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Ravenspell – Obsidian King Review

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a…
#NewsBeep #News #Music #2026 #3.0 #CanadianMetal #Entertainment #EternalChampion #FighterRecords #HeavyMetal #IronMaiden #ManillaRoad #Mar26 #ObsidianKing #Ravenspell #review #Reviews #SpeedMetal #UK #UnitedKingdom #Visigoth
https://www.newsbeep.com/uk/478742/

Ravenspell – Obsidian King Review

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a…
#NewsBeep #News #Music #2026 #3.0 #AU #Australia #CanadianMetal #Entertainment #EternalChampion #FighterRecords #HeavyMetal #IronMaiden #ManillaRoad #Mar26 #ObsidianKing #Ravenspell #review #reviews #SpeedMetal #Visigoth
https://www.newsbeep.com/au/544204/

Ravenspell – Obsidian King Review

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a…
#NewsBeep #News #Music #2026 #3.0 #AU #Australia #CanadianMetal #Entertainment #EternalChampion #FighterRecords #HeavyMetal #IronMaiden #ManillaRoad #Mar26 #ObsidianKing #Ravenspell #review #reviews #SpeedMetal #Visigoth
https://www.newsbeep.com/au/544204/

https://www.europesays.com/uk/829743/ Ravenspell – Obsidian King Review #2026 #30 #CanadianMetal #Entertainment #EternalChampion #FighterRecords #HeavyMetal #IronMaiden #ManillaRoad #Mar26 #music #ObsidianKing #Ravenspell #Review #Reviews #SpeedMetal #UK #UnitedKingdom #Visigoth

https://www.europesays.com/ie/387978/ Ravenspell – Obsidian King Review #2026 #30 #CanadianMetal #Éire #Entertainment #EternalChampion #FighterRecords #HeavyMetal #IE #Ireland #IronMaiden #ManillaRoad #Mar26 #Music #ObsidianKing #Ravenspell #Review #Reviews #SpeedMetal #Visigoth

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a host of sub-genre descendants as numerous as the stars of the sky and the grains of sand on the seashore. And like most ancestors, it looks out upon its progeny with both pride and revulsion. For instance, it seriously doubts that “progressive dissonant blackened death metal” can actually be related to it and eyes that genre’s mail/milk person with suspicion. But then it sees the New Wave of Traditional Heavy Metal and smiles at the straightlaced apple that didn’t fall too far from the proverbial tree. But even then, the Old Timer sees two different shades of its mini-me, one that incorporates all the bells and whistles of today’s newfangled production values, and one that wears the thrift shop aesthetic of olden days. I really dig bands that can pull off the latter effectively, bands like Century, Lord Mountain, and the gold standard of my recent memory, Legendry. 1

Quebec’s Ravenspell is hoping to join that mighty new-olde company with their debut full-length effort, Obsidian King. Sample the embedded single and album opener “God the Watcher”, and you’ll hear Ravenspell chain its pocket watch to its three-piece suit as it tries to sound as long in the tooth as possible. The song blasts off like a saint out of hell with some rapid riffing and a siren wail from vocalist Alisander the Seer. Clocking in at under four minutes, it sets a blistering tone for an album that will constantly walk the line between classic and speed metals.

Obsidian King by Ravenspell

Like genre leaders Visigoth and Eternal Champion, these guys channel old granddads of metal Manilla Road and Iron Maiden as they serve up sword and sorcery sermons with sweet earworm choruses. Good luck getting “Onwards We March” or “Book of the Dead” out of your head—the latter earns bonus points for kicking things off with a sample from Army of Darkness. Interspersed throughout the more balanced tracks are sub-three-minute, cocaine-fueled speed racers (“Hellstorm” and “Battleaxe Apocalypse”) that hit you and disappear before you even know what happened.

This war wagon nearly made it to the finish line before one of the wheels began to fall off. “Atilla” positions itself to be the Obsidian King’s epic finale, and while it has some cool musical ideas, it ultimately falls flat. Literally. The main vocal lines and backing vocals try to harmonize, but end up clashing in a really unpleasant way. The track also breaks Ravenspell’s winning formula, the one they spent the previous 32 minutes perfecting: classic metal songs at four minutes, speed metal at three. “Atilla” is eight minutes, and in its current form, it just doesn’t work, hun. Production-wise, Obsidian King aims for that old-timey aesthetic of yesteryear, and it mostly hits, despite sounding overly loud to my ears.

