#gloryhammer — Public Fediverse posts

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

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

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

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

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

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

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

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

Reborn To Light by Aeon Gods

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

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

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

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

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

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

Reborn To Light by Aeon Gods

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

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

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

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

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

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

Reborn To Light by Aeon Gods

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

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

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

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

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

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

Reborn To Light by Aeon Gods

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

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

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

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

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

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

Reborn To Light by Aeon Gods

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

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

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

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

I'm in a #WeirdMusicVideos rabbit hole, this morning.

"Mighty warriors of the galaxy! Are you ready to raise up your laser powered goblin smasher to defeat the forces of Zargothrax?"
#Gloryhammer
https://m.youtube.com/watch?v=tKlVYJTSzuU

#Music #GenX #OddMusicVideos #Weirdos #NowPlaying #metalheads

#Gloryhammer - Ya regresó https://www.youtube.com/watch?v=HSDgSV72iVk

@MOULE and I was already impressed by the song Gloryhammer on the album Gloryhammer by the band Gloryhammer

#gloryhammer

New Artist announced for Louder Than Life Festival 2025: 🔥 Gloryhammer 🔥

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Louder_Than_Life_Festival_2025 #Gloryhammer #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

Gig Review: Gloryhammer / Dominum / Fellowship – The Garage, Glasgow (4th February 2025)

The Garage was buzzing with energy as three bands brought their own brand of chaos to Glasgow. From massive singalongs to unexpected imaginary sword wielding pits, the crowd was all in, feeding off every riff and o

https://www.moshville.co.uk/reviews/gig-review/2025/02/gig-review-gloryhammer-dominum-fellowship-the-garage-glasgow-4th-february-2025/

#GigReviews #Dominum #Fellowship #Gloryhammer

Absolutely fantastic performance tonight by #Gloryhammer. Completely lost myself in what is basically a metal D&D campaign... ❤️

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

#tunetuesday #myfav21stcenturymusic
#BMTH - sTraNgeRs

Whole NeX GEn is awesome. Now I'll spend rest of post listing other things that I wanted to pick:

#Unprocessed - Sacrifice me
#MemphisMayFire - Shapeshifter
#Starset - ECHO
#Northlane - Dante
#Architects - deepfake
#DeadPoetSociety - .intoodeep.
#BlueStahli - Anti You
#Shinedown - Dysfunctional you
#BearGhost - BTBBRBBQ
#Celldweller - Lost In time
#WhileSheSleeps - Silence speaks
#Gloryhammer - Fly away

woho neuer Song von Gloryhammer 😍 Der neue Sänger macht n echt guten Job, vermisse trotzdem die Stimme von Thomas :<

#Metal #Music
#Gloryhammer - He Has Returned
https://www.youtube.com/watch?v=h-LfjLewYb4

Oh my gosh, this new GLORYHAMMER video is incredible! A high-quality animated short film with an epic fantasy metal soundtrack. https://www.youtube.com/watch?v=h-LfjLewYb4 #Gloryhammer #fantasy #heavymetal

Somebody tell #gloryhammer to make a counter to this one XD

Glyph – Honor. Power. Glory. Review

By Holdeneye

I’m not a psychoanalyst or a therapist, nor am I the hybrid of the two professions known throughout the industry as an “analrapist,” but that doesn’t keep me from attempting to understand almost everything I encounter from a psychological point of view. Take musical taste, for instance. I usually assume that people who love death, thrash, and the more vicious forms of black metal deal with some unresolved anger issues, that fans of sadboi melodeath have unhealed wounds within their souls, and that those who delve deeply into the avant-garde and dissonant spheres probably have enormous amounts of self-hatred and can’t allow themselves to enjoy anything that might actually be good. Now, as a stereotypical power metal enjoyer, I’ve always been aware that the genre helps me deal with feelings of insecurity and inadequacy by placing a sword, hammer, or plasma rifle into my hands and boosting my XP to heroic levels. Power metal makes me feel like I can handle anything life throws at me, whether it be an intimidating DIY project, an unwanted social obligation, or the various horrors that come with being a parent. I don’t listen to the cheesiest of all metals as often these days, but it has gotten me through some difficult periods in my life and will always hold a special place in my heart for that reason.

