II, as well as a remastered/refined 2.0 version of the s/t put out in 2017 that seems to have been well-received by fans.
• Websites: Bandcamp, Wikipedia, Encyclopaedia Metallum

Happy listening!

• Songlink: Wintersun – Wintersun
  • Bandcamp: Wintersun – Wintersun 2.0 (remastered, additional intro track plus slightly different track order)
• Discogs: Wintersun – Wintersun

Self-Titled Saturday | Wintersun (2004, Finland)

As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by @Yuki. Here’s a quick rundown:

• Point of origin(s): Finnish singer, songwriter, and multi-instrumentalist Jari Mäenpää started this band as a side project while he was in the folk metal band Ensiferum (as the vocalist and second guitarist), and then made it his full-time gig when they fired him in 2004 due to scheduling conflicts between the two projects. The s/t album we look at here was the debut, and was essentially a one-man show plus Kai “The Grinder” Hahto on drums.
• Tasting notes: According to Mäenpää, this is “Extreme Majestic Technical Epic Melodic Metal”. And by ‘tasting notes’, please note we perhaps aren’t meant to actually taste this one – as the liner notes state (with a happy face behind): “Please buy this album, don’t suck it! Or else…you’re a sucker!”
• Standout track: “Death and the Healing” (but, also, they’re all excellent)
• Where are they now?: Soon after the release of s/t, the lineup would round out with Teemu Mäntysaari on guitars and Jukka Koskinen on bass. Both Hahto and Koskinen would later join symphonic metal band Nightwish and then both effectively leave Wintersun to solely play in Nightwish, and Mäntysaari joined Megadeth in 2023. In their 20+ years, Wintersun has released three additional studio albums, the most recent being 2024’s Time II, as well as a remastered/refined 2.0 version of the s/t put out in 2017 that seems to have been well-received by fans.
• Websites: Bandcamp, Wikipedia, Encyclopaedia Metallum

Happy listening!

• Songlink: Wintersun – Wintersun
  • Bandcamp: Wintersun – Wintersun 2.0 (remastered, additional intro track plus slightly different track order)
• Discogs: Wintersun – Wintersun

Self-Titled Saturday | Wintersun (2004, Finland)

As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by @Yuki. Here’s a quick rundown:

• Point of origin(s): Finnish singer, songwriter, and multi-instrumentalist Jari Mäenpää started this band as a side project while he was in the folk metal band Ensiferum (as the vocalist and second guitarist), and then made it his full-time gig when they fired him in 2004 due to scheduling conflicts between the two projects. The s/t album we look at here was the debut, and was essentially a one-man show plus Kai “The Grinder” Hahto on drums.
• Tasting notes: According to Mäenpää, this is “Extreme Majestic Technical Epic Melodic Metal”. And by ‘tasting notes’, please note we perhaps aren’t meant to actually taste this one – as the liner notes state (with a happy face behind): “Please buy this album, don’t suck it! Or else…you’re a sucker!”
• Standout track: “Death and the Healing” (but, also, they’re all excellent)
• Where are they now?: Soon after the release of s/t, the lineup would round out with Teemu Mäntysaari on guitars and Jukka Koskinen on bass. Both Hahto and Koskinen would later join symphonic metal band Nightwish and then both effectively leave Wintersun to solely play in Nightwish, and Mäntysaari joined Megadeth in 2023. In their 20+ years, Wintersun has released three additional studio albums, the most recent being 2024’s Time II, as well as a remastered/refined 2.0 version of the s/t put out in 2017 that seems to have been well-received by fans.
• Websites: Bandcamp, Wikipedia, Encyclopaedia Metallum

Happy listening!

