#germanmetal — Public Fediverse posts

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

Exumer are probably viewed as a footnote in the Big Book of Germanic Thrash. After all, they only managed to release 2 albums in the Golden 80s, and only one of them really epitomized the raw, unhinged nature of the Teutonic terrors launched by acts like Sodom, Kreator, and Destruction. Their Possessed by Fire debut is a minor classic and has been an enduring staple at Steel HQ since it dropped in 1986. It features one of the most loony-tune vocal performances ever recorded courtesy of Mem Von Stein.1 Cuts like the title track, “Xion Darkstar,” and “Reign of Sadness” have been bouncing around in my meat brain for nearly 40 years, and their charm never fades.2 Since getting the band back together for a second run starting in 2012, their output has been surprisingly vibrant and spry. 2019s Hostile Defiance was especially nasty, hyperkinetic fun. Now, after a nearly 7-year wait, we get Death Mask Messiah. With a new drummer and bassist in tow, Exumer pick up where they left off and deliver an album’s worth of high-octane, all gas, no brakes accelerated fare with a strong 80s vibe. If it ain’t broke, thrash it!

Wasting only enough time to sample knives grinding against each other, the opening title track comes out looking for blood and treasure. It’s classic German thrash that will remind you a lot of Kreator at times, but the riff phrasing and style often sound like vintage Exodus. And honestly, that’s not a bad pair of influences with which to piece together a balls-to-the-wall basher like this. Von Stein still sounds like a raging maniac strung out on bath salts, and that main riff is nuclear fire. Equally effective is “Blinding Skies,” where I detect a lot of classic Vio-Lence in the confrontational riffscapes. Add some snarling vocals and wild solos, and you get a high-grade adrenaline rush sure to appeal to the speed junkies out there. “Sin Bleeder” is another standout, with a very Kreator-esque energy and style that would have fit on their recent album. Later track “Serpent” would be a close match as well.

Exumer switch up the formula slightly as things roll along to keep things fresh. Some tracks inject a crossover vibe with plenty of gang shouts, and these are good fun. “Eradication” has a punky vibe that recalls Warbringer and Sodom, and “Allocated Savagery” has a strong underlying punk energy too. Track after track delivers the thrashing goods, and there are cool moments embedded in every cut. I’m especially partial to the big, beefbrained power chugs in “Fratracide,” as they really kick you in the unsafe spaces. Exumer even grace us with a cover of Nasty Savage classic “Unchained Angel,” and Von Stein does a fantastic imitation of Nasty Ronnie (unless they unearthed the actual Nasty Ronnie from his gator-infested Floridian trailer park). What helps sell this material is Exumer’s ability to write choruses that actually stick; something many thrash bands tend to forget about. Several choruses from this thing have been bobbing around in my subconscious for a week, and that’s a win for songsmithing. At 43 minutes, Death Mask Messiah arrives, beats your stupid face to pork pulp, and leaves promptly with your wallet and beer supply. With a beefy production and a smooth master by Arthur Rizk, the sound is tight and not overly loudified.

I’ve been a fan of Mem Von Stein’s voKILLS since I was a dumb teen, and I feel the same way about him as a dumb geezer. He doesn’t sound as much like a deranged cartoon anymore, with his delivery fitting neatly between Kreator’s Mille and Vio-Lence’s Sean Killian. He has the perfect voice for thrash, and his snarls, barks, and screams are good, unfriendly, violent fun. Ray Mensch and Marc Bräutigam are a powerhouse guitar tandem, and they bring a gaggle of high-quality riffs to the speedfest. A lot of their leads have that Exodus vibe, but other influences bleed in too, and the solos these chaps rip off are wild and crazy. New kitman Jerome Reil goes bersekk on the drums and bashes his way to Valhalla and back. These cats know how to craft quality thrash, and as any good band should, they set out to pummel you from open to close. Mission accomplished.

Exumer continue to prove themselves the modern equals of the Big Three, and this is the second album in a row that impressed the hell out of me. Death Mask Messiah does nothing new or innovative, nor do I want that from Exumer. It just rips shit up and kicks you in the face with a size 12 steel-toed boot. That’s what thrash is for, so brace for face annihilation. RE-EXUMER!

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: exumer.de | facebook.com/exumerofficial | instagram.com/exumerofficial
Releases Worldwide: August 28th, 2026

Exumer are probably viewed as a footnote in the Big Book of Germanic Thrash. After all, they only managed to release 2 albums in the Golden 80s, and only one of them really epitomized the raw, unhinged nature of the Teutonic terrors launched by acts like Sodom, Kreator, and Destruction. Their Possessed by Fire debut is a minor classic and has been an enduring staple at Steel HQ since it dropped in 1986. It features one of the most loony-tune vocal performances ever recorded courtesy of Mem Von Stein.1 Cuts like the title track, “Xion Darkstar,” and “Reign of Sadness” have been bouncing around in my meat brain for nearly 40 years, and their charm never fades.2 Since getting the band back together for a second run starting in 2012, their output has been surprisingly vibrant and spry. 2019s Hostile Defiance was especially nasty, hyperkinetic fun. Now, after a nearly 7-year wait, we get Death Mask Messiah. With a new drummer and bassist in tow, Exumer pick up where they left off and deliver an album’s worth of high-octane, all gas, no brakes accelerated fare with a strong 80s vibe. If it ain’t broke, thrash it!

Wasting only enough time to sample knives grinding against each other, the opening title track comes out looking for blood and treasure. It’s classic German thrash that will remind you a lot of Kreator at times, but the riff phrasing and style often sound like vintage Exodus. And honestly, that’s not a bad pair of influences with which to piece together a balls-to-the-wall basher like this. Von Stein still sounds like a raging maniac strung out on bath salts, and that main riff is nuclear fire. Equally effective is “Blinding Skies,” where I detect a lot of classic Vio-Lence in the confrontational riffscapes. Add some snarling vocals and wild solos, and you get a high-grade adrenaline rush sure to appeal to the speed junkies out there. “Sin Bleeder” is another standout, with a very Kreator-esque energy and style that would have fit on their recent album. Later track “Serpent” would be a close match as well.

Exumer switch up the formula slightly as things roll along to keep things fresh. Some tracks inject a crossover vibe with plenty of gang shouts, and these are good fun. “Eradication” has a punky vibe that recalls Warbringer and Sodom, and “Allocated Savagery” has a strong underlying punk energy too. Track after track delivers the thrashing goods, and there are cool moments embedded in every cut. I’m especially partial to the big, beefbrained power chugs in “Fratracide,” as they really kick you in the unsafe spaces. Exumer even grace us with a cover of Nasty Savage classic “Unchained Angel,” and Von Stein does a fantastic imitation of Nasty Ronnie (unless they unearthed the actual Nasty Ronnie from his gator-infested Floridian trailer park). What helps sell this material is Exumer’s ability to write choruses that actually stick; something many thrash bands tend to forget about. Several choruses from this thing have been bobbing around in my subconscious for a week, and that’s a win for songsmithing. At 43 minutes, Death Mask Messiah arrives, beats your stupid face to pork pulp, and leaves promptly with your wallet and beer supply. With a beefy production and a smooth master by Arthur Rizk, the sound is tight and not overly loudified.

I’ve been a fan of Mem Von Stein’s voKILLS since I was a dumb teen, and I feel the same way about him as a dumb geezer. He doesn’t sound as much like a deranged cartoon anymore, with his delivery fitting neatly between Kreator’s Mille and Vio-Lence’s Sean Killian. He has the perfect voice for thrash, and his snarls, barks, and screams are good, unfriendly, violent fun. Ray Mensch and Marc Bräutigam are a powerhouse guitar tandem, and they bring a gaggle of high-quality riffs to the speedfest. A lot of their leads have that Exodus vibe, but other influences bleed in too, and the solos these chaps rip off are wild and crazy. New kitman Jerome Reil goes bersekk on the drums and bashes his way to Valhalla and back. These cats know how to craft quality thrash, and as any good band should, they set out to pummel you from open to close. Mission accomplished.

