#hammerfall — Public Fediverse posts

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

https://www.europesays.com/es/377753/ Crónica de HAMMERFALL y TAILGUNNER en Madrid y fotos de Pamplona #Entertainment #Entretenimiento #ES #España #Hammerfall #Music #Música #Spain #TAILGUNNER

https://www.europesays.com/es/355385/ Crónica y fotos de HAMMERFALL + TAILGUNNER en Barcelona #Entertainment #Entretenimiento #ES #España #Hammerfall #Music #Música #Spain #TAILGUNNER

https://www.europesays.com/es/339658/ HAMMERFALL agotan entradas en Pamplona . Siguen a la venta el resto de inmediatas fechas #Entertainment #Entretenimiento #ES #España #Hammerfall #Music #Música #Spain #TAILGUNNER

Cemetery Skyline and Tribulation: Joint Finland tour announced for May 2026 https://www.byteseu.com/1601318/ #Amorphis #CemeterySkyline #DarkTranquillity #DimmuBorgir #Entombed #Finland #GrandCadaver #Hammerfall #IAmTheNightHorde #InFlames #Insomnium #OmniumGatherum #Satyricon #Sentenced #TheAbbey #TheHaloEffect #TheManEatingTree #Tribulation #witchery

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

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

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

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

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

HammerFall en Teatro Coliseo: Con el martillo en alto invocando a los dioses del metal | vía #ZumbidoCL

https://zumbido.cl/hammerfall-en-teatro-coliseo-con-el-martillo-en-alto-invocando-a-los-dioses-del-metal/

#hammerfall #heavymetal #livereview #powermetal #teatrocoliseo #transistor

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

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

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

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

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

⚡️ ¡Sube el volumen y alza la espada!
Estas son las 10 canciones más legendarias del power metal: Helloween, Blind Guardian, Rhapsody, Stratovarius, Avantasia y más.
#PowerMetal #Helloween #BlindGuardian #Rhapsody #Avantasia #DragonForce #Stratovarius #HammerFall #GammaRay #MetalMelodico

https://rockandblog.net/las-10-mejores-canciones-de-power-metal-de-la-historia/?utm_source=mastodon&utm_medium=jetpack_social

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??

https://song.link/dk/i/1456962424

#Hammerfall #powermetal

📢 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

📢 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

📢 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

📢 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

📢 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

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Saw these at Cirkus in Stockholm. Proper Swedish Heavy Metal!

#hammerfall #heavymetal #music #music

What do #HammerFall, #Raven, & #IronMaiden have to do with testing? Join us at the #TSQA conf this fall where I'll explain parallels between #HeavyMetal #music lyrics and #SoftwareTesting & #automation concepts.

Tix now on sale!

#Software #SoftwareDevelopment

https://tsqa.org/tsqa-2025

What do #HammerFall, #Raven, & #IronMaiden have to do with testing? Join us at the #TSQA conf this fall where I'll explain parallels between #HeavyMetal #music lyrics and #SoftwareTesting & #automation concepts.

Tix now on sale!

#Software #SoftwareDevelopment

https://tsqa.org/tsqa-2025

What do #HammerFall, #Raven, & #IronMaiden have to do with testing? Join us at the #TSQA conf this fall where I'll explain parallels between #HeavyMetal #music lyrics and #SoftwareTesting & #automation concepts.

Tix now on sale!

#Software #SoftwareDevelopment

https://tsqa.org/tsqa-2025

What do #HammerFall, #Raven, & #IronMaiden have to do with testing? Join us at the #TSQA conf this fall where I'll explain parallels between #HeavyMetal #music lyrics and #SoftwareTesting & #automation concepts.

Tix now on sale!

#Software #SoftwareDevelopment

https://tsqa.org/tsqa-2025

What do #HammerFall, #Raven, & #IronMaiden have to do with testing? Join us at the #TSQA conf this fall where I'll explain parallels between #HeavyMetal #music lyrics and #SoftwareTesting & #automation concepts.

Tix now on sale!

