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Angus McSix – Angus McSix and the All-Seeing Astral Eye Review

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with…
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When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

Ensiferum Stir Up A Winter Storm Of Folk Metal Magic In London

Inflatable swords, the happiest Metal band in the world, and whirling mosh pits paying tribute to the Viking…
#London #UnitedKingdom #UK #GB #England #Headlines #News #Europe #EU #Britain #Dragony #Ensiferum #freedomcall #gigreviews #GreatBritain #london
https://www.europesays.com/uk/700455/

https://www.europesays.com/uk/700455/ Ensiferum Stir Up A Winter Storm Of Folk Metal Magic In London #Britain #Dragony #England #Ensiferum #FreedomCall #GigReviews #GreatBritain #london #UK #UnitedKingdom

@minnfinn

Songs of hope is such a great topic.

"Reignite" by #Malukah is one of my goto songs.
https://youtu.be/re32xnyYP3A

#FreedomCall is the equivalent of plugging a heating blanket into an amplifier and cranking the positivity to 11.
"Rock the Nation".
https://youtu.be/re_GpN7JI3M

"Skal" by #MiracleOfSound is just so very warm and welcoming.
https://www.youtube.com/watch?v=y2q5R9HU7C0

And there's #VNV nation for looking inwards. "Nothing more".
https://youtu.be/psN_bK2Lf2c

#HopePunk

@minnfinn

Songs of hope is such a great topic.

"Reignite" by #Malukah is one of my goto songs.
https://youtu.be/re32xnyYP3A

#FreedomCall is the equivalent of plugging a heating blanket into an amplifier and cranking the positivity to 11.
"Rock the Nation".
https://youtu.be/re_GpN7JI3M

"Skal" by #MiracleOfSound is just so very warm and welcoming.
https://www.youtube.com/watch?v=y2q5R9HU7C0

And there's #VNV nation for looking inwards. "Nothing more".
https://youtu.be/psN_bK2Lf2c

#HopePunk

@minnfinn

Songs of hope is such a great topic.

"Reignite" by #Malukah is one of my goto songs.
https://youtu.be/re32xnyYP3A

#FreedomCall is the equivalent of plugging a heating blanket into an amplifier and cranking the positivity to 11.
"Rock the Nation".
https://youtu.be/re_GpN7JI3M

"Skal" by #MiracleOfSound is just so very warm and welcoming.
https://www.youtube.com/watch?v=y2q5R9HU7C0

And there's #VNV nation for looking inwards. "Nothing more".
https://youtu.be/psN_bK2Lf2c

#HopePunk

@minnfinn

Songs of hope is such a great topic.

"Reignite" by #Malukah is one of my goto songs.
https://youtu.be/re32xnyYP3A

#FreedomCall is the equivalent of plugging a heating blanket into an amplifier and cranking the positivity to 11.
"Rock the Nation".
https://youtu.be/re_GpN7JI3M

"Skal" by #MiracleOfSound is just so very warm and welcoming.
https://www.youtube.com/watch?v=y2q5R9HU7C0

And there's #VNV nation for looking inwards. "Nothing more".
https://youtu.be/psN_bK2Lf2c

#HopePunk

@minnfinn

Songs of hope is such a great topic.

"Reignite" by #Malukah is one of my goto songs.
https://youtu.be/re32xnyYP3A

#FreedomCall is the equivalent of plugging a heating blanket into an amplifier and cranking the positivity to 11.
"Rock the Nation".
https://youtu.be/re_GpN7JI3M

"Skal" by #MiracleOfSound is just so very warm and welcoming.
https://www.youtube.com/watch?v=y2q5R9HU7C0

And there's #VNV nation for looking inwards. "Nothing more".
https://youtu.be/psN_bK2Lf2c

#HopePunk

New post: Gig Review: Ensiferum / Freedom Call / Dragony – The Dome, London (11th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-ensiferum-freedom-call-dragony-the-dome-london-11th-january-2026/ #Dragony #Ensiferum #FreedomCall

