#gatesofhellrecords — Public Fediverse posts

Let me start by saying that the nom de jure adopted by this French heavy/speed metal act gives me a minor case of major league OCD. Was Iron Onslaught unavailable? How about Iron Slaughter? Iron SlaughterER?1 Anywho, the duo behind Iron Slaught started life in 2015 with their Crusading Metal Mercenaries debut,2 and it’s taken them 11 long years to get back in the black with sophomore outing, Metallic Torments. Exactly what kind of metallic torments await the listener, you ask? Well, the formula here is a potent merger of 80s Germanic thrash like Deathrow, Vendetta, and Iron Angel with classic heavy metal and touches of black and death included for extra spice. Does that sound a touch overly ambitious? Mayhaps, but the gruesome twosome behind this project brings a lot of energy and verve to the war hall, and damn if they don’t deliver pure tundra thunder at times. That’s enough to get Steel slaughting3

After a lengthy but interesting instrumental intro, the real fire gets to spreading on “Ghastly Obsession.” This is fast, aggressive 80s speed excess with a premium on catchy, melodic leads that remind me of Running Wild or their blackened descendant, Forefather. In fact, some of the rollicking, rocking riffs are so Running Wild, I almost donned an eye patch and bought meself a parrot. This means the song is plenty of wild, lawless fun, and it will bring the privateers to the YARRRRd. “The Executioner” is another rip ride, brimming with blackened thrash energy and 80s heavy metal bravado. Some of the guitar work is straight up 80s Mercyful Fate, but these moments eventually give way to German-flavored speed assaults with mucho machismo. “Soldier of Fortune” is pure 80s gold with a joyously anthemic, fist-pumping energy and wild guitar pyrotechnics. The clean vocals are interesting and not always great, but they work well enough to sell the product.

Several tracks are sung entirely in French, including the very Bütcher-esque “Condamné Pour L’Éternité” and the large-and-in-charge power ballad “Charme Funeste.” Both work despite being the language barrier for uncouth clods like myself, though the latter feels a touch too portly at 7 minutes. Many of my favorite moments arrive during the equally stout 8-plus minutes of closer “Fatal Retaliations,” where the level of blackened thrash reaches Desaster levels of berserk lunacy. There’s also a competing Grave Digger vibe that rudely and Germanically injects itself, thereby making the whole construct feel loony and amusingly over-the-top as the time passes by quickly. There’s more than enough sheer chaos in this one to keep you entertained as the duo stretches itself to the utmost compositionally. At a trim 44 minutes with no tracks tanking and only minor issues with bloatage, there’s enough unbridled enthusiasm on Metallic Torments to keep you locked in and thrashing along.

Iron Jérémy4 handles guitars and vocals, and his fretboard surfing is quite impressive. The dude can noodle up a storm, but he also has a firm grasp on how to craft memorable, ear-snagging riffs that stick the landing. Whether he’s borrowing from various heroes of 80s classic metal or veering into the extremes of thrash and black metal, there’s a keen sense of purpose and craftsmanship to what he does. His rough, raw thrash bellows and harsher blackened rasps are solid and effective, and even when he ventures into clean singing, he manages to pull it off more often than not, and at times he really brings it. Partner-in-grime Nikrass mans the bass, and though he isn’t all that audible amid the mayhem, he provides a solid foundational rumble upon which they build a temple to batshit craziness. The drums were apparently programmed, but I didn’t detect that on my review spins, so they did a good job there.

Metallic Toments is one of those unsung little albums you happen upon that ends up punching way above its weight, and there’s no way to blast this and not get your metal mood elevated. It’s easy to digest, high-octane, and ambitious enough to throw some surprises at the listener. Iron Slaught may not be a household name, or even have a name worthy of entry into most houses, but they know how to bring the metal to the filthy masses, and bring it they do here. Bless this poorly monikered mess.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Gates of Hell
Websites: ironslaught.bandcamp.com |facebook.com/profile.php
Releases Worldwide: July 10th, 2026

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Sölicitör – Enemy in Mirrors Review