• Songlink: Wintersun – Wintersun
  • Bandcamp: Wintersun – Wintersun 2.0 (remastered, additional intro track plus slightly different track order)
• Discogs: Wintersun – Wintersun

Self-Titled Saturday | Wintersun (2004, Finland)

As I’m struggling with words a bit these days – and because we still have a handful of self-titled albums left on The List – I’ve decided to resuscitate last year’s Self-Titled Summer series, albeit as more of a reincarnation for random Saturdays. As before, I’m going to try to keep it basic and just point out some brief(ish) facts, letting you fine readers dig further as desired. And so, for our first STS 2.0 spotlight, we’re going to take a look at number 1134 on The List, submitted by @Yuki. Here’s a quick rundown:

• Point of origin(s): Finnish singer, songwriter, and multi-instrumentalist Jari Mäenpää started this band as a side project while he was in the folk metal band Ensiferum (as the vocalist and second guitarist), and then made it his full-time gig when they fired him in 2004 due to scheduling conflicts between the two projects. The s/t album we look at here was the debut, and was essentially a one-man show plus Kai “The Grinder” Hahto on drums.
• Tasting notes: According to Mäenpää, this is “Extreme Majestic Technical Epic Melodic Metal”. And by ‘tasting notes’, please note we perhaps aren’t meant to actually taste this one – as the liner notes state (with a happy face behind): “Please buy this album, don’t suck it! Or else…you’re a sucker!”
• Standout track: “Death and the Healing” (but, also, they’re all excellent)
• Where are they now?: Soon after the release of s/t, the lineup would round out with Teemu Mäntysaari on guitars and Jukka Koskinen on bass. Both Hahto and Koskinen would later join symphonic metal band Nightwish and then both effectively leave Wintersun to solely play in Nightwish, and Mäntysaari joined Megadeth in 2023. In their 20+ years, Wintersun has released three additional studio albums, the most recent being 2024’s Time II, as well as a remastered/refined 2.0 version of the s/t put out in 2017 that seems to have been well-received by fans.
• Websites: Bandcamp, Wikipedia, Encyclopaedia Metallum

Happy listening!

• Songlink: Wintersun – Wintersun
  • Bandcamp: Wintersun – Wintersun 2.0 (remastered, additional intro track plus slightly different track order)
• Discogs: Wintersun – Wintersun

Lunar Shadow - The Pall of a past World

I really like the opener, however the whole album is a truly immersive journey. Epic metal with a touch of Maiden and Trouble. Melancholic and playful. Great record!

A really valuable contribution to the current wave of more traditional Heavy Metal. The music is subtle with only occasional really heavy or fast parts. But it never feels "too little".

https://lunarshadow.bandcamp.com/album/the-pall-of-a-past-world

#music #reviews #heavymetal #epicmetal #vinyl @metal

Lunar Shadow - The Pall of a past World

I really like the opener, however the whole album is a truly immersive journey. Epic metal with a touch of Maiden and Trouble. Melancholic and playful. Great record!

A really valuable contribution to the current wave of more traditional Heavy Metal. The music is subtle with only occasional really heavy or fast parts. But it never feels "too little".

https://lunarshadow.bandcamp.com/album/the-pall-of-a-past-world

#music #reviews #heavymetal #epicmetal #vinyl @metal

Lunar Shadow - The Pall of a past World

I really like the opener, however the whole album is a truly immersive journey. Epic metal with a touch of Maiden and Trouble. Melancholic and playful. Great record!

A really valuable contribution to the current wave of more traditional Heavy Metal. The music is subtle with only occasional really heavy or fast parts. But it never feels "too little".

https://lunarshadow.bandcamp.com/album/the-pall-of-a-past-world

#music #reviews #heavymetal #epicmetal #vinyl @metal

Lunar Shadow - The Pall of a past World

I really like the opener, however the whole album is a truly immersive journey. Epic metal with a touch of Maiden and Trouble. Melancholic and playful. Great record!

A really valuable contribution to the current wave of more traditional Heavy Metal. The music is subtle with only occasional really heavy or fast parts. But it never feels "too little".

https://lunarshadow.bandcamp.com/album/the-pall-of-a-past-world

#music #reviews #heavymetal #epicmetal #vinyl @metal

Lunar Shadow - The Pall of a past World

I really like the opener, however the whole album is a truly immersive journey. Epic metal with a touch of Maiden and Trouble. Melancholic and playful. Great record!

A really valuable contribution to the current wave of more traditional Heavy Metal. The music is subtle with only occasional really heavy or fast parts. But it never feels "too little".

https://lunarshadow.bandcamp.com/album/the-pall-of-a-past-world

#music #reviews #heavymetal #epicmetal #vinyl @metal

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger