#hammerfall — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #hammerfall, aggregated by home.social.
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Song: Hope springs eternal
Band: #HammerFall
Album: Avenge the fallen
Year: 2024
Genre: #HeavyMetal"Learn from yesterday
Hope for tomorrow
Let your spirit fly free with no sorrow"https://www.youtube.com/watch?v=IW38jaRGPGI
Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=d21fc3d8b391486c
ttps://youtube.com/playlist?list=PLAFxPuhOACrVE1yZPBg-3twxbf-xNw012&si=JtFL4Ww40ND5Twsk -
Hails from the #Metal capital of #Sweden, the one and only #Gothenburg! 🖤🇸🇪
This is holy ground… 🤘🏻
#amaranthe #atthegates #avatar #darktranquillity #engel #evergrey #hammerfall #inflames #thehaloeffect
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Fahrt auf der #A7. Es kommt nur Mist im #Radio, also CD rein.
Ehegespons verdreht die Augen und meint „ist da nur #Evanescence drauf?“
Natürlich nicht und spule zu #Hammerfall weiter.
Ist auch wieder nicht recht. 😜😎 -
Every morning I awake to see the newborn day.
Seewis Oberschmitten, #Graubünden #Schweiz
#Hunderunde #lyrics #hammerfall #streetphotography -
Bloodbound – Field of Swords Review
By Baguette of Bodom
Bloodbound has always been a band with a confusing identity. These Swedes lit up a storm with debut Nosferatu in 2006, an underappreciated heavy/power gem fusing the best of Iron Maiden’s gallops with the hooks of Helloween and HammerFall. The golden pipes of Urban Breed (ex-Tad Morose) were the cherry on top. However, the curse of unstable lineups would strike. Urban Breed would leave for one album, rejoin for the odd-but-good, progpower-meets-Kalmah melodeath sound of Tabula Rasa, and promptly leave again. A decade of struggles followed, ranging from watered-down HammerFall to withered Sabaton to simply tepid heavy metal. 2021’s Creatures of the Dark Realm was a surprising resurgence, drifting Bloodbound more towards saccharine Europower. This brings us to newcomer Field of Swords. Where does it fit into this unconventional discography?
Field of Swords doubles down on Bloodbound’s recent melodic adventures. The double bass drumming of ’90s power metal is immediately recognizable, following in the steps of Stratovarius and HammerFall. The guitar work, too, has rejuvenated. Gone are almost all of the Sabatonisms that marred some of the band’s lowest points; here, the Olsson brothers’ rhythmic assault is simple but effective (“As Empires Fall,” “Born to Be King”), and its attitude carries the medieval fantasy spirit of [Luca Turilli(‘s) / Lione] Rhapsody [of Fire] minus the wank. The vocals of Patrik J. Selleby fit this style like a glove, his adapted performance being one of the strongest of his tenure thus far.
Bloodbound’s newfound breakneck pace and consistency are their greatest assets. The decision to go borderline sparkly on Field of Swords could have backfired, marking yet another sudden left turn in a discography full of them. Instead, it feels like a natural development from the past three albums. While the album on the surface is written like standard ’90s–’00s melodic power metal (“Field of Swords”), the execution of classic power chord choruses leading into blazing solos (“The Code of Warriors,” “Forged in Iron”) is surprisingly fiery and fun. Most importantly, Field of Swords forgoes balladry and prioritizes speed for a lion’s share of its 45-minute runtime. The record has a unified image unusual of Bloodbound. It’s not infallible—the unnecessary Sabaton sing-along stomp rears its head on the second half of “Pain and Glory”—but it is tightly-knit in a way I greatly appreciate.