New post: Gig Review: Ensiferum / Freedom Call / Dragony – The Dome, London (11th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-ensiferum-freedom-call-dragony-the-dome-london-11th-january-2026/ #Dragony #Ensiferum #FreedomCall

New post: Gig Review: Ensiferum / Freedom Call / Dragony – The Dome, London (11th January 2026) https://moshville.co.uk/reviews/gig-review/2026/01/gig-review-ensiferum-freedom-call-dragony-the-dome-london-11th-january-2026/ #Dragony #Ensiferum #FreedomCall

https://www.europesays.com/ie/280123/ St. Unholyness – Through High Holy Haze Review #1.5 #2025 #BlackMetal #Dec25 #DoomMetal #Éire #Entertainment #FreedomCall #GermanMetal #IE #Ireland #Manowar #Music #Pantera #Review #Reviews #SelfReleased #St.Unholyness #StonerMetal #ThroughHighHolyHaze

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

As a non-musician, writing music and playing an instrument is always impressive to me, but I am in awe of the successful solo artist. The knowledge and skill required must be staggering. St. Unholyness, hailing from Pfarrkirchen, Germany, is essentially one such project. Aside from conscripting Mac Carrigan to play bass, debut Through High Holy Haze is the singular vision of guitarist/vocalist Christina Earlymorn.1 Does Earlymorn come through with some truly holy loud, or is Through High Holy Haze all stems and seeds?

As far back as 2008, Earlymorn has been playing in various black metal projects, mostly solo, but Through High Holy Haze is a much wider-ranging affair. St. Unholyness does incorporate blackened components in its sound, like the riffing and blast beats in “Hate Response” or the full-fledged black metal passages of the title track and “Alchemist Blues,” but Through High Holy Haze is a stoner record at its core. Injecting a novel grittiness via HM-2 buzzsaw, Earlymorn creates a dirty but pliable foundation to decorate with a myriad of other styles. “Black Tooth Brothers (Abbott Brothers Tribute)” incorporates some groove sensibility, much like a stoned-out Cowboys from Hell, while the macho, brotherhood-centered antics of Manowar or Freedom Call find a place on “Loud and Proud.” “Hate Response” might be the most varied track on the album, oscillating between heavy metal, death metal, and black metal. Through High Holy Haze has a lot going on, and although not all of it fits together well, it speaks to the ambition and raw vision Earlymorn has for St. Unholyness.

Blacktooth Brothers (Abbott Brothers Tribute) by St. Unholyness

Unfortunately, raw drive and interesting ideas don’t make a good record. While Earlymorn is obviously a proficient guitarist—I was particularly impressed by the bluesy hooks and licks on “Through High Holy Haze” as well as the swedeath-influenced riffage on “Hate Response”—but she’s not as talented vocally. Her cleans are stiff and monotone, and her blackened rasps sound weak and half-hearted. From the promo material, I understand the lyrics are deeply personal to Earlymorn, but to do them justice, they needed to be passed off to someone with more range and experience. The same can be said of the programmed drums. A live musician could have breathed life and emotion into an element that, as is, feels like little more than a beefed-up metronome. There are very interesting ideas on Through High Holy Haze, like the way St. Unholyness mixes black metal and stoner metal together or uses a swedeath tone to play stony, bluesy riffs, but they needed more input than Earlymorn’s alone to come to life truly.

A lack of refinement isn’t the only problem plaguing Through High Holy Haze. Artifacts and clipping are pervasive throughout the album, and the mix often fumbles potential high points. “Dampflok des Todes” and “Alchemist Blues” both feature vocals that seem pitched to soar, but in such a flat mix, come across unremarkable at best, weak and poorly written at worst. Carrigan’s bass sounds excellent when it gets some time in the spotlight (“Black Tooth Brothers,” “St. Unholyness”), but otherwise it’s all but buried. The songwriting on Through High Holy Haze is challenging, as well. Mismatches between intros and the meat of songs are frequent, as are mismatches between leads/solos and rhythm sections, creating a dischordant listening experience (“Dampflok des Todes,” “Black Tooth Brothers,” “Alchemist Blues,” “Hate Response”). Bloat is also an issue. “Black Tooth Brothers” and “Alchemist Blues” both feature aimless interludes, and “St. Unholyness” employs a great deal of repetition to fill its six minutes and change.