#Software #SoftwareDevelopment

https://tsqa.org/tsqa-2025

🔥 New Artist announced for Riverside Festival Aarburg 2025

Hammerfall

Listen to the current LineUp on YouTube, YTMusic and Spotify: https://fyrefestivals.co

#Riverside_Festival_Aarburg_2025 #Hammerfall #fyre_festivals #livemusic #youtube #spotify #music #2025 #musicfestivals #announcement

#Sunday of #metal

#hammerfall #music

Soittakaa ja laulakaa
#musiikki #darktranquillity #inflames #hammerfall #amorphis #sentended #sonataarctica #eternaltearsofsorrow #nighwish

https://arkipaivainen.wordpress.com/2024/12/19/soittakaa-ja-laulakaa/

Onpahan muuten hyvä kappale
#HammerFall #musiikki #metallimusiikki #music #musadontti

https://open.spotify.com/track/6D1i1hoMyjs843XbMhNq8J?si=uqYIO3lOSCeJXLggSEu1QA

Bon de quoi occuper mes z'oreilles ce soir ​:blobPikaLaugh:​

#Musique #Metal #PowerMetal #Fellowship #Hammerfall #CobraSpell #AllForMetal #NorthernKings

Bon de quoi occuper mes z'oreilles ce soir ​:blobPikaLaugh:​

#Musique #Metal #PowerMetal #Fellowship #Hammerfall #CobraSpell #AllForMetal #NorthernKings

#ThursdayFiveList by @neurothing featuring songs of #TheFall

Fall Down #ThrowingMuses
https://song.link/nl/i/1349919435

Falling to pieces #FaithNoMore
https://song.link/nl/i/83385470

Let the Hammer Fall #Hammerfall
https://song.link/nl/i/1460473039

If I Should Fall From Grace With God #ThePogues
https://song.link/nl/i/189233624

I Hope I Don't Fall In Love With You #TomWaits
https://song.link/nl/i/1485071439
Which also contains last weeks #TheHope

Turbokill – Champion Review

By Steel Druhm

Written By: Nameless N00b 86

1.86.0-BILQJP4UXGWEFLOT4LOZ66CPRA.0.1-9

There can be no doubt where Turbokill’s sights are set with a name like Champion. Formed in 2017 after singer Stephan Dietrich’s departure from Alpha Tiger, the group only managed to release debut album Vice World in 2019 before the pandemic forced them–and virtually everyone else–to take a break for a few years. Now they re-emerge into a post-plague world with their sophomore offering which promises three things: catchy hooks, sing-along choruses, and uplifting lyrics. These traits are hardly uncommon in power metal, but the results can be electrifying when executed properly. Time to put Champion to the test in a crowded playing field.

It quickly becomes clear that Turbokill has few tricks or twists up its sleeve to help differentiate itself from the pack. Instead, its approach is to expand its borders into lofty power metal territory while keeping one foot in the more straightforward heavy metal style of the debut. The first proper track “A Million Ways” is a good representation of what’s to come, blending the galloping riffs of HammerFall with the sweeping, grandiose choruses of Freedom Call. They sometimes borrow from less traditional power metal variants like Theocracy (“Time to Wake” and “Overcome”) and Brothers of Metal (“Sons of the Storm”), however, most of the music will feel comfortably familiar to fans of typical Euro-power cheese.

Champion is not quite as consistent in quality as it is in style. Stephan Dietrich has the type of nasally voice that lends itself better to the more trad-metal songs, such as the title track. Unfortunately, he seems to strain a bit on the higher notes, so he’s unable to make some of the power metal choruses (“A Million Ways,” “Go Your Way” and “Sons of the Storm”) really soar. Overall, though, his delivery is effective and charismatic, and it’s easy to see why he’s the most prominent piece of the group’s identity. That said, Turbokill doesn’t bet all its chips on Dietrich. Daniel Kanzler and Ronny Schuster take every opportunity to step on the accelerator with their guitar shredding. The problem comes when they sometimes Kill the Turbo at strange times. For example, a guitar solo starts in the middle of “Time to Wake” only to sputter out after a few seconds to make way for a slower, extended bridge. When the guitar soloing reasserts itself afterward, it’s lost some of the momentum that a performance of this caliber deserves.