Overall, Ravenspell has done the old geezers of metal proud. Obsidian King sounds like it could have been released in the 80s, and for the most part, it delivers the goods. While it may end with a doozy of a misstep, there is over half an hour of quality music here that should please fans of geriatric metal.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: ravenspell.bandcamp.com | facebook.com/ravenspellofficial
Releases Worldwide: March 12th, 2026

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a host of sub-genre descendants as numerous as the stars of the sky and the grains of sand on the seashore. And like most ancestors, it looks out upon its progeny with both pride and revulsion. For instance, it seriously doubts that “progressive dissonant blackened death metal” can actually be related to it and eyes that genre’s mail/milk person with suspicion. But then it sees the New Wave of Traditional Heavy Metal and smiles at the straightlaced apple that didn’t fall too far from the proverbial tree. But even then, the Old Timer sees two different shades of its mini-me, one that incorporates all the bells and whistles of today’s newfangled production values, and one that wears the thrift shop aesthetic of olden days. I really dig bands that can pull off the latter effectively, bands like Century, Lord Mountain, and the gold standard of my recent memory, Legendry. 1

Quebec’s Ravenspell is hoping to join that mighty new-olde company with their debut full-length effort, Obsidian King. Sample the embedded single and album opener “God the Watcher”, and you’ll hear Ravenspell chain its pocket watch to its three-piece suit as it tries to sound as long in the tooth as possible. The song blasts off like a saint out of hell with some rapid riffing and a siren wail from vocalist Alisander the Seer. Clocking in at under four minutes, it sets a blistering tone for an album that will constantly walk the line between classic and speed metals.

Obsidian King by Ravenspell

Like genre leaders Visigoth and Eternal Champion, these guys channel old granddads of metal Manilla Road and Iron Maiden as they serve up sword and sorcery sermons with sweet earworm choruses. Good luck getting “Onwards We March” or “Book of the Dead” out of your head—the latter earns bonus points for kicking things off with a sample from Army of Darkness. Interspersed throughout the more balanced tracks are sub-three-minute, cocaine-fueled speed racers (“Hellstorm” and “Battleaxe Apocalypse”) that hit you and disappear before you even know what happened.

This war wagon nearly made it to the finish line before one of the wheels began to fall off. “Atilla” positions itself to be the Obsidian King’s epic finale, and while it has some cool musical ideas, it ultimately falls flat. Literally. The main vocal lines and backing vocals try to harmonize, but end up clashing in a really unpleasant way. The track also breaks Ravenspell’s winning formula, the one they spent the previous 32 minutes perfecting: classic metal songs at four minutes, speed metal at three. “Atilla” is eight minutes, and in its current form, it just doesn’t work, hun. Production-wise, Obsidian King aims for that old-timey aesthetic of yesteryear, and it mostly hits, despite sounding overly loud to my ears.

Overall, Ravenspell has done the old geezers of metal proud. Obsidian King sounds like it could have been released in the 80s, and for the most part, it delivers the goods. While it may end with a doozy of a misstep, there is over half an hour of quality music here that should please fans of geriatric metal.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: ravenspell.bandcamp.com | facebook.com/ravenspellofficial
Releases Worldwide: March 12th, 2026

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a host of sub-genre descendants as numerous as the stars of the sky and the grains of sand on the seashore. And like most ancestors, it looks out upon its progeny with both pride and revulsion. For instance, it seriously doubts that “progressive dissonant blackened death metal” can actually be related to it and eyes that genre’s mail/milk person with suspicion. But then it sees the New Wave of Traditional Heavy Metal and smiles at the straightlaced apple that didn’t fall too far from the proverbial tree. But even then, the Old Timer sees two different shades of its mini-me, one that incorporates all the bells and whistles of today’s newfangled production values, and one that wears the thrift shop aesthetic of olden days. I really dig bands that can pull off the latter effectively, bands like Century, Lord Mountain, and the gold standard of my recent memory, Legendry. 1

Quebec’s Ravenspell is hoping to join that mighty new-olde company with their debut full-length effort, Obsidian King. Sample the embedded single and album opener “God the Watcher”, and you’ll hear Ravenspell chain its pocket watch to its three-piece suit as it tries to sound as long in the tooth as possible. The song blasts off like a saint out of hell with some rapid riffing and a siren wail from vocalist Alisander the Seer. Clocking in at under four minutes, it sets a blistering tone for an album that will constantly walk the line between classic and speed metals.