Made up of members and former members of Skelator, Greyhawk, Gatekeeper, and Ravenous, Glyph brings together some of my favorite traditional/power metal musicians from recent years as they throw their hat into the space fantasy ring. Very much channeling Gloryhammer, Glyph shows shades of Sabaton and Alestorm as they offer up some simple, modern power metal. Embedded single “Volaråd”—essentially Glyph’s version of Alestorm’s “Drink”—has literally not left my head for weeks now; if I wake up to piss at 3am, which I do every night, this chorus will undoubtedly be playing as I do so. Simple, no-frills power metal is not easy to pull off, but this song is a great example of Glyph nailing it.

And that simplicity holds true throughout the rest of Honor. Power. Glory.’s length, ending the day as one of the album’s strengths. So many power metal albums opt for excessive runtimes, but Glyph has wisely chosen to quickly rain fire from orbit for 36 minutes then warp the heck outta here, leaving me wanting more. Simple numbers like the opening title track, “When the World Was Young,” “Glorious,” and “Eldenfire” drop their infectious payloads and let their earworm choruses deal damage over time, while quick-hitters like “Defy the Night” and “A Storm of Crimson Fire” deal maximum DPS like a space barbarian dual-wielding laser flails. But no matter the speed, each and every track here accomplishes its aim and not a one overstays its welcome.

Honor. Power. Glory. is so effective that I have very little to complain about. A couple of times the songs feel a little too faithful to their influences, like the spoken word narration on “March of the Northern Clan” or the wild key solo on “A Storm of Crimson Fire”—both of which sound like they came straight off of a Gloryhammer record. But this is a minor nitpick, and Glyph’s songcraft and style stand on their own the vast majority of the time. It was a fun experience to get to cover some of these tracks as part of the band’s demo and then get to hear them fully fleshed out here on the album with a beefier production. The individual performances reveal the depth of the members’ experience, and it all comes together to form a remarkably cohesive debut record. And I don’t think I’m the only one who has been dazzled by Glyph’s talent as the band is currently on tour with Alestorm and Elvenking despite their unsigned status.

Honor. Power Glory. may not bring an ounce of innovation to the table here, but it is a satisfying meal nonetheless. Glyph unites a team of talented musicians, and the result is a concise, well-executed call to arms that’s been routinely buffing my stats to handle all of life’s challenges.

Rating: Very Good
DR: 7 | Format Reviewed: PCM
Label: Self Release
Websites: glyphmetal.bandcamp.com | facebook.com/glyphmetal | glyphmetal.com
Releases Worldwide: March 29th, 2024

#2024 #35 #Alestorm #Gloryhammer #Glyph #HonorPowerGlory_ #InternationalMetal #Mar24 #PowerMetal #Review #Reviews #Sabaton #SelfRelease

Glyph – Honor. Power. Glory. Review

By Holdeneye

I’m not a psychoanalyst or a therapist, nor am I the hybrid of the two professions known throughout the industry as an “analrapist,” but that doesn’t keep me from attempting to understand almost everything I encounter from a psychological point of view. Take musical taste, for instance. I usually assume that people who love death, thrash, and the more vicious forms of black metal deal with some unresolved anger issues, that fans of sadboi melodeath have unhealed wounds within their souls, and that those who delve deeply into the avant-garde and dissonant spheres probably have enormous amounts of self-hatred and can’t allow themselves to enjoy anything that might actually be good. Now, as a stereotypical power metal enjoyer, I’ve always been aware that the genre helps me deal with feelings of insecurity and inadequacy by placing a sword, hammer, or plasma rifle into my hands and boosting my XP to heroic levels. Power metal makes me feel like I can handle anything life throws at me, whether it be an intimidating DIY project, an unwanted social obligation, or the various horrors that come with being a parent. I don’t listen to the cheesiest of all metals as often these days, but it has gotten me through some difficult periods in my life and will always hold a special place in my heart for that reason.