Exumer continue to prove themselves the modern equals of the Big Three, and this is the second album in a row that impressed the hell out of me. Death Mask Messiah does nothing new or innovative, nor do I want that from Exumer. It just rips shit up and kicks you in the face with a size 12 steel-toed boot. That’s what thrash is for, so brace for face annihilation. RE-EXUMER!

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: exumer.de | facebook.com/exumerofficial | instagram.com/exumerofficial
Releases Worldwide: August 28th, 2026

Exumer are probably viewed as a footnote in the Big Book of Germanic Thrash. After all, they only managed to release 2 albums in the Golden 80s, and only one of them really epitomized the raw, unhinged nature of the Teutonic terrors launched by acts like Sodom, Kreator, and Destruction. Their Possessed by Fire debut is a minor classic and has been an enduring staple at Steel HQ since it dropped in 1986. It features one of the most loony-tune vocal performances ever recorded courtesy of Mem Von Stein.1 Cuts like the title track, “Xion Darkstar,” and “Reign of Sadness” have been bouncing around in my meat brain for nearly 40 years, and their charm never fades.2 Since getting the band back together for a second run starting in 2012, their output has been surprisingly vibrant and spry. 2019s Hostile Defiance was especially nasty, hyperkinetic fun. Now, after a nearly 7-year wait, we get Death Mask Messiah. With a new drummer and bassist in tow, Exumer pick up where they left off and deliver an album’s worth of high-octane, all gas, no brakes accelerated fare with a strong 80s vibe. If it ain’t broke, thrash it!

Wasting only enough time to sample knives grinding against each other, the opening title track comes out looking for blood and treasure. It’s classic German thrash that will remind you a lot of Kreator at times, but the riff phrasing and style often sound like vintage Exodus. And honestly, that’s not a bad pair of influences with which to piece together a balls-to-the-wall basher like this. Von Stein still sounds like a raging maniac strung out on bath salts, and that main riff is nuclear fire. Equally effective is “Blinding Skies,” where I detect a lot of classic Vio-Lence in the confrontational riffscapes. Add some snarling vocals and wild solos, and you get a high-grade adrenaline rush sure to appeal to the speed junkies out there. “Sin Bleeder” is another standout, with a very Kreator-esque energy and style that would have fit on their recent album. Later track “Serpent” would be a close match as well.

Exumer switch up the formula slightly as things roll along to keep things fresh. Some tracks inject a crossover vibe with plenty of gang shouts, and these are good fun. “Eradication” has a punky vibe that recalls Warbringer and Sodom, and “Allocated Savagery” has a strong underlying punk energy too. Track after track delivers the thrashing goods, and there are cool moments embedded in every cut. I’m especially partial to the big, beefbrained power chugs in “Fratracide,” as they really kick you in the unsafe spaces. Exumer even grace us with a cover of Nasty Savage classic “Unchained Angel,” and Von Stein does a fantastic imitation of Nasty Ronnie (unless they unearthed the actual Nasty Ronnie from his gator-infested Floridian trailer park). What helps sell this material is Exumer’s ability to write choruses that actually stick; something many thrash bands tend to forget about. Several choruses from this thing have been bobbing around in my subconscious for a week, and that’s a win for songsmithing. At 43 minutes, Death Mask Messiah arrives, beats your stupid face to pork pulp, and leaves promptly with your wallet and beer supply. With a beefy production and a smooth master by Arthur Rizk, the sound is tight and not overly loudified.

I’ve been a fan of Mem Von Stein’s voKILLS since I was a dumb teen, and I feel the same way about him as a dumb geezer. He doesn’t sound as much like a deranged cartoon anymore, with his delivery fitting neatly between Kreator’s Mille and Vio-Lence’s Sean Killian. He has the perfect voice for thrash, and his snarls, barks, and screams are good, unfriendly, violent fun. Ray Mensch and Marc Bräutigam are a powerhouse guitar tandem, and they bring a gaggle of high-quality riffs to the speedfest. A lot of their leads have that Exodus vibe, but other influences bleed in too, and the solos these chaps rip off are wild and crazy. New kitman Jerome Reil goes bersekk on the drums and bashes his way to Valhalla and back. These cats know how to craft quality thrash, and as any good band should, they set out to pummel you from open to close. Mission accomplished.

Exumer continue to prove themselves the modern equals of the Big Three, and this is the second album in a row that impressed the hell out of me. Death Mask Messiah does nothing new or innovative, nor do I want that from Exumer. It just rips shit up and kicks you in the face with a size 12 steel-toed boot. That’s what thrash is for, so brace for face annihilation. RE-EXUMER!

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: exumer.de | facebook.com/exumerofficial | instagram.com/exumerofficial
Releases Worldwide: August 28th, 2026

Exumer are probably viewed as a footnote in the Big Book of Germanic Thrash. After all, they only managed to release 2 albums in the Golden 80s, and only one of them really epitomized the raw, unhinged nature of the Teutonic terrors launched by acts like Sodom, Kreator, and Destruction. Their Possessed by Fire debut is a minor classic and has been an enduring staple at Steel HQ since it dropped in 1986. It features one of the most loony-tune vocal performances ever recorded courtesy of Mem Von Stein.1 Cuts like the title track, “Xion Darkstar,” and “Reign of Sadness” have been bouncing around in my meat brain for nearly 40 years, and their charm never fades.2 Since getting the band back together for a second run starting in 2012, their output has been surprisingly vibrant and spry. 2019s Hostile Defiance was especially nasty, hyperkinetic fun. Now, after a nearly 7-year wait, we get Death Mask Messiah. With a new drummer and bassist in tow, Exumer pick up where they left off and deliver an album’s worth of high-octane, all gas, no brakes accelerated fare with a strong 80s vibe. If it ain’t broke, thrash it!

Wasting only enough time to sample knives grinding against each other, the opening title track comes out looking for blood and treasure. It’s classic German thrash that will remind you a lot of Kreator at times, but the riff phrasing and style often sound like vintage Exodus. And honestly, that’s not a bad pair of influences with which to piece together a balls-to-the-wall basher like this. Von Stein still sounds like a raging maniac strung out on bath salts, and that main riff is nuclear fire. Equally effective is “Blinding Skies,” where I detect a lot of classic Vio-Lence in the confrontational riffscapes. Add some snarling vocals and wild solos, and you get a high-grade adrenaline rush sure to appeal to the speed junkies out there. “Sin Bleeder” is another standout, with a very Kreator-esque energy and style that would have fit on their recent album. Later track “Serpent” would be a close match as well.

Exumer switch up the formula slightly as things roll along to keep things fresh. Some tracks inject a crossover vibe with plenty of gang shouts, and these are good fun. “Eradication” has a punky vibe that recalls Warbringer and Sodom, and “Allocated Savagery” has a strong underlying punk energy too. Track after track delivers the thrashing goods, and there are cool moments embedded in every cut. I’m especially partial to the big, beefbrained power chugs in “Fratracide,” as they really kick you in the unsafe spaces. Exumer even grace us with a cover of Nasty Savage classic “Unchained Angel,” and Von Stein does a fantastic imitation of Nasty Ronnie (unless they unearthed the actual Nasty Ronnie from his gator-infested Floridian trailer park). What helps sell this material is Exumer’s ability to write choruses that actually stick; something many thrash bands tend to forget about. Several choruses from this thing have been bobbing around in my subconscious for a week, and that’s a win for songsmithing. At 43 minutes, Death Mask Messiah arrives, beats your stupid face to pork pulp, and leaves promptly with your wallet and beer supply. With a beefy production and a smooth master by Arthur Rizk, the sound is tight and not overly loudified.

