#gravedigger — Public Fediverse posts

https://www.europesays.com/uk/1007747/ Seven Metal Sins – Legacy of Chaos Review #2026 #30 #Accept #Entertainment #FrenchMetal #Gravedigger #HeavyMetal #Jun26 #LegacyOfChaos #music #rebellion #Review #Reviews #RockshotsRecords #SevenMetalSins #UK #UnitedKingdom

Seven Metal Sins – Legacy of Chaos Review

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Accept #Entertainment #FrenchMetal #Gravedigger #HeavyMetal #Jun26 #LegacyofChaos #Rebellion #review #reviews #RockshotsRecords #SevenMetalSins
https://www.newsbeep.com/us/686442/

Seven Metal Sins – Legacy of Chaos Review

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Accept #Entertainment #FrenchMetal #Gravedigger #HeavyMetal #Jun26 #LegacyofChaos #Rebellion #review #reviews #RockshotsRecords #SevenMetalSins
https://www.newsbeep.com/us/686442/

Seven Metal Sins – Legacy of Chaos Review

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made…
#NewsBeep #News #Music #2026 #3.0 #Accept #Entertainment #FrenchMetal #Gravedigger #HeavyMetal #Jun26 #LegacyofChaos #rebellion #review #Reviews #RockshotsRecords #SevenMetalSins #UK #UnitedKingdom
https://www.newsbeep.com/uk/623089/

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made famous by Accept and Gravedigger. On their Legacy of Chaos debut, they bring a ton of retro enthusiasm to the table, trying their level best to cobble together an album’s worth of headbanging, fist-pumping metal with loads of macho machismo and every traditional metal trope imaginable. The closest comparison is Gravedigger, as Seven Metal Sins base their sound around big, beefy riffs and warbling, semi-harsh vocals. This makes the material on Legacy of Chaos sit somewhere between Gravedigger classics like Excalibur and especially Rheingold. That’s a fine place to aim for, but unfortunately, it’s not so easy to stick the landing and come up equal to those particular platters. It also leaves those who attempt it exposed to sounding like an earnest but watered-down copy of the original. And in the worst-case scenario, a mere copy of a copy. Can Seven Metal Sins avoid these lethal pitfalls?

There’s no shortage of meatheaded metal exuberance on opening proper cut “Scars of Injustice.” It’s got everything someone who grew up in the 80s blasting Teutonic metal could want. Frontman Clovis Gay sounds a whole lot like Gravedigger’s Chris Boltendahl crossbred with Rebellion’s Michael Seifert, and he gleefully goes WAY over the top with a hoarse squeal and roar. As Clovis does his thing, Antton Iriat and Frédéric Auclerc flatten resistance with road-grading, burly riffs, and entertaining harmonies designed to bring out your inner ape. There’s a big whiff of Rheingold here, and I can’t huff enough of that Germanic wonderdust. The template thus set, Seven Metal Sins set out to build on it whilst beating your ass from chimpanz-A to pimpanzeE. Cuts like “Hypocrisy” eschew nuance in favor of head-on, full-speed collision dynamics, using riffacades and raw aggression to drive the point home, and it works for them in the same way it worked for Gravedigger on their best albums. Album highlight “Feel the Steel” takes this formula and runs with it for 4 minutes of brain-shaking classic metal fury that gets even an elder primate like me up and throwing heavy objects. It’s a warhammer of a tune, and it reminds me a lot of the better Rebellion material, including their mighty paean, “Taste of Steel.”

Legacy of Chaos is the rare album that improves as it rolls along, gathering momentum and crucial energy, and the songwriting becomes more and more memorable too. Later tracks like “Wolves of the Last Dawn” and “Sun Eaters” are old-timey heavy metal burners, high on energy, low on subtlety, and they’re great for a tough cardio session. “Rise of the Phoenix” has one of the best choruses, and even the closing power ballad “King of Sorrow” works, both as a change of pace and a suitably epic finale. At just under 47 minutes, Legacy of Chaos is a fast-moving, jacked-up spin through the glory days of heavy metal, and no song outstays its welcome or bogs down the meat parade.

Clovis Gay has the kind of voice that was made for metal. He can sing, but often opts to roar, shout, warble, and caterwaul, and that’s the golden ticket for this kind of fare. Like Chris Boltendahl, he will be a love or hate proposition for some, but I dig his rough ‘n’ ready style and his silent film era villain moustache. That said, it’s Antton Iriat and Frédéric Auclerc who really anchor the sound with their mighty riffs and the way they use them to hammer at you until you give in and enjoy the ride. This is a tried-and-true formula, and it works in 2026 as it did in 1985.

