#helloween — Public Fediverse posts

https://www.europesays.com/es/565993/ Savatage anuncia un cambio en su formación por problemas de salud en el inicio de la gira que recalará en Leyendas del Rock junto a Sepultura, Arch Enemy o Helloween #ARCHENEMY #BlasElias #Entertainment #Entretenimiento #ES #España #helloween #INFLAMES #JeffPlate #LeyendasDelRock #MR2022 #Music #Música #SAVATAGE #sepultura #Spain

Nicht wirklich #neuhier im Fediverse, aber auf dieser Instanz. Metalhead seit ich irgendwann in der Grundschule eine Kassette von #Helloween von einem Klassenkameraden bekommen habe. Und btw, #HeavenShallBurn ist die beste Band der Welt.

Nicht wirklich #neuhier im Fediverse, aber auf dieser Instanz. Metalhead seit ich irgendwann in der Grundschule eine Kassette von #Helloween von einem Klassenkameraden bekommen habe. Und btw, #HeavenShallBurn ist die beste Band der Welt.

Nicht wirklich #neuhier im Fediverse, aber auf dieser Instanz. Metalhead seit ich irgendwann in der Grundschule eine Kassette von #Helloween von einem Klassenkameraden bekommen habe. Und btw, #HeavenShallBurn ist die beste Band der Welt.

Nicht wirklich #neuhier im Fediverse, aber auf dieser Instanz. Metalhead seit ich irgendwann in der Grundschule eine Kassette von #Helloween von einem Klassenkameraden bekommen habe. Und btw, #HeavenShallBurn ist die beste Band der Welt.

Nicht wirklich #neuhier im Fediverse, aber auf dieser Instanz. Metalhead seit ich irgendwann in der Grundschule eine Kassette von #Helloween von einem Klassenkameraden bekommen habe. Und btw, #HeavenShallBurn ist die beste Band der Welt.

The album that makes you want to save the world… but first finish that air guitar solo 🤘🏽🤘🏽🎸🎃

El disco que te hace querer salvar el mundo… pero primero terminar ese solo de air guitar 🤘🏽🤘🏽🎸🎃
#heavymetal #helloween #music #metal #vinyl

It has that provocative and very Helloween-esque quality: energetic, catchy, and with an elegant meanness.🤘🏽🤘🏽🤘🏽🎸

Tiene ese punto provocador y muy Helloween: cañera, pegadiza y con mala leche elegante 🤘🏽🤘🏽🤘🏽🎸
#helloween #heavymetal #metal #music #vinyl

It not only marked Helloween's return to its essence; it was like a fiery oath that reminded power metal who rules when it's done with soul and speed 🤘🏽🤘🏽🤘🏽🎸

No solo marcó el regreso de Helloween a su esencia; fue como un juramento en llamas que recordó al power metal quién manda cuando se hace con alma y velocidad 🤘🏽🤘🏽🤘🏽🎸
#heavymetal #helloween #music #metal #vinyl

Last Umbersound visualizer almost done. I saw #helloween last night so I’m on a power metal kick. #doommetal #music #umbersound #metal

Last Umbersound visualizer almost done. I saw #helloween last night so I’m on a power metal kick. #doommetal #music #umbersound #metal

Last Umbersound visualizer almost done. I saw #helloween last night so I’m on a power metal kick. #doommetal #music #umbersound #metal

Last Umbersound visualizer almost done. I saw #helloween last night so I’m on a power metal kick. #doommetal #music #umbersound #metal

Last Umbersound visualizer almost done. I saw #helloween last night so I’m on a power metal kick. #doommetal #music #umbersound #metal

What a week this has been for Seattle-based, Hawk-themed, team-oriented activities! Not only did I just get to see my beloved Seattle Seahawks reach the precipice of American football via the most awesome post-season arc I could have possibly drawn up, but I also get yet another opportunity to cover my beloved hometown metal heroes, Greyhawk. I’ve written ad nauseam about how I found the band and their brand of hard-rocking traditional metal, and I’ve routinely gushed my appreciation for their commitment to mind-positivity. Yes, it is safe to say that I am a total fanboy. So, it was with a fair bit of trepidation that I sat down with Greyhawk’s third full-length album, Warriors of Greyhawk, knowing it to be the band’s first release since the departure of their distinctive original front man, Revere “Rev” Taylor. I’ve always loved Taylor’s operatic approach to metal singing, so I guess it makes sense that he has moved on to pursue (rather successfully, it appears) a career as a professional opera singer. How does a party carry on after the departure of such a powerful wizard? Let’s find out.