I’ve been a fan of Mem Von Stein’s voKILLS since I was a dumb teen, and I feel the same way about him as a dumb geezer. He doesn’t sound as much like a deranged cartoon anymore, with his delivery fitting neatly between Kreator’s Mille and Vio-Lence’s Sean Killian. He has the perfect voice for thrash, and his snarls, barks, and screams are good, unfriendly, violent fun. Ray Mensch and Marc Bräutigam are a powerhouse guitar tandem, and they bring a gaggle of high-quality riffs to the speedfest. A lot of their leads have that Exodus vibe, but other influences bleed in too, and the solos these chaps rip off are wild and crazy. New kitman Jerome Reil goes bersekk on the drums and bashes his way to Valhalla and back. These cats know how to craft quality thrash, and as any good band should, they set out to pummel you from open to close. Mission accomplished.

Exumer continue to prove themselves the modern equals of the Big Three, and this is the second album in a row that impressed the hell out of me. Death Mask Messiah does nothing new or innovative, nor do I want that from Exumer. It just rips shit up and kicks you in the face with a size 12 steel-toed boot. That’s what thrash is for, so brace for face annihilation. RE-EXUMER!

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: exumer.de | facebook.com/exumerofficial | instagram.com/exumerofficial
Releases Worldwide: August 28th, 2026

Exumer are probably viewed as a footnote in the Big Book of Germanic Thrash. After all, they only managed to release 2 albums in the Golden 80s, and only one of them really epitomized the raw, unhinged nature of the Teutonic terrors launched by acts like Sodom, Kreator, and Destruction. Their Possessed by Fire debut is a minor classic and has been an enduring staple at Steel HQ since it dropped in 1986. It features one of the most loony-tune vocal performances ever recorded courtesy of Mem Von Stein.1 Cuts like the title track, “Xion Darkstar,” and “Reign of Sadness” have been bouncing around in my meat brain for nearly 40 years, and their charm never fades.2 Since getting the band back together for a second run starting in 2012, their output has been surprisingly vibrant and spry. 2019s Hostile Defiance was especially nasty, hyperkinetic fun. Now, after a nearly 7-year wait, we get Death Mask Messiah. With a new drummer and bassist in tow, Exumer pick up where they left off and deliver an album’s worth of high-octane, all gas, no brakes accelerated fare with a strong 80s vibe. If it ain’t broke, thrash it!

Wasting only enough time to sample knives grinding against each other, the opening title track comes out looking for blood and treasure. It’s classic German thrash that will remind you a lot of Kreator at times, but the riff phrasing and style often sound like vintage Exodus. And honestly, that’s not a bad pair of influences with which to piece together a balls-to-the-wall basher like this. Von Stein still sounds like a raging maniac strung out on bath salts, and that main riff is nuclear fire. Equally effective is “Blinding Skies,” where I detect a lot of classic Vio-Lence in the confrontational riffscapes. Add some snarling vocals and wild solos, and you get a high-grade adrenaline rush sure to appeal to the speed junkies out there. “Sin Bleeder” is another standout, with a very Kreator-esque energy and style that would have fit on their recent album. Later track “Serpent” would be a close match as well.

Exumer switch up the formula slightly as things roll along to keep things fresh. Some tracks inject a crossover vibe with plenty of gang shouts, and these are good fun. “Eradication” has a punky vibe that recalls Warbringer and Sodom, and “Allocated Savagery” has a strong underlying punk energy too. Track after track delivers the thrashing goods, and there are cool moments embedded in every cut. I’m especially partial to the big, beefbrained power chugs in “Fratracide,” as they really kick you in the unsafe spaces. Exumer even grace us with a cover of Nasty Savage classic “Unchained Angel,” and Von Stein does a fantastic imitation of Nasty Ronnie (unless they unearthed the actual Nasty Ronnie from his gator-infested Floridian trailer park). What helps sell this material is Exumer’s ability to write choruses that actually stick; something many thrash bands tend to forget about. Several choruses from this thing have been bobbing around in my subconscious for a week, and that’s a win for songsmithing. At 43 minutes, Death Mask Messiah arrives, beats your stupid face to pork pulp, and leaves promptly with your wallet and beer supply. With a beefy production and a smooth master by Arthur Rizk, the sound is tight and not overly loudified.

I’ve been a fan of Mem Von Stein’s voKILLS since I was a dumb teen, and I feel the same way about him as a dumb geezer. He doesn’t sound as much like a deranged cartoon anymore, with his delivery fitting neatly between Kreator’s Mille and Vio-Lence’s Sean Killian. He has the perfect voice for thrash, and his snarls, barks, and screams are good, unfriendly, violent fun. Ray Mensch and Marc Bräutigam are a powerhouse guitar tandem, and they bring a gaggle of high-quality riffs to the speedfest. A lot of their leads have that Exodus vibe, but other influences bleed in too, and the solos these chaps rip off are wild and crazy. New kitman Jerome Reil goes bersekk on the drums and bashes his way to Valhalla and back. These cats know how to craft quality thrash, and as any good band should, they set out to pummel you from open to close. Mission accomplished.

Exumer continue to prove themselves the modern equals of the Big Three, and this is the second album in a row that impressed the hell out of me. Death Mask Messiah does nothing new or innovative, nor do I want that from Exumer. It just rips shit up and kicks you in the face with a size 12 steel-toed boot. That’s what thrash is for, so brace for face annihilation. RE-EXUMER!

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: exumer.de | facebook.com/exumerofficial | instagram.com/exumerofficial
Releases Worldwide: August 28th, 2026

Do you, like me, ever find yourself missing the sheer metallic perfection of the first few Mercyful Fate albums? Both Melissa and Don’t Break the Oath cast such a brilliantly macabre, occult atmosphere that they surely amplified the already palpable Satanic Panic of the mid-80s. Good things never last, but for a brief time, In Solitude managed to partially fill the dead spot in my heart that longed for more albums like those Fate classics, but all too soon they were gone too. Enter German metal crew The Night Eternal to fill the gap created by In Solitude, if not the yawning chasm left by Mercyful Fate. I discovered them on their 2023 sophomore release Fatale, and was quite impressed. Their sound was like an early, less Satanic Fate strained through a Goth rock filter, and it worked exceptionally well. Now, a few years later, we get the follow-up, Cold Velvet. The basic template is still in place, but this time they’ve gone deeper into the Goth rock doldrums and dulled their heavy metal edge in the process, approximating the Idle Hands / Untoothers material. It’s a bold strategy, Cotton. Let’s see if it pays off for ’em.

The Night Eternal’s strengths heard on gems like “In Tartus” from Fatale are still present on opener “Where This World Ends,” as frontman Ricardo Baum’s slick merger of King Diamond, To Die For’s Jarno Perätalo, and Amorphis’ Tomi Joutsen pays big dividends. The pure metal quotient of the backing music feels a touch softer than last time, even approaching Ghost-levels of hard and Goth rock, but the song works and hooks you in. As Cold Velvet plays out, the Goth vibe increases. “Eurydice (Don’t Look Back)” is a polished take on 80s Goth rock, and it has legs and memorability that demand replays. This could have sat on Mana by Idle Hands and fit right in if they added a few werewolf-y grunts and howls. “Caught in a Spell” is a very laid-back piece of Goth flair with an easy breezy charm, and after a few spins it cements itself into your nerve clusters. It even has a vague Wytch Hazel vibe that adds extra charisma points.

The best moments come when The Night Eternal put their foot on the accelerator and dial up the metal. “The Veins of Time” is a throwback to Fatale, hitting the sweet spot between metal and Goth. It’s a bit more urgent and edgy without forsaking the sadboi glumness, and there’s a Sisters of Mercy vibe under the surface. My personal favorite track is “Shape of Sorrow” as it’s the most jacked-up version of the band’s current formula. It’s hardly a face-melter, but it offers more intensity and less moping and feels considerably heavier than the rest of Cold Velvet. Unfortunately, a few tracks, while good, just don’t sizzle enough to excite the grey matter, and when teamed up with the album’s languid vibe, they drag the excitement factor down a few notches. “When the Last Candle Dies” is like a lost modern Ghost track, and it’s okay but not much more, and closer, “Dance on Crimson Ground,” is the longest here at 7 minutes, but it isn’t all that interesting. At 42-plus minutes, Cold Velvet isn’t a challenging listen, but it isn’t the most exciting one either. The Goth influences result in a muted, sometimes drab expanse, and though the writing overcomes the limited color scheme at times, the album merely glides but never soars.