St. Unholyness’ debut is, start to finish, the product of a single mind. As a result, Through High Holy Haze feels more like a rough draft than a final, polished product. An unfocused approach, poor mixing, and jarring, disjointed songwriting conspire together to utterly hamstring some decent potential. There are compelling ideas here, of that I am sure, but without the support of other skilled artists to workshop, refine, temper, and realize them, ideas are all they’ll ever be.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: ~190kbps VBR mp3
Label: Self-released
Websites: Official | Facebook | Instagram
Releases Worldwide: December 25th, 2025

New post: Ensiferum bring the Winter Storm to London for exclusive 2026 show https://moshville.co.uk/news/tours/2026/01/ensiferum-bring-the-winter-storm-to-london-for-exclusive-2026-show/ #Dragony #Ensiferum #FreedomCall

New post: Ensiferum bring the Winter Storm to London for exclusive 2026 show https://moshville.co.uk/news/tours/2026/01/ensiferum-bring-the-winter-storm-to-london-for-exclusive-2026-show/ #Dragony #Ensiferum #FreedomCall

New post: Ensiferum bring the Winter Storm to London for exclusive 2026 show https://moshville.co.uk/news/tours/2026/01/ensiferum-bring-the-winter-storm-to-london-for-exclusive-2026-show/ #Dragony #Ensiferum #FreedomCall

Mal wieder ordentlich auf die Ohren!

#RockOutFestival in #Augsburg

Den Anfang machten #FreedomCall und dann #GraveDigger!

Unter „Laut&Hart“ stellt man sich nicht gerade ein Festival vor, bei dem ausgerechnet FREEDOM CALL Headliner sind. Aber Schall und Rauch – Hauptsache, die Endorphine kicken! #lautundhart #freedomcall #fabularasa #silentrevenants #torian #dawnofdestiny #thornbridge #dragony

https://www.burnyourears.de/live/54697-laut-und-happy-–-konzertbericht-vom-laut-hart-festival-2025.html

Turbokill – Champion Review

By Steel Druhm

Written By: Nameless N00b 86

1.86.0-BILQJP4UXGWEFLOT4LOZ66CPRA.0.1-9

There can be no doubt where Turbokill’s sights are set with a name like Champion. Formed in 2017 after singer Stephan Dietrich’s departure from Alpha Tiger, the group only managed to release debut album Vice World in 2019 before the pandemic forced them–and virtually everyone else–to take a break for a few years. Now they re-emerge into a post-plague world with their sophomore offering which promises three things: catchy hooks, sing-along choruses, and uplifting lyrics. These traits are hardly uncommon in power metal, but the results can be electrifying when executed properly. Time to put Champion to the test in a crowded playing field.

It quickly becomes clear that Turbokill has few tricks or twists up its sleeve to help differentiate itself from the pack. Instead, its approach is to expand its borders into lofty power metal territory while keeping one foot in the more straightforward heavy metal style of the debut. The first proper track “A Million Ways” is a good representation of what’s to come, blending the galloping riffs of HammerFall with the sweeping, grandiose choruses of Freedom Call. They sometimes borrow from less traditional power metal variants like Theocracy (“Time to Wake” and “Overcome”) and Brothers of Metal (“Sons of the Storm”), however, most of the music will feel comfortably familiar to fans of typical Euro-power cheese.

Champion is not quite as consistent in quality as it is in style. Stephan Dietrich has the type of nasally voice that lends itself better to the more trad-metal songs, such as the title track. Unfortunately, he seems to strain a bit on the higher notes, so he’s unable to make some of the power metal choruses (“A Million Ways,” “Go Your Way” and “Sons of the Storm”) really soar. Overall, though, his delivery is effective and charismatic, and it’s easy to see why he’s the most prominent piece of the group’s identity. That said, Turbokill doesn’t bet all its chips on Dietrich. Daniel Kanzler and Ronny Schuster take every opportunity to step on the accelerator with their guitar shredding. The problem comes when they sometimes Kill the Turbo at strange times. For example, a guitar solo starts in the middle of “Time to Wake” only to sputter out after a few seconds to make way for a slower, extended bridge. When the guitar soloing reasserts itself afterward, it’s lost some of the momentum that a performance of this caliber deserves.

