#hallas — Public Fediverse posts

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

I published 3 new #WhiteroomReviews #AlcatrazFestival photo specials:
- #Tailgunner
- #DeadSerious
- #BrutalSphincter

Via Brothers in RAW I published items regarding:
- #MysticalDeath
- #VomitorialCorpulence
- #PLÅNET
- Tilburg Metalfest
- #Theosophy
- #Opeth + #Hällas

Go check them out <3

https://www.europesays.com/nl/274986/ Opeth @ OLT Rivierenhof: Magische match tussen band en locatie #Amusement #Dutch #Entertainment #Hallas #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #OLTRivierenhof #Opeth

https://www.europesays.com/be-nl/112850/ Opeth @ OLT Rivierenhof: Magische match tussen band en locatie #Amusement #BE #België #Belgium #Entertainment #Hallas #Music #Muziek #OLTRivierenhof #Opeth

🔥 ¡Nueva edición de #4x4 en Rockaxis! 🔥

Nos sumergimos en el mundo de los riffs junto a los nuevos discos de #Hallas, #AllThemWitches, #Elder y #Monolord 🤘.

📻 Lunes 10:00 y 22:00 hrs en http://rockaxis.fm 📻

🎙 Conduce: @PabloCerda1

🐦🔗 https://farside.link/x.com/rockaxisoficial/status/2074131250382618824#m

T.S. Eliot’s The Waste Land brims with quotable quotes, no section more than I: The Burial of the Dead. There, we learn that ‘April is the cruellest month,’ see ‘fear in a handful of dust,’1 and drift through the ‘Unreal City’ (1, 30, 60). For the title of their sixth album, Swedish post-rock duo Oh Hiroshima digs into the opening gambit of Eliot’s modernist epic for a deeper cut: ‘Son of man, / You cannot say, or guess, for you know only / A heap of broken images, where the sun beats, / And the dead tree gives no shelter” (20–23, emphasis mine).2 The ‘dead tree,’ the band explains in their promo materials, serves as a fitting metaphor for ‘ways of living that drain the world of meaning and offer no real way of navigating the hardships of life.’ Cloistering oneself from an increasingly dystopian world breeds cynicism and apathy, making it impossible to overcome the despair caused by this world.3 Musically, And the Dead Tree Gives No Shelter attempts to ‘paint something meaningful and hopeful’ that can help us ‘leave the shelterless dead trees of our lives behind.’ For Oh Hiroshima to achieve such lofty ambitions, the tracks populating Dead Tree must avoid resembling a heap of broken images, instead cohering into a compendium of vulnerable yet powerful songs.

On And the Dead Tree Gives No Shelter, Oh Hiroshima continue diversifying their cathartic take on post-rock. Since 2022’s Myriad, Jakob Hemström (guitar, bass, vocals) and Oskar Nilsson (drums, percussion) have been adding progressive rock elements into their repertoire.4 Dead Tree recalls the textured guitar work of Mogwai, the nuanced rhythms of Tortoise, and the driving immediacy of latter-day Thrice. Subtly, the compositions are often non-traditional, gradually layering sparkling guitars over odd-time drum n’ bass and crescendoing into heavier riffing (“Meridian”). Adding to the adventurous compositions is orchestral instrumentation, with delicate piano twinkles and soaring strings swirling around the rock-band core (“Tree of Life”). Sometimes, Dead Tree releases tension through driving energy; other times, it bottles up the tension, creating a sense of longing.

And the Dead Tree Gives No Shelter also continues the band’s growing emphasis on vocals. When present in post-rock, vocals can be a bit too atmospheric and mumbly for my liking. Oh Hiroshima does occasionally write passages where Hemström’s voice unclearly contributes to sonic depth (“Servant of All,” “Meridian”). But for the most part, Dead Tree gives its vocals prominence without feeding into cliché rock-song structures. “Broken Sunlight,” for example, bookends a circuitous guitar melody, powered by a stop-start groove, with a robust, titular-line ‘chorus.’ On the more vulnerable side of the spectrum, “Angelos” comes closest to predictability, but the haunting, piano-led bridge that sprouts from the beautifully harmonized verse-chorus cycle is anything but. While not the norm on Dead Tree, these vocal-driven songs, hewing closer to traditional structures, become the glimmers that—oddly—keep the album fresh.