As with past outings, Ricardo Baum is the star of The Night Show. He’s got a big vocal presence that’s hard to resist, and he’s the kind of frontman that elevates everything a band does. He can sound like a youthful King Diamond, but this time he seems much more determined to turn himself into the prototype for an 80s Goth rock hero. He regularly delivers slick vocal hooks and phrasing that add a cool factor to everything the band does. There’s an argument to be made that the music behind Baum is more anodyne than last time. Robert Richter and Heinrich Käseberg can be a potent guitar tandem as they demonstrated on the prior albums, injecting classic metal and NWoBHM influences into their playing. Here, however, they dial things back to more Goth-appropriate levels, sacrificing power for poise. That makes for a less dynamic listen with fewer big, brain-shaking metal moments. Talent abounds, but the material feels overly restrained and held in check, and that’s unfortunate.

The Night Eternal are a very good band capable of delivering solid music that spans several genres. On Cold Velvet, they deliver some high-quality moments, but these highs aren’t as lofty as last time, and they get tangled in a series of less animated moments that sink the album into a Gothy bog. Cold Velvet is plenty classy, but it isn’t bashy enough for its own good. This gives me the sadz in the wrong way. Still worth a listen.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: thenighteternal.bandcamp.com | thenighteternal.com | instagram.com/thenighteternal_official
Releases Worldwide: August 21st, 2026

Do you, like me, ever find yourself missing the sheer metallic perfection of the first few Mercyful Fate albums? Both Melissa and Don’t Break the Oath cast such a brilliantly macabre, occult atmosphere that they surely amplified the already palpable Satanic Panic of the mid-80s. Good things never last, but for a brief time, In Solitude managed to partially fill the dead spot in my heart that longed for more albums like those Fate classics, but all too soon they were gone too. Enter German metal crew The Night Eternal to fill the gap created by In Solitude, if not the yawning chasm left by Mercyful Fate. I discovered them on their 2023 sophomore release Fatale, and was quite impressed. Their sound was like an early, less Satanic Fate strained through a Goth rock filter, and it worked exceptionally well. Now, a few years later, we get the follow-up, Cold Velvet. The basic template is still in place, but this time they’ve gone deeper into the Goth rock doldrums and dulled their heavy metal edge in the process, approximating the Idle Hands / Untoothers material. It’s a bold strategy, Cotton. Let’s see if it pays off for ’em.

The Night Eternal’s strengths heard on gems like “In Tartus” from Fatale are still present on opener “Where This World Ends,” as frontman Ricardo Baum’s slick merger of King Diamond, To Die For’s Jarno Perätalo, and Amorphis’ Tomi Joutsen pays big dividends. The pure metal quotient of the backing music feels a touch softer than last time, even approaching Ghost-levels of hard and Goth rock, but the song works and hooks you in. As Cold Velvet plays out, the Goth vibe increases. “Eurydice (Don’t Look Back)” is a polished take on 80s Goth rock, and it has legs and memorability that demand replays. This could have sat on Mana by Idle Hands and fit right in if they added a few werewolf-y grunts and howls. “Caught in a Spell” is a very laid-back piece of Goth flair with an easy breezy charm, and after a few spins it cements itself into your nerve clusters. It even has a vague Wytch Hazel vibe that adds extra charisma points.

The best moments come when The Night Eternal put their foot on the accelerator and dial up the metal. “The Veins of Time” is a throwback to Fatale, hitting the sweet spot between metal and Goth. It’s a bit more urgent and edgy without forsaking the sadboi glumness, and there’s a Sisters of Mercy vibe under the surface. My personal favorite track is “Shape of Sorrow” as it’s the most jacked-up version of the band’s current formula. It’s hardly a face-melter, but it offers more intensity and less moping and feels considerably heavier than the rest of Cold Velvet. Unfortunately, a few tracks, while good, just don’t sizzle enough to excite the grey matter, and when teamed up with the album’s languid vibe, they drag the excitement factor down a few notches. “When the Last Candle Dies” is like a lost modern Ghost track, and it’s okay but not much more, and closer, “Dance on Crimson Ground,” is the longest here at 7 minutes, but it isn’t all that interesting. At 42-plus minutes, Cold Velvet isn’t a challenging listen, but it isn’t the most exciting one either. The Goth influences result in a muted, sometimes drab expanse, and though the writing overcomes the limited color scheme at times, the album merely glides but never soars.

As with past outings, Ricardo Baum is the star of The Night Show. He’s got a big vocal presence that’s hard to resist, and he’s the kind of frontman that elevates everything a band does. He can sound like a youthful King Diamond, but this time he seems much more determined to turn himself into the prototype for an 80s Goth rock hero. He regularly delivers slick vocal hooks and phrasing that add a cool factor to everything the band does. There’s an argument to be made that the music behind Baum is more anodyne than last time. Robert Richter and Heinrich Käseberg can be a potent guitar tandem as they demonstrated on the prior albums, injecting classic metal and NWoBHM influences into their playing. Here, however, they dial things back to more Goth-appropriate levels, sacrificing power for poise. That makes for a less dynamic listen with fewer big, brain-shaking metal moments. Talent abounds, but the material feels overly restrained and held in check, and that’s unfortunate.

The Night Eternal are a very good band capable of delivering solid music that spans several genres. On Cold Velvet, they deliver some high-quality moments, but these highs aren’t as lofty as last time, and they get tangled in a series of less animated moments that sink the album into a Gothy bog. Cold Velvet is plenty classy, but it isn’t bashy enough for its own good. This gives me the sadz in the wrong way. Still worth a listen.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: thenighteternal.bandcamp.com | thenighteternal.com | instagram.com/thenighteternal_official
Releases Worldwide: August 21st, 2026

Do you, like me, ever find yourself missing the sheer metallic perfection of the first few Mercyful Fate albums? Both Melissa and Don’t Break the Oath cast such a brilliantly macabre, occult atmosphere that they surely amplified the already palpable Satanic Panic of the mid-80s. Good things never last, but for a brief time, In Solitude managed to partially fill the dead spot in my heart that longed for more albums like those Fate classics, but all too soon they were gone too. Enter German metal crew The Night Eternal to fill the gap created by In Solitude, if not the yawning chasm left by Mercyful Fate. I discovered them on their 2023 sophomore release Fatale, and was quite impressed. Their sound was like an early, less Satanic Fate strained through a Goth rock filter, and it worked exceptionally well. Now, a few years later, we get the follow-up, Cold Velvet. The basic template is still in place, but this time they’ve gone deeper into the Goth rock doldrums and dulled their heavy metal edge in the process, approximating the Idle Hands / Untoothers material. It’s a bold strategy, Cotton. Let’s see if it pays off for ’em.

The Night Eternal’s strengths heard on gems like “In Tartus” from Fatale are still present on opener “Where This World Ends,” as frontman Ricardo Baum’s slick merger of King Diamond, To Die For’s Jarno Perätalo, and Amorphis’ Tomi Joutsen pays big dividends. The pure metal quotient of the backing music feels a touch softer than last time, even approaching Ghost-levels of hard and Goth rock, but the song works and hooks you in. As Cold Velvet plays out, the Goth vibe increases. “Eurydice (Don’t Look Back)” is a polished take on 80s Goth rock, and it has legs and memorability that demand replays. This could have sat on Mana by Idle Hands and fit right in if they added a few werewolf-y grunts and howls. “Caught in a Spell” is a very laid-back piece of Goth flair with an easy breezy charm, and after a few spins it cements itself into your nerve clusters. It even has a vague Wytch Hazel vibe that adds extra charisma points.