When I first started spinning Legacy of Chaos, I felt like Seven Metal Sins were like Gravedigger from Temu or a “we have Gravedigger at home” situation. Both are somewhat true, but the band is stout enough to deliver an entertaining platter of metal nonetheless. There’s nothing here you haven’t heard a million times before, and no one will put this on end-of-year lists, but it’s a fun, brainless release with enough nut wattage to warm the cockles of the 80s metal fan. Now let’s commence to metal sinning.1

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rockshots
Websites: facebook.com/sevenmetalsins | instagram.com/seven_metal_sins.official
Releases Worldwide: June 5th, 2026

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made famous by Accept and Gravedigger. On their Legacy of Chaos debut, they bring a ton of retro enthusiasm to the table, trying their level best to cobble together an album’s worth of headbanging, fist-pumping metal with loads of macho machismo and every traditional metal trope imaginable. The closest comparison is Gravedigger, as Seven Metal Sins base their sound around big, beefy riffs and warbling, semi-harsh vocals. This makes the material on Legacy of Chaos sit somewhere between Gravedigger classics like Excalibur and especially Rheingold. That’s a fine place to aim for, but unfortunately, it’s not so easy to stick the landing and come up equal to those particular platters. It also leaves those who attempt it exposed to sounding like an earnest but watered-down copy of the original. And in the worst-case scenario, a mere copy of a copy. Can Seven Metal Sins avoid these lethal pitfalls?

There’s no shortage of meatheaded metal exuberance on opening proper cut “Scars of Injustice.” It’s got everything someone who grew up in the 80s blasting Teutonic metal could want. Frontman Clovis Gay sounds a whole lot like Gravedigger’s Chris Boltendahl crossbred with Rebellion’s Michael Seifert, and he gleefully goes WAY over the top with a hoarse squeal and roar. As Clovis does his thing, Antton Iriat and Frédéric Auclerc flatten resistance with road-grading, burly riffs, and entertaining harmonies designed to bring out your inner ape. There’s a big whiff of Rheingold here, and I can’t huff enough of that Germanic wonderdust. The template thus set, Seven Metal Sins set out to build on it whilst beating your ass from chimpanz-A to pimpanzeE. Cuts like “Hypocrisy” eschew nuance in favor of head-on, full-speed collision dynamics, using riffacades and raw aggression to drive the point home, and it works for them in the same way it worked for Gravedigger on their best albums. Album highlight “Feel the Steel” takes this formula and runs with it for 4 minutes of brain-shaking classic metal fury that gets even an elder primate like me up and throwing heavy objects. It’s a warhammer of a tune, and it reminds me a lot of the better Rebellion material, including their mighty paean, “Taste of Steel.”

Legacy of Chaos is the rare album that improves as it rolls along, gathering momentum and crucial energy, and the songwriting becomes more and more memorable too. Later tracks like “Wolves of the Last Dawn” and “Sun Eaters” are old-timey heavy metal burners, high on energy, low on subtlety, and they’re great for a tough cardio session. “Rise of the Phoenix” has one of the best choruses, and even the closing power ballad “King of Sorrow” works, both as a change of pace and a suitably epic finale. At just under 47 minutes, Legacy of Chaos is a fast-moving, jacked-up spin through the glory days of heavy metal, and no song outstays its welcome or bogs down the meat parade.

Clovis Gay has the kind of voice that was made for metal. He can sing, but often opts to roar, shout, warble, and caterwaul, and that’s the golden ticket for this kind of fare. Like Chris Boltendahl, he will be a love or hate proposition for some, but I dig his rough ‘n’ ready style and his silent film era villain moustache. That said, it’s Antton Iriat and Frédéric Auclerc who really anchor the sound with their mighty riffs and the way they use them to hammer at you until you give in and enjoy the ride. This is a tried-and-true formula, and it works in 2026 as it did in 1985.

When I first started spinning Legacy of Chaos, I felt like Seven Metal Sins were like Gravedigger from Temu or a “we have Gravedigger at home” situation. Both are somewhat true, but the band is stout enough to deliver an entertaining platter of metal nonetheless. There’s nothing here you haven’t heard a million times before, and no one will put this on end-of-year lists, but it’s a fun, brainless release with enough nut wattage to warm the cockles of the 80s metal fan. Now let’s commence to metal sinning.1

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rockshots
Websites: facebook.com/sevenmetalsins | instagram.com/seven_metal_sins.official
Releases Worldwide: June 5th, 2026

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made famous by Accept and Gravedigger. On their Legacy of Chaos debut, they bring a ton of retro enthusiasm to the table, trying their level best to cobble together an album’s worth of headbanging, fist-pumping metal with loads of macho machismo and every traditional metal trope imaginable. The closest comparison is Gravedigger, as Seven Metal Sins base their sound around big, beefy riffs and warbling, semi-harsh vocals. This makes the material on Legacy of Chaos sit somewhere between Gravedigger classics like Excalibur and especially Rheingold. That’s a fine place to aim for, but unfortunately, it’s not so easy to stick the landing and come up equal to those particular platters. It also leaves those who attempt it exposed to sounding like an earnest but watered-down copy of the original. And in the worst-case scenario, a mere copy of a copy. Can Seven Metal Sins avoid these lethal pitfalls?