At 8 tracks totaling 47 minutes, And the Dead Tree Gives No Shelter coheres into a satisfying experience, with only a cracked image or two. “Servant of All” aptly introduces Oh Hiroshima’s arsenal, while “Meridian” emphasizes rhythm and “Angelos” spotlights melody. After this opening trio, “Skeleton Key” flirts with filler—while not a bad song, its mid-song jolt doesn’t develop into something terribly interesting. Fortunately, side B revamps with the ornate melancholy of “Tree of Life” and the straight-ahead drive of “Broken Sunlight.” “Ivory Town” is quite beautiful, though it doesn’t exactly stand on its own, feeling like a minimalist setup for the closer. Like a flock of Red Sparrowes, “Exit Cloud” escalates, overlaying strings and horns into a cinematic concoction, picking up the pace halfway before an intense conclusion. Perhaps the album’s strongest song, it’s a dynamite ending to Dead Tree.

Oh Hiroshima has certainly succeeded at producing an album that feels ‘meaningful.’ And the Dead Tree Gives No Shelter sounds beautiful, if perhaps humdrum, on a first listen or two. Repeat engagements, however, reveal compositional and instrumental depth, cementing the emotional staying power of its songs (with an exception or two). Son of Angry Metal Guy: if you know only a heap of breakneck metal, Dead Tree likely isn’t for you. If, however, you don’t mind post-ing your metal, or can get down with its gentler cousin, Dead Tree might supply the shantih you’ve been seeking.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: Instagram | Facebook
Releases Worldwide: June 5th, 2026

Hällas announce new European tour

https://voiceofnoir.com/2026/05/30/hallas-announce-new-european-tour/

https://www.europesays.com/hu/54343/ Index – Tech-Tudomány – Elon Musk kütyüje egy csettintésre visszaadná a siketek hallását #blindsight #Business #CeFemina #ElonMusk #hallás #HU #Hungarian #Hungary #implantátum #Magyar #Magyarország #neuralink #siket #TechTudomány #Vállalkozás

📍 Utrecht, @dehelling
🗓️ 15/3/2026

@voodoomchild
@kasssssssper
@ritchie_swayne

🌱 @hallasband

📷 Seth Abrikoos
ℹ️ Captured for De Helling
🎚️ @pierresomvillesound

Tags are IG tags
#Hallas #Hällas #Hallasband

Ich dachte, das wäre ne sympathisch verstrahlte Nischenband, aber die haben total viel Publikum inzwischen, das mitsingt und sie abfeiert, in Berlin, und ich fasse das alles gar nicht 🖤

#Hällas #RockMusic

Hach ja, die Plakate von Greyzone Concerts - da finde ich praktisch jeden Monat was. 🤠

#Desertfest #Hällas #RockMusik

And we’re off to a typically sloth-like start to 2026, with the Record(s) o’ the Month posts already well in arrears. We have no excuses beyond institutional malaise, dysfunction, and slackwagoning. We will endeavor to be better, but there are no guarantees in life or blogging. Let’s get the ball rolling and jump into January before it becomes a distant memory, shall we?

Of the Big Three of Germanic thrash,1 Kreator had the weirdest evolution and the most consistently good output. While 2022’s Hate Über Alles was a minor letdown, these unkillable krauts roared back in a major way with Krushers of the World [out January 16th, 2026, from Nuclear Blast Records, buy it on Bandcamp!]. Taking all the things they’ve done well over the decades, Kreator spiced the brew with Gothic, traditional, and power metal elements to land on a sound that is at once olde and new. The thrash feels potent and heavy, and the Gothic vibes from Endorama work well, giving the album a dark mood. What really excels is the songwriting. Krushers is full of face-melting metal anthems with bite and force aplenty, and Millie and crew sound young and mean. I’ve loved these guys since I was a dumb teen, and Krushers reminds me exactly why while beating my ass into assdust. As I summed up in my review (in which I may have underrated the album), “The Kreator sound is still there after all these years, even if it gets gussied up with lighter moments occasionally.”

