#iced-earth — Public Fediverse posts

https://youtu.be/jPxSNtL_kTg?si=gGUv_YDMbHYHlx6y #meta, #heavymetal, #thrashmetal, #powermetal, #metalheads, #icedearth

Wow, I haven’t thought of this band in a looooong time. Known for being plagued with vocal lineup changes—even alternating between female and male leads—the last time I caught up with Italy’s Opera IX was right before the infamous Cadaveria quit. Before she began her own gothic-infused band, Cadavaria haunted every dark corner of stellar Opera IX records, like Sarco Culto and The Black Opera: Symphoniae Mysteriorum in Laudem Tenebrarum. You wouldn’t be able to tell by Cadaveria’s (the band) output, but the woman had a horrifying approach to black metal vocals. So much so that I can still hear them in my head. Those days ended shortly after she vacated the band, and the long-time guitarist took to the mic. Risky move that did not work. That’s when I walked away. Nowadays, it appears the band has gone back to the female variety and, hopefully, buried the male leads forever. So, I decided I’d give them a try and see where they’ve been the last twenty-six years.

For the last couple of albums, the band has been utilizing the voice of Dipsas Dianaria. They must like her because they decided to re-record 2015’s Back to Sepulcro in 2025. For what reason, I don’t know? To erase Abigail Dianaria’s voice from a bunch of originally re-recorded shit no one wanted? Is this fucking Iced Earth? Anyway, after goofing around wth re-recorded old shit and re-re-recorded old shit, this year’s Veneficium comes to us with ten original tracks, a 50-plus-minute runtime, and a… Black Sabbath cover? Not sure I understand that last part, but here we go.

There’s one thing that’s apparent on the first listen of Veneficium: we’ve come a long way from the ferocity of Cadaveria’s piss-spitting vocals and the band’s unique blend of black, death, doom, and goth. While Dianaria can achieve similar fluctuations in vocals (rasps, growls, and cleans), it’s far more rare to see it in a single track. That said, few can achieve that kind of vocal chaos as Cadaveria and Cradle of Filth’s Dani Filth. But, after the eerie, witchcrafty opener, “Vocatio Mortuorum” sees Dianaria attempting just that. Loaded with synths and orchestral layers akin to Dimmu Borgir, this track follows a mid-paced journey to see who can command it: the guitars and drums, or the keys. It has some redeeming qualities here and there, but the goofy, circusy, Cradle of Filth approach on the backend kinda kills it for me.

On the other side of the coin, “Saltatio Corvi” does a fantastic job making it all work and stick. While it contains the same kinds of orchestral elements, relentless guitar and drum work, and alternating vocal styles, it stands out for an addictive character that is pushed to eleven with the clever help of a nyckelharpa. It also uses much more of Dianaria’s vocals than previous tracks. For something with a bit more bruising power, “Defixiones” and “Asphodelios” do the trick with aggressive, headbangable passages that make them stand out above others. Specifically, the dark, melodic atmosphere of “Defixiones” and the death metal interlude and brawling vocals of “Asphodelios.”

After taking everything into account, Veneficium is a fairly standard sympho-black record that does little to make one erect. While some interesting elements have me revisiting a few ditties, the new Dimmu Borgir record does far more in just a handful of tracks versus the entirety of Veneficium. Outside the tracks mentioned, the one that stands out the most is the cover of Black Sabbath’s “Black Sabbath.” The vocals do a fine job of following in Ozzy’s footsteps, while the doomy qualities of the song remind me of where Opera IX used to be. Those good ole days when no one else knew about this band, and I was happy to have it that way. Now, they’re basically blending in with the rest, which is a shame. That said, there’s something here for those who follow the genre. It just takes a few spins to find it.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Edged Circle Productions | Bandcamp
Websites: operaix.it | facebook.com/officialoperaIX
Releases Worldwide: May 22nd, 2026

Gus G. is a busy man. For some odd 25 years and counting, the Greek guitarist has not only been running his own band Firewind but also contributed to many notable heavy/power metal acts’ beginnings, such as early Mystic Prophecy and Dream Evil. And somehow on top of that, he’s even managed to fit in five solo albums during that time! Steel Burner becomes the sixth album under the Gus G. moniker, the first since 2021’s very fun Quantum Leap. I was a big fan of Firewind’s energetic 2020 comeback and enjoyed 2024’s anthemic rock-oriented Stand United plenty as well. How does Steel Burner compare to his other recent works, and were any Steel Druhm’s harmed in the making?1

Gus has proven himself to be a very potent guitarist since the early ’00s, and Steel Burner’s strand of heavy metal offers a good general gist of the instrumental and solo craft he’s known for. The album doesn’t steer too far off Quantum Leap’s core in this regard. Gus’s natural bend towards ’80s rock and metal shows up in full force once again, containing Yngwie and Blackmore-esque guitar hero cheese (“What If,” “Closure”) in terms of both shred and soulful play. A surprising highlight is “Advent” with its interesting djent-ish influences by way of downtuned 2010s rhythm guitar work. It pans out much better than one might think and makes for a refreshing listen in an album full of otherwise expected source material.