The 54-minute runtime is another impediment holding Champion back from its full potential. There’s a lot of solid material here that would have hit harder if the more mediocre songs like “Mirage Mirror” and “Tear It Down” were cut. The reprise of a melody from the intro at the end of album finale “Overcome” is a nice detail but it’s easy to miss because of how much time elapses in between. I have to acknowledge the heroic efforts of drummer Kevin Käferstein to liven up the drier moments, particularly in the verses of “Go Your Way” and the chorus of “Overcome.” Marco “Fox” Grünwald’s bass is just audible enough to add much-needed crunch, though I wish his presence on Champion was at the same level as it was in Vice World.

Turbokill accomplish much of what it set out to do. Champion has plenty of high-octane lines and meaningful hooks. In the end, though, it plays way too safe for way too long. This makes me struggle to find reasons to return to this over any of the other bands I’ve referenced above the next time I have a cheese craving. A small shift in songwriting emphasis from simple, sugary choruses to the dexterous instrumental prowess evident here would do wonders for Turbokill’s memorability. For now, sadly, this aspiring Champion will have a hard time making it out of the play-in tournament.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Steamhammer/SPV
Websites: Bandcamp | turbokill.de | Facebook
Releases Worldwide: September 27th, 2024

#2024 #AlphaTiger #Champion #FreedomCall #GermanMetal #Hammerfall #PowerMetal #Review #Reviews #Sep24 #SteamhammerSPV #Theocracy #Turbokill

Turbokill – Champion Review

By Steel Druhm

Written By: Nameless N00b 86

1.86.0-BILQJP4UXGWEFLOT4LOZ66CPRA.0.1-9

There can be no doubt where Turbokill’s sights are set with a name like Champion. Formed in 2017 after singer Stephan Dietrich’s departure from Alpha Tiger, the group only managed to release debut album Vice World in 2019 before the pandemic forced them–and virtually everyone else–to take a break for a few years. Now they re-emerge into a post-plague world with their sophomore offering which promises three things: catchy hooks, sing-along choruses, and uplifting lyrics. These traits are hardly uncommon in power metal, but the results can be electrifying when executed properly. Time to put Champion to the test in a crowded playing field.

It quickly becomes clear that Turbokill has few tricks or twists up its sleeve to help differentiate itself from the pack. Instead, its approach is to expand its borders into lofty power metal territory while keeping one foot in the more straightforward heavy metal style of the debut. The first proper track “A Million Ways” is a good representation of what’s to come, blending the galloping riffs of HammerFall with the sweeping, grandiose choruses of Freedom Call. They sometimes borrow from less traditional power metal variants like Theocracy (“Time to Wake” and “Overcome”) and Brothers of Metal (“Sons of the Storm”), however, most of the music will feel comfortably familiar to fans of typical Euro-power cheese.

Champion is not quite as consistent in quality as it is in style. Stephan Dietrich has the type of nasally voice that lends itself better to the more trad-metal songs, such as the title track. Unfortunately, he seems to strain a bit on the higher notes, so he’s unable to make some of the power metal choruses (“A Million Ways,” “Go Your Way” and “Sons of the Storm”) really soar. Overall, though, his delivery is effective and charismatic, and it’s easy to see why he’s the most prominent piece of the group’s identity. That said, Turbokill doesn’t bet all its chips on Dietrich. Daniel Kanzler and Ronny Schuster take every opportunity to step on the accelerator with their guitar shredding. The problem comes when they sometimes Kill the Turbo at strange times. For example, a guitar solo starts in the middle of “Time to Wake” only to sputter out after a few seconds to make way for a slower, extended bridge. When the guitar soloing reasserts itself afterward, it’s lost some of the momentum that a performance of this caliber deserves.