By ClarkKent

Sölicitör’s 2020 debut made quite the splash ’round these parts when 4.Öldeneye heaped glorious praise all over it. The five-piece out of Seattle has been quiet since then, releasing an EP in 2022 totaling two songs. Now they return for their sophomore release with a philosophy of more – more songs, more length, and even a couple more instruments (piano, synths). The members wanted to take a more hands-on approach with Enemy in Mirrors, which is why vocalist Amy Lee Carlson lent not only her pipes but also her artistic ability in designing the cover art. While Sölicitör retains their core sound, Enemy in Mirrors promises to be a more melodic journey. Not to worry, this is still your Holdenfather’s Sölicitör, albeit with a touch more nuance.

As Holdeneye described in his review of Spectral Devastation, Sölicitör’s style isn’t as straightforward as it appears on the surface. They find inspiration from ’80s speedy heavy acts like Judas Priest and Iron Maiden, only this time around, they add more melodic elements reminiscent of Bloodletter. The resemblance to the latter is apparent early, as the combination of speed and melodic leads gets “Paralysis” going right out the gates. “Iron Wolves of War” and “We Who Remain” continue this streak while also including some catchy choruses that channel Sölicitör’s influences. When Carlson sings “Flee! Flee in horror!” on “Iron Wolves of War,” I couldn’t help but think of Dickinson’s iconic chorus on “Run to the Hills.” Then, on the chorus of “We Who Remain,” it sounds an awful lot like she’s singing “Defenders of the faith.”1 Sölicitör inject plenty of spirit into their speed, and the addition of melodic leads adds depth and a layer of infectiousness.

Enemy in Mirrors is not just speed, however. The record combines up-tempo velocity with mid-tempo grooves, pianos and synths that build suspense, and, of course, Carlson’s formidable voice to perform songs that prove Sölicitör to be effective storytellers. “Spellbound Mist” is the first to dabble in this more nuanced storytelling, beginning at a slower pace as Carlson croons and casts her spell over the listener. Then it takes a sudden turn on the back half towards furious shredding and thrash that gave me flashbacks of the twists and turns that Helms Deep took on Chasing the Dragon. The final two songs similarly impress in their ability to spin a yarn, beginning with synths that create ghostly atmospheres before melodic riffs and a thrumming bass add to the enchanting soundscape. With this patient buildup, Carlson eventually gets fists pumping with well-timed vocal entrances—singing “I am the deceiver” on “Black Magick (Part I)” and throwing out a creatively pronounced “Ooooh yeah!” on “The Devil’s Hand (Part II).” Both tracks end Enemy in Mirrors on a high note, showcasing Sölicitör’s maturity in songwriting.

I see a parallel between Sölicitör and Helms Deep in that both bands churned out longer sophomore albums than their debuts. In Sölicitör’s case, the length isn’t due to longer songs, but more of them. Unfortunately, this proves my lone gripe, as there’s a slight sag in quality in the back half, which keeps Enemy in Mirrors shy of the coveted 4.Ö. These songs aren’t lacking in the speed department, but they fail to utilize the melodic leads present on the rest of the record. “Fallen Angel” isn’t the longest cut, but it feels like it due to its more uniform structure and lack of hooks. “Crimson Battle Beast” begins with a classic speed intro, but the chorus comes off awkwardly and a bit silly. What these tunes do isn’t necessarily bad, but they sound more bland than the rest. Whether these two, plus the other weaker track, “Enemy in Mirrors,” work for you or not is likely going to be a key deciding factor in how much you enjoy the album.

Enemy in Mirrors is a welcome return after a five-year break, and it’s a promising direction for these talented musicians. If you enjoyed the debut, you’ll be happy to know Sölicitör doesn’t make any core shifts in their sound, and what they do add is a definite improvement. While we would certainly prefer beloved bands to release records more frequently, the most important thing is quality, and Sölicitör has quality in spades. If you like fun, if you like speedy and melodic metal, you owe it to yourself to check this out.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Gates of Hell Records
Website: Bandcamp | Facebook
Releases Worldwide: September 19th, 2025

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