Greyhawk’s sound has been undergoing constant evolution since the band’s beginnings, and Warriors of Greyhawk is no different. Over the years, the straightforward heavy metal of the band’s debut EP has morphed to include elements of speed metal, album-oriented rock, and now, with the introduction of new singer Anthony Corso, a healthy dose of power metal. Corso has a much more “standard” approach to metal vocals than Taylor, and his high register leaves him naturally suited to bridge the gap between classic heavy metal and its cheesiest of cousins. Advance single “Ascension” begins in Priestly fashion before handing out some Helloween candy with Corso’s stratospheric chorus. The track strikes the perfect balance between the band’s traditional past and powerful future.

Warriors Of Greyhawk by Greyhawk

And that balance is a microcosm of the rest of Warriors of Greyhawk. The band’s trad-metal identity is secure with cuts like “Take a Stand,” the Dio-esque title track, and the Accept-able “Embers Rise,” with the latter being the most quintessentially snarl-able heavy metal song I’ve heard so far this year. Thanks to the furious groove laid down by guitarists Jesse Berlin and Rob Steinway and the thunder from bassist Darin “The Bulletproof Barbarian” Wall, the track gives me some serious Dream Evil vibes. But the band just as easily veers into pure power metal with the Running Wild riffing of “Endless Race” and “Land of Ashes, while “Hyperspace” blasts straight to Guitar Hero status with enough pyrotechnics to rival Dragonforce.

I dig the production this time out. It feels big and beefy most of the time, but the leads still have that razor-sharp, molten edge to them—*Chef’s kiss*. About the only misstep I can point to is the inclusion of essentially two epic closers back-to-back in “Rise Above” and “Eternal Quest.” Both songs are good, but I think that “Rise Above” fails to match the quality of its set mates and that Warriors of Greyhawk would feel tighter (at 43 minutes instead of 49) and finish more powerfully had it been axed. The band took a risk by including Rev Taylor beside Corso on album highlight “Chosen,” and I’ll admit that hearing his powerful baritone nearly brings me to tears every time I hear it. But ultimately, the track ends up being a fitting farewell to a foundational figure in the band’s history, and it’s the perfect way for fans to compare Greyhawk’s past to its future. Best of luck on your future endeavors, Rev. Metal’s loss is opera’s gain!

Warriors of Greyhawk is undoubtedly a transitional album as the band finds its way forward with a new vocalist, but it also feels like the songwriting has reached a new level compared to previous efforts. This leaves Greyhawk with enormous potential moving forward, and honestly, without a minor flub at the album’s close, I’d be tempted to hang a 4.0 on this one. Much like those other Hawks of Seattle, apparently, these guys don’t rebuild; they reload. Go Hawks!



Rating: 3.5/5.0
DR: 5 | Format Reviewed: PCM
Label: Cruz del Sur Music
Websites: greyhawkmetal.bandcamp.com | facebook.com/greyhawkheavymetal
Releases Worldwide: February 13th, 2026

Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,1 this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

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Today In Metal History 🤘 July 8th, 2024🤘 EMPEROR, CRIMSON GLORY, QUIET RIOT, HELLOWEEN, JUDAS PRIEST

https://bravewords.com/news/today-in-metal-history-july-8th-2024-emperor-crimson-glory-quiet-riot-helloween-judas-priest

#Emperor #CrimsonGlory #QuietRiot #Helloween #JudasPriest #JohnPatrickJrMcDonald #GregTWalker #CarlosCavazo #SteveRamsey #TommyVetterli #GeorgeCorpsegrinderFisher #AndiDeris #UliKusch #DavidLeeRoth #PaulBaloff #KKRDowning #RichieFaulkner #Goatwhore #SteelProphet #WolvesInTheThroneRoom #ChelseaGrin #Centinex #Chevelle #Deadlock

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#BraveWords
Today In Metal History 🤘 July 8th, 2024🤘 EMPEROR, CRIMSON GLORY, QUIET RIOT, HELLOWEEN, JUDAS PRIEST

https://bravewords.com/news/today-in-metal-history-july-8th-2024-emperor-crimson-glory-quiet-riot-helloween-judas-priest

