#fateswarning — Public Fediverse posts

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#accept #aor #candlemass #fateswarning #heathenseye #jorn

Angry Metal Guy @[email protected] · 2025-08-02 · 15:00 UTC

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#accept #aor #candlemass #fateswarning #heathenseye #jorn

Angry Metal Guy @[email protected] · 2025-08-02 · 15:00 UTC

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#accept #aor #candlemass #fateswarning #heathenseye #jorn

Angry Metal Guy @[email protected] · 2025-08-02 · 15:00 UTC

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#swedishmetal #reviews #review #queensryche #portinspiro #metalheart

Angry Metal Guy @[email protected] · 2025-08-02 · 15:00 UTC

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#accept #aor #candlemass #fateswarning #heathenseye #jorn

HamiltonsLive @[email protected] · 2025-07-29 · 15:23 UTC

Metal Blade Video 🤘 A-Z drops new video for "Now I Walk Away"! #fateswarning #metal #hardrock #metalblade http://dlvr.it/TM9zJT LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#fateswarning #metal #hardrock #metalblade #metalbladerecords #heavymetal

Angry Metal Guy @[email protected] · 2025-07-09 · 16:50 UTC

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

#az #a2z_ #alcatrazz #dgm #fateswarning #heavymetal

Angry Metal Guy @[email protected] · 2025-07-09 · 16:50 UTC

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

#az #a2z_ #alcatrazz #dgm #fateswarning #heavymetal

Angry Metal Guy @[email protected] · 2025-07-09 · 16:50 UTC

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

#az #a2z_ #alcatrazz #dgm #fateswarning #heavymetal

Angry Metal Guy @[email protected] · 2025-07-09 · 16:50 UTC

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

#az #a2z_ #alcatrazz #dgm #fateswarning #heavymetal

Angry Metal Guy @[email protected] · 2025-07-09 · 16:50 UTC

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

#warlord #toto #stevevai #rush #reviews #review

HamiltonsLive @[email protected] · 2025-06-12 · 16:34 UTC

Metal Blade Video 🤘 A-Z’s Mark Zonder drops a new playthrough for “The Remedy”! #athruz #metal #metalblade #fateswarning http://dlvr.it/TLK9t4 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #metal #metalblade #fateswarning #metalbladerecords #heavymetal

HamiltonsLive @[email protected] · 2025-06-12 · 16:34 UTC

Metal Blade Video 🤘 A-Z’s Mark Zonder drops a new playthrough for “The Remedy”! #athruz #metal #metalblade #fateswarning http://dlvr.it/TLK9t4 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #metal #metalblade #fateswarning #metalbladerecords #heavymetal

HamiltonsLive @[email protected] · 2025-06-12 · 16:34 UTC

Metal Blade Video 🤘 A-Z’s Mark Zonder drops a new playthrough for “The Remedy”! #athruz #metal #metalblade #fateswarning http://dlvr.it/TLK9t4 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #metal #metalblade #fateswarning #metalbladerecords #heavymetal

HamiltonsLive @[email protected] · 2025-06-12 · 16:34 UTC

Metal Blade Video 🤘 A-Z’s Mark Zonder drops a new playthrough for “The Remedy”! #athruz #metal #metalblade #fateswarning http://dlvr.it/TLK9t4 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#heavymetal #metalbladerecords #fateswarning #metalblade #metal #athruz

HamiltonsLive @[email protected] · 2025-06-12 · 16:34 UTC

Metal Blade Video 🤘 A-Z’s Mark Zonder drops a new playthrough for “The Remedy”! #athruz #metal #metalblade #fateswarning http://dlvr.it/TLK9t4 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #metal #metalblade #fateswarning #metalbladerecords #heavymetal

HamiltonsLive @[email protected] · 2025-06-06 · 16:09 UTC

Metal Blade Video 🤘 A-Z’s new album, ‘A2Z²’ is officially OUT NOW! #athruz #fateswarning #hardrock #metal #metalblade http://dlvr.it/TLCWdy LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #fateswarning #hardrock #metal #metalblade #metalbladerecords

HamiltonsLive @[email protected] · 2025-06-06 · 16:09 UTC

Metal Blade Video 🤘 A-Z’s new album, ‘A2Z²’ is officially OUT NOW! #athruz #fateswarning #hardrock #metal #metalblade http://dlvr.it/TLCWdy LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #fateswarning #hardrock #metal #metalblade #metalbladerecords

HamiltonsLive @[email protected] · 2025-06-06 · 16:09 UTC

Metal Blade Video 🤘 A-Z’s new album, ‘A2Z²’ is officially OUT NOW! #athruz #fateswarning #hardrock #metal #metalblade http://dlvr.it/TLCWdy LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #fateswarning #hardrock #metal #metalblade #metalbladerecords

HamiltonsLive @[email protected] · 2025-06-06 · 16:09 UTC

Metal Blade Video 🤘 A-Z’s new album, ‘A2Z²’ is officially OUT NOW! #athruz #fateswarning #hardrock #metal #metalblade http://dlvr.it/TLCWdy LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#heavymetal #metalbladerecords #metalblade #metal #hardrock #fateswarning

HamiltonsLive @[email protected] · 2025-06-06 · 16:09 UTC

Metal Blade Video 🤘 A-Z’s new album, ‘A2Z²’ is officially OUT NOW! #athruz #fateswarning #hardrock #metal #metalblade http://dlvr.it/TLCWdy LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

#athruz #fateswarning #hardrock #metal #metalblade #metalbladerecords

Angry Metal Guy @[email protected] · 2025-05-15 · 11:27 UTC

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com 3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#awakenanewageofchaos #fateswarning #heavymetal #highrollerrecords #icedearth #innerstrength

Angry Metal Guy @[email protected] · 2025-05-15 · 11:27 UTC

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com 3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#awakenanewageofchaos #fateswarning #heavymetal #highrollerrecords #icedearth #innerstrength

Angry Metal Guy @[email protected] · 2025-05-15 · 11:27 UTC

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com 3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#tadmorose #sanctuary #reviews #review #queensryche #progressivemetal

Angry Metal Guy @[email protected] · 2025-05-15 · 11:27 UTC

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com 3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#awakenanewageofchaos #fateswarning #heavymetal #highrollerrecords #icedearth #innerstrength

Angry Metal Guy @[email protected] · 2025-05-01 · 15:06 UTC

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

By Steel Druhm

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

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

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

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

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

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

#ageofthevoid #epicheavymetal #evergrey #fateswarning #fhmrecords #germanmetal

Angry Metal Guy @[email protected] · 2025-05-01 · 15:06 UTC

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

By Steel Druhm

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

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

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

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

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

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

#ageofthevoid #epicheavymetal #evergrey #fateswarning #fhmrecords #germanmetal

Angry Metal Guy @[email protected] · 2025-05-01 · 15:06 UTC

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

By Steel Druhm

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

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

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

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

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

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

#underruins #them #tadmorose #reviews #review #pyramaze

Angry Metal Guy @[email protected] · 2025-05-01 · 15:06 UTC