Made up of members and former members of Skelator, Greyhawk, Gatekeeper, and Ravenous, Glyph brings together some of my favorite traditional/power metal musicians from recent years as they throw their hat into the space fantasy ring. Very much channeling Gloryhammer, Glyph shows shades of Sabaton and Alestorm as they offer up some simple, modern power metal. Embedded single “Volaråd”—essentially Glyph’s version of Alestorm’s “Drink”—has literally not left my head for weeks now; if I wake up to piss at 3am, which I do every night, this chorus will undoubtedly be playing as I do so. Simple, no-frills power metal is not easy to pull off, but this song is a great example of Glyph nailing it.

And that simplicity holds true throughout the rest of Honor. Power. Glory.’s length, ending the day as one of the album’s strengths. So many power metal albums opt for excessive runtimes, but Glyph has wisely chosen to quickly rain fire from orbit for 36 minutes then warp the heck outta here, leaving me wanting more. Simple numbers like the opening title track, “When the World Was Young,” “Glorious,” and “Eldenfire” drop their infectious payloads and let their earworm choruses deal damage over time, while quick-hitters like “Defy the Night” and “A Storm of Crimson Fire” deal maximum DPS like a space barbarian dual-wielding laser flails. But no matter the speed, each and every track here accomplishes its aim and not a one overstays its welcome.

Honor. Power. Glory. is so effective that I have very little to complain about. A couple of times the songs feel a little too faithful to their influences, like the spoken word narration on “March of the Northern Clan” or the wild key solo on “A Storm of Crimson Fire”—both of which sound like they came straight off of a Gloryhammer record. But this is a minor nitpick, and Glyph’s songcraft and style stand on their own the vast majority of the time. It was a fun experience to get to cover some of these tracks as part of the band’s demo and then get to hear them fully fleshed out here on the album with a beefier production. The individual performances reveal the depth of the members’ experience, and it all comes together to form a remarkably cohesive debut record. And I don’t think I’m the only one who has been dazzled by Glyph’s talent as the band is currently on tour with Alestorm and Elvenking despite their unsigned status.

Honor. Power Glory. may not bring an ounce of innovation to the table here, but it is a satisfying meal nonetheless. Glyph unites a team of talented musicians, and the result is a concise, well-executed call to arms that’s been routinely buffing my stats to handle all of life’s challenges.

Rating: Very Good
DR: 7 | Format Reviewed: PCM
Label: Self Release
Websites: glyphmetal.bandcamp.com | facebook.com/glyphmetal | glyphmetal.com
Releases Worldwide: March 29th, 2024

#2024 #35 #Alestorm #Gloryhammer #Glyph #HonorPowerGlory_ #InternationalMetal #Mar24 #PowerMetal #Review #Reviews #Sabaton #SelfRelease

Glyph – Honor. Power. Glory. Review

By Holdeneye

I’m not a psychoanalyst or a therapist, nor am I the hybrid of the two professions known throughout the industry as an “analrapist,” but that doesn’t keep me from attempting to understand almost everything I encounter from a psychological point of view. Take musical taste, for instance. I usually assume that people who love death, thrash, and the more vicious forms of black metal deal with some unresolved anger issues, that fans of sadboi melodeath have unhealed wounds within their souls, and that those who delve deeply into the avant-garde and dissonant spheres probably have enormous amounts of self-hatred and can’t allow themselves to enjoy anything that might actually be good. Now, as a stereotypical power metal enjoyer, I’ve always been aware that the genre helps me deal with feelings of insecurity and inadequacy by placing a sword, hammer, or plasma rifle into my hands and boosting my XP to heroic levels. Power metal makes me feel like I can handle anything life throws at me, whether it be an intimidating DIY project, an unwanted social obligation, or the various horrors that come with being a parent. I don’t listen to the cheesiest of all metals as often these days, but it has gotten me through some difficult periods in my life and will always hold a special place in my heart for that reason.