#Emperor #CrimsonGlory #QuietRiot #Helloween #JudasPriest #JohnPatrickJrMcDonald #GregTWalker #CarlosCavazo #SteveRamsey #TommyVetterli #GeorgeCorpsegrinderFisher #AndiDeris #UliKusch #DavidLeeRoth #PaulBaloff #KKRDowning #RichieFaulkner #Goatwhore #SteelProphet #WolvesInTheThroneRoom #ChelseaGrin #Centinex #Chevelle #Deadlock

Um, fellas, you’ve nailed it. :StarsDuo: 🔨 :SkullCrossbones:

https://iconfactory.com
#helloween #Scaramount #Batter #NailChomp #LegOff #Panic (stayed the same!) #VampireMonkeys #AutoDeath #Sintuit #Psycho #EBlood #Agony (the best one)

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Becoming a fully-fledged metalhead is when you stop associating German metal with Rammstein and start with Teutonic thrash.1 There’s something about Germany that just makes thrash metal meaner, dirtier, and nastier than anywhere else, and without Teutonic thrash, extreme metal would likely look very different from where it is today. Knowing and loving this heritage, Germany’s own Teutonic Slaughter throws their feather-capped hat into the ring with their third album, Cheap Food, brandishing both a ridiculous album cover and a conviction to maintain the glory of old school Teutonic thrash metal. But it can be a challenge staying firmly rooted in the past while sounding vital in the present. Can Teutonic Slaughter make the cut with Cheap Food, or will this record go down hard like dry currywurst?

A lot of bands aren’t good judges of their own sound, but Teutonic Slaughter deliver what’s on the tin with Cheap Food: no-nonsense German thrash built to bash your bratwurst in forthwith. Teutonic Slaughter riffs without restraint or mercy, drawing from the melodic but near-death metal aggressiveness of Kreator (“Redistribution,” “Hostage”) as vocalist Phillip Krisch rasps and growls with the volatility of Sodom’s Angelripper and the band tears through tracks in reckless, Tankardesque good-times-lovin’ fashion (“Witches Rock ‘n’ Roll,” “Give em Hell”). Krisch and Jan Heinen’s guitars are hefty and lacerated on Cheap Food, bolstered by drummer Christian Vollmer’s thunderous kicks and an even heftier bass presence from Fabian Kellermann. The power chord rules on Cheap Food, but Teutonic Slaughter mix it up whenever necessary, like on the twisty leads of “Cheap Food,” the arpeggios kicking off “Redistribution” or the harmonics-laden chorus of “Witches Rock ‘n’ Roll.” Teutonic Slaughter promised nothing but good, archetypal German thrash and Cheap Food has that in spades.

But more impressively, Cheap Food also delivers in hashing out good thrash to the masses by means of lean songwriting, blistering energy and vicious vocals. Though songs frequent the thrash iffy-zone of five-plus-minutes, Teutonic Slaughter serve riffs and ideas economically, letting nothing wear out and keeping energy squarely at eleven. Besides the back end of “Eviscerating Surgery” and the dead minute-and-a-half of “Intro,”2 Cheap Food is spry at 36 minutes and flies by in a head-banging haze. Teutonic Slaughter sound one volt from exploding on Cheap Food, baring teeth on “Redistribution” and “Fight the Reaper” with crossover levels of hardcore intensity reminiscent of Municipal Waste.3 Personally, I think it’s Krisch’s animal-like mic job that gives Cheap Food its meanest bite, lathering songs with deathly howls (“Eviscerating Surgery”), blackened roars (“Witches Rock ‘n’ Roll”), hardcore gang shouts (“Hostage”), and just some of the gnarliest barks and shouts this side of Sodom. Gnarly vocals on top of fatless, relentlessly aggressive songs is foam crowning Cheap Food’s beer stein, and brother, it’s flowing over.

Teutonic Slaughter made a simply fun album. You’re not getting any radical surprises out of Cheap Food, and that’s by design. Instead, Teutonic Slaughter delight through expert performances of well-trodden thrash staples. Heinen provides the dive-happy, shredful soloing you expect and demand from the genre, leaving everything he has on closer “Give ’em Hell” in a no-holds-bar display of guitar belligerence. Thematically, when not dealing in societal or political issues (“Cheap Food,” “Redistribution”), Teutonic Slaughter revel in the schlocky macabre (“Witches Rock ‘n’ Roll,” “Eviscerating Surgery”) and fist-pumping motivation (“Fight the Reaper,” “Give em Hell”). It’s not meant to be complicated. Teutonic Slaughter aimed to pound your brain to spätzle with Cheap Food, and if you give it a spin, they’ll have succeeded handily.