There’s no shortage of meatheaded metal exuberance on opening proper cut “Scars of Injustice.” It’s got everything someone who grew up in the 80s blasting Teutonic metal could want. Frontman Clovis Gay sounds a whole lot like Gravedigger’s Chris Boltendahl crossbred with Rebellion’s Michael Seifert, and he gleefully goes WAY over the top with a hoarse squeal and roar. As Clovis does his thing, Antton Iriat and Frédéric Auclerc flatten resistance with road-grading, burly riffs, and entertaining harmonies designed to bring out your inner ape. There’s a big whiff of Rheingold here, and I can’t huff enough of that Germanic wonderdust. The template thus set, Seven Metal Sins set out to build on it whilst beating your ass from chimpanz-A to pimpanzeE. Cuts like “Hypocrisy” eschew nuance in favor of head-on, full-speed collision dynamics, using riffacades and raw aggression to drive the point home, and it works for them in the same way it worked for Gravedigger on their best albums. Album highlight “Feel the Steel” takes this formula and runs with it for 4 minutes of brain-shaking classic metal fury that gets even an elder primate like me up and throwing heavy objects. It’s a warhammer of a tune, and it reminds me a lot of the better Rebellion material, including their mighty paean, “Taste of Steel.”

Legacy of Chaos is the rare album that improves as it rolls along, gathering momentum and crucial energy, and the songwriting becomes more and more memorable too. Later tracks like “Wolves of the Last Dawn” and “Sun Eaters” are old-timey heavy metal burners, high on energy, low on subtlety, and they’re great for a tough cardio session. “Rise of the Phoenix” has one of the best choruses, and even the closing power ballad “King of Sorrow” works, both as a change of pace and a suitably epic finale. At just under 47 minutes, Legacy of Chaos is a fast-moving, jacked-up spin through the glory days of heavy metal, and no song outstays its welcome or bogs down the meat parade.

Clovis Gay has the kind of voice that was made for metal. He can sing, but often opts to roar, shout, warble, and caterwaul, and that’s the golden ticket for this kind of fare. Like Chris Boltendahl, he will be a love or hate proposition for some, but I dig his rough ‘n’ ready style and his silent film era villain moustache. That said, it’s Antton Iriat and Frédéric Auclerc who really anchor the sound with their mighty riffs and the way they use them to hammer at you until you give in and enjoy the ride. This is a tried-and-true formula, and it works in 2026 as it did in 1985.

When I first started spinning Legacy of Chaos, I felt like Seven Metal Sins were like Gravedigger from Temu or a “we have Gravedigger at home” situation. Both are somewhat true, but the band is stout enough to deliver an entertaining platter of metal nonetheless. There’s nothing here you haven’t heard a million times before, and no one will put this on end-of-year lists, but it’s a fun, brainless release with enough nut wattage to warm the cockles of the 80s metal fan. Now let’s commence to metal sinning.1

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rockshots
Websites: facebook.com/sevenmetalsins | instagram.com/seven_metal_sins.official
Releases Worldwide: June 5th, 2026

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made famous by Accept and Gravedigger. On their Legacy of Chaos debut, they bring a ton of retro enthusiasm to the table, trying their level best to cobble together an album’s worth of headbanging, fist-pumping metal with loads of macho machismo and every traditional metal trope imaginable. The closest comparison is Gravedigger, as Seven Metal Sins base their sound around big, beefy riffs and warbling, semi-harsh vocals. This makes the material on Legacy of Chaos sit somewhere between Gravedigger classics like Excalibur and especially Rheingold. That’s a fine place to aim for, but unfortunately, it’s not so easy to stick the landing and come up equal to those particular platters. It also leaves those who attempt it exposed to sounding like an earnest but watered-down copy of the original. And in the worst-case scenario, a mere copy of a copy. Can Seven Metal Sins avoid these lethal pitfalls?

There’s no shortage of meatheaded metal exuberance on opening proper cut “Scars of Injustice.” It’s got everything someone who grew up in the 80s blasting Teutonic metal could want. Frontman Clovis Gay sounds a whole lot like Gravedigger’s Chris Boltendahl crossbred with Rebellion’s Michael Seifert, and he gleefully goes WAY over the top with a hoarse squeal and roar. As Clovis does his thing, Antton Iriat and Frédéric Auclerc flatten resistance with road-grading, burly riffs, and entertaining harmonies designed to bring out your inner ape. There’s a big whiff of Rheingold here, and I can’t huff enough of that Germanic wonderdust. The template thus set, Seven Metal Sins set out to build on it whilst beating your ass from chimpanz-A to pimpanzeE. Cuts like “Hypocrisy” eschew nuance in favor of head-on, full-speed collision dynamics, using riffacades and raw aggression to drive the point home, and it works for them in the same way it worked for Gravedigger on their best albums. Album highlight “Feel the Steel” takes this formula and runs with it for 4 minutes of brain-shaking classic metal fury that gets even an elder primate like me up and throwing heavy objects. It’s a warhammer of a tune, and it reminds me a lot of the better Rebellion material, including their mighty paean, “Taste of Steel.”