The best moments come when The Night Eternal put their foot on the accelerator and dial up the metal. “The Veins of Time” is a throwback to Fatale, hitting the sweet spot between metal and Goth. It’s a bit more urgent and edgy without forsaking the sadboi glumness, and there’s a Sisters of Mercy vibe under the surface. My personal favorite track is “Shape of Sorrow” as it’s the most jacked-up version of the band’s current formula. It’s hardly a face-melter, but it offers more intensity and less moping and feels considerably heavier than the rest of Cold Velvet. Unfortunately, a few tracks, while good, just don’t sizzle enough to excite the grey matter, and when teamed up with the album’s languid vibe, they drag the excitement factor down a few notches. “When the Last Candle Dies” is like a lost modern Ghost track, and it’s okay but not much more, and closer, “Dance on Crimson Ground,” is the longest here at 7 minutes, but it isn’t all that interesting. At 42-plus minutes, Cold Velvet isn’t a challenging listen, but it isn’t the most exciting one either. The Goth influences result in a muted, sometimes drab expanse, and though the writing overcomes the limited color scheme at times, the album merely glides but never soars.

As with past outings, Ricardo Baum is the star of The Night Show. He’s got a big vocal presence that’s hard to resist, and he’s the kind of frontman that elevates everything a band does. He can sound like a youthful King Diamond, but this time he seems much more determined to turn himself into the prototype for an 80s Goth rock hero. He regularly delivers slick vocal hooks and phrasing that add a cool factor to everything the band does. There’s an argument to be made that the music behind Baum is more anodyne than last time. Robert Richter and Heinrich Käseberg can be a potent guitar tandem as they demonstrated on the prior albums, injecting classic metal and NWoBHM influences into their playing. Here, however, they dial things back to more Goth-appropriate levels, sacrificing power for poise. That makes for a less dynamic listen with fewer big, brain-shaking metal moments. Talent abounds, but the material feels overly restrained and held in check, and that’s unfortunate.

The Night Eternal are a very good band capable of delivering solid music that spans several genres. On Cold Velvet, they deliver some high-quality moments, but these highs aren’t as lofty as last time, and they get tangled in a series of less animated moments that sink the album into a Gothy bog. Cold Velvet is plenty classy, but it isn’t bashy enough for its own good. This gives me the sadz in the wrong way. Still worth a listen.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: thenighteternal.bandcamp.com | thenighteternal.com | instagram.com/thenighteternal_official
Releases Worldwide: August 21st, 2026

Do you, like me, ever find yourself missing the sheer metallic perfection of the first few Mercyful Fate albums? Both Melissa and Don’t Break the Oath cast such a brilliantly macabre, occult atmosphere that they surely amplified the already palpable Satanic Panic of the mid-80s. Good things never last, but for a brief time, In Solitude managed to partially fill the dead spot in my heart that longed for more albums like those Fate classics, but all too soon they were gone too. Enter German metal crew The Night Eternal to fill the gap created by In Solitude, if not the yawning chasm left by Mercyful Fate. I discovered them on their 2023 sophomore release Fatale, and was quite impressed. Their sound was like an early, less Satanic Fate strained through a Goth rock filter, and it worked exceptionally well. Now, a few years later, we get the follow-up, Cold Velvet. The basic template is still in place, but this time they’ve gone deeper into the Goth rock doldrums and dulled their heavy metal edge in the process, approximating the Idle Hands / Untoothers material. It’s a bold strategy, Cotton. Let’s see if it pays off for ’em.

The Night Eternal’s strengths heard on gems like “In Tartus” from Fatale are still present on opener “Where This World Ends,” as frontman Ricardo Baum’s slick merger of King Diamond, To Die For’s Jarno Perätalo, and Amorphis’ Tomi Joutsen pays big dividends. The pure metal quotient of the backing music feels a touch softer than last time, even approaching Ghost-levels of hard and Goth rock, but the song works and hooks you in. As Cold Velvet plays out, the Goth vibe increases. “Eurydice (Don’t Look Back)” is a polished take on 80s Goth rock, and it has legs and memorability that demand replays. This could have sat on Mana by Idle Hands and fit right in if they added a few werewolf-y grunts and howls. “Caught in a Spell” is a very laid-back piece of Goth flair with an easy breezy charm, and after a few spins it cements itself into your nerve clusters. It even has a vague Wytch Hazel vibe that adds extra charisma points.

The best moments come when The Night Eternal put their foot on the accelerator and dial up the metal. “The Veins of Time” is a throwback to Fatale, hitting the sweet spot between metal and Goth. It’s a bit more urgent and edgy without forsaking the sadboi glumness, and there’s a Sisters of Mercy vibe under the surface. My personal favorite track is “Shape of Sorrow” as it’s the most jacked-up version of the band’s current formula. It’s hardly a face-melter, but it offers more intensity and less moping and feels considerably heavier than the rest of Cold Velvet. Unfortunately, a few tracks, while good, just don’t sizzle enough to excite the grey matter, and when teamed up with the album’s languid vibe, they drag the excitement factor down a few notches. “When the Last Candle Dies” is like a lost modern Ghost track, and it’s okay but not much more, and closer, “Dance on Crimson Ground,” is the longest here at 7 minutes, but it isn’t all that interesting. At 42-plus minutes, Cold Velvet isn’t a challenging listen, but it isn’t the most exciting one either. The Goth influences result in a muted, sometimes drab expanse, and though the writing overcomes the limited color scheme at times, the album merely glides but never soars.

As with past outings, Ricardo Baum is the star of The Night Show. He’s got a big vocal presence that’s hard to resist, and he’s the kind of frontman that elevates everything a band does. He can sound like a youthful King Diamond, but this time he seems much more determined to turn himself into the prototype for an 80s Goth rock hero. He regularly delivers slick vocal hooks and phrasing that add a cool factor to everything the band does. There’s an argument to be made that the music behind Baum is more anodyne than last time. Robert Richter and Heinrich Käseberg can be a potent guitar tandem as they demonstrated on the prior albums, injecting classic metal and NWoBHM influences into their playing. Here, however, they dial things back to more Goth-appropriate levels, sacrificing power for poise. That makes for a less dynamic listen with fewer big, brain-shaking metal moments. Talent abounds, but the material feels overly restrained and held in check, and that’s unfortunate.

The Night Eternal are a very good band capable of delivering solid music that spans several genres. On Cold Velvet, they deliver some high-quality moments, but these highs aren’t as lofty as last time, and they get tangled in a series of less animated moments that sink the album into a Gothy bog. Cold Velvet is plenty classy, but it isn’t bashy enough for its own good. This gives me the sadz in the wrong way. Still worth a listen.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: thenighteternal.bandcamp.com | thenighteternal.com | instagram.com/thenighteternal_official
Releases Worldwide: August 21st, 2026

Do you, like me, ever find yourself missing the sheer metallic perfection of the first few Mercyful Fate albums? Both Melissa and Don’t Break the Oath cast such a brilliantly macabre, occult atmosphere that they surely amplified the already palpable Satanic Panic of the mid-80s. Good things never last, but for a brief time, In Solitude managed to partially fill the dead spot in my heart that longed for more albums like those Fate classics, but all too soon they were gone too. Enter German metal crew The Night Eternal to fill the gap created by In Solitude, if not the yawning chasm left by Mercyful Fate. I discovered them on their 2023 sophomore release Fatale, and was quite impressed. Their sound was like an early, less Satanic Fate strained through a Goth rock filter, and it worked exceptionally well. Now, a few years later, we get the follow-up, Cold Velvet. The basic template is still in place, but this time they’ve gone deeper into the Goth rock doldrums and dulled their heavy metal edge in the process, approximating the Idle Hands / Untoothers material. It’s a bold strategy, Cotton. Let’s see if it pays off for ’em.