Worthy of their countrymates’ thrash legacies, Teutonic Slaughter produced an incredibly enjoyable album in Cheap Food. Riffing heavy, fast, and without stop, it’s a record that’s here for good times and for making good times. Perhaps it gets a bit played out by the end, repeating a short list of moves for half-an-hour, but Cheap Food proved to be a surprisingly compelling listen that only further endeared itself to me with every listen. Obviously, if you like thrash, I’m going to recommend you give Cheap Food a spin. If not, don’t let the door hit your lederhosen on the way out. Mahlzeit!



Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Iron Shield Records
Websites: facebook.com/teutonicslaughter | teutonicslaughter.bigcartel.com
Available Worldwide: January 30th, 2026

Revenge – Night Danger Review

By Creeping Ivy

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash. Whether a band leans towards a classic or thrashy version of the sound becomes the primary distinguisher. Night Danger, the latest LP from longstanding Colombian band Revenge, is a speed metal record in the vein of Running Wild and Razor. But Revenge leans in a classic direction, claiming Judas Priest and Helloween as inspirations. Indeed, that Helloween-inspired artwork, coupled with the band’s longevity, should be enough to convince speed freaks to give Night Danger a spin. Those who observe the speed limit, however, will probably need more than the orange glow of a horse’s face to be convinced.1

Speed metal fans will be happy to hear that Night Danger consistently fulfills the promise of the genre’s adjective, with quality performances across the board. All but one of its songs gallop at the pace of the steed adorning its cover. To the list of Revenge’s self-professed classic influences, I would add the contemporary heavy metal band Century as a sonic touchstone, insofar as Night Danger tends to keep things up-tempo and, production-wise, traditional. The first half of the album races through songs that veer more in the classic direction, offering harmonized guitar melodies (“Black Sight”), fist-pumping choruses from Esteban ‘Hellfire’ Mejía (“Night Danger”), and impressive solos from lead guitarist Night Crawler (“Soldier’s Heart”). On the back half, Revenge delves into thrashier terrain, building songs around more menacing riffs (“Desire from Pain”) and stompier bridges (“The Devil Race”) that allow drummer Hell Avenger to show off his double bass skills. Despite really having only one speed, Night Danger doesn’t overstay its welcome; no song feels overlong, and the album sensibly clocks in at just under 40 minutes.

Even for speed metal aficionados, though, Night Danger will read less like a holistic album and more like a collection of similar songs. The title track, for example, follows up opener “Black Sight” with a similar kind of introduction: a riff punctuated by drum accents before blastoff. From there, “Night Danger” also mirrors the opener’s pre-solo, half-time bridge. By the time the intro riff to “Soldier’s Heart” rolls around at the midpoint, the listener feels as if they’ve already heard a version of it as the intro to “Night Danger.” Closer “Crushing Death” is one of the stronger cuts on the album, morphing its righteously thrashin’ riff into a jaunty verse and a chorus with uber melodic guitar tags. Nothing about it, however, makes it feel like a closer; it could just as easily live somewhere in the middle of Night Danger.

This is not to say, however, that there’s no songwriting variation to be found here. As the only mid-tempo track on Night Danger, “Misty Night” first comes to mind. Beyond its tempo, the song’s solo also contains a minute variation, picking up on the melody of the main riff before shredding the listener’s face off. Speaking of solos, “The Devil Race” refreshingly opens with one (and, yes, has one during the bridge). On the low end, bassist Camilo Hernandez is periodically noticeable, adding countermelodies that would make Steve Harris proud (“Night Danger,” “Desire from Pain”). Switching from strings to voices: Hellfire is a solid vocalist, but the gang vocals on “The Hammers Fall” add a refreshing flavor to the mix. All of these variations, however, are infrequent and virtually imperceptible.

Speed metal is gonna speed metal, but the lack of variety on Night Danger will likely pose issues for devotees and neophytes alike. Fans of the genre should dig this, but they’ll also crave a few more mid-tempo tracks to keep things interesting. Those less familiar with Revenge’s influences won’t easily forgive the album’s mono-temporality. Night Danger probably won’t turn you into a speed freak, but if you already are one, it’ll satisfy your need.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: revenge666.bandcamp.com/album/night-danger | facebook.com/revengespeed
Releases Worldwide: October 17th, 2025

#25 #2025 #Century #ColumbianMetal #DyingVictimsProductions #HeavyMetal #Helloween #JudasPriest #NightDanger #Oct25 #Razor #Revenge #Review #Reviews #RunningWild #SpeedMetal