Runner(s) Up:

Hällas // Panorama [January 30th, 2026 | Äventyr Records | Bandcamp] — Sweden’s retro psychedelic prog rockers Hällas returned to the fray with Panorama, and fans of older sounds and slick musicianship took notice. If you hunger for Uriah Heap channeled through the NWoBHM, Hällas have the goods for you, and across Panorama, they unleash a torrent of old-timey, richly textured prog-rocking goodness. Slick guitar noodling bounces off keyboard excesses, and it’s all wrapped up in a rich, 70-centric production that sounds like a portal to the past. Panorama is a larger-than-life tapestry for a talented band’s ambition, and as Creeping Ivy gushed, “It’s only January, but these Swedes may have already dropped the neo-proto-metal album of 2026 (and a list-topping contender for yours truly).”2

Invictus // Nocturnal Visions [January 26th, 2026 | Me Saco Un Ojo Records | Bandcamp] — Blending various shades of old school death metal brutality with a slightly modern sheen, Invictus set out to maul you from the first notes of Nocturnal Visions until the last. They aren’t doing anything new in the classic sense, just blending genre tropes in such a way as to sound fresh and vicious. Riffs satisfy the hunger for abrasive abuse, and hellish, subterranean vocals gurgle and croak in ghastly ways. The writing is slick and delivers the good, and all is as it should be on a killer slab of death metal. A much impressed Kenstrosity was heard to exclaim, “Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era.” Get yourself InvictedER.

Hällas: Panorama

Avec les années 2020 qui ressemblent à un feu de poubelle radioactif, je comprends l’attrait des années 1970. Pour ceux-ci, Hällas vient de sortir leur nouvel album Panorama.

#Hällas #hardRock #rétroProgressif #rockProgressif #Suède

https://wp.me/ppneF-bHl

https://www.europesays.com/es/393482/ Critica del CD de HÄLLAS #Entertainment #Entretenimiento #ES #España #HÄLLAS #Music #Música #Spain

For @DXMacGuffin's #ProgTuesday:

#Hällas: Panorama

https://album.link/t/471435954

#ProgressiveRock

FFO #Horisont #PhantomSpell #WytchHazel

https://album.link/t/471435954

Album of the year dropping in January (I haven't even listened to it yet.)

#Hällas #AdventureRock

Hällas—Sweden’s self-styled administrators of ‘adventure rock’—has suffered a nearly decade-long absence from AMG. Back in 2017, El Cuervo (rightly) awarded Excerpts from a Future Past a 4.0, praising the debut for its transportive aesthetic and cohesive performances. Since this one-off review, Hällas has become a premier neo- proto-metal act, yet they haven’t reached the exceptionality of their entrance. Conundrum (2020) continued in the vein of Excerpts with a synth-heavy slow burn that (why not?) feels less adventurous than the debut.1 Redressing this safeness, Isle of Wisdom (2022) favors tighter, jauntier tunes that bleed into each other.2 On the heels of two very good albums is Panorama, the first to be released on Hällas’s own (aptly named) Äventry Records. This shift seems to signal the kind of confidence arising from a veteran band coming into their own. Accordingly, Panorama experiments more than any previous Hällas album, but experimentation alone does not guarantee Greatness.

