#helloween — Public Fediverse posts

https://www.europesays.com/it/706806/ Helloween: Michael Weikath, “Allo stato attuale è improponibile un “Keeper IV”” #Entertainment #helloween #Intrattenimento #IT #Italia #Italy #Music #Musica #ReigningPhoenixMusic #StillHot

https://www.europesays.com/es/792619/ ¿Habrá una cuarta parte de "Keeper of the Seven Keys" por parte de Helloween? Michael Weikath responde – MariskalRock.com #Entertainment #Entretenimiento #ES #España #Giants&Monsters #helloween #KaiHansen #KeeperOfTheSevenKeys #MichaelKiske #MichaelWeikath #MR2022 #Music #Música #Spain

Was macht ihr alle zu #helloween?

https://www.europesays.com/at/415469/ Hansen: „Ich denke über so etwas gar nicht nach.“ #AT #Austria #BORNWITHAHAMMER #Entertainment #GammaRay #Hansen #helloween #KaiHansen #Music #Musik #Österreich #Queen #TimKanoaHansen #Unterhaltung

I couldn't tell you the last time I was by this early on a bank holiday.

Great stuff! 🤘😎 🏴󠁧󠁢󠁳󠁣󠁴󠁿

https://www.youtube.com/watch?v=ZAC9R969tbE

#helloween #thekenden

I couldn't tell you the last time I was by this early on a bank holiday.

Great stuff! 🤘😎 🏴󠁧󠁢󠁳󠁣󠁴󠁿

https://www.youtube.com/watch?v=ZAC9R969tbE

#helloween #thekenden

AI interpretatie van Helloween's Havy Metal Is the Law. In 3 formaten. #heavymetal #powermetal #helloween #music #AIart

AI interpretatie van Helloween's Heavy Metal Is the Law. In 3 formaten. #heavymetal #powermetal #helloween #music #AIart

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

https://www.europesays.com/es/771176/ Kai Hansen sobre el nuevo disco de Helloween: “Ya lo hemos grabado” #AndyDeris #Entertainment #Entretenimiento #ES #España #GammaRay #Giants&Monsters #helloween #JasonCenador #KaiHansen #MichaelKiske #MR2022 #Music #Música #Spain

Helloween played last friday in Chile and I wasn't there.. celebrating their 40th anniversary. But, the night before that, I went to BLOODBATH.. my god, what a cool and powerful gig. I'm sorry for Helloween, I mean, it is one of my favourite bands ever, but I've seen them like 4 times before. Bloodbath came to South America for the first time and it was epic. Perfect sound, perfect performance and seeing Martin Axenrot playing drums like a calm beast in that kind of genre was a super privilege (after seeing him with Opeth like 3 times).

Metal is big here in Chile and I love it. One day you can be in an underground 1,000 people venue seeing a super band live, and the other in a 16,000 people stadium celebrating one of the most epic and legendary power metal bands... that's Chile. I'm thinkin of tattooing Helloween's pumpkin in my arm: a tribute to one of the most important bands in my life, after hearing them for the first time in 1997 with their "Time of the Oath" album... never stopped hearing them until today, and I still love them deeply. Thanl you Helloween for making us happy all these years.

#music #livemusic #review #metal #powermetal #bloodbath #helloween

Helloween played last friday in Chile and I wasn't there.. celebrating their 40th anniversary. But, the night before that, I went to BLOODBATH.. my god, what a cool and powerful gig. I'm sorry for Helloween, I mean, it is one of my favourite bands ever, but I've seen them like 4 times before. Bloodbath came to South America for the first time and it was epic. Perfect sound, perfect performance and seeing Martin Axenrot playing drums like a calm beast in that kind of genre was a super privilege (after seeing him with Opeth like 3 times).

Metal is big here in Chile and I love it. One day you can be in an underground 1,000 people venue seeing a super band live, and the other in a 16,000 people stadium celebrating one of the most epic and legendary power metal bands... that's Chile. I'm thinkin of tattooing Helloween's pumpkin in my arm: a tribute to one of the most important bands in my life, after hearing them for the first time in 1997 with their "Time of the Oath" album... never stopped hearing them until today, and I still love them deeply. Thanl you Helloween for making us happy all these years.