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Today In Metal History 🤘 August 7th, 2024🤘
BRUCE DICKINSON, PETE WAY, BLACK SABBATH, EXTREME, BEHEMOTH

https://bravewords.com/news/today-in-metal-history-august-7th-2024bruce-dickinson-pete-way-black-sabbath-extreme-behemoth

#BruceDickinson #PeteWay #BlackSabbath #Extreme #Behemoth #IronMaiden #Samson #Helloween #UFO #Waysted #IanGillan #TonyMacAlpine #AntagonistAD #ReverendBizarre #TheAbsence #DrowningPool #StillRemains #Throwdown #Behemoth #Memorain #CattleDecapitation #FearFactory #Krisiun #MissMayI #Avatar #Batushka #BlackCrownInitiate

Aquilla – Sentinels of New Dawn Review

By Baguette of Bodom

The Polish metal scene is much better known around these parts for its bludgeoning death metal than for classic metal worship, and Aquilla is looking to change that. Formed in Warsaw in 2015, their debut Mankind’s Odyssey was unleashed on the masses in 2022, delivering NWoBHM with a dose of ”80s–’90s speed/power metal influence. Sophomore album Sentinels of New Dawn promises a similar but more epic brand of sci-fi thunder. With a couple EPs and a full-length already under their belt, how does Aquilla navigate this set of space war stories?

Aquilla’s authentic sound immediately makes it clear they’re not messing around. Since the last time they heeded the call, they’ve been through some lineup shifts, vocalist Captain Paradox and rhythm guitarist Jaspar de Phaser both joining in 2023. The resulting shift in sound is both obvious and a major positive. Captain Paradox is the star of the show, his vocals thoroughly combining the best of the ’80s and wailing wild and free like Kai Hansen (Helloween debut, Gamma Ray) or Michael Knoblich (Scanner debut). But the speed and power metal elements in Sentinels of New Dawn don’t stop at the vocals, they are firmly present in the dueling guitar work of Jaspar de Phaser and Kris Invader as well (“Creed of Fire,” “Technocrats’ Tyranny”). The bouncy and varied drum patterns, together with an ’80s Helloween-coated bass performance (“Technocrats’ Tyranny”), round out the rock-solid, energetic foundation of the album.

The greatest strength of Sentinels of New Dawn is its potent, to-the-point songwriting. Mankind’s Odyssey was at times charming, but had a fairly narrow scope and often forgot the ‘speed’ half of speed metal. Here, Aquilla dedicate much more of the album’s runtime to an all-gas, no-brakes approach, something sorely missing from many others of its kind. The record has plenty of tricks up its sleeve, with dual-harmonized NWoBHM leads (“Plunder & Steel,” “Mountains of Black Sleep”) and fun classic-sounding gang vocals (“Plunder & Steel”) increasing the anthemic factor further. But the band also shows songwriting maturity and variety by dipping into Queensrÿchean melodic segments (“Mountains of Black Sleep,” “Battalion 31”). While the combination isn’t seamless—the middle of the album unevenly packed with most of the slower bits—it suits Aquilla well and makes for an entertaining and multifaceted album. Furthermore, relying less on Iron Maiden worship and being more German speed/power metal-informed (“Creed of Fire,” “Battalion 31”) has improved their songcraft significantly. As a result, it feels like the band has now found their element and figured out their sound, combining aspects of old and new(er).

Aquilla is having fun, and it translates into a frenetic and inspired album. At just under 50 minutes—45 minutes omitting the intro and outro—Sentinels is a brisk and empowering experience. Even the 10-minute epic “The Prophet” flies by; a great combination of an Iron Maiden and Gamma Ray epic, with the second half having some of the best and most triumphant guitars of the bunch. The dramatic intro and synthy outro fit in oddly well, too, neither one overstaying its welcome. That being said, there are still some quirks to iron out. The harsh vocals at the start of “The Curse of Mercurion” aren’t too damaging, but they are a rough listen and feel unnecessary. “Bound to Be King,” though competent, lacks a hook that the other barn burners feature. Nevertheless, every song here is a good time at least, and many of them show signs of brilliance at best.

Sentinels of New Dawn shows a young band developing into form. Aquilla is here to kick ass and take names, and their mix of old and new is lively and exciting to listen to. The songwriting has made major strides in the span of three years; their speed and energy has only grown, and the Polish metal scene is all the richer and more varied for it. I hope Aquilla fleshes out their craft even further for the next one—with this lineup, they’re on the cusp of greatness.