Panorama deftly delivers Hällas’s now-familiar take on heavy, psychedelic prog rock. Indeed, these Swedes still sound like Uriah Heep counseling Iron Maiden. Pre-release single “The Emissary” and closer “At the Summit” best encapsulate classic Hällas. On these tracks, Rickard Swahn and Marcus Petersson bounce between wee-da-lee guitarmonies, Ren-faire acoustic plucks, and driving riffage. Nicklas Malmqvist supplies texture via sparkling synthesizers and percussive organ. It is the infectious guitar/key interplays, however, that define Hällas. Towards the end of “At the Summit,” Swahn, Petersson, and Malmqvist unite for delicious harmonized noodling, building drama before a serene denouement. Wrapped in warm, 70s-sounding production fans have come to expect, Panorama supplies some of the strongest Hällas tunes yet.

Panorama’s experimentations, however, make it Hällas’s most singular statement. Its boldest innovation is “Above the Continuum,” a 20-minute, 7-part suite akin to the eponymous openers of Rush’s 2112 and Yes’s Close to the Edge. On this cinematic saga, Hällas brings Gregorian chants, strings, and horns to their brand of synth-rock. Floydian voice-overs materialize Panorama’s somber narrative, in which a hermit laments encroaching dystopia atop his tower. An imperceptible escalation that finally burrowed under my skin after ten or so listens, “Above the Continuum” is an early Song o’ the Year candidate.3 How does one follow such a sprawling epic? With a trotting jam, of course. On “Face of an Angel,” another pre-release single, drummer Kasper Eriksson rides a sleazy Thin Lizzy groove with bassist/vocalist Tommy Alexandersson, who lays down a droningly hooky chorus. Hällas has dropped crowd pleasers before (“Star Rider,” “Carry On”), but “Face of an Angel” is their poppiest ditty yet and the perfect counterbalance to the opening beast. It is “Bestiaus,” though, that truly spotlights Alexandersson’s vocals. His smoky baritone and booming bellow sit center stage on this affecting piano ballad, standing alone in Hällas’s catalogue.

Five scenes spliced into one holistic picture, Panorama is a grand album, which might not register when glancing at the runtime. Like every Hällas record, Panorama clocks in at just under 45 minutes, yet its more limited track count (5, instead of 7–8) renders every song utterly distinct. There is zero filler here, only questionable moments. “Above the Continuum” has abrupt transitions in its opening minutes, but they don’t hinder the track as a whole. Additionally, the immediate fadeout on the punk ending of “The Emissary” always frustrates me. Frustration is surely the intended effect, but Hällas could have stretched the part a few measures and achieved the same. And “Bestiaus” itself feels a little like a moment, striving for songhood but not quite reaching it. Still, it’s an elegant setup for “At the Summit”—an epic but unprotracted finale.

With Panorama, Hällas has delivered (why not?) their most adventurous album, but it’s also their best work to date. Excerpts hinted at excellence—Panorama achieves it. Per its namesake, Panorama provides a virtually seamless showcase of all that Hällas has done while splendidly surveying new terrain. A fun yet serious record, Panorama puts an angelic synth-rock face on a devilish narrative circulatory system. It’s only January, but these Swedes may have already dropped the neo- proto-metal album of 2026 (and a list-topping contender for yours truly).



Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Äventyr Records
Websites: facebook.com/haellas | hallasband.com
Releases Worldwide: January 30th, 2026

New post: Album Review: Hällas – Panorama https://moshville.co.uk/reviews/album-review/2026/01/album-review-hallas-panorama/ #Hällas

[EDIT] Wo ihr mich 2026 treffen könnt

Samstag, 21. März, 20:00 Uhr - Hällas im Heimathafen Neukölln [/EDIT]

Hällas touren im März mit neuem Album im Gepäck und kommen immerhin nach Dortmund, München und Berlin. Ich wollt's nur gesagt haben.

https://haellas.bandcamp.com/album/conundrum

#Hällas #RockMusic

New Hällas track!

https://song.link/t/472419008

#Hallas #AdventureRock

if there is one band that is a breathing adventure hook for osr/dcc, then it is hällas from sweden who fittingly describe themselves as "adventure rock". new album and tour coming soon ... and i'm so going to see them in dortmund. 😇