As catchy as Field of Swords is, there are a few things preventing it from being a resounding success. For one, Bloodbound rely too much on one-note Battle Beastian disco synths. While Fredrik Bergh contributes plenty of pleasant backing bombast to the album as well, his main weapon of choice is sharp and high up in the mix, leading to fatigue on some otherwise strong choruses (“Defenders of Jerusalem,” “Light the Sky”). The band is still not immune to odd songwriting shifts either. In addition to the aforementioned “Pain and Glory” stumble, closing track “The Nine Crusades” features Unleash the Archers’ talented Brittney Slayes, only for her voice to drown under sappiness unfit for the record. Even so, the concoction here is potent. Cuts like “Land of the Brave” and “Light the Sky” are some of Bloodbound’s fastest and most energetic to date, and this sudden burst of frenzy is admirable of a veteran band.
For the first time in a while, Bloodbound’s sound has a true sense of direction. Field of Swords’ all-gas, no-brakes approach gives the record more urgency than they’ve had in forever, and both the songwriting and album flow greatly benefit in return. Despite some lingering issues, Field of Swords ends up being one of the better albums in the band’s catalog. Both Creatures of the Dark Realm and this album indicate the Europower-forward realignment continues to work in their favor. I can’t say I don’t still long for the days of Nosferatu, and Bloodbound could place a bit more faith in their strong guitar work and vocal lines, but whatever they’re doing is paying off once more. I can only hope this progress continues.
Rating: Good!
DR: N/A | Format Reviewed: Stream o’ Piss
Label: Napalm Records | Bandcamp
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 21st, 2025#lucaTurillisLioneRhapsodyOfFire #2025 #30 #battleBeast #bloodbound #fieldOfSwords #hammerfall #helloween #ironMaiden #kalmah #napalmRecords #nov25 #powerMetal #review #reviews #sabaton #stratovarius #swedishMetal #tadMorose #unleashTheArchers
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HammerFall en Teatro Coliseo: Con el martillo en alto invocando a los dioses del metal | vía #ZumbidoCL
#hammerfall #heavymetal #livereview #powermetal #teatrocoliseo #transistor
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Review: Steel Arctus “Dreamruler”
Pablo Rumel
Release date: 28.11.2025
Steel Arctus is a Greek heavy metal band that merges the spirit of epic storytelling with the intensity of power and traditional heavy metal. Formed in 2020 by guitarist Thanasis “Nash” Gousis, the group draws inspiration from legends such as Manowar, Judas Priest, and Dio, combining mythological themes, heroic imagery, and sharp musicianship into a cohesive and cinematic sound.
REVIEW
If a song is titled Cry for Revenge, it cannot start with a gentle play of strings: Steel Arctus strikes with full force from the very first second, with riffs reminiscent of early Hammerfall—choppy, detailed at the end of each turn, and crowned by a short, sharp solo. Tasos Lazaris’s voice is exquisite, skillfully navigating between rough mid and high tones, especially in those hoarse phrases that recall Chris Boltendahl from Grave Digger, yet his versatility allows him to reach many different textures, making his performance a total asset to the record. Pay attention to the choral counterpoint in the final seconds, and you’ll understand why his inclusion is perfect.
Already showcasing their power, Steel Arctus now launches Defender of Steel with an epic-sounding synthesized intro, soon interrupted by pounding rhythms and well-blended 80s-style keyboards. The tempos are moderate, the choruses inspired, and while the theme repeats familiar imagery from heavy metal—high-pitched screams and swift transitions, it still radiates a metallic vibe and grandeur rarely heard in bands these days, ending with an inspired solo.
If the first song carried a European inspiration and the second an American one, the third defines their sound in a way that recalls the old Italian power metal greats, yet with its own identity. Under Minas Chatziminas’s command, the drums do not bulldoze everything with double bass, but instead rely on a controlled, versatile technique that enhances the rhythmic strength of Fate of the Beast, with choruses, counterpoints, and guitar riffs built through tremolo and palm-mute. Dreamruler returns to a calmer pace without losing its power and intensity, with greater progression and personality, standing as one of the record’s high points.
The fifth song, Wicked Lies, feels like the end of the first act. It’s calmer, with bass lines taking the lead and keyboard sounds that don’t quite convince, though its dramatic structure, full of crescendos between verses and lively sections, makes up for it, supported by solid solo work. The lead guitar throughout the album sounds fresh and technically competent, though never excessive, opting to blend into the arrangements rather than steal the spotlight.