Rating: Very Good!
DR: 6 | Format Reviewed: 320kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#2025 #35 #Aquilla #GammaRay #HeavyMetal #Helloween #HighRollerRecords #IronMaiden #NWOBHM #Oct25 #PolishMetal #PowerMetal #Queensryche #Review #Reviews #Scanner #SentinelsOfNewDawn #SpeedMetal

„Wenn ihr euch nach neuen Bands im Stil von Maiden, Priest und Helloween sehnt – dann sind wir hier. Verpasst uns nicht. Heavy Metal lebt – und es geht ihm gut!“, geben Tailgunner bei uns zu Protokoll.

Alle aufregenden Infos zur Heavy-Metal-Band der Stunde lest ihr im Interview! #tailgunner #HeavyMetal #JudasPriest #helloween #IronMaiden

https://www.burnyourears.de/interviews/54780-tailgunner-im-interview-heavy-metal-lebt-und-es-geht-ihm-gut.html

Is everyone ready for Hell-O=Ween tonight?

#MutantFam #LastDriveIn #thelastdrivein #JBB #HellOWeen

It's funny now that #Helloween are all back together how they merge the two topics the band had with their different singers: Alien/Mythology and Christianity.

On the latest album you thus have both how you will see the hand of God and validate your faith right before you die - as well as how the aliens are currently on their way here to save us all.

It's that album you don't know whether to listen to with headphones... or summon it with a cauldron and a pumpkin 🤘🎃

Es ese disco que no sabes si escuchar con auriculares… o invocarlo con un caldero y una calabaza 🤘🎃
#helloween #powermetal #music #metal #vinyl

An essential album for any metal collection 🤘🏽🤘🏽🎸 Un album imprescindible en toda colección de metal 🤘🏽🤘🏽🎸 #helloween #music #vinyl #heavymetal #metal

Coverversionen aber in gut

https://song.link/y/0_utxrFPpxg

#Helloween

Computer: Ausgang

https://song.link/y/LZ6YKR6K_zU

#Helloween

Für den ersten #Abschnitt vom #Heimweg mussten wir ein #Taxi nehmen. Im Taxi: #Helloween über die #Stereoanlage. Nettes #Gespräch mit dem #Fahrer. Beste Taxifahrt meines Lebens!

Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,1 this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,1 this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,1 this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

Burning Sun – Retribution Review

By Angry Metal Guy

By: Nameless_n00b_607

It has been a much slower year for power metal than I would like. There have been a couple of fun releases here and there, but the volume of quality output has been very low. The classic ‘90s style of guitar-forward and keyboard-minimalist power metal has been significantly lacking in particular, and Burning Sun is looking to change that. Naming themselves after a Helloween song,1 this half-Hungarian, half-Chilean duo is on a mission to tell a classic fantasy story through a legacy sound. Burning Sun’s sophomore album, Retribution, lands only two years after their debut, Wake of Ashes, continuing the story of a paladin named Emaly.2

Burning Sun pays homage to various ‘90s European power metal bands well. While the debut was all about breakneck brightness, Retribution sets its sights towards the guitar grit of Iron Savior and Primal Fear (“Cold Winds,” “Fight in the Night”). The anthemic qualities of Helloween dominate across the board (“Open Your Eyes,” “Shadows Undone”),3 and the occasional Iron Maiden-informed gallops and choruses are a welcome presence. Of the duo, Zoltán Papi4 handles the bass and lyrics, whereas Pancho Ireland doubles as vocalist and guitarist. Ireland has a knack for emulating the classic style of power metal riffage they’re no doubt both fans of, opting for rhythmic hooks rather than lighting up the fretboard. He has upped his vocal game, too, navigating wail and grit in Zak Stevens fashion. Furthermore, he is now the only lead vocalist. Where the debut disoriented itself, juggling three voices, Retribution relies solely on Ireland’s pipes and is better for it. Reducing the number of hands on deck reinforces both vocal and instrumental cohesion.