#hällas #ttrpg #dcc #osr #tour

https://www.youtube.com/watch?v=CwPVjGpDD9E

Big Ass Truck, Ingested und Bodysnatcher
17.03.2026 Berlin / Hole 44

Focus. und Feine Sahne Fischfilet
22.12.2025 Berlin / TheARTer Gallery

H?llas
21.03.2026 Berlin / Heimathafen

Lansdowne
19.04.2026 Berlin / Hole 44

Phil Campbell and the Bastard Sons und Airstrike
01.12.2025 Berlin / Lido

#Berlin #BigAssTruck #Focus #Hallas #Heimathafen #Hole44 #Lansdowne #Lido #PhilCampbell #TheARTerGallery #SteelFeed

🚨 New Hällas single! 🚨

https://song.link/s/43EOxgrAsUnZGIZZQI6KIz

#Hällas #AdventureRock

New post: Hällas announce new album ‘Panorama’ and release first single “The Emissary” https://www.moshville.co.uk/news/2025/10/hallas-announce-new-album-panorama-and-release-first-single-the-emissary/ #Hällas

Hällas en Chile: Un viaje entre capas, lágrimas y universos paralelos | vía #iRock

https://www.irock.cl/hallas-en-chile-un-viaje-entre-capas-lagrimas-y-universos-paralelos/?utm_source=rss&utm_medium=rss&utm_campaign=hallas-en-chile-un-viaje-entre-capas-lagrimas-y-universos-paralelos

#chile #conciertos #hallas #internacional #livereviewinternacional #rbx #rock

🔥 ¡Arrancamos la semana con un nuevo #4x4! 🔥

En esta edición nos sumergimos en sonidos de culto con la psicodelia de #Hällas, la intensidad de #Boris, la oscuridad de #Coven y el peso inconfundible de #Candlemass ⚡️.

📻 Lunes 10 y 22 Hrs

🎙 @PabloCerda1

🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1957442362046546309#m

New Artist announced for Brutal Assault 2025

Hällas

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Hällas #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

So this was my first week of the year in music.

#ArcadeFire #Coltre #Genesis #TheWildhearts #FutureIslands #PinkFloyd #CastleRat #JudasPriest #Opeth #RiotCity #FuManchu #Hällas #HeavySaurus

@derthomas if you happen to like it, check out #Hallas. I guess you might be familiar with them already, but if not, it's a young swedish band that makes stuff in similar style. Especially to Argus, the previous Wishbone album. First time I heard it autoplay picked it in the background and I legit thought it's some early Wishone Ash because of the twin guitars and similar voice. Certainly one of the more daring and interesting bands nowadays, and they're very good at what they do.

HAL Jobs 2024: Latest Vacancies and Application Process #HALVacancy, #HALNotification, #HALOnlineApplication, #HALJobAlert, #HALRecruitment, #HALHiring, #HALIndia, #HALCareerOpportunities, #HALGovernmentJob, #HALJobOpenings, #HALApplyOnline, #HALLas

https://sarkarirojgaralert.in/hal-jobs-2024-latest-vacancies-and-application-process/

Tarot – Glimpse of the Dawn Review

By El Cuervo

Eight years between a debut and sophomore album is a lifetime for a band. Members can leave, personalities can change, influences can shift. Australia’s Tarot unveiled its first full-length release in 2016, drawing inspiration from the likes of Uriah Heep and Rainbow. Now they’re primed for Glimpse of the Dawn, a sophomore release nearly a decade in the making. But 50 years between a scene’s heyday and bands now imitating the style? That’s a literal lifetime for many humans. As much as this may wound my parents, the 70s were a long time ago. So what do I make of Tarot’s anachronous sound?