Indeed, Fires of Death marks a reset in the record. It strays from traditional heavy structures and dives into progressive metal territory, full of sectional breaks, syncopated rhythms, and more fills in the bass lines. Mr. Lazaris’s vocal range sounds divine, with sustained highs and a superb vibrato technique. Some phrases feel forced, but that’s understandable since the track leans toward a theatrical, operatic tone.
Riding Through the Night showcases the band’s full potential: calm and fast sections, inspired choruses, daring brief phrasing intertwined with spiraling riffs, and sharper, faster solos. It encapsulates the entire album in one song and could easily serve as an entry point for new listeners.
Glory of the Hero isn’t the best opener. The bar remains high, with strong rhythmic interplay beneath the choruses and quick, effective guitar solos, though the neoprog-style keyboards at the beginning might puzzle listeners unfamiliar with the genre. For that reason, it works better as a dessert, wrapping up the feast these Greek bangers have prepared for us.
Will to Power may sound generic overall—from its title to the martial drumming and the heavy, groove-laden sections full of repetitive chords—but the vocal phrasing saves it from sinking. In a different mood comes Legend of the Warrior, the album’s longest track, divided into several arcs. It begins with clean, melancholic guitars, followed by emotional power chord sections, then returns to the clean parts. Synths accompany the slower moments with an 80s vibe, almost like a horror film. Though it may sound like a stretch, some riffs are reminiscent of the heavier parts of Radiohead’s Paranoid Android (4:03–4:29), yet rather than a quirk, it reminds us that the waters of metal are not closed and can indeed dialogue with other styles.
Onar—Greek for “dream”—is the end of the journey. Over a dreamy backdrop, we hear a wind instrument and slow acoustic arpeggios. It’s a two-minute piece, almost an epilogue, since the farewell begins in the previous track. It might have been merged with Legend, but as an artistic gesture, it works and does not feel out of place.
https://www.youtube.com/watch?v=WI4cvo8Ijwg
Conclusion
Steel Arctus delivers with “Dreamruler” a solid work, balanced between nostalgia and the search for identity. There is no room for filler or empty virtuosity, every track serves a purpose in the album’s sonic narrative. What in other bands might sound like mere repetition of classic heavy/power formulas becomes here a reaffirmation of style, with progressive risks and outstanding vocal performance. The only weak points lie in some synthesized passages or slightly off-key arrangements, yet the energy and compositional craft more than make up for them.
TheNwothm Score: 8.5/10
It doesn’t revolutionize the genre, but it honors it with conviction, elegance, and a power rarely found in today’s European metal.
Links
Bandcamp:https://steelarctus.bandcamp.com/
Facebook:https://www.facebook.com/steelarctus
Instagram:https://www.instagram.com/steel_arctus/
Label: No Remorse Records
#Dreamruler #greece #greekHeavyMetal #hammerfall #heavy #HeavyMetal #NewWaveOfTraditionalHeavyMetal #NOREMORSE #noRemorseRecords #NWOTHM #SteelArctus #thenwothm
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About to share a flight with Hammerfall, spotted at the same departure gate! Nobody else in my phone book is into power metal, so I'm sharing the news here so everyone can tell me how cool I am by association... right? RIGHT??
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📢 NYTT AVSNITT UTE NU!
🎧 Vi pratar om AIF/IFK, grankriget, gruvisar och andra romantiserade Kirunaföreteelser från förr och funderar på vad vi kommer romantiseras om i framtiden. Har Kirunas flytthistoria före 2022 hamnat i minneshålet? och sist men inte minst, berör vi legenden om Anders ”Bolta” Sandberg.
Dessutomblir det fler hårdrocksskrönor om Hammerfall och Van Halens kopplingar till Kiruna. 😆👌
#kiruna #kirunaaktuellt #vanhalen #rednex #hammerfall #kirunaaif #ifkkiruna #kirunakommun