The 54-minute runtime is another impediment holding Champion back from its full potential. There’s a lot of solid material here that would have hit harder if the more mediocre songs like “Mirage Mirror” and “Tear It Down” were cut. The reprise of a melody from the intro at the end of album finale “Overcome” is a nice detail but it’s easy to miss because of how much time elapses in between. I have to acknowledge the heroic efforts of drummer Kevin Käferstein to liven up the drier moments, particularly in the verses of “Go Your Way” and the chorus of “Overcome.” Marco “Fox” Grünwald’s bass is just audible enough to add much-needed crunch, though I wish his presence on Champion was at the same level as it was in Vice World.

Turbokill accomplish much of what it set out to do. Champion has plenty of high-octane lines and meaningful hooks. In the end, though, it plays way too safe for way too long. This makes me struggle to find reasons to return to this over any of the other bands I’ve referenced above the next time I have a cheese craving. A small shift in songwriting emphasis from simple, sugary choruses to the dexterous instrumental prowess evident here would do wonders for Turbokill’s memorability. For now, sadly, this aspiring Champion will have a hard time making it out of the play-in tournament.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Steamhammer/SPV
Websites: Bandcamp | turbokill.de | Facebook
Releases Worldwide: September 27th, 2024

#2024 #AlphaTiger #Champion #FreedomCall #GermanMetal #Hammerfall #PowerMetal #Review #Reviews #Sep24 #SteamhammerSPV #Theocracy #Turbokill

Turbokill – Champion Review

By Steel Druhm

Written By: Nameless N00b 86

1.86.0-BILQJP4UXGWEFLOT4LOZ66CPRA.0.1-9

There can be no doubt where Turbokill’s sights are set with a name like Champion. Formed in 2017 after singer Stephan Dietrich’s departure from Alpha Tiger, the group only managed to release debut album Vice World in 2019 before the pandemic forced them–and virtually everyone else–to take a break for a few years. Now they re-emerge into a post-plague world with their sophomore offering which promises three things: catchy hooks, sing-along choruses, and uplifting lyrics. These traits are hardly uncommon in power metal, but the results can be electrifying when executed properly. Time to put Champion to the test in a crowded playing field.

It quickly becomes clear that Turbokill has few tricks or twists up its sleeve to help differentiate itself from the pack. Instead, its approach is to expand its borders into lofty power metal territory while keeping one foot in the more straightforward heavy metal style of the debut. The first proper track “A Million Ways” is a good representation of what’s to come, blending the galloping riffs of HammerFall with the sweeping, grandiose choruses of Freedom Call. They sometimes borrow from less traditional power metal variants like Theocracy (“Time to Wake” and “Overcome”) and Brothers of Metal (“Sons of the Storm”), however, most of the music will feel comfortably familiar to fans of typical Euro-power cheese.

Champion is not quite as consistent in quality as it is in style. Stephan Dietrich has the type of nasally voice that lends itself better to the more trad-metal songs, such as the title track. Unfortunately, he seems to strain a bit on the higher notes, so he’s unable to make some of the power metal choruses (“A Million Ways,” “Go Your Way” and “Sons of the Storm”) really soar. Overall, though, his delivery is effective and charismatic, and it’s easy to see why he’s the most prominent piece of the group’s identity. That said, Turbokill doesn’t bet all its chips on Dietrich. Daniel Kanzler and Ronny Schuster take every opportunity to step on the accelerator with their guitar shredding. The problem comes when they sometimes Kill the Turbo at strange times. For example, a guitar solo starts in the middle of “Time to Wake” only to sputter out after a few seconds to make way for a slower, extended bridge. When the guitar soloing reasserts itself afterward, it’s lost some of the momentum that a performance of this caliber deserves.

The 54-minute runtime is another impediment holding Champion back from its full potential. There’s a lot of solid material here that would have hit harder if the more mediocre songs like “Mirage Mirror” and “Tear It Down” were cut. The reprise of a melody from the intro at the end of album finale “Overcome” is a nice detail but it’s easy to miss because of how much time elapses in between. I have to acknowledge the heroic efforts of drummer Kevin Käferstein to liven up the drier moments, particularly in the verses of “Go Your Way” and the chorus of “Overcome.” Marco “Fox” Grünwald’s bass is just audible enough to add much-needed crunch, though I wish his presence on Champion was at the same level as it was in Vice World.