#music #livemusic #review #metal #powermetal #bloodbath #helloween

Helloween played last friday in Chile and I wasn't there.. celebrating their 40th anniversary. But, the night before that, I went to BLOODBATH.. my god, what a cool and powerful gig. I'm sorry for Helloween, I mean, it is one of my favourite bands ever, but I've seen them like 4 times before. Bloodbath came to South America for the first time and it was epic. Perfect sound, perfect performance and seeing Martin Axenrot playing drums like a calm beast in that kind of genre was a super privilege (after seeing him with Opeth like 3 times).

Metal is big here in Chile and I love it. One day you can be in an underground 1,000 people venue seeing a super band live, and the other in a 16,000 people stadium celebrating one of the most epic and legendary power metal bands... that's Chile. I'm thinkin of tattooing Helloween's pumpkin in my arm: a tribute to one of the most important bands in my life, after hearing them for the first time in 1997 with their "Time of the Oath" album... never stopped hearing them until today, and I still love them deeply. Thanl you Helloween for making us happy all these years.

#music #livemusic #review #metal #powermetal #bloodbath #helloween

Helloween played last friday in Chile and I wasn't there.. celebrating their 40th anniversary. But, the night before that, I went to BLOODBATH.. my god, what a cool and powerful gig. I'm sorry for Helloween, I mean, it is one of my favourite bands ever, but I've seen them like 4 times before. Bloodbath came to South America for the first time and it was epic. Perfect sound, perfect performance and seeing Martin Axenrot playing drums like a calm beast in that kind of genre was a super privilege (after seeing him with Opeth like 3 times).

Metal is big here in Chile and I love it. One day you can be in an underground 1,000 people venue seeing a super band live, and the other in a 16,000 people stadium celebrating one of the most epic and legendary power metal bands... that's Chile. I'm thinkin of tattooing Helloween's pumpkin in my arm: a tribute to one of the most important bands in my life, after hearing them for the first time in 1997 with their "Time of the Oath" album... never stopped hearing them until today, and I still love them deeply. Thanl you Helloween for making us happy all these years.

#music #livemusic #review #metal #powermetal #bloodbath #helloween

📰 FOTOS | Los reyes del Power Metal: Helloween repasó en Chile lo mejor de sus 40 años de carrera
🔗 https://www.biobiochile.cl/noticias/artes-y-cultura/musica/2026/09/13/fotos-los-reyes-del-power-metal-helloween-repaso-en-chile-lo-mejor-de-sus-40-anos-de-carrera.shtml

#powermetal #helloween #chile #conciertos

Helloween en Chile: 40 años de historia convertidos en una fiesta de power metal | vía #iRock

https://www.irock.cl/helloween-en-chile-40-anos-de-historia-convertidos-en-una-fiesta-de-power-metal/?utm_source=rss&utm_medium=rss&utm_campaign=helloween-en-chile-40-anos-de-historia-convertidos-en-una-fiesta-de-power-metal

#conciertos #helloween #internacional #livereviewinternacional #metal #powermetal #santanderarena #thefanlab

Helloween en Chile: porque 40 años no son nada | vía #NaciónRock

https://www.nacionrock.com/helloween-en-chile-porque-40-anos-no-son-nada/

#helloween #polímetro #rockenvivo

https://www.europesays.com/es/759279/ Helloween en Lima: los padres del power metal dieron cátedra con brutal concierto en la capital [CRÓNICA] #Conciertos #Entertainment #Entretenimiento #ES #España #HeavyMetal #helloween #Lima #Music #Música #PowerMetal #Spain

📰 "No estaba preparado para lo que pasó con Helloween": Sascha Gerstner y cómo será el show en Chile
🔗 https://www.biobiochile.cl/noticias/artes-y-cultura/musica/2026/09/10/no-estaba-preparado-para-lo-que-paso-con-helloween-sascha-gerstner-y-como-sera-el-show-en-chile.shtml

#helloween #chile #saschagerstner

https://www.europesays.com/es/755180/ El disco de HELLOWEEN al 80%. SPIRITBOX estrenan single sorpresa. Nuevo vídeo de Ricky Warwick. #Entertainment #Entretenimiento #ES #España #helloween #Music #Música #RickyWarwick #Spain #Spiritbox