Legacy of Chaos is the rare album that improves as it rolls along, gathering momentum and crucial energy, and the songwriting becomes more and more memorable too. Later tracks like “Wolves of the Last Dawn” and “Sun Eaters” are old-timey heavy metal burners, high on energy, low on subtlety, and they’re great for a tough cardio session. “Rise of the Phoenix” has one of the best choruses, and even the closing power ballad “King of Sorrow” works, both as a change of pace and a suitably epic finale. At just under 47 minutes, Legacy of Chaos is a fast-moving, jacked-up spin through the glory days of heavy metal, and no song outstays its welcome or bogs down the meat parade.

Clovis Gay has the kind of voice that was made for metal. He can sing, but often opts to roar, shout, warble, and caterwaul, and that’s the golden ticket for this kind of fare. Like Chris Boltendahl, he will be a love or hate proposition for some, but I dig his rough ‘n’ ready style and his silent film era villain moustache. That said, it’s Antton Iriat and Frédéric Auclerc who really anchor the sound with their mighty riffs and the way they use them to hammer at you until you give in and enjoy the ride. This is a tried-and-true formula, and it works in 2026 as it did in 1985.

When I first started spinning Legacy of Chaos, I felt like Seven Metal Sins were like Gravedigger from Temu or a “we have Gravedigger at home” situation. Both are somewhat true, but the band is stout enough to deliver an entertaining platter of metal nonetheless. There’s nothing here you haven’t heard a million times before, and no one will put this on end-of-year lists, but it’s a fun, brainless release with enough nut wattage to warm the cockles of the 80s metal fan. Now let’s commence to metal sinning.1

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rockshots
Websites: facebook.com/sevenmetalsins | instagram.com/seven_metal_sins.official
Releases Worldwide: June 5th, 2026

Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made famous by Accept and Gravedigger. On their Legacy of Chaos debut, they bring a ton of retro enthusiasm to the table, trying their level best to cobble together an album’s worth of headbanging, fist-pumping metal with loads of macho machismo and every traditional metal trope imaginable. The closest comparison is Gravedigger, as Seven Metal Sins base their sound around big, beefy riffs and warbling, semi-harsh vocals. This makes the material on Legacy of Chaos sit somewhere between Gravedigger classics like Excalibur and especially Rheingold. That’s a fine place to aim for, but unfortunately, it’s not so easy to stick the landing and come up equal to those particular platters. It also leaves those who attempt it exposed to sounding like an earnest but watered-down copy of the original. And in the worst-case scenario, a mere copy of a copy. Can Seven Metal Sins avoid these lethal pitfalls?

There’s no shortage of meatheaded metal exuberance on opening proper cut “Scars of Injustice.” It’s got everything someone who grew up in the 80s blasting Teutonic metal could want. Frontman Clovis Gay sounds a whole lot like Gravedigger’s Chris Boltendahl crossbred with Rebellion’s Michael Seifert, and he gleefully goes WAY over the top with a hoarse squeal and roar. As Clovis does his thing, Antton Iriat and Frédéric Auclerc flatten resistance with road-grading, burly riffs, and entertaining harmonies designed to bring out your inner ape. There’s a big whiff of Rheingold here, and I can’t huff enough of that Germanic wonderdust. The template thus set, Seven Metal Sins set out to build on it whilst beating your ass from chimpanz-A to pimpanzeE. Cuts like “Hypocrisy” eschew nuance in favor of head-on, full-speed collision dynamics, using riffacades and raw aggression to drive the point home, and it works for them in the same way it worked for Gravedigger on their best albums. Album highlight “Feel the Steel” takes this formula and runs with it for 4 minutes of brain-shaking classic metal fury that gets even an elder primate like me up and throwing heavy objects. It’s a warhammer of a tune, and it reminds me a lot of the better Rebellion material, including their mighty paean, “Taste of Steel.”

Legacy of Chaos is the rare album that improves as it rolls along, gathering momentum and crucial energy, and the songwriting becomes more and more memorable too. Later tracks like “Wolves of the Last Dawn” and “Sun Eaters” are old-timey heavy metal burners, high on energy, low on subtlety, and they’re great for a tough cardio session. “Rise of the Phoenix” has one of the best choruses, and even the closing power ballad “King of Sorrow” works, both as a change of pace and a suitably epic finale. At just under 47 minutes, Legacy of Chaos is a fast-moving, jacked-up spin through the glory days of heavy metal, and no song outstays its welcome or bogs down the meat parade.