Burning Sun’s focus on guitars over keyboards is a welcome change from current norms. Power metal of the European variety is often mischaracterized as the over-the-top synth-laden side of the genre, even though it’s never been that simple.5 I love a good mission to Mars, but sometimes remaining at ground level is a better option, and Retribution largely sticks to German conventions. Burning Sun enforces a guitar-first attitude and swears by the triumvirate of soaring anthemic vocals, triumphant guitars, and charming choruses. The culmination of this approach is the stunning Primal Fearesque lead guitar melody on “Cold Winds.” Unfortunately, Retribution does stray from its own design philosophy at times. For example, the moodier ‘80s synth stomper “Aftermath” features some vocal fumbles and feels out of place so early into the album. The voice acting at the end of “Cold Winds” is unintentionally hilarious and breaks immersion—once again confirming that storytelling works best when left to the music and lyrics. The album’s minor drawbacks fortunately never snowball into any major issues, and it never loses its critical fun factor.

Retribution is short and sweet but could pack a bigger punch. I’m a big fan of the trend of younger (and even some older) bands starting to write tight and concise records again, and Retribution is no exception. Below 40 minutes and sans the gargantuan epics that often characterize the genre, it’s a highly replayable breeze. But it feels like Burning Sun is still holding back its full potential. The record does its job well but lacks ambition, and I wouldn’t mind it flying a bit closer to the sun—just a bit more heft, speed, and drama to spice things up throughout. Retribution doesn’t need more songs; its material just needs to rip and tear more. It lacks a true barn burner, the likes of “Steel Tormentor,” or indeed, “Burning Sun.” Cuts like “Heart of Darkness” and “By the Light” are damn close to fortune and glory. Likewise, further production improvements can only help. The sound is better than on the debut, but it could still use punchier drums and more prominent bass. I’m content with what the album delivers, but the flame can and should burn brighter.

Retribution is a fun throwback to the glory days of power metal. Burning Sun isn’t doing anything extraordinary, but they’ve accomplished their goals of writing a good, earnest tale of swords and sorcery. It’s the sort of comfort food that I can never have enough of. The trajectory looks promising for Burning Sun, and I’m curious to see if they can enchant their blades in the future and set aflame the ground beneath.

Rating: Good!
DR: 9 | Format Reviewed: 320 kb/s CBR MP3
Label: Metalizer Records
Websites: Bandcamp | Facebook | Instagram
Release Date: August 22nd, 2025

#2025 #30 #Aug25 #BurningSun #ChileanMetal #Europower #Helloween #HungarianMetal #IronMaiden #IronSavior #MetalizerRecords #PowerMetal #PrimalFear #Retribution #Review #Reviews #WorldOfWarcraft

Helloween – Giants and Monsters Review

By Steel Druhm

Steel was there 3000 years ago when Helloween dropped their debut EP in 1985 A.D. It was a rough, oddball dose of high-energy metal full of goofy charm. It wasn’t until their Walls of Jericho debut hit later that same year that jaws were really put on the floor. It was fast, frantic, over-the-top, and most importantly, insanely hooky. In a time when Metallica and Slayer were burning America down with angry macho man thrash, these crazy Krauts showed that metal could be fast, fun, and tongue-in-cheek. The Keeper albums cemented Helloween as a major force and defined the parameters of what would become Euro-power metal, and the rest is metal history. The band had ups and downs in the decades that followed, losing founder Kai Hansen and vocal titan Michael Kiske along the way. 2021s self-titled release had the novel concept of reuniting the band with Hansen and Kiske, and along with current frontman Andi Deris, they delivered a 3-pronged vocal attack. It worked way better than expected, and Helloween was a fun romp that flashed moments of long-forgotten power glory. Because I’m a cynical, jaded ape, I honestly didn’t expect the 3-way pumpkin bump to continue beyond a one-album stand, but here we are a few years later with Giants and Monsters, and all 3 vocalists are still hanging around. But can lightning strike the pumpKings twice?

Strangely enough, yes! Giants and Monsters is a strange collection of styles, and it’s only a power metal album about 30% of the time. It plays out more like an Avantasia album than something you’d expect from Helloween, but it works nonetheless. There’s a looseness to the writing, suggesting that the group has become more comfortable working together, and as a result, you get a wide-ranging set of songs covering everything from classic power metal to hair metal and stadium rock. Opener “Giants on the Run” is the perfect introduction as it’s stylistically close to the classic Kiske-era Helloween. It’s got that power metal energy and cheesy, cheery charm. The Pumpkin Pi Boys kill it vocally, and there’s a satisfying chorus. Kai has an especially cool vocal segment, and there’s even a spot where someone (probably Kai) does a dramatically raspy King Diamond-esque thing. “Savior of the World” lets Michael Kiske do his thing on a power-centric song that reeks of the Keepers era and has that big, soaring chorus Helloweenies live for. It’s hard charging and gourd, clean fun. After this happily familiar opening salvo, the band toys with hair rock in the vein of Kissin’ Dynamite (“A Little is a Little Too Much”) and dramatic power balladery (“Into the Sun”), and things just keep coming up plumpkin pumpkin!