Halloween is here. You can find this drawing for colouring in my kofi.

https://ko-fi.com/s/e75713e909

#halloween #helloween #unicorn #unicornio #calabaza #pumpkin #horse #hellhorse #cartoon #art

Halloween is here. You can find this drawing for colouring in my kofi.

https://ko-fi.com/s/e75713e909

#halloween #helloween #unicorn #unicornio #calabaza #pumpkin #horse #hellhorse #cartoon #art

Halloween is here. You can find this drawing for colouring in my kofi.

https://ko-fi.com/s/e75713e909

#halloween #helloween #unicorn #unicornio #calabaza #pumpkin #horse #hellhorse #cartoon #art

#livemusic #stjohnsmusicfestival #portlandoregon #folkmusic #folkrock #familyband #trio #acousticguitar #bassguitar #drums #harmonica #singing #bobdylan #woodyguthrie #eddievedder #chriscornell #theymightbegiants #helloween #jamesgang #tompetty #sasquatch #peaceandlove

Is ja bald wieder soweit - ein einziges Reststück (das hutlose Kürbismotiv in Edelstahlfassung) ist noch da. Es ist als Auslaufmodell mit 15 % Rabatt im Sale und auf https://www.wandklex.art/product/handgemalt-kuerbis-aquarell-miniatur-2-verschiedene-motive-gefasst-in-edelstahl-oder-in-echtsilber-halloween-helloween-lustig-174341 zu haben.
#miniaturepainting #helloween #halloween

Is ja bald wieder soweit - ein einziges Reststück (das hutlose Kürbismotiv in Edelstahlfassung) ist noch da. Es ist als Auslaufmodell mit 15 % Rabatt im Sale und auf https://www.wandklex.art/product/handgemalt-kuerbis-aquarell-miniatur-2-verschiedene-motive-gefasst-in-edelstahl-oder-in-echtsilber-halloween-helloween-lustig-174341 zu haben.
#miniaturepainting #helloween #halloween

Is ja bald wieder soweit - ein einziges Reststück (das hutlose Kürbismotiv in Edelstahlfassung) ist noch da. Es ist als Auslaufmodell mit 15 % Rabatt im Sale und auf https://www.wandklex.art/product/handgemalt-kuerbis-aquarell-miniatur-2-verschiedene-motive-gefasst-in-edelstahl-oder-in-echtsilber-halloween-helloween-lustig-174341 zu haben.
#miniaturepainting #helloween #halloween

https://www.europesays.com/es/746540/ Kai Hansen (HELLOWEEN y GAMMA RAY) lanza «Wait And See»: «Canción oscura y con un sutil pulso electrónico» #Entertainment #Entretenimiento #ES #España #GammaRay #HeavyMetal #helloween #KaiHansen #Music #Música #PowerMetal #Spain

Halloween - I want out

#music #helloween

https://youtu.be/LZ6YKR6K_zU?is=PEZutKpasOx7QbiO

Halloween - I want out

#music #helloween

https://youtu.be/LZ6YKR6K_zU?is=PEZutKpasOx7QbiO

Halloween - I want out

#music #helloween

https://youtu.be/LZ6YKR6K_zU?is=PEZutKpasOx7QbiO

Halloween - I want out

#music #helloween

https://youtu.be/LZ6YKR6K_zU?is=PEZutKpasOx7QbiO

HELLOWEEN - Forever and One (Neverland)

https://www.youtube.com/watch?v=X2HOWM9JI6I

#NowPlaying #FediRadio #UnoRadio #Music #Helloween

Just another cautionary tale to be ignored, like so many before and after it: https://www.youtube.com/watch?v=xZQI1wMCJIc

#Music #Youtube #Helloween #NoAI

Just another cautionary tale to be ignored, like so many before and after it: https://www.youtube.com/watch?v=xZQI1wMCJIc

#Music #Youtube #Helloween #NoAI

Just another cautionary tale to be ignored, like so many before and after it: https://www.youtube.com/watch?v=xZQI1wMCJIc