Turbokill accomplish much of what it set out to do. Champion has plenty of high-octane lines and meaningful hooks. In the end, though, it plays way too safe for way too long. This makes me struggle to find reasons to return to this over any of the other bands I’ve referenced above the next time I have a cheese craving. A small shift in songwriting emphasis from simple, sugary choruses to the dexterous instrumental prowess evident here would do wonders for Turbokill’s memorability. For now, sadly, this aspiring Champion will have a hard time making it out of the play-in tournament.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Steamhammer/SPV
Websites: Bandcamp | turbokill.de | Facebook
Releases Worldwide: September 27th, 2024

#2024 #AlphaTiger #Champion #FreedomCall #GermanMetal #Hammerfall #PowerMetal #Review #Reviews #Sep24 #SteamhammerSPV #Theocracy #Turbokill

Turbokill – Champion Review

By Steel Druhm

Written By: Nameless N00b 86

1.86.0-BILQJP4UXGWEFLOT4LOZ66CPRA.0.1-9

There can be no doubt where Turbokill’s sights are set with a name like Champion. Formed in 2017 after singer Stephan Dietrich’s departure from Alpha Tiger, the group only managed to release debut album Vice World in 2019 before the pandemic forced them–and virtually everyone else–to take a break for a few years. Now they re-emerge into a post-plague world with their sophomore offering which promises three things: catchy hooks, sing-along choruses, and uplifting lyrics. These traits are hardly uncommon in power metal, but the results can be electrifying when executed properly. Time to put Champion to the test in a crowded playing field.

It quickly becomes clear that Turbokill has few tricks or twists up its sleeve to help differentiate itself from the pack. Instead, its approach is to expand its borders into lofty power metal territory while keeping one foot in the more straightforward heavy metal style of the debut. The first proper track “A Million Ways” is a good representation of what’s to come, blending the galloping riffs of HammerFall with the sweeping, grandiose choruses of Freedom Call. They sometimes borrow from less traditional power metal variants like Theocracy (“Time to Wake” and “Overcome”) and Brothers of Metal (“Sons of the Storm”), however, most of the music will feel comfortably familiar to fans of typical Euro-power cheese.

Champion is not quite as consistent in quality as it is in style. Stephan Dietrich has the type of nasally voice that lends itself better to the more trad-metal songs, such as the title track. Unfortunately, he seems to strain a bit on the higher notes, so he’s unable to make some of the power metal choruses (“A Million Ways,” “Go Your Way” and “Sons of the Storm”) really soar. Overall, though, his delivery is effective and charismatic, and it’s easy to see why he’s the most prominent piece of the group’s identity. That said, Turbokill doesn’t bet all its chips on Dietrich. Daniel Kanzler and Ronny Schuster take every opportunity to step on the accelerator with their guitar shredding. The problem comes when they sometimes Kill the Turbo at strange times. For example, a guitar solo starts in the middle of “Time to Wake” only to sputter out after a few seconds to make way for a slower, extended bridge. When the guitar soloing reasserts itself afterward, it’s lost some of the momentum that a performance of this caliber deserves.

The 54-minute runtime is another impediment holding Champion back from its full potential. There’s a lot of solid material here that would have hit harder if the more mediocre songs like “Mirage Mirror” and “Tear It Down” were cut. The reprise of a melody from the intro at the end of album finale “Overcome” is a nice detail but it’s easy to miss because of how much time elapses in between. I have to acknowledge the heroic efforts of drummer Kevin Käferstein to liven up the drier moments, particularly in the verses of “Go Your Way” and the chorus of “Overcome.” Marco “Fox” Grünwald’s bass is just audible enough to add much-needed crunch, though I wish his presence on Champion was at the same level as it was in Vice World.