Obsidian King by Ravenspell

Like genre leaders Visigoth and Eternal Champion, these guys channel old granddads of metal Manilla Road and Iron Maiden as they serve up sword and sorcery sermons with sweet earworm choruses. Good luck getting “Onwards We March” or “Book of the Dead” out of your head—the latter earns bonus points for kicking things off with a sample from Army of Darkness. Interspersed throughout the more balanced tracks are sub-three-minute, cocaine-fueled speed racers (“Hellstorm” and “Battleaxe Apocalypse”) that hit you and disappear before you even know what happened.

This war wagon nearly made it to the finish line before one of the wheels began to fall off. “Atilla” positions itself to be the Obsidian King’s epic finale, and while it has some cool musical ideas, it ultimately falls flat. Literally. The main vocal lines and backing vocals try to harmonize, but end up clashing in a really unpleasant way. The track also breaks Ravenspell’s winning formula, the one they spent the previous 32 minutes perfecting: classic metal songs at four minutes, speed metal at three. “Atilla” is eight minutes, and in its current form, it just doesn’t work, hun. Production-wise, Obsidian King aims for that old-timey aesthetic of yesteryear, and it mostly hits, despite sounding overly loud to my ears.

Overall, Ravenspell has done the old geezers of metal proud. Obsidian King sounds like it could have been released in the 80s, and for the most part, it delivers the goods. While it may end with a doozy of a misstep, there is over half an hour of quality music here that should please fans of geriatric metal.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: ravenspell.bandcamp.com | facebook.com/ravenspellofficial
Releases Worldwide: March 12th, 2026

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a host of sub-genre descendants as numerous as the stars of the sky and the grains of sand on the seashore. And like most ancestors, it looks out upon its progeny with both pride and revulsion. For instance, it seriously doubts that “progressive dissonant blackened death metal” can actually be related to it and eyes that genre’s mail/milk person with suspicion. But then it sees the New Wave of Traditional Heavy Metal and smiles at the straightlaced apple that didn’t fall too far from the proverbial tree. But even then, the Old Timer sees two different shades of its mini-me, one that incorporates all the bells and whistles of today’s newfangled production values, and one that wears the thrift shop aesthetic of olden days. I really dig bands that can pull off the latter effectively, bands like Century, Lord Mountain, and the gold standard of my recent memory, Legendry. 1

Quebec’s Ravenspell is hoping to join that mighty new-olde company with their debut full-length effort, Obsidian King. Sample the embedded single and album opener “God the Watcher”, and you’ll hear Ravenspell chain its pocket watch to its three-piece suit as it tries to sound as long in the tooth as possible. The song blasts off like a saint out of hell with some rapid riffing and a siren wail from vocalist Alisander the Seer. Clocking in at under four minutes, it sets a blistering tone for an album that will constantly walk the line between classic and speed metals.

Obsidian King by Ravenspell

Like genre leaders Visigoth and Eternal Champion, these guys channel old granddads of metal Manilla Road and Iron Maiden as they serve up sword and sorcery sermons with sweet earworm choruses. Good luck getting “Onwards We March” or “Book of the Dead” out of your head—the latter earns bonus points for kicking things off with a sample from Army of Darkness. Interspersed throughout the more balanced tracks are sub-three-minute, cocaine-fueled speed racers (“Hellstorm” and “Battleaxe Apocalypse”) that hit you and disappear before you even know what happened.

This war wagon nearly made it to the finish line before one of the wheels began to fall off. “Atilla” positions itself to be the Obsidian King’s epic finale, and while it has some cool musical ideas, it ultimately falls flat. Literally. The main vocal lines and backing vocals try to harmonize, but end up clashing in a really unpleasant way. The track also breaks Ravenspell’s winning formula, the one they spent the previous 32 minutes perfecting: classic metal songs at four minutes, speed metal at three. “Atilla” is eight minutes, and in its current form, it just doesn’t work, hun. Production-wise, Obsidian King aims for that old-timey aesthetic of yesteryear, and it mostly hits, despite sounding overly loud to my ears.