#Music #Youtube #Helloween #NoAI

London, England’s Fen has a storied history at AMG, with five reviews spread across three different writers. The illustrious Madam X reviewed them thrice with mixed results, followed by Doom_et_Al’s laudatory commentary on The Dead Light and, most recently, Cherd’s favorable-but-less-impressed impression of Monuments to Absence. You should read their words because they’re excellent writers,1 but the upshot of their analysis is that Fen often crafts gorgeous layers of music that sometimes lose focus or take too long to spool out. Imagine my delight, then, when I discovered Fen’s newest album, Elemental Part One: Mourning Earth only runs forty-seven minutes.2 While the overall album length suggests improved self-editing, Mourning Earth is the first part of a greater effort and carries the risk of either feeling incomplete or disguising bloat between multiple releases. In the end, does Fen free their songwriting from the mires that held back some previous albums?

Throughout Mourning Earth, Fen conjures familiar reference points while evoking less obvious connections as well. Opener “Glacier” reminds me of “Storm Son,” the opening track to Enslaved’s E, with its prog-leaning clean guitars playing over galloping blast beats and beautifully written choral arrangements. The last third of “Glacier” and follow-up “Techtonic” rumble and quake with calls to Blood Mountain-era Mastodon,3 while “Massif” and “Abyssal Plain” drift into gazey waters, where shimmering guitars and haunting vocal stacks tread alongside Alcest. The opening riff on “Barrow” reminds me of a cross between Helloween’s “Future World” and something off Avatar’s Feathers & Flesh, casting ties to genres I never previously linked to Fen. Meanwhile, closing track “Moor” begins with sparkling builds akin to Saor and Agalloch, but when the atmosphere gives way to melody,4 I suddenly hear mid-aughts Amon Amarth. Everything on Mourning Earth points to a band harnessing a vast reach of styles and influences and fusing them into a vision uniquely their own.

Given Mourning Earth’s eclectic backdrop, its cohesion and effectiveness remain refreshingly intact. Throughout, Fen’s jaw-droppingly gorgeous textures harken to primordial environs that imbue the album with nature’s innate beauty. Mourning Earth’s midsection broods within layers of reverb and melancholy, entrancing listeners with hypnotic refrains and crystalline guitar work. “Massif,” though, kicks up past the halfway point, recalling the groove and melody from its first half while dialing up the heft and drama. “Techtonic” and “Barrow” both charge out in rollicking fashion, hitting hard early on. “Barrow” even permutates melodies from “Tectonic”‘s midsection, tethering the two songs in a satisfying harmony that took me many listens to notice and appreciate. Bookends “Glacier” and “Moor” round out Mourning Earth’s synchronicity as the longest tracks on the album, supplying grandeur and gravitas that ensure it begins and ends with fully baked moods.

In the past, Fen’s releases initially fascinated me yet lacked the staying power to compel frequent visits despite stellar moments. Mourning Earth changes that, and its forty-seven-minute runtime proves an incredible boon as the band expertly strikes the balance between anticipation and payoff. And despite being Fen’s shortest LP to date, Mourning Earth achieves a remarkable diversity of sounds and influences without ever sacrificing its singular identity. With the bloat plaguing earlier albums gone, not much else requires attention. More space within the mix would give the wealth of sounds a bit more breathing room, particularly on busier songs like “Tectonic” and “Barrow,” and “Abyssal Plain” doesn’t quite live up to the heights of other tracks. In all, though, Mourning Earth stands uncontested as my favorite Fen album to date.

Mourning Earth’s magic takes time to gestate, and over my repeated listens Fen’s hooks unfurled and took root as I helplessly succumbed to their enthralling collection of swamp songs. The Watcher’s spritely and ethereal guitars weave melodic threads throughout, even during atmospheric passages, and his withered rasps and roars scrape like the dry crackle of leaves while the wistful cleans brim with forlorn charm. Mourning Earth bursts at the seams with ideas and styles, and it continues to entice me as my time with this review draws nigh. I’m unclear on when Elemental Part Two may arrive or what it will be about, but Part One lets listeners know that this trio has plenty more to say before they Fenish.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