The Night Eternal’s strengths heard on gems like “In Tartus” from Fatale are still present on opener “Where This World Ends,” as frontman Ricardo Baum’s slick merger of King Diamond, To Die For’s Jarno Perätalo, and Amorphis’ Tomi Joutsen pays big dividends. The pure metal quotient of the backing music feels a touch softer than last time, even approaching Ghost-levels of hard and Goth rock, but the song works and hooks you in. As Cold Velvet plays out, the Goth vibe increases. “Eurydice (Don’t Look Back)” is a polished take on 80s Goth rock, and it has legs and memorability that demand replays. This could have sat on Mana by Idle Hands and fit right in if they added a few werewolf-y grunts and howls. “Caught in a Spell” is a very laid-back piece of Goth flair with an easy breezy charm, and after a few spins it cements itself into your nerve clusters. It even has a vague Wytch Hazel vibe that adds extra charisma points.

The best moments come when The Night Eternal put their foot on the accelerator and dial up the metal. “The Veins of Time” is a throwback to Fatale, hitting the sweet spot between metal and Goth. It’s a bit more urgent and edgy without forsaking the sadboi glumness, and there’s a Sisters of Mercy vibe under the surface. My personal favorite track is “Shape of Sorrow” as it’s the most jacked-up version of the band’s current formula. It’s hardly a face-melter, but it offers more intensity and less moping and feels considerably heavier than the rest of Cold Velvet. Unfortunately, a few tracks, while good, just don’t sizzle enough to excite the grey matter, and when teamed up with the album’s languid vibe, they drag the excitement factor down a few notches. “When the Last Candle Dies” is like a lost modern Ghost track, and it’s okay but not much more, and closer, “Dance on Crimson Ground,” is the longest here at 7 minutes, but it isn’t all that interesting. At 42-plus minutes, Cold Velvet isn’t a challenging listen, but it isn’t the most exciting one either. The Goth influences result in a muted, sometimes drab expanse, and though the writing overcomes the limited color scheme at times, the album merely glides but never soars.

As with past outings, Ricardo Baum is the star of The Night Show. He’s got a big vocal presence that’s hard to resist, and he’s the kind of frontman that elevates everything a band does. He can sound like a youthful King Diamond, but this time he seems much more determined to turn himself into the prototype for an 80s Goth rock hero. He regularly delivers slick vocal hooks and phrasing that add a cool factor to everything the band does. There’s an argument to be made that the music behind Baum is more anodyne than last time. Robert Richter and Heinrich Käseberg can be a potent guitar tandem as they demonstrated on the prior albums, injecting classic metal and NWoBHM influences into their playing. Here, however, they dial things back to more Goth-appropriate levels, sacrificing power for poise. That makes for a less dynamic listen with fewer big, brain-shaking metal moments. Talent abounds, but the material feels overly restrained and held in check, and that’s unfortunate.

The Night Eternal are a very good band capable of delivering solid music that spans several genres. On Cold Velvet, they deliver some high-quality moments, but these highs aren’t as lofty as last time, and they get tangled in a series of less animated moments that sink the album into a Gothy bog. Cold Velvet is plenty classy, but it isn’t bashy enough for its own good. This gives me the sadz in the wrong way. Still worth a listen.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: thenighteternal.bandcamp.com | thenighteternal.com | instagram.com/thenighteternal_official
Releases Worldwide: August 21st, 2026

https://www.europesays.com/ie/630560/ Xandria – Eclipse Review | Angry Metal Guy #2026 #30 #Aug26 #Eclipse #Éire #Entertainment #GermanMetal #IE #Ireland #Music #NapalmRecords #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal #WithinTemptation #Xandria

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

Autumnblaze – Glut Review | Angry Metal Guy

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German…
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https://www.newsbeep.com/au/781017/

Autumnblaze – Glut Review | Angry Metal Guy

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German…
#NewsBeep #News #Music #2026 #3.0 #ArgonautaRecords #AU #Australia #Autumnblaze #DarkRock #Empyrium #Entertainment #GermanMetal #glut #GothicMetal #Jun26 #Katatonia #ParadiseLost #review #reviews #TheVisionBleak
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https://www.europesays.com/ie/570308/ Autumnblaze – Glut Review | Angry Metal Guy #2026 #30 #ArgonautaRecords #Autumnblaze #DarkRock #Éire #Empyrium #Entertainment #GermanMetal #Glut #GothicMetal #IE #Ireland #Jun26 #Katatonia #Music #ParadiseLost #Review #Reviews #TheVisionBleak

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German duo found inspiration in early Katatonia, though their vision has changed throughout the years. Glut will be their ninth full-length album,1 and their third with Argonauta Records. In the years before signing with Argonauta, when they were with Prophecy Productions, they added a few tricks to their bag from fellow labelmates, Empyrium, and still view them as an important influence today. Their last two releases reflect the diversity in their approach, from the acoustic and gentle Welkin Shores Burning (2020) to the light gothic rock of Auf Zerfetzten Schwingen (2024). What drew my attention to Autumnblaze was the mentions of The Vision Bleak and Paradise Lost, along with Katatonia, in their promo materials. At 13 songs, is Glut too much of a good thing, or will it have you happily gorging on their vision of sadboi gothic metal?

Glut trends much heavier and more metal than anything they’ve released for Argonauta. While harsh vocals were present very rarely on their 2024 release, here they are a prominent feature. Vocalist Eldron slips back and forth between cleans and growls, which serve as effective foils for the harsh/gentle dynamic on the record. His growls, more raspy than deep-throated, lend a violent darkness, while the melodic tilt of his cleans brings a tender melancholy. The catchy chorus on “Kerkersonne” will have you singing along and seeking to brush up on your German to better understand the words tugging at your heartstrings.2 The guitar tone is also louder and heavier than on prior releases, and Arisjel sets an energetic, brisk pace on the drums that keeps things from growing too dark or saccharine. Autumblaze mix the gothic melodicism of Katatonia and The Vision Bleak with a more blackened, almost shoegaze-y edge on the guitars and vocals to create an impassioned record that is simultaneously joyful, angry, and sad.

Unlike the prog of Katatonia or the more unpredictable nature of Weird Tales, Autumnblaze favor a much more formulaic structure that proves both a boon and a bane. “Licht Aus” sets the general template for most songs, beginning harsh and heavy before Eldron’s cleans soften the tone for a more palatable chorus. This formula is a comfort, as Eldron’s cleans prove a balm to soothe the harshness of his growls—whether intentional or not, there is a sort of harm/heal dynamic to the music. Of course, where the formula proves a comfort, it also grows a touch repetitive. Glut is an incredibly pleasurable listening experience, yet hearing the same formula across 13 tracks becomes tiresome. It also doesn’t help that Autumnblaze write largely standard rock riffs without any melodic leads to help songs stand apart from one another.

When Autumnblaze mixes up their formula, it also comes with mixed results. “Glut” features some arpeggios that are a nice change of pace, while “Mondmann” forgoes the growls in favor of a pleasantly poppy, but still heavy, metal song. In other ways, their nuanced alterations to the formula prove nuisances. There’s an unfortunate focus on spoken word elements, with “Heilung,” “Glut,” and “Geisteskind” all using them in place of the growls. On top of that, instrumentally, the music is weakest during the spoken segments. “Heilung” and “Geisteskind” both opt for low-energy, uninteresting instrumentals during these moments, but they grow more enjoyable when the cleans kick in. “Heilung” in particular wastes a pretty terrific performance from Arjon by splitting half the song with the tedious spoken parts. Despite these issues, Glut’s strengths weigh favorably enough to make it more enjoyable than not.