Clovis Gay has the kind of voice that was made for metal. He can sing, but often opts to roar, shout, warble, and caterwaul, and that’s the golden ticket for this kind of fare. Like Chris Boltendahl, he will be a love or hate proposition for some, but I dig his rough ‘n’ ready style and his silent film era villain moustache. That said, it’s Antton Iriat and Frédéric Auclerc who really anchor the sound with their mighty riffs and the way they use them to hammer at you until you give in and enjoy the ride. This is a tried-and-true formula, and it works in 2026 as it did in 1985.

When I first started spinning Legacy of Chaos, I felt like Seven Metal Sins were like Gravedigger from Temu or a “we have Gravedigger at home” situation. Both are somewhat true, but the band is stout enough to deliver an entertaining platter of metal nonetheless. There’s nothing here you haven’t heard a million times before, and no one will put this on end-of-year lists, but it’s a fun, brainless release with enough nut wattage to warm the cockles of the 80s metal fan. Now let’s commence to metal sinning.1

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rockshots
Websites: facebook.com/sevenmetalsins | instagram.com/seven_metal_sins.official
Releases Worldwide: June 5th, 2026

Mal wieder ordentlich auf die Ohren!

#RockOutFestival in #Augsburg

Den Anfang machten #FreedomCall und dann #GraveDigger!

Mal wieder ordentlich auf die Ohren!

#RockOutFestival in #Augsburg

Den Anfang machten #FreedomCall und dann #GraveDigger!

Mal wieder ordentlich auf die Ohren!

#RockOutFestival in #Augsburg

Den Anfang machten #FreedomCall und dann #GraveDigger!

Mal wieder ordentlich auf die Ohren!

#RockOutFestival in #Augsburg

Den Anfang machten #FreedomCall und dann #GraveDigger!

Mal wieder ordentlich auf die Ohren!

#RockOutFestival in #Augsburg

Den Anfang machten #FreedomCall und dann #GraveDigger!

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

Show 1 footnote

1. Belted in your best implacable Euro accent. ↩

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

Show 1 footnote

1. Belted in your best implacable Euro accent. ↩

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

GRAVE DIGGER “BONE COLLECTOR” (2025) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/grave-digger-bone-collector-2025/

#bonecollector #chrisboltendahl #discos #gravedigger #graveyardstudios #marcuskniep #metalmusic #newalbum #powermetal #t2025

GRAVE DIGGER “BONE COLLECTOR” (2025) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/grave-digger-bone-collector-2025/

#bonecollector #chrisboltendahl #discos #gravedigger #graveyardstudios #marcuskniep #metalmusic #newalbum #powermetal #t2025

GRAVE DIGGER “BONE COLLECTOR” (2025) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/grave-digger-bone-collector-2025/

#bonecollector #chrisboltendahl #discos #gravedigger #graveyardstudios #marcuskniep #metalmusic #newalbum #powermetal #t2025

GRAVE DIGGER “BONE COLLECTOR” (2025) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/grave-digger-bone-collector-2025/

#bonecollector #chrisboltendahl #discos #gravedigger #graveyardstudios #marcuskniep #metalmusic #newalbum #powermetal #t2025

Grave Digger – Bone Collector Review

By Steel Druhm

Little can be said about Grave Digger that hasn’t already been expressed by me or a thousand other metal reviewers. In existence since 1982, this Germanic heavy metal institution has crossed an ocean of time, tide, shifting scenes, and countless lineup changes while continuing to churn out their tried-and-trve brand of Accept-meets-Manowar metal. Bone Collector is their 21st freaking album and it’s more of the same meat and grave-y, done with an admirable amount of energy and grit considering the advanced age of some of these geez-lords. Longtime guitarist Alex Ritt is out, replaced by former Ordan Ogan axe Tobias Kersting, but the sound and style remain largely unaffected. This is still riff-forward, balls-to-the-mausoleum-wall traditional metal powered by the one-of-a-kind angry mutant duck vocals of founding member Chris Boltendahl. The end game also remains the same – skull-splitting, chest-thumping, and poser-burying. If all that sounds good, grab a shovel and get ready to move some goddamn earth. We have a large corpse delivery of sabbaticalized writers due here any minute!

If you heard any Grave Digger album, you know what’s headed your way here. The opening title track is typically punchy, in-your-face classic 80s metal with an injection of piss and horse vinegar with chonky riffs leading the way supported by duck power. It’s not going to be anyone’s Song o’ the Year but it’s dumb metal fun with enough axe power to satisfy and a chorus just good enough to stick. They dial up the raw power for the thrashing, bashing “The Rich, The Poor, the Dying” which sounds like it belongs on Rheingold or The Grave Digger. This heavier side of Grave Digger always worked best for yours Steely, and I want this to be their default setting. Luckily, this is what Bone Collector delivers in spades for much of the album’s first half with rockers like “Kingdom of Skulls” and the album highlight “Killing is My Pleasure.” There’s no subtlety or innovation here, but the songs have crunch, grit and enough heft to satisfy the lizard brain.