The 54-minute runtime is another impediment holding Champion back from its full potential. There’s a lot of solid material here that would have hit harder if the more mediocre songs like “Mirage Mirror” and “Tear It Down” were cut. The reprise of a melody from the intro at the end of album finale “Overcome” is a nice detail but it’s easy to miss because of how much time elapses in between. I have to acknowledge the heroic efforts of drummer Kevin Käferstein to liven up the drier moments, particularly in the verses of “Go Your Way” and the chorus of “Overcome.” Marco “Fox” Grünwald’s bass is just audible enough to add much-needed crunch, though I wish his presence on Champion was at the same level as it was in Vice World.

Turbokill accomplish much of what it set out to do. Champion has plenty of high-octane lines and meaningful hooks. In the end, though, it plays way too safe for way too long. This makes me struggle to find reasons to return to this over any of the other bands I’ve referenced above the next time I have a cheese craving. A small shift in songwriting emphasis from simple, sugary choruses to the dexterous instrumental prowess evident here would do wonders for Turbokill’s memorability. For now, sadly, this aspiring Champion will have a hard time making it out of the play-in tournament.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Steamhammer/SPV
Websites: Bandcamp | turbokill.de | Facebook
Releases Worldwide: September 27th, 2024

#2024 #AlphaTiger #Champion #FreedomCall #GermanMetal #Hammerfall #PowerMetal #Review #Reviews #Sep24 #SteamhammerSPV #Theocracy #Turbokill

Turbokill – Champion Review

By Steel Druhm

Written By: Nameless N00b 86

1.86.0-BILQJP4UXGWEFLOT4LOZ66CPRA.0.1-9

There can be no doubt where Turbokill’s sights are set with a name like Champion. Formed in 2017 after singer Stephan Dietrich’s departure from Alpha Tiger, the group only managed to release debut album Vice World in 2019 before the pandemic forced them–and virtually everyone else–to take a break for a few years. Now they re-emerge into a post-plague world with their sophomore offering which promises three things: catchy hooks, sing-along choruses, and uplifting lyrics. These traits are hardly uncommon in power metal, but the results can be electrifying when executed properly. Time to put Champion to the test in a crowded playing field.

It quickly becomes clear that Turbokill has few tricks or twists up its sleeve to help differentiate itself from the pack. Instead, its approach is to expand its borders into lofty power metal territory while keeping one foot in the more straightforward heavy metal style of the debut. The first proper track “A Million Ways” is a good representation of what’s to come, blending the galloping riffs of HammerFall with the sweeping, grandiose choruses of Freedom Call. They sometimes borrow from less traditional power metal variants like Theocracy (“Time to Wake” and “Overcome”) and Brothers of Metal (“Sons of the Storm”), however, most of the music will feel comfortably familiar to fans of typical Euro-power cheese.

Champion is not quite as consistent in quality as it is in style. Stephan Dietrich has the type of nasally voice that lends itself better to the more trad-metal songs, such as the title track. Unfortunately, he seems to strain a bit on the higher notes, so he’s unable to make some of the power metal choruses (“A Million Ways,” “Go Your Way” and “Sons of the Storm”) really soar. Overall, though, his delivery is effective and charismatic, and it’s easy to see why he’s the most prominent piece of the group’s identity. That said, Turbokill doesn’t bet all its chips on Dietrich. Daniel Kanzler and Ronny Schuster take every opportunity to step on the accelerator with their guitar shredding. The problem comes when they sometimes Kill the Turbo at strange times. For example, a guitar solo starts in the middle of “Time to Wake” only to sputter out after a few seconds to make way for a slower, extended bridge. When the guitar soloing reasserts itself afterward, it’s lost some of the momentum that a performance of this caliber deserves.