Overall, Ravenspell has done the old geezers of metal proud. Obsidian King sounds like it could have been released in the 80s, and for the most part, it delivers the goods. While it may end with a doozy of a misstep, there is over half an hour of quality music here that should please fans of geriatric metal.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: ravenspell.bandcamp.com | facebook.com/ravenspellofficial
Releases Worldwide: March 12th, 2026

When old-school Traditional Heavy Metal looks fondly upon its family tree, it sees that it has birthed a host of sub-genre descendants as numerous as the stars of the sky and the grains of sand on the seashore. And like most ancestors, it looks out upon its progeny with both pride and revulsion. For instance, it seriously doubts that “progressive dissonant blackened death metal” can actually be related to it and eyes that genre’s mail/milk person with suspicion. But then it sees the New Wave of Traditional Heavy Metal and smiles at the straightlaced apple that didn’t fall too far from the proverbial tree. But even then, the Old Timer sees two different shades of its mini-me, one that incorporates all the bells and whistles of today’s newfangled production values, and one that wears the thrift shop aesthetic of olden days. I really dig bands that can pull off the latter effectively, bands like Century, Lord Mountain, and the gold standard of my recent memory, Legendry. 1

Quebec’s Ravenspell is hoping to join that mighty new-olde company with their debut full-length effort, Obsidian King. Sample the embedded single and album opener “God the Watcher”, and you’ll hear Ravenspell chain its pocket watch to its three-piece suit as it tries to sound as long in the tooth as possible. The song blasts off like a saint out of hell with some rapid riffing and a siren wail from vocalist Alisander the Seer. Clocking in at under four minutes, it sets a blistering tone for an album that will constantly walk the line between classic and speed metals.

Obsidian King by Ravenspell

Like genre leaders Visigoth and Eternal Champion, these guys channel old granddads of metal Manilla Road and Iron Maiden as they serve up sword and sorcery sermons with sweet earworm choruses. Good luck getting “Onwards We March” or “Book of the Dead” out of your head—the latter earns bonus points for kicking things off with a sample from Army of Darkness. Interspersed throughout the more balanced tracks are sub-three-minute, cocaine-fueled speed racers (“Hellstorm” and “Battleaxe Apocalypse”) that hit you and disappear before you even know what happened.

This war wagon nearly made it to the finish line before one of the wheels began to fall off. “Atilla” positions itself to be the Obsidian King’s epic finale, and while it has some cool musical ideas, it ultimately falls flat. Literally. The main vocal lines and backing vocals try to harmonize, but end up clashing in a really unpleasant way. The track also breaks Ravenspell’s winning formula, the one they spent the previous 32 minutes perfecting: classic metal songs at four minutes, speed metal at three. “Atilla” is eight minutes, and in its current form, it just doesn’t work, hun. Production-wise, Obsidian King aims for that old-timey aesthetic of yesteryear, and it mostly hits, despite sounding overly loud to my ears.

Overall, Ravenspell has done the old geezers of metal proud. Obsidian King sounds like it could have been released in the 80s, and for the most part, it delivers the goods. While it may end with a doozy of a misstep, there is over half an hour of quality music here that should please fans of geriatric metal.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: ravenspell.bandcamp.com | facebook.com/ravenspellofficial
Releases Worldwide: March 12th, 2026

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

Bergfried – Romantik III Review

After dropping debut EP Romantik I in 2022 and foll…
#NewsBeep #News #Music #1980s #2025 #3.0 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink-182 #BloodStar #Dragony #Elvenking #Enforcer #Entertainment #EternalChampion #Hardrock #HeavyMetal #HighRollerRecords #Meatloaf #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #review #Reviews #RomantikIII #Smoulder #TheCult #UK #UnitedKingdom
https://www.newsbeep.com/uk/246544/

Bergfried – Romantik III Review

By Grin Reaper

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

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

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

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

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

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

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

Bergfried – Romantik III Review

By Grin Reaper

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

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

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

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

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

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

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

Bergfried – Romantik III Review

By Grin Reaper

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

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

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

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

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

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

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

Bergfried – Romantik III Review

By Grin Reaper

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

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

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

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

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

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

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

Bergfried – Romantik III Review

By Grin Reaper

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

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

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

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

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

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

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

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

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

For #MusicWomenWednesday by @loewe:

#Dialith: Shadowdancer

https://song.link/kdfgwppqqzgzs

#PowerMetal #SymphonicMetal

FFO #DirePeril #EternalChampion #SacredOutcry

For #MusicWomenWednesday by @loewe:

#Dialith: Shadowdancer

https://song.link/kdfgwppqqzgzs

#PowerMetal #SymphonicMetal

FFO #DirePeril #EternalChampion #SacredOutcry

For #MusicWomenWednesday by @loewe:

#Dialith: Shadowdancer

https://song.link/kdfgwppqqzgzs

#PowerMetal #SymphonicMetal

FFO #DirePeril #EternalChampion #SacredOutcry

For #MusicWomenWednesday by @loewe:

#Dialith: Shadowdancer

https://song.link/kdfgwppqqzgzs

#PowerMetal #SymphonicMetal

FFO #DirePeril #EternalChampion #SacredOutcry

For #MusicWomenWednesday by @loewe:

#Dialith: Shadowdancer

https://song.link/kdfgwppqqzgzs

#PowerMetal #SymphonicMetal

FFO #DirePeril #EternalChampion #SacredOutcry

🔊 #NowPlaying on #KEXP's #VarietyMix

Eternal Champion:
🎵 Ravening Iron

#EternalChampion

https://open.spotify.com/track/3ITYjaDBmlgnYZbGd9w5c4

https://eternalchampion.bandcamp.com/album/ravening-iron
#Bandcamp

🎶 #Show #playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

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

#TheMetalDogArticleList
#MetalSucks
Brad Raub, Bassist of Sumerlands and Eternal Champion, Dead at 36
Nobody should fade from this world at such a young age as 36.

https://www.metalsucks.net/2024/05/31/brad-raub-bassist-of-sumerlands-and-eternal-champion-dead-at-36/

#BradRaub #Sumerlands #EternalChampion #RIP

🔊 #NowPlaying on #KEXP's #SeekAndDestroy

Eternal Champion:
🎵 Worms of the Earth

#EternalChampion

https://open.spotify.com/track/0BKLp2bL6H2xaZD40GrHLw

https://eternalchampion.bandcamp.com/track/worms-of-the-earth
#Bandcamp

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

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

Gatekeeper – From Western Shores [Things You Might Have Missed 2023]

By Holdeneye

It is with great shame that I come before you today to admit that I initially missed Gatekeeper’s second full-length album From Western Shores when it released back in March. As Vice Premier of All Things Olde here at AMG, it is my responsibility to cover anything traditional that happens to sneak through the Steel Filter™, and in 2023, I have failed mightily in this duty. Not only did I neglect the duties of my sacred office, but as a reviewer, and music fan in general, nothing makes me feel more stupid than when I whiff on a release that is completely, perfectly, and incandescently in my wheelhouse. Consisting of epic traditional metal tales with power metal tendencies, From Western Shores has been living rent-free in my wheelhouse for the last couple of months, and its hold on me is only getting stronger. Now sit back, relax, and behold as I restore my honor.

Marching confidently amongst the ranks of Visigoth, Eternal Champion, and Manilla Road, Gatekeeper is highly skilled in the telling of tales of the sword and sorcery variety. Gatekeeper’s founder Jeff Black maintains rhythm guitar duties, and he’s written a musically diverse set of songs with themes that range from Vikings to Tolkien. Currently based in Vancouver, BC, on the western shores of Canada, the band opens the album with the title track, and it sounds like a mission statement as they make their intentions known to the trad-metal scene: ‘We hail from western shores/Submit to your new kings by conquest!’ The song reeks of Manowarian bravado, its driving rhythm gilded in resplendent lead work from Adam Bergen. A fantastic opener, “From Western Shores” nods towards many classic influences in addition to the ones mentioned above, like the Jon Oliva-esque wails from Tyler Anderson and the Blind Guardian-style subdued spoken-word passage.

There are so many great moments on From Western Shores that there’s always something to look forward too. “Shadow and Stone” tells the tale of the Dead Men of Dunharrow mentioned in The Lord of the Rings. It moves from a mild minstrel opening through a huge, triumphant chorus and into a snarling groove as Anderson speaks Isildur’s curse upon the oath-breakers, and it all comes together to produce one of the album’s shining highlights. “Exiled King” relates the account of Viking King Harald Hardrada (a man with whom I’ve conquered the world several times in Civ 6) in epic fashion, “Twisted Towers” speeds up the tempo and melody to call out any authority who would abuse their power, and closer “Keepers of the Gate” leaves us with one of the most awesome heavy metal choruses ever: ‘We, the keepers of the gate, guardians of steel, hale and true, forever proudly standing against the enemy tides/The gate shall be kept forever more…’ As an epic metal nerd, this never fails to give me chills.

It’s been my honor today to play the role of skald, singing praises of the mighty deeds of these West Coast barbarian kings. With From Western Shores, Gatekeeper have established themselves as a major faction in the fight to control the traditional metal realms.