There are some big standouts that really make the case for this power trio thing being the serum the band needed. “We Can Be Gods” is a super sticky power rocker that sits between Keepers and the Deris age. “Hand of God” is the progeny of albums like Better Than Raw and The Dark Ride, and it dabbles in Gothy-electronica before clubbing with you a winning chorus. “Universe (Gravity of Hearts)” is an 8-minute power metal bomb dropped at just the right time. The proven formula of soaring vocals over speedy riffs and pounding drums still holds up when the writing is sound, and here it works an iron charm. They make a similar statement on the 8-minute closer “Majestic,” blending their power metal roots with 80s-centric anthemic heavy metal. The guitar work across this track is stellar, and all 3 singers prove their worth. There are no duds present, and every song has its weird charms and endearing quirks. At 52 minutes, Giants and Monsters avoids feeling long despite the presence of multiple 8-minute epics. That’s no easy feat, but these tricky calabash wranglers pull it off with smart track ordering and a great ebb and flow.

On an album with 3 notable vocalists, the big star is the diverse and consistently sharp songcrafting. The absence of throwaway tracks is a win, and the way the album rolls from strength to strength is impressive for a band this long in the tooth. Naturally, Michael Kiske impresses, though he doesn’t often employ his roof-raising, higher-register wails. Andi Deris carries a lot of water and does a great job. His voice is tailor-made for the more rock-centric moments, but he shows his versatility. Some of my favorite moments belong to Kai Hansen, probably due to chronic nostalgia for the early days of Helloween. He can’t do the crazy things he once did vocally, but it’s very comforting hearing him, and he picks his spots well. Guitarists Michael “Ingo” Weikath, Sascha Gerstner, and Mr. Hansen travel through genres and styles, creating a captivating tapestry of leads and harmonies. The solo work across the board is impressive, and they show some balls and grit on the faster cuts.

I expected Giants and Monsters to be a comedown from Helloween, but Giants is actually a stronger, more refined album overall. Maybe the age of the Great Pumpkin really has come back around. Two strong albums back-to-back don’t lie, so something is up in the patch. The power of 3 has bound them and, in the darkness, ripened them. May their newfound youth be fertile and enduring.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 234 kbps
Label: Reigning Phoenix
Websites: helloween.org | facebook.com/helloweenofficial | instagram.com/helloweenofficial
Releases Worldwide: August 29th, 2025

#2025 #35 #Aug25 #Avantasia #GermanMetal #GiantsAndMonsters #HeavyMetal #Helloween #PowerMetal #ReigningPhoenixMusic #Review #Reviews

See you tonight in your nightmares

#FursuitEveryday #spooky #helloween
#fursuit #fursuits #fursuiter #fursona #furs #furryphoto #furrycomunity #furry #furrycon #cutefurry #furries #furryphotography #fur #furryfandom #fursuiters #fursuithead #fursuitphoto #kemono

Poszedłem sobie na wieczorny spacer w te Dziady na odrzańskie wały. Niby ciemno, a jednak kolorowo.
#Dziady #helloween #noc #redlight #burningbush

Power Paladin – Beyond the Reach of Enchantment Review

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no…
#NewsBeep #News #Music #2026 #3.5 #BeyondtheReachofEnchantment #CA #Canada #Entertainment #HeavyMetal #Helloween #IcelandicMetal #Mar26 #PowerMetal #PowerPaladin #ReigningPhoenixMusic #review #reviews #RhapsodyofFire #TwilightForce
https://www.newsbeep.com/ca/567210/

https://www.europesays.com/uk/856641/ Power Paladin – Beyond the Reach of Enchantment Review #2026 #35 #BeyondTheReachOfEnchantment #Entertainment #HeavyMetal #Helloween #IcelandicMetal #Mar26 #music #PowerMetal #PowerPaladin #ReigningPhoenixMusic #Review #Reviews #RhapsodyOfFire #TwilightForce #UK #UnitedKingdom

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

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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

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https://www.youtube.com/watch?v=88Nn7CIpmWQ

The excellent new Helloween song is excellent! 🤘😎🎃🎃🎃 #helloween #thisistokyo #metalmusic www.youtube.com/watch?v=88Nn...

HELLOWEEN - This Is Tokyo (Off...