Glut truly is a pleasant listening experience that effectively touches on a range of impassioned feelings. Autumnblaze have honed in on a successful formula that works for most of Glut’s 42-minute runtime, even if it starts to bow under the weight of its 13 songs. Having revisited their past stuff, I feel that Glut is the best they’ve ever sounded, both from a production and songwriting perspective. While it’s true they may have injected a little more variety in the past, their earlier stuff didn’t really stick as Glut does. So, sure, there are a few issues to work out, but if 30 years later you sound this fresh, that’s a win.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German duo found inspiration in early Katatonia, though their vision has changed throughout the years. Glut will be their ninth full-length album,1 and their third with Argonauta Records. In the years before signing with Argonauta, when they were with Prophecy Productions, they added a few tricks to their bag from fellow labelmates, Empyrium, and still view them as an important influence today. Their last two releases reflect the diversity in their approach, from the acoustic and gentle Welkin Shores Burning (2020) to the light gothic rock of Auf Zerfetzten Schwingen (2024). What drew my attention to Autumnblaze was the mentions of The Vision Bleak and Paradise Lost, along with Katatonia, in their promo materials. At 13 songs, is Glut too much of a good thing, or will it have you happily gorging on their vision of sadboi gothic metal?

Glut trends much heavier and more metal than anything they’ve released for Argonauta. While harsh vocals were present very rarely on their 2024 release, here they are a prominent feature. Vocalist Eldron slips back and forth between cleans and growls, which serve as effective foils for the harsh/gentle dynamic on the record. His growls, more raspy than deep-throated, lend a violent darkness, while the melodic tilt of his cleans brings a tender melancholy. The catchy chorus on “Kerkersonne” will have you singing along and seeking to brush up on your German to better understand the words tugging at your heartstrings.2 The guitar tone is also louder and heavier than on prior releases, and Arisjel sets an energetic, brisk pace on the drums that keeps things from growing too dark or saccharine. Autumblaze mix the gothic melodicism of Katatonia and The Vision Bleak with a more blackened, almost shoegaze-y edge on the guitars and vocals to create an impassioned record that is simultaneously joyful, angry, and sad.

Unlike the prog of Katatonia or the more unpredictable nature of Weird Tales, Autumnblaze favor a much more formulaic structure that proves both a boon and a bane. “Licht Aus” sets the general template for most songs, beginning harsh and heavy before Eldron’s cleans soften the tone for a more palatable chorus. This formula is a comfort, as Eldron’s cleans prove a balm to soothe the harshness of his growls—whether intentional or not, there is a sort of harm/heal dynamic to the music. Of course, where the formula proves a comfort, it also grows a touch repetitive. Glut is an incredibly pleasurable listening experience, yet hearing the same formula across 13 tracks becomes tiresome. It also doesn’t help that Autumnblaze write largely standard rock riffs without any melodic leads to help songs stand apart from one another.

When Autumnblaze mixes up their formula, it also comes with mixed results. “Glut” features some arpeggios that are a nice change of pace, while “Mondmann” forgoes the growls in favor of a pleasantly poppy, but still heavy, metal song. In other ways, their nuanced alterations to the formula prove nuisances. There’s an unfortunate focus on spoken word elements, with “Heilung,” “Glut,” and “Geisteskind” all using them in place of the growls. On top of that, instrumentally, the music is weakest during the spoken segments. “Heilung” and “Geisteskind” both opt for low-energy, uninteresting instrumentals during these moments, but they grow more enjoyable when the cleans kick in. “Heilung” in particular wastes a pretty terrific performance from Arjon by splitting half the song with the tedious spoken parts. Despite these issues, Glut’s strengths weigh favorably enough to make it more enjoyable than not.

Glut truly is a pleasant listening experience that effectively touches on a range of impassioned feelings. Autumnblaze have honed in on a successful formula that works for most of Glut’s 42-minute runtime, even if it starts to bow under the weight of its 13 songs. Having revisited their past stuff, I feel that Glut is the best they’ve ever sounded, both from a production and songwriting perspective. While it’s true they may have injected a little more variety in the past, their earlier stuff didn’t really stick as Glut does. So, sure, there are a few issues to work out, but if 30 years later you sound this fresh, that’s a win.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German duo found inspiration in early Katatonia, though their vision has changed throughout the years. Glut will be their ninth full-length album,1 and their third with Argonauta Records. In the years before signing with Argonauta, when they were with Prophecy Productions, they added a few tricks to their bag from fellow labelmates, Empyrium, and still view them as an important influence today. Their last two releases reflect the diversity in their approach, from the acoustic and gentle Welkin Shores Burning (2020) to the light gothic rock of Auf Zerfetzten Schwingen (2024). What drew my attention to Autumnblaze was the mentions of The Vision Bleak and Paradise Lost, along with Katatonia, in their promo materials. At 13 songs, is Glut too much of a good thing, or will it have you happily gorging on their vision of sadboi gothic metal?

Glut trends much heavier and more metal than anything they’ve released for Argonauta. While harsh vocals were present very rarely on their 2024 release, here they are a prominent feature. Vocalist Eldron slips back and forth between cleans and growls, which serve as effective foils for the harsh/gentle dynamic on the record. His growls, more raspy than deep-throated, lend a violent darkness, while the melodic tilt of his cleans brings a tender melancholy. The catchy chorus on “Kerkersonne” will have you singing along and seeking to brush up on your German to better understand the words tugging at your heartstrings.2 The guitar tone is also louder and heavier than on prior releases, and Arisjel sets an energetic, brisk pace on the drums that keeps things from growing too dark or saccharine. Autumblaze mix the gothic melodicism of Katatonia and The Vision Bleak with a more blackened, almost shoegaze-y edge on the guitars and vocals to create an impassioned record that is simultaneously joyful, angry, and sad.

Unlike the prog of Katatonia or the more unpredictable nature of Weird Tales, Autumnblaze favor a much more formulaic structure that proves both a boon and a bane. “Licht Aus” sets the general template for most songs, beginning harsh and heavy before Eldron’s cleans soften the tone for a more palatable chorus. This formula is a comfort, as Eldron’s cleans prove a balm to soothe the harshness of his growls—whether intentional or not, there is a sort of harm/heal dynamic to the music. Of course, where the formula proves a comfort, it also grows a touch repetitive. Glut is an incredibly pleasurable listening experience, yet hearing the same formula across 13 tracks becomes tiresome. It also doesn’t help that Autumnblaze write largely standard rock riffs without any melodic leads to help songs stand apart from one another.

When Autumnblaze mixes up their formula, it also comes with mixed results. “Glut” features some arpeggios that are a nice change of pace, while “Mondmann” forgoes the growls in favor of a pleasantly poppy, but still heavy, metal song. In other ways, their nuanced alterations to the formula prove nuisances. There’s an unfortunate focus on spoken word elements, with “Heilung,” “Glut,” and “Geisteskind” all using them in place of the growls. On top of that, instrumentally, the music is weakest during the spoken segments. “Heilung” and “Geisteskind” both opt for low-energy, uninteresting instrumentals during these moments, but they grow more enjoyable when the cleans kick in. “Heilung” in particular wastes a pretty terrific performance from Arjon by splitting half the song with the tedious spoken parts. Despite these issues, Glut’s strengths weigh favorably enough to make it more enjoyable than not.

Glut truly is a pleasant listening experience that effectively touches on a range of impassioned feelings. Autumnblaze have honed in on a successful formula that works for most of Glut’s 42-minute runtime, even if it starts to bow under the weight of its 13 songs. Having revisited their past stuff, I feel that Glut is the best they’ve ever sounded, both from a production and songwriting perspective. While it’s true they may have injected a little more variety in the past, their earlier stuff didn’t really stick as Glut does. So, sure, there are a few issues to work out, but if 30 years later you sound this fresh, that’s a win.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German duo found inspiration in early Katatonia, though their vision has changed throughout the years. Glut will be their ninth full-length album,1 and their third with Argonauta Records. In the years before signing with Argonauta, when they were with Prophecy Productions, they added a few tricks to their bag from fellow labelmates, Empyrium, and still view them as an important influence today. Their last two releases reflect the diversity in their approach, from the acoustic and gentle Welkin Shores Burning (2020) to the light gothic rock of Auf Zerfetzten Schwingen (2024). What drew my attention to Autumnblaze was the mentions of The Vision Bleak and Paradise Lost, along with Katatonia, in their promo materials. At 13 songs, is Glut too much of a good thing, or will it have you happily gorging on their vision of sadboi gothic metal?