London, England’s Fen has a storied history at AMG, with five reviews spread across three different writers. The illustrious Madam X reviewed them thrice with mixed results, followed by Doom_et_Al’s laudatory commentary on The Dead Light and, most recently, Cherd’s favorable-but-less-impressed impression of Monuments to Absence. You should read their words because they’re excellent writers,1 but the upshot of their analysis is that Fen often crafts gorgeous layers of music that sometimes lose focus or take too long to spool out. Imagine my delight, then, when I discovered Fen’s newest album, Elemental Part One: Mourning Earth only runs forty-seven minutes.2 While the overall album length suggests improved self-editing, Mourning Earth is the first part of a greater effort and carries the risk of either feeling incomplete or disguising bloat between multiple releases. In the end, does Fen free their songwriting from the mires that held back some previous albums?

Throughout Mourning Earth, Fen conjures familiar reference points while evoking less obvious connections as well. Opener “Glacier” reminds me of “Storm Son,” the opening track to Enslaved’s E, with its prog-leaning clean guitars playing over galloping blast beats and beautifully written choral arrangements. The last third of “Glacier” and follow-up “Techtonic” rumble and quake with calls to Blood Mountain-era Mastodon,3 while “Massif” and “Abyssal Plain” drift into gazey waters, where shimmering guitars and haunting vocal stacks tread alongside Alcest. The opening riff on “Barrow” reminds me of a cross between Helloween’s “Future World” and something off Avatar’s Feathers & Flesh, casting ties to genres I never previously linked to Fen. Meanwhile, closing track “Moor” begins with sparkling builds akin to Saor and Agalloch, but when the atmosphere gives way to melody,4 I suddenly hear mid-aughts Amon Amarth. Everything on Mourning Earth points to a band harnessing a vast reach of styles and influences and fusing them into a vision uniquely their own.

Given Mourning Earth’s eclectic backdrop, its cohesion and effectiveness remain refreshingly intact. Throughout, Fen’s jaw-droppingly gorgeous textures harken to primordial environs that imbue the album with nature’s innate beauty. Mourning Earth’s midsection broods within layers of reverb and melancholy, entrancing listeners with hypnotic refrains and crystalline guitar work. “Massif,” though, kicks up past the halfway point, recalling the groove and melody from its first half while dialing up the heft and drama. “Techtonic” and “Barrow” both charge out in rollicking fashion, hitting hard early on. “Barrow” even permutates melodies from “Tectonic”‘s midsection, tethering the two songs in a satisfying harmony that took me many listens to notice and appreciate. Bookends “Glacier” and “Moor” round out Mourning Earth’s synchronicity as the longest tracks on the album, supplying grandeur and gravitas that ensure it begins and ends with fully baked moods.

In the past, Fen’s releases initially fascinated me yet lacked the staying power to compel frequent visits despite stellar moments. Mourning Earth changes that, and its forty-seven-minute runtime proves an incredible boon as the band expertly strikes the balance between anticipation and payoff. And despite being Fen’s shortest LP to date, Mourning Earth achieves a remarkable diversity of sounds and influences without ever sacrificing its singular identity. With the bloat plaguing earlier albums gone, not much else requires attention. More space within the mix would give the wealth of sounds a bit more breathing room, particularly on busier songs like “Tectonic” and “Barrow,” and “Abyssal Plain” doesn’t quite live up to the heights of other tracks. In all, though, Mourning Earth stands uncontested as my favorite Fen album to date.

Mourning Earth’s magic takes time to gestate, and over my repeated listens Fen’s hooks unfurled and took root as I helplessly succumbed to their enthralling collection of swamp songs. The Watcher’s spritely and ethereal guitars weave melodic threads throughout, even during atmospheric passages, and his withered rasps and roars scrape like the dry crackle of leaves while the wistful cleans brim with forlorn charm. Mourning Earth bursts at the seams with ideas and styles, and it continues to entice me as my time with this review draws nigh. I’m unclear on when Elemental Part Two may arrive or what it will be about, but Part One lets listeners know that this trio has plenty more to say before they Fenish.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

London, England’s Fen has a storied history at AMG, with five reviews spread across three different writers. The illustrious Madam X reviewed them thrice with mixed results, followed by Doom_et_Al’s laudatory commentary on The Dead Light and, most recently, Cherd’s favorable-but-less-impressed impression of Monuments to Absence. You should read their words because they’re excellent writers,1 but the upshot of their analysis is that Fen often crafts gorgeous layers of music that sometimes lose focus or take too long to spool out. Imagine my delight, then, when I discovered Fen’s newest album, Elemental Part One: Mourning Earth only runs forty-seven minutes.2 While the overall album length suggests improved self-editing, Mourning Earth is the first part of a greater effort and carries the risk of either feeling incomplete or disguising bloat between multiple releases. In the end, does Fen free their songwriting from the mires that held back some previous albums?