Unfortunately, the entertaining front half is paired with a somewhat less impactful back half. Things never go completely sideways, but the overall catchiness and memorability do slip at points. “Riders of Doom” is too slow and repetitious for too long, and “Made of Madness” rings a bit too generic and recycled by Digger standards. The effort to include several “power ballads” is also a dubious decision at this point as Mr. Boltendahl is not at his best when things slow down and get maudlin. That said, he does a decent enough job on closer “Whispers of the Damned.” At 46-plus minutes, Bone Collector is right on the bleeding edge of feeling overlong and I find my attention decamping by the penultimate track. The production is somewhat loud and at times feels too bricked, though it does suit the heavier songs to a point.

For a man in his 60s with 40-plus years in the metal business, Chris Boltendahl has aged like a Twinkie, with all the exotic ingredients giving him an unnaturally long life and staying power. He still sounds like a wounded duck, but he did in his 20s, so that’s just his thing. His voice will always be a love or hate proposition but he sounds alive and spry and delivers his croaking, squawking lines with venom and panache. New axe Tobias Kersting acquits himself quite well, delivering the same kind of rudimentary, brain-jarring beefbrained metal riffs and battering ram chugs as Alex Ritt used to. The Grave Digger sound lives and dies with the quality of the riffs and for the most part, these get the job done. It’s just a question of some inconsistent writing holding Bone Collector back from a better rating.

I’ve been blasting Grave Digger so long, even Saxon and Satan think my mind is gone. They’ve been a part of my life since I was a wee brat and here they are when I’m a greying ape. With so much history, I’ll always lend them my ear. I didn’t come here to praise Grave Digger, but I’m glad I didn’t have to bury them. Bone Collector will please most fans and may make a new convert or two. There’s a little over half an album of jolly metal fun here, and after a career this long, I’m okay with that. Onward to eternity for the Count Orlok of Germanic metal!

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: RPM-ROAR
Websites: grave-digger.de | facebook.com/gravediggerofficial | instagram.com/gravediggerband
Releases Worldwide: January 17th, 2025

#25 #2025 #Accept #BoneCollector #GermanMetal #GraveDigger #HeavyMetal #Jan25 #Review #Reviews #RPMROAR #SymbolOfEternity

Grave Digger – Bone Collector Review

By Steel Druhm

Little can be said about Grave Digger that hasn’t already been expressed by me or a thousand other metal reviewers. In existence since 1982, this Germanic heavy metal institution has crossed an ocean of time, tide, shifting scenes, and countless lineup changes while continuing to churn out their tried-and-trve brand of Accept-meets-Manowar metal. Bone Collector is their 21st freaking album and it’s more of the same meat and grave-y, done with an admirable amount of energy and grit considering the advanced age of some of these geez-lords. Longtime guitarist Alex Ritt is out, replaced by former Ordan Ogan axe Tobias Kersting, but the sound and style remain largely unaffected. This is still riff-forward, balls-to-the-mausoleum-wall traditional metal powered by the one-of-a-kind angry mutant duck vocals of founding member Chris Boltendahl. The end game also remains the same – skull-splitting, chest-thumping, and poser-burying. If all that sounds good, grab a shovel and get ready to move some goddamn earth. We have a large corpse delivery of sabbaticalized writers due here any minute!

If you heard any Grave Digger album, you know what’s headed your way here. The opening title track is typically punchy, in-your-face classic 80s metal with an injection of piss and horse vinegar with chonky riffs leading the way supported by duck power. It’s not going to be anyone’s Song o’ the Year but it’s dumb metal fun with enough axe power to satisfy and a chorus just good enough to stick. They dial up the raw power for the thrashing, bashing “The Rich, The Poor, the Dying” which sounds like it belongs on Rheingold or The Grave Digger. This heavier side of Grave Digger always worked best for yours Steely, and I want this to be their default setting. Luckily, this is what Bone Collector delivers in spades for much of the album’s first half with rockers like “Kingdom of Skulls” and the album highlight “Killing is My Pleasure.” There’s no subtlety or innovation here, but the songs have crunch, grit and enough heft to satisfy the lizard brain.

Unfortunately, the entertaining front half is paired with a somewhat less impactful back half. Things never go completely sideways, but the overall catchiness and memorability do slip at points. “Riders of Doom” is too slow and repetitious for too long, and “Made of Madness” rings a bit too generic and recycled by Digger standards. The effort to include several “power ballads” is also a dubious decision at this point as Mr. Boltendahl is not at his best when things slow down and get maudlin. That said, he does a decent enough job on closer “Whispers of the Damned.” At 46-plus minutes, Bone Collector is right on the bleeding edge of feeling overlong and I find my attention decamping by the penultimate track. The production is somewhat loud and at times feels too bricked, though it does suit the heavier songs to a point.