The 54-minute runtime is another impediment holding Champion back from its full potential. There’s a lot of solid material here that would have hit harder if the more mediocre songs like “Mirage Mirror” and “Tear It Down” were cut. The reprise of a melody from the intro at the end of album finale “Overcome” is a nice detail but it’s easy to miss because of how much time elapses in between. I have to acknowledge the heroic efforts of drummer Kevin Käferstein to liven up the drier moments, particularly in the verses of “Go Your Way” and the chorus of “Overcome.” Marco “Fox” Grünwald’s bass is just audible enough to add much-needed crunch, though I wish his presence on Champion was at the same level as it was in Vice World.

Turbokill accomplish much of what it set out to do. Champion has plenty of high-octane lines and meaningful hooks. In the end, though, it plays way too safe for way too long. This makes me struggle to find reasons to return to this over any of the other bands I’ve referenced above the next time I have a cheese craving. A small shift in songwriting emphasis from simple, sugary choruses to the dexterous instrumental prowess evident here would do wonders for Turbokill’s memorability. For now, sadly, this aspiring Champion will have a hard time making it out of the play-in tournament.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Steamhammer/SPV
Websites: Bandcamp | turbokill.de | Facebook
Releases Worldwide: September 27th, 2024

#2024 #AlphaTiger #Champion #FreedomCall #GermanMetal #Hammerfall #PowerMetal #Review #Reviews #Sep24 #SteamhammerSPV #Theocracy #Turbokill

:megaphone: DEMNÄCHST!
*Zusammenfassung 06.09. bis 07.10. für Hamburg

Bonsai Kitten
06.09.2024 Hamburg / Monkeys Music Club

Kiss Forever Band
06.09.2024 Schenefeld / JUKS

Local Core Festival
06.09.2024 Hamburg

The Ocean
06.09.2024 Hamburg / Logo

Feuerschwanz
07.09.2024 Westergellersen / Milltelalterlich Phantasie Spectaculum, Luhmühlen

Freedom Call
08.09.2024 Hamburg / Logo

Haken
11.09.2024 Hamburg / Markthalle

Asenblut
13.09.2024 Hamburg / Bambi Galore

Guru Guru
13.09.2024 Hamburg / LOLA Kulturzentrum e.V.

Marco Hietala
13.09.2024 Hamburg / Gruenspan

#Asenblut #BambiGalore #BarclaycardArena #BonsaiKitten #Feuerschwanz #FreedomCall #Gruenspan #GuruGuru #Haken #Hamburg #JUKS #KissForeverB #LOLAKulturzentrumEV #LocalCoreFestival #Logo #MarcoHietala #Markthalle #MilltelalterlichPhantasieSpectaculumLuhmuhlen #MonkeysMusicClub #Schenefeld #Scorpions #TheOcean #Westergellersen #SteelFeed #SteelFeedSoon

:megaphone: DEMNÄCHST!
*Zusammenfassung 06.09. bis 07.10. für Hamburg

Bonsai Kitten
06.09.2024 Hamburg / Monkeys Music Club

Kiss Forever Band
06.09.2024 Schenefeld / JUKS

Local Core Festival
06.09.2024 Hamburg

The Ocean
06.09.2024 Hamburg / Logo

Feuerschwanz
07.09.2024 Westergellersen / Milltelalterlich Phantasie Spectaculum, Luhmühlen

Freedom Call
08.09.2024 Hamburg / Logo

Haken
11.09.2024 Hamburg / Markthalle

Asenblut
13.09.2024 Hamburg / Bambi Galore

Guru Guru
13.09.2024 Hamburg / LOLA Kulturzentrum e.V.

Marco Hietala
13.09.2024 Hamburg / Gruenspan

#Asenblut #BambiGalore #BarclaycardArena #BonsaiKitten #Feuerschwanz #FreedomCall #Gruenspan #GuruGuru #Haken #Hamburg #JUKS #KissForeverB #LOLAKulturzentrumEV #LocalCoreFestival #Logo #MarcoHietala #Markthalle #MilltelalterlichPhantasieSpectaculumLuhmuhlen #MonkeysMusicClub #Schenefeld #Scorpions #TheOcean #Westergellersen #SteelFeed #SteelFeedSoon

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 23rd, 2024🤘
TESLA, THE WHO, TYGERS OF PAN TANG, RATT, BAD COMPANY

https://bravewords.com/news/today-in-metal-history-august-23rd-2024tesla-the-who-tygers-of-pan-tang-ratt-bad-company