Turbokill accomplish much of what it set out to do. Champion has plenty of high-octane lines and meaningful hooks. In the end, though, it plays way too safe for way too long. This makes me struggle to find reasons to return to this over any of the other bands I’ve referenced above the next time I have a cheese craving. A small shift in songwriting emphasis from simple, sugary choruses to the dexterous instrumental prowess evident here would do wonders for Turbokill’s memorability. For now, sadly, this aspiring Champion will have a hard time making it out of the play-in tournament.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Steamhammer/SPV
Websites: Bandcamp | turbokill.de | Facebook
Releases Worldwide: September 27th, 2024

#2024 #AlphaTiger #Champion #FreedomCall #GermanMetal #Hammerfall #PowerMetal #Review #Reviews #Sep24 #SteamhammerSPV #Theocracy #Turbokill

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 27th, 2024🤘
ALEX LIFESON, STEVIE RAY VAUGHAN, MONSTROSITY, OPETH, HAMMERFALL

https://bravewords.com/news/today-in-metal-history-august-27th-2024-alex-lifeson-stevie-ray-vaughan-monstrosity-opeth-hammerfall

#AlexLifeson #StevieRayVaughan #Monstrosity #Opeth #Hammerfall #StephenStevieRayVaughan #JohnBogert #NeilMurray #GlenMatlock #CoburnPharr #BjornGelotte #Aerosmith #PearlJam #BadEnglish

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 27th, 2024🤘
ALEX LIFESON, STEVIE RAY VAUGHAN, MONSTROSITY, OPETH, HAMMERFALL

https://bravewords.com/news/today-in-metal-history-august-27th-2024-alex-lifeson-stevie-ray-vaughan-monstrosity-opeth-hammerfall

#AlexLifeson #StevieRayVaughan #Monstrosity #Opeth #Hammerfall #StephenStevieRayVaughan #JohnBogert #NeilMurray #GlenMatlock #CoburnPharr #BjornGelotte #Aerosmith #PearlJam #BadEnglish

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 27th, 2024🤘
ALEX LIFESON, STEVIE RAY VAUGHAN, MONSTROSITY, OPETH, HAMMERFALL

https://bravewords.com/news/today-in-metal-history-august-27th-2024-alex-lifeson-stevie-ray-vaughan-monstrosity-opeth-hammerfall

#AlexLifeson #StevieRayVaughan #Monstrosity #Opeth #Hammerfall #StephenStevieRayVaughan #JohnBogert #NeilMurray #GlenMatlock #CoburnPharr #BjornGelotte #Aerosmith #PearlJam #BadEnglish

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 27th, 2024🤘
ALEX LIFESON, STEVIE RAY VAUGHAN, MONSTROSITY, OPETH, HAMMERFALL

https://bravewords.com/news/today-in-metal-history-august-27th-2024-alex-lifeson-stevie-ray-vaughan-monstrosity-opeth-hammerfall

#AlexLifeson #StevieRayVaughan #Monstrosity #Opeth #Hammerfall #StephenStevieRayVaughan #JohnBogert #NeilMurray #GlenMatlock #CoburnPharr #BjornGelotte #Aerosmith #PearlJam #BadEnglish

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#BraveWords
Today In Metal History 🤘 August 27th, 2024🤘
ALEX LIFESON, STEVIE RAY VAUGHAN, MONSTROSITY, OPETH, HAMMERFALL

https://bravewords.com/news/today-in-metal-history-august-27th-2024-alex-lifeson-stevie-ray-vaughan-monstrosity-opeth-hammerfall

#AlexLifeson #StevieRayVaughan #Monstrosity #Opeth #Hammerfall #StephenStevieRayVaughan #JohnBogert #NeilMurray #GlenMatlock #CoburnPharr #BjornGelotte #Aerosmith #PearlJam #BadEnglish

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 19th, 2024🤘
GRIM REAPER, EUROPE, IAN GILLAN, CREAM, SAMAEL, WATAIN

https://bravewords.com/news/today-in-metal-history-august-19th-2024-grim-reaper-europe-ian-gillan-cream-samael-watain

#GrimReaper #Europe #IanGillan #Cream #Samael #Watain #Testament #JohnEntwistle #BlindGuardian #Hammerfall #VanHalen #BadBrains #NewHorizon