For a man in his 60s with 40-plus years in the metal business, Chris Boltendahl has aged like a Twinkie, with all the exotic ingredients giving him an unnaturally long life and staying power. He still sounds like a wounded duck, but he did in his 20s, so that’s just his thing. His voice will always be a love or hate proposition but he sounds alive and spry and delivers his croaking, squawking lines with venom and panache. New axe Tobias Kersting acquits himself quite well, delivering the same kind of rudimentary, brain-jarring beefbrained metal riffs and battering ram chugs as Alex Ritt used to. The Grave Digger sound lives and dies with the quality of the riffs and for the most part, these get the job done. It’s just a question of some inconsistent writing holding Bone Collector back from a better rating.

I’ve been blasting Grave Digger so long, even Saxon and Satan think my mind is gone. They’ve been a part of my life since I was a wee brat and here they are when I’m a greying ape. With so much history, I’ll always lend them my ear. I didn’t come here to praise Grave Digger, but I’m glad I didn’t have to bury them. Bone Collector will please most fans and may make a new convert or two. There’s a little over half an album of jolly metal fun here, and after a career this long, I’m okay with that. Onward to eternity for the Count Orlok of Germanic metal!

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: RPM-ROAR
Websites: grave-digger.de | facebook.com/gravediggerofficial | instagram.com/gravediggerband
Releases Worldwide: January 17th, 2025

#25 #2025 #Accept #BoneCollector #GermanMetal #GraveDigger #HeavyMetal #Jan25 #Review #Reviews #RPMROAR #SymbolOfEternity

Grave Digger – Bone Collector Review

By Steel Druhm

Little can be said about Grave Digger that hasn’t already been expressed by me or a thousand other metal reviewers. In existence since 1982, this Germanic heavy metal institution has crossed an ocean of time, tide, shifting scenes, and countless lineup changes while continuing to churn out their tried-and-trve brand of Accept-meets-Manowar metal. Bone Collector is their 21st freaking album and it’s more of the same meat and grave-y, done with an admirable amount of energy and grit considering the advanced age of some of these geez-lords. Longtime guitarist Alex Ritt is out, replaced by former Ordan Ogan axe Tobias Kersting, but the sound and style remain largely unaffected. This is still riff-forward, balls-to-the-mausoleum-wall traditional metal powered by the one-of-a-kind angry mutant duck vocals of founding member Chris Boltendahl. The end game also remains the same – skull-splitting, chest-thumping, and poser-burying. If all that sounds good, grab a shovel and get ready to move some goddamn earth. We have a large corpse delivery of sabbaticalized writers due here any minute!

If you heard any Grave Digger album, you know what’s headed your way here. The opening title track is typically punchy, in-your-face classic 80s metal with an injection of piss and horse vinegar with chonky riffs leading the way supported by duck power. It’s not going to be anyone’s Song o’ the Year but it’s dumb metal fun with enough axe power to satisfy and a chorus just good enough to stick. They dial up the raw power for the thrashing, bashing “The Rich, The Poor, the Dying” which sounds like it belongs on Rheingold or The Grave Digger. This heavier side of Grave Digger always worked best for yours Steely, and I want this to be their default setting. Luckily, this is what Bone Collector delivers in spades for much of the album’s first half with rockers like “Kingdom of Skulls” and the album highlight “Killing is My Pleasure.” There’s no subtlety or innovation here, but the songs have crunch, grit and enough heft to satisfy the lizard brain.

Unfortunately, the entertaining front half is paired with a somewhat less impactful back half. Things never go completely sideways, but the overall catchiness and memorability do slip at points. “Riders of Doom” is too slow and repetitious for too long, and “Made of Madness” rings a bit too generic and recycled by Digger standards. The effort to include several “power ballads” is also a dubious decision at this point as Mr. Boltendahl is not at his best when things slow down and get maudlin. That said, he does a decent enough job on closer “Whispers of the Damned.” At 46-plus minutes, Bone Collector is right on the bleeding edge of feeling overlong and I find my attention decamping by the penultimate track. The production is somewhat loud and at times feels too bricked, though it does suit the heavier songs to a point.

For a man in his 60s with 40-plus years in the metal business, Chris Boltendahl has aged like a Twinkie, with all the exotic ingredients giving him an unnaturally long life and staying power. He still sounds like a wounded duck, but he did in his 20s, so that’s just his thing. His voice will always be a love or hate proposition but he sounds alive and spry and delivers his croaking, squawking lines with venom and panache. New axe Tobias Kersting acquits himself quite well, delivering the same kind of rudimentary, brain-jarring beefbrained metal riffs and battering ram chugs as Alex Ritt used to. The Grave Digger sound lives and dies with the quality of the riffs and for the most part, these get the job done. It’s just a question of some inconsistent writing holding Bone Collector back from a better rating.