Tracks to Check Out: “From Western Shores,” “Shadow and Stone,” “Exiled King,” “Twisted Towers,” “Keepers of the Gate”

#BlindGuardian #CanadianMetal #CruzDelSurMusic #EternalChampion #FromWesternShores #Gatekeeper #HeavyMetal #ManillaRoad #Manowar #Savatage #ThingsYouMightHaveMissed2023 #Visigoth

Gatekeeper – From Western Shores [Things You Might Have Missed 2023]

By Holdeneye

It is with great shame that I come before you today to admit that I initially missed Gatekeeper’s second full-length album From Western Shores when it released back in March. As Vice Premier of All Things Olde here at AMG, it is my responsibility to cover anything traditional that happens to sneak through the Steel Filter™, and in 2023, I have failed mightily in this duty. Not only did I neglect the duties of my sacred office, but as a reviewer, and music fan in general, nothing makes me feel more stupid than when I whiff on a release that is completely, perfectly, and incandescently in my wheelhouse. Consisting of epic traditional metal tales with power metal tendencies, From Western Shores has been living rent-free in my wheelhouse for the last couple of months, and its hold on me is only getting stronger. Now sit back, relax, and behold as I restore my honor.

Marching confidently amongst the ranks of Visigoth, Eternal Champion, and Manilla Road, Gatekeeper is highly skilled in the telling of tales of the sword and sorcery variety. Gatekeeper’s founder Jeff Black maintains rhythm guitar duties, and he’s written a musically diverse set of songs with themes that range from Vikings to Tolkien. Currently based in Vancouver, BC, on the western shores of Canada, the band opens the album with the title track, and it sounds like a mission statement as they make their intentions known to the trad-metal scene: ‘We hail from western shores/Submit to your new kings by conquest!’ The song reeks of Manowarian bravado, its driving rhythm gilded in resplendent lead work from Adam Bergen. A fantastic opener, “From Western Shores” nods towards many classic influences in addition to the ones mentioned above, like the Jon Oliva-esque wails from Tyler Anderson and the Blind Guardian-style subdued spoken-word passage.

There are so many great moments on From Western Shores that there’s always something to look forward too. “Shadow and Stone” tells the tale of the Dead Men of Dunharrow mentioned in The Lord of the Rings. It moves from a mild minstrel opening through a huge, triumphant chorus and into a snarling groove as Anderson speaks Isildur’s curse upon the oath-breakers, and it all comes together to produce one of the album’s shining highlights. “Exiled King” relates the account of Viking King Harald Hardrada (a man with whom I’ve conquered the world several times in Civ 6) in epic fashion, “Twisted Towers” speeds up the tempo and melody to call out any authority who would abuse their power, and closer “Keepers of the Gate” leaves us with one of the most awesome heavy metal choruses ever: ‘We, the keepers of the gate, guardians of steel, hale and true, forever proudly standing against the enemy tides/The gate shall be kept forever more…’ As an epic metal nerd, this never fails to give me chills.

It’s been my honor today to play the role of skald, singing praises of the mighty deeds of these West Coast barbarian kings. With From Western Shores, Gatekeeper have established themselves as a major faction in the fight to control the traditional metal realms.

Tracks to Check Out: “From Western Shores,” “Shadow and Stone,” “Exiled King,” “Twisted Towers,” “Keepers of the Gate”

#BlindGuardian #CanadianMetal #CruzDelSurMusic #EternalChampion #FromWesternShores #Gatekeeper #HeavyMetal #ManillaRoad #Manowar #Savatage #ThingsYouMightHaveMissed2023 #Visigoth

There’s a new #interview with author #MichaelMoorcock on the #GrognardFiles #RPG #podcast I follow. Well worth a listen! Chatting about his life and books. https://thegrognardfiles.com/2023/10/01/michael-moorcock-ep-64/ #interviews #fantasy #scifi #EternalChampion

We are now into the Hs of the Great Comic Book Re-inventorying Initiative and this book is the 1st to have its own section.

The #EternalChampion series by #MichaelMoorcock contains more than just #Elric, and all of them should be required reading by any #SciFi and #Fantasy fan.

#Hawkmoon is a great series and reading it in comic book form really adds to the story. I mean who doesn't like a post-nuclear future where it's all science & sorcery?😁

#Comicstodon #Comics #ComicBooks #FirstComics