Throughout Mourning Earth, Fen conjures familiar reference points while evoking less obvious connections as well. Opener “Glacier” reminds me of “Storm Son,” the opening track to Enslaved’s E, with its prog-leaning clean guitars playing over galloping blast beats and beautifully written choral arrangements. The last third of “Glacier” and follow-up “Techtonic” rumble and quake with calls to Blood Mountain-era Mastodon,3 while “Massif” and “Abyssal Plain” drift into gazey waters, where shimmering guitars and haunting vocal stacks tread alongside Alcest. The opening riff on “Barrow” reminds me of a cross between Helloween’s “Future World” and something off Avatar’s Feathers & Flesh, casting ties to genres I never previously linked to Fen. Meanwhile, closing track “Moor” begins with sparkling builds akin to Saor and Agalloch, but when the atmosphere gives way to melody,4 I suddenly hear mid-aughts Amon Amarth. Everything on Mourning Earth points to a band harnessing a vast reach of styles and influences and fusing them into a vision uniquely their own.

Given Mourning Earth’s eclectic backdrop, its cohesion and effectiveness remain refreshingly intact. Throughout, Fen’s jaw-droppingly gorgeous textures harken to primordial environs that imbue the album with nature’s innate beauty. Mourning Earth’s midsection broods within layers of reverb and melancholy, entrancing listeners with hypnotic refrains and crystalline guitar work. “Massif,” though, kicks up past the halfway point, recalling the groove and melody from its first half while dialing up the heft and drama. “Techtonic” and “Barrow” both charge out in rollicking fashion, hitting hard early on. “Barrow” even permutates melodies from “Tectonic”‘s midsection, tethering the two songs in a satisfying harmony that took me many listens to notice and appreciate. Bookends “Glacier” and “Moor” round out Mourning Earth’s synchronicity as the longest tracks on the album, supplying grandeur and gravitas that ensure it begins and ends with fully baked moods.

In the past, Fen’s releases initially fascinated me yet lacked the staying power to compel frequent visits despite stellar moments. Mourning Earth changes that, and its forty-seven-minute runtime proves an incredible boon as the band expertly strikes the balance between anticipation and payoff. And despite being Fen’s shortest LP to date, Mourning Earth achieves a remarkable diversity of sounds and influences without ever sacrificing its singular identity. With the bloat plaguing earlier albums gone, not much else requires attention. More space within the mix would give the wealth of sounds a bit more breathing room, particularly on busier songs like “Tectonic” and “Barrow,” and “Abyssal Plain” doesn’t quite live up to the heights of other tracks. In all, though, Mourning Earth stands uncontested as my favorite Fen album to date.

Mourning Earth’s magic takes time to gestate, and over my repeated listens Fen’s hooks unfurled and took root as I helplessly succumbed to their enthralling collection of swamp songs. The Watcher’s spritely and ethereal guitars weave melodic threads throughout, even during atmospheric passages, and his withered rasps and roars scrape like the dry crackle of leaves while the wistful cleans brim with forlorn charm. Mourning Earth bursts at the seams with ideas and styles, and it continues to entice me as my time with this review draws nigh. I’m unclear on when Elemental Part Two may arrive or what it will be about, but Part One lets listeners know that this trio has plenty more to say before they Fenish.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

Das hatte ich überhaupt nicht auf dem Schirm, aber anscheinend waren wir jetzt auf dem ersten Konzert der 40 Jahre Helloween Tour (Esch-sur-Alzette), und beim letzten Halt auf diesem Kontinent (Summer Breeze). Zufall, aber richtig cool.

#summerbreeze #helloween