I’ve been blasting Grave Digger so long, even Saxon and Satan think my mind is gone. They’ve been a part of my life since I was a wee brat and here they are when I’m a greying ape. With so much history, I’ll always lend them my ear. I didn’t come here to praise Grave Digger, but I’m glad I didn’t have to bury them. Bone Collector will please most fans and may make a new convert or two. There’s a little over half an album of jolly metal fun here, and after a career this long, I’m okay with that. Onward to eternity for the Count Orlok of Germanic metal!

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: RPM-ROAR
Websites: grave-digger.de | facebook.com/gravediggerofficial | instagram.com/gravediggerband
Releases Worldwide: January 17th, 2025

#25 #2025 #Accept #BoneCollector #GermanMetal #GraveDigger #HeavyMetal #Jan25 #Review #Reviews #RPMROAR #SymbolOfEternity

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 24th, 2024🤘
SEPULTURA, ARMORED SAINT, JUDAS PRIEST, ANNIHILATOR, GRAVE DIGGER

https://bravewords.com/news/today-in-metal-history-august-24th-2024sepultura-armored-saint-judas-priest-annihilator-grave-digger

#Sepultura #ArmoredSaint #JudasPriest #Anihilator #GraveDigger #MollyHatchet #UriahHeep #JamesGang #Heart #Anthrax #Caliban #MunicipalWaste #MalevolentCreation #TheSword #Helmet #ShadowsFalls #TheShowdown #Apostasy #TarjaTurunen #Trollfest #AliceInChains #TheAmityAffliction #Ancestors #LairOfTheMinotaur #Mantar #MobRules

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 24th, 2024🤘
SEPULTURA, ARMORED SAINT, JUDAS PRIEST, ANNIHILATOR, GRAVE DIGGER

https://bravewords.com/news/today-in-metal-history-august-24th-2024sepultura-armored-saint-judas-priest-annihilator-grave-digger

#Sepultura #ArmoredSaint #JudasPriest #Anihilator #GraveDigger #MollyHatchet #UriahHeep #JamesGang #Heart #Anthrax #Caliban #MunicipalWaste #MalevolentCreation #TheSword #Helmet #ShadowsFalls #TheShowdown #Apostasy #TarjaTurunen #Trollfest #AliceInChains #TheAmityAffliction #Ancestors #LairOfTheMinotaur #Mantar #MobRules

Folklore read live!

The one who buries you learns a lot of tales.
Maybe he'll tell you them when you're cold and in the soil.

Hear one of Asbjørnsen's best tonight LIVE right NOW: https://youtube.com/live/GHJyFPC1inM

#FairyTaleTuesday #WritingCommunity #storyteller #FairyTale #AmReading #reading #vancouver #indieWriter #fairy #folklore #folk #tales #stories #GrimmBrothers #dnd #dnd5e #pathfinder #pf2e #ttrpg #fantasy #lotr #german #fantasy #grave #gravedigger #Asbjørnsen #hulder

Folklore read live!

The one who buries you learns a lot of tales.
Maybe he'll tell you them when you're cold and in the soil.

Hear one of Asbjørnsen's best tonight LIVE right NOW: https://youtube.com/live/GHJyFPC1inM

#FairyTaleTuesday #WritingCommunity #storyteller #FairyTale #AmReading #reading #vancouver #indieWriter #fairy #folklore #folk #tales #stories #GrimmBrothers #dnd #dnd5e #pathfinder #pf2e #ttrpg #fantasy #lotr #german #fantasy #grave #gravedigger #Asbjørnsen #hulder

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 24th, 2023🤘SEPULTURA, ARMORED SAINT, JUDAS PRIEST, ANNIHILATOR, GRAVE DIGGER
HEAVY HISTORY 33 years ago today (August 24th, 1990), a Reno, Nevada judge ruled that JUDAS PRIEST wasn’t responsible for two suicides.

https://bravewords.com/news/today-in-metal-history-august-24th-2023sepultura-armored-saint-judas-priest-annihilator-grave-digger

#Sepultura
#ArmoredSaint
#JudasPriest
#Annihilator
#GraveDigger
#TodayInMetalHistory
#August24
#2023

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 24th, 2023🤘SEPULTURA, ARMORED SAINT, JUDAS PRIEST, ANNIHILATOR, GRAVE DIGGER
HEAVY HISTORY 33 years ago today (August 24th, 1990), a Reno, Nevada judge ruled that JUDAS PRIEST wasn’t responsible for two suicides.

https://bravewords.com/news/today-in-metal-history-august-24th-2023sepultura-armored-saint-judas-priest-annihilator-grave-digger

#Sepultura
#ArmoredSaint
#JudasPriest
#Annihilator
#GraveDigger
#TodayInMetalHistory
#August24
#2023