Made up of members and former members of Skelator, Greyhawk, Gatekeeper, and Ravenous, Glyph brings together some of my favorite traditional/power metal musicians from recent years as they throw their hat into the space fantasy ring. Very much channeling Gloryhammer, Glyph shows shades of Sabaton and Alestorm as they offer up some simple, modern power metal. Embedded single “Volaråd”—essentially Glyph’s version of Alestorm’s “Drink”—has literally not left my head for weeks now; if I wake up to piss at 3am, which I do every night, this chorus will undoubtedly be playing as I do so. Simple, no-frills power metal is not easy to pull off, but this song is a great example of Glyph nailing it.

And that simplicity holds true throughout the rest of Honor. Power. Glory.’s length, ending the day as one of the album’s strengths. So many power metal albums opt for excessive runtimes, but Glyph has wisely chosen to quickly rain fire from orbit for 36 minutes then warp the heck outta here, leaving me wanting more. Simple numbers like the opening title track, “When the World Was Young,” “Glorious,” and “Eldenfire” drop their infectious payloads and let their earworm choruses deal damage over time, while quick-hitters like “Defy the Night” and “A Storm of Crimson Fire” deal maximum DPS like a space barbarian dual-wielding laser flails. But no matter the speed, each and every track here accomplishes its aim and not a one overstays its welcome.

Honor. Power. Glory. is so effective that I have very little to complain about. A couple of times the songs feel a little too faithful to their influences, like the spoken word narration on “March of the Northern Clan” or the wild key solo on “A Storm of Crimson Fire”—both of which sound like they came straight off of a Gloryhammer record. But this is a minor nitpick, and Glyph’s songcraft and style stand on their own the vast majority of the time. It was a fun experience to get to cover some of these tracks as part of the band’s demo and then get to hear them fully fleshed out here on the album with a beefier production. The individual performances reveal the depth of the members’ experience, and it all comes together to form a remarkably cohesive debut record. And I don’t think I’m the only one who has been dazzled by Glyph’s talent as the band is currently on tour with Alestorm and Elvenking despite their unsigned status.

Honor. Power Glory. may not bring an ounce of innovation to the table here, but it is a satisfying meal nonetheless. Glyph unites a team of talented musicians, and the result is a concise, well-executed call to arms that’s been routinely buffing my stats to handle all of life’s challenges.

Rating: Very Good
DR: 7 | Format Reviewed: PCM
Label: Self Release
Websites: glyphmetal.bandcamp.com | facebook.com/glyphmetal | glyphmetal.com
Releases Worldwide: March 29th, 2024

#2024 #35 #Alestorm #Gloryhammer #Glyph #HonorPowerGlory_ #InternationalMetal #Mar24 #PowerMetal #Review #Reviews #Sabaton #SelfRelease

Live Gig Review: An Opening Night of Cosmic-Sized Hoots with Gloryhammer at Irving Plaza on 3/07/24:

#Gloryhammer #TwilightForce #LiveReview #IrvingPlaza #LiveMusic

https://metalinsider.net/reviews/live-gig-review-an-opening-night-of-cosmic-sized-hoots-with-gloryhammer-at-irving-plaza-on-3-07-24

Live Gig Review: An Opening Night of Cosmic-Sized Hoots with Gloryhammer at Irving Plaza on 3/07/24:

#Gloryhammer #TwilightForce #LiveReview #IrvingPlaza #LiveMusic

https://metalinsider.net/reviews/live-gig-review-an-opening-night-of-cosmic-sized-hoots-with-gloryhammer-at-irving-plaza-on-3-07-24

Live Gig Review: An Opening Night of Cosmic-Sized Hoots with Gloryhammer at Irving Plaza on 3/07/24:

#Gloryhammer #TwilightForce #LiveReview #IrvingPlaza #LiveMusic

https://metalinsider.net/reviews/live-gig-review-an-opening-night-of-cosmic-sized-hoots-with-gloryhammer-at-irving-plaza-on-3-07-24

Live Gig Review: An Opening Night of Cosmic-Sized Hoots with Gloryhammer at Irving Plaza on 3/07/24:

#Gloryhammer #TwilightForce #LiveReview #IrvingPlaza #LiveMusic

https://metalinsider.net/reviews/live-gig-review-an-opening-night-of-cosmic-sized-hoots-with-gloryhammer-at-irving-plaza-on-3-07-24