#TheWho #Tesla #TygersOfPanTang #Ratt #BadCompany #KeithMoon #JimmyJamison #DeanDeLeo #GaryHoey #TonyMacAlpine #SymphonyX #Gardenian #ArchEnemy #Annihilator #Apocalyptica #IonDissonance #BlackTide #JornLande #Revamp #TarjaTurunen #Unshine #FreedomCall #SacredReich #Equilibrium #Illdisposed #Isole #ItPrevails #KnockedLoose #Nemesaa

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 23rd, 2024🤘
TESLA, THE WHO, TYGERS OF PAN TANG, RATT, BAD COMPANY

https://bravewords.com/news/today-in-metal-history-august-23rd-2024tesla-the-who-tygers-of-pan-tang-ratt-bad-company

#TheWho #Tesla #TygersOfPanTang #Ratt #BadCompany #KeithMoon #JimmyJamison #DeanDeLeo #GaryHoey #TonyMacAlpine #SymphonyX #Gardenian #ArchEnemy #Annihilator #Apocalyptica #IonDissonance #BlackTide #JornLande #Revamp #TarjaTurunen #Unshine #FreedomCall #SacredReich #Equilibrium #Illdisposed #Isole #ItPrevails #KnockedLoose #Nemesaa

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 23rd, 2024🤘
TESLA, THE WHO, TYGERS OF PAN TANG, RATT, BAD COMPANY

https://bravewords.com/news/today-in-metal-history-august-23rd-2024tesla-the-who-tygers-of-pan-tang-ratt-bad-company

#TheWho #Tesla #TygersOfPanTang #Ratt #BadCompany #KeithMoon #JimmyJamison #DeanDeLeo #GaryHoey #TonyMacAlpine #SymphonyX #Gardenian #ArchEnemy #Annihilator #Apocalyptica #IonDissonance #BlackTide #JornLande #Revamp #TarjaTurunen #Unshine #FreedomCall #SacredReich #Equilibrium #Illdisposed #Isole #ItPrevails #KnockedLoose #Nemesaa

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 23rd, 2024🤘
TESLA, THE WHO, TYGERS OF PAN TANG, RATT, BAD COMPANY

https://bravewords.com/news/today-in-metal-history-august-23rd-2024tesla-the-who-tygers-of-pan-tang-ratt-bad-company

#TheWho #Tesla #TygersOfPanTang #Ratt #BadCompany #KeithMoon #JimmyJamison #DeanDeLeo #GaryHoey #TonyMacAlpine #SymphonyX #Gardenian #ArchEnemy #Annihilator #Apocalyptica #IonDissonance #BlackTide #JornLande #Revamp #TarjaTurunen #Unshine #FreedomCall #SacredReich #Equilibrium #Illdisposed #Isole #ItPrevails #KnockedLoose #Nemesaa

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 23rd, 2024🤘
TESLA, THE WHO, TYGERS OF PAN TANG, RATT, BAD COMPANY

https://bravewords.com/news/today-in-metal-history-august-23rd-2024tesla-the-who-tygers-of-pan-tang-ratt-bad-company

#TheWho #Tesla #TygersOfPanTang #Ratt #BadCompany #KeithMoon #JimmyJamison #DeanDeLeo #GaryHoey #TonyMacAlpine #SymphonyX #Gardenian #ArchEnemy #Annihilator #Apocalyptica #IonDissonance #BlackTide #JornLande #Revamp #TarjaTurunen #Unshine #FreedomCall #SacredReich #Equilibrium #Illdisposed #Isole #ItPrevails #KnockedLoose #Nemesaa

#FreedomCall in #Nürnberg im #hirsch

Oh, was Neues von Freedom Call! https://youtube.com/watch?v=_vCpfJKajCQ

#Metal #FreedomCall #PowerMetal

🤘 FREEDOM CALL - Metal is for Everyone 🤘

#FediRadio #TootRadio #PouetRadio #Metal #FreedomCall