Tarot is steeped in the rocking swagger of the 1970s, drawing clear influence from the aforementioned bands in a similar fashion to Hällas. It falls somewhere in the hard rock / proto-heavy metal gap. Sure, the guitars are the priority but the sound is rounded out with an obligatory Hammond organ, cool drum fills and smooth vocals. While Glimpse of the Dawn isn’t overtly progressive, the organ, mellotron, and surprisingly technical riffs tap into the same progressive vein that its influences use. Such fusions of rock music are hardly innovative but the result is just as fantastical as it always was. “The Vagabond’s Return” exemplifies Tarot’s qualities, boasting jaunty riffs, expressive harmonies, an energetic tone, and other-worldly concepts. It evokes an era of music that was deliberately not grounded in reality. Why did popular music become so obsessed with depictions of reality? I enjoy creative escapism, even if the consequence is grandiose, ridiculous nonsense. Glimpse of the Dawn is tired of normal and prefers adventure.

More than mere adventure, Tarot offers nourishment for the heart and brain. My emotions enjoy the 70s warmth and fantasy spectacle, while my thoughts enjoy the layered compositions and technical but not nerdy leads. There are loads of great riffs distributed throughout; little moments that make you go “fuck yeah!” In particular, the lead on the title track and the lick from 4:00 on “Dreamer in the Dark” excel. These moments all orient around the guitar, whether riffs, solos or transitions. Glimpse of the Dawn is a guitar-heavy album in its run-time and quality. The guitars are everywhere on the record, but the album’s strengths are all guitars too. The back half of “The Winding Road” is a guitarist’s wet dream, fusing delightfully groovy leads with frenzied solos and badass harmonies. The vocals are relatively limited by comparison to avoid distracting from the real draw here. Tarot makes technical instrumentation sound easy, and that partly derives from the lively, organic-sounding production. The roomy master and spacious mix give ample breathing room to the warm drums, light keyboards, and crunchy guitars.

Glimpse of the Dawn therefore has a lot going for it, across themes, feel, riffs, and production. But it’s also the case that all tracks follow the same style and sound. There are no curveballs or unexpected inclusions. Moreover, the vocals are solid but not outstanding, either in technical ability or melodic strength. So many of the 70s greats had standout singers or catch vocal melodies spread across their albums. Tarot has a decent singer and decent vocal melodies but they’re fairly average compared with the guitars. The result is that the songs don’t always sound incredibly distinct; the band knows stays within its comfort zone. This may flow from the improv-led way in which the album was recorded. It’s easier to jam out some cool guitar leads than some cool vocal leads.

Still, this is a fairly minor quibble in the face of a release that does a lot to inject joy into my brain. Glimpse of the Dawn makes me weep for a bygone era when guitar music reigned supreme and ordinary folk might have heard stuff like this on the radio. It may only be a sophomore full-length but it sounds like the assured, confident output of a far more productive group. The best music invokes an emotional response and Tarot taps into my emotions by leaning into the fantasy and escapism of my favorite 70s rock bands. You’ve no choice but to listen to this if you enjoy 70s rock like I do.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur
Website: bandcamp.tarot.com
Releases Worldwide: April 12th, 2024

#2024 #35 #Apr24 #AustralianMetal #GlimpseOfTheDawn #Hällas #HardRock #HeavyMetal #Rainbow #Review #Reviews #Tarot #UriahHeep

Day 056 / 366 "HÄLLAS" 🎸🇸🇪

#vscodaily #vsco #hällas #progressive #adventure #rock #band #sweden #live #music #gig #fotovorschlag #bluesky #unterdampf #concert #photography

#Hällas #FreakValleyFestival #Rockpalast

https://youtu.be/lwG50WBkedI

Hällas and Freeways at the Pour House in Raleigh, North Carolina. I finally got to see one of my favorite bands.

https://www.jasonwhite.us/journal/2023/11/2023-11-14_hallas-freeways/

#livemusic #leica #hällas #raleigh

@learosema ich biete #Hällas aus #Schweden 🤘 gute Fahrt!

https://en.wikipedia.org/wiki/H%C3%A4llas

https://open.spotify.com/artist/6wL917RC8KC0ZwDbqmO60r?si=-pPJQJSZQTu1JN57CNwFXw