Glut trends much heavier and more metal than anything they’ve released for Argonauta. While harsh vocals were present very rarely on their 2024 release, here they are a prominent feature. Vocalist Eldron slips back and forth between cleans and growls, which serve as effective foils for the harsh/gentle dynamic on the record. His growls, more raspy than deep-throated, lend a violent darkness, while the melodic tilt of his cleans brings a tender melancholy. The catchy chorus on “Kerkersonne” will have you singing along and seeking to brush up on your German to better understand the words tugging at your heartstrings.2 The guitar tone is also louder and heavier than on prior releases, and Arisjel sets an energetic, brisk pace on the drums that keeps things from growing too dark or saccharine. Autumblaze mix the gothic melodicism of Katatonia and The Vision Bleak with a more blackened, almost shoegaze-y edge on the guitars and vocals to create an impassioned record that is simultaneously joyful, angry, and sad.

Unlike the prog of Katatonia or the more unpredictable nature of Weird Tales, Autumnblaze favor a much more formulaic structure that proves both a boon and a bane. “Licht Aus” sets the general template for most songs, beginning harsh and heavy before Eldron’s cleans soften the tone for a more palatable chorus. This formula is a comfort, as Eldron’s cleans prove a balm to soothe the harshness of his growls—whether intentional or not, there is a sort of harm/heal dynamic to the music. Of course, where the formula proves a comfort, it also grows a touch repetitive. Glut is an incredibly pleasurable listening experience, yet hearing the same formula across 13 tracks becomes tiresome. It also doesn’t help that Autumnblaze write largely standard rock riffs without any melodic leads to help songs stand apart from one another.

When Autumnblaze mixes up their formula, it also comes with mixed results. “Glut” features some arpeggios that are a nice change of pace, while “Mondmann” forgoes the growls in favor of a pleasantly poppy, but still heavy, metal song. In other ways, their nuanced alterations to the formula prove nuisances. There’s an unfortunate focus on spoken word elements, with “Heilung,” “Glut,” and “Geisteskind” all using them in place of the growls. On top of that, instrumentally, the music is weakest during the spoken segments. “Heilung” and “Geisteskind” both opt for low-energy, uninteresting instrumentals during these moments, but they grow more enjoyable when the cleans kick in. “Heilung” in particular wastes a pretty terrific performance from Arjon by splitting half the song with the tedious spoken parts. Despite these issues, Glut’s strengths weigh favorably enough to make it more enjoyable than not.

Glut truly is a pleasant listening experience that effectively touches on a range of impassioned feelings. Autumnblaze have honed in on a successful formula that works for most of Glut’s 42-minute runtime, even if it starts to bow under the weight of its 13 songs. Having revisited their past stuff, I feel that Glut is the best they’ve ever sounded, both from a production and songwriting perspective. While it’s true they may have injected a little more variety in the past, their earlier stuff didn’t really stick as Glut does. So, sure, there are a few issues to work out, but if 30 years later you sound this fresh, that’s a win.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German duo found inspiration in early Katatonia, though their vision has changed throughout the years. Glut will be their ninth full-length album,1 and their third with Argonauta Records. In the years before signing with Argonauta, when they were with Prophecy Productions, they added a few tricks to their bag from fellow labelmates, Empyrium, and still view them as an important influence today. Their last two releases reflect the diversity in their approach, from the acoustic and gentle Welkin Shores Burning (2020) to the light gothic rock of Auf Zerfetzten Schwingen (2024). What drew my attention to Autumnblaze was the mentions of The Vision Bleak and Paradise Lost, along with Katatonia, in their promo materials. At 13 songs, is Glut too much of a good thing, or will it have you happily gorging on their vision of sadboi gothic metal?

Glut trends much heavier and more metal than anything they’ve released for Argonauta. While harsh vocals were present very rarely on their 2024 release, here they are a prominent feature. Vocalist Eldron slips back and forth between cleans and growls, which serve as effective foils for the harsh/gentle dynamic on the record. His growls, more raspy than deep-throated, lend a violent darkness, while the melodic tilt of his cleans brings a tender melancholy. The catchy chorus on “Kerkersonne” will have you singing along and seeking to brush up on your German to better understand the words tugging at your heartstrings.2 The guitar tone is also louder and heavier than on prior releases, and Arisjel sets an energetic, brisk pace on the drums that keeps things from growing too dark or saccharine. Autumblaze mix the gothic melodicism of Katatonia and The Vision Bleak with a more blackened, almost shoegaze-y edge on the guitars and vocals to create an impassioned record that is simultaneously joyful, angry, and sad.

Unlike the prog of Katatonia or the more unpredictable nature of Weird Tales, Autumnblaze favor a much more formulaic structure that proves both a boon and a bane. “Licht Aus” sets the general template for most songs, beginning harsh and heavy before Eldron’s cleans soften the tone for a more palatable chorus. This formula is a comfort, as Eldron’s cleans prove a balm to soothe the harshness of his growls—whether intentional or not, there is a sort of harm/heal dynamic to the music. Of course, where the formula proves a comfort, it also grows a touch repetitive. Glut is an incredibly pleasurable listening experience, yet hearing the same formula across 13 tracks becomes tiresome. It also doesn’t help that Autumnblaze write largely standard rock riffs without any melodic leads to help songs stand apart from one another.

When Autumnblaze mixes up their formula, it also comes with mixed results. “Glut” features some arpeggios that are a nice change of pace, while “Mondmann” forgoes the growls in favor of a pleasantly poppy, but still heavy, metal song. In other ways, their nuanced alterations to the formula prove nuisances. There’s an unfortunate focus on spoken word elements, with “Heilung,” “Glut,” and “Geisteskind” all using them in place of the growls. On top of that, instrumentally, the music is weakest during the spoken segments. “Heilung” and “Geisteskind” both opt for low-energy, uninteresting instrumentals during these moments, but they grow more enjoyable when the cleans kick in. “Heilung” in particular wastes a pretty terrific performance from Arjon by splitting half the song with the tedious spoken parts. Despite these issues, Glut’s strengths weigh favorably enough to make it more enjoyable than not.

Glut truly is a pleasant listening experience that effectively touches on a range of impassioned feelings. Autumnblaze have honed in on a successful formula that works for most of Glut’s 42-minute runtime, even if it starts to bow under the weight of its 13 songs. Having revisited their past stuff, I feel that Glut is the best they’ve ever sounded, both from a production and songwriting perspective. While it’s true they may have injected a little more variety in the past, their earlier stuff didn’t really stick as Glut does. So, sure, there are a few issues to work out, but if 30 years later you sound this fresh, that’s a win.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Dominum Return with New Album “Night is Calling”

https://voiceofnoir.com/2026/07/03/dominum-return-with-new-album-night-is-calling/

Dominum Return with New Album “Night is Calling”

https://voiceofnoir.com/2026/07/03/dominum-return-with-new-album-night-is-calling/

Dominum Return with New Album “Night is Calling”

https://voiceofnoir.com/2026/07/03/dominum-return-with-new-album-night-is-calling/

Dominum Return with New Album “Night is Calling”

https://voiceofnoir.com/2026/07/03/dominum-return-with-new-album-night-is-calling/

Dominum Return with New Album “Night is Calling”

https://voiceofnoir.com/2026/07/03/dominum-return-with-new-album-night-is-calling/

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

Maladie – The Dance of Tragedies Review

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and…
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https://www.newsbeep.com/uk/633637/

https://www.europesays.com/uk/1020266/ Maladie – The Dance of Tragedies Review #2026 #40 #ApostasyRecords #Arcturus #AvantGardeBlackMetal #BlackMetal #Entertainment #GermanMetal #HailSpiritNoir #Maladie #May26 #Mossgiver #music #PenseesNocturne #ProgressiveBlackMetal #Review #Reviews #Stenched #TheDanceOfTragedies #UK #UnitedKingdom

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.1 This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.2 Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.1 This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.2 Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.1 This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.2 Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.1 This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.2 Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.1 This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.2 Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026