Live Gig Review: An Opening Night of Cosmic-Sized Hoots with Gloryhammer at Irving Plaza on 3/07/24:

#Gloryhammer #TwilightForce #LiveReview #IrvingPlaza #LiveMusic

https://metalinsider.net/reviews/live-gig-review-an-opening-night-of-cosmic-sized-hoots-with-gloryhammer-at-irving-plaza-on-3-07-24

Das Konzert in #Stuttgart gestern mit #BrothersOfMetal , #Gloryhammer und #BeastInBlack war echt gut, super Stimmung und auch die Wagenhalle war ein schöner Veranstaltungsort. Der Gehörschutz stellte sich als genau das Richtige raus, er hat den Musikgenuss nicht geschmälert sondern eher verbessert, dort war sogar die Pausenmusik so laut das ich den Gehörschutz da nicht raus nehmen wollte. Gesang war gefühlt viel besser zu verstehen und ansonsten war die Wahrnehmung der Musik nicht schlechter.

Todays evening in the #Schlachthof #Wiesbaden. Shortly before #BrothersOfMetal, #Gloryhammer and #BeastInBlack are starting to fire up the location 🤟🤟🤟🤟🤟

Oft genug hatte ich es mir vorgenommen und jetzt ist es endlich mal umgesetzt :) angepasster #Gehörschutz für Konzerte. In den beiden ist ein möglichst linearer Filter mit ca. 15db. In 2 Wochen steht #Gloryhammer auf dem Programm und ich bin sehr gespannt wie sich das ganze machen wird.

Damn! This track of #Gloryhammer is so awesome. And somehow I really would like to hear a #C64 #SID version of it. It's absolutely the style which can be covered by that machine 🙂 🤘

https://www.youtube.com/watch?v=6Xk3AbQ0k6w

Powermetal usually tells epic stories full of swordfighting and swashbuckling and war and battles and this is all a lot of fun. But there is another kind of epic story, and good powermetal often incorporates it. I'm talking of course about love stories.

So this #PowerFriday let's celebrate #ThePowerOfLove

And I'll start with #GloryHammer from their debut Album, tales from the kingdom of Fife with Silent Tears of Frozen Princess.

https://songwhip.com/gloryhammer/silent-tears-of-frozen-princess

Having the spy speaker play music for me this morning, and I must say, I really like "Defying Gravity" from the soundtrack from Wicked.

Lyrics for anyone who needs to hear them today for a boost:

https://www.azlyrics.com/lyrics/idinamenzel/defyinggravity68056.html

To be fair, my taste in music may be suspect, as the next song was about an evil wizard named Zargothrax with a laser blaster, so be warned.

My music taste is eclectic.

#music #wizard #gloryHammer #wicked

#DailyMood #Music #Youtube #Gloryhammer #Hootsforce

https://www.youtube.com/watch?v=BkUAzcja74Y

#Mood of the day

#30daysongchallenge day 15: a song you like that is a cover by another artist

I think I'm opting here for one of the best ensemble metal recordings in years.

I'm going for #Feuerschwanz's fantastic cover of #manowar's "Warrior's of the world" featuring #MelissaBonny, #SaltatioMortis and #gloryhammer's #AngusMcfife

https://youtu.be/-rKOoM7S6mw

@UndisScot "Hail to Crail! Mightiest warriors in the land!"
#Crail #AngusMcFife #TalesFromTheKingdomOfFife #GloryHammer
https://www.youtube.com/watch?v=xQ6nXQTrfQI

If I ever get cut off from the Internet and have to rely on #music that isn't from a #StreamingMedia service such as #Spotify, I'd be stuck with music collected in the #90s and #00s...

And honestly, I think I'd mostly be okay with that. :)

(Though I'd probably want to get some offline copies of #Ayreon, #Heilung, #Heidevolk, #S3rl, #BeastInBlack, #Gloryhammer, #MiracleOfSound, #Rush and probably some other bands I only discovered in the past decade or so.)