The other side of Steel Burner is the record’s confusing flow and identity, the guest vocalist tracks being at odds with the instrumental songs. Whereas Quantum Leap was fully instrumental, Steel Burner contains a theoretically balanced set of five tracks with vocals and five instrumentals. This intentional variety quickly ends up working against itself. Doro (Doro, ex-Warlock) and Matt Barlow (ex-Iced Earth, ex-Pyramaze) are both starting to show their age, delivering some good lines but flat choruses (“Nothing Can Break Me,” “Dancing with Death”). The suddenly enervated instrumentation exacerbates the quality contrast between Steel Burner’s different aspects. Fortunately, the back half fares better. Vocal mercenaries Ronnie Romero (ex-Rainbow) and Dino Jelusić lend stronger performances on better, more AOR-adjacent tracks (“My Premonition,” “No One Has to Know”), and I wouldn’t mind Gus working with Ronnie more often based on “My Premonition.” Aside from the vocal-instrumental clash, the drums are a sticking point. Gus’s drum programming on the aforementioned tracks is solid, but Quantum Leap’s guest drumming proves that more varied and potent percussion would have helped make these songs much more lively.

Much like Jeff Waters (Annihilator), Gus G. is an excellent guitarist who is usually better when sharing vocals-forward songwriting reins with other people. Steel Burner tends to repeat some of his early-career hiccups with Mystic Prophecy, where the rhythm guitar tends to be underdeveloped and the songs oddly stripped-down without the choruses compensating for it. Gus is very good at crafting colorful instrumental compositions (“Advent,” “Confession”) or even standard power metal tracks at higher BPMs (“Kill the Pain” on Firewind’s self-titled, “Escape from Tomorrow” all the way back on Forged by Fire), but making a ‘normal’ mid-paced track with vocals often requires some extra hands alongside him. Firewind’s two most recent records are proof of this, and the positive effect of a consistent powerhouse vocalist like Herbie Langhans is undeniably lacking here.

Steel Burner has its bright spots, but ends up feeling like two EPs in a bar fight. It mashes together parts of Quantum Leap and Stand United, and both halves unfortunately suffer as a result. While nothing on the record is strictly off-putting, the instrumental side is clearly the better and more inspired one, containing the usual guitar goodness you would expect from Gus. Even so, one listen to Quantum Leap’s title track exposes Steel Burner’s general lack of urgency compared to prior works. Grab most of the instrumental tracks and “My Premonition,” and you’ve got a solid EP! Despite the overall experience being hit-and-miss, I still respect Gus’s work ethic, and I’ll be gladly waiting to see what he comes up with next.

Rating: Mixed
DR: Nope! | Format Reviewed: Alas, poor Stream!
Label: Metal Department
Websites: gusgofficial.com | Facebook | Instagram
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

Song: Blessed are you
Band: #IcedEarth
Album: Something wicked this way comes
Year: 1998
Genre: #HeavyMetal

"So this song is for all of you
By my side, through and through
We'll roam that world true and free
Feeding you the inner beast
You are the ones that keep me high
You are the ones for which I'll die
Forever we will be
Standing tall, side by side
We're children of the night"

https://www.youtube.com/watch?v=4lb8XpSYWRU

Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=5d80a93db0a24a03

Is a supergroup still a supergroup if the members who made it a supergroup are no longer part of the band? Last Canada’s Wreck-Defy passed through these halls, Steel Druhm was pleasantly surprised by their third LP, Powers That Be. However, the band that Steel reviewed has seen some significant lineup changes since then. Two of the original power players—Aaron Randall (ex-Annihilator) and Alex Marquez (ex-Malevolent Creation)—have departed, replaced with one newbie (David Allan, drums) and one seasoned vet in vocalist Greg Wagner (Wags Metal Inc.). The glue holding Wreck-Defy together is lead guitarist Matt Hanchuck and ex-Testament bassist Greg Christian, and at essence they remain a speedy act with plenty of killer riff acrobatics. Six albums in, Wreck-Defy prove they remain a force in thrash.

Dissecting the Leech sets the thrashy tone with some sweet riffs and thumping blast beats on opener “Under the Sun.” Hanchuck collaborates with a long list of guest guitarists, such as Chris Poland (ex-Megadeth) and Mike Gilbert (Flotsam and Jetsam), to ensure a never-ending supply of fresh, exciting riffs, solos, and other guitar antics. As in prior outings, Wreck-Defy plays largely in the Testament mold with a few Megadethian flourishes. However, it’s not all pedal to the medal—plenty of songs vary in tempo, like the melodic, mid-paced “Millenial Dystopia” and the near-ballad “The Path.” While retaining their core identity, Wreck-Defy manage a varied sound throughout Dissecting the Leech, with tunes lasting anywhere from the blink-of-an-eye at three-and-a-half minutes (“Do It Again”) to the progressively-paced six-and-a-half minutes of “I Don’t Care.”1 The latter flexes creative songwriting similar to last year’s Helms Deep, with a mid-track portion that unexpectedly rockets off into a shreddy solo that’s absolutely riveting.

While Hanchuck and Christian prove to be the heart, the two new players more than hold their own. Greg Wagner has the grizzled voice of an old soul and brings a level of grit to the music. Yet he’s no one-trick pony, occasionally rising to the falsetto of many power metal vocalists, not to mention taking a few stabs at King Diamond shrieks. His surprise melodic lilt on “Another Day” proves to be one of the record’s highlights.2 David Allan proves to be quite effective behind the kit as well. His opening kicks to “Under the Sun” establish a fiercely energetic tone that resonates throughout much of Dissecting the Leech. Perhaps my favorite moment comes from “The Haunting Past,” a completely bonkers track that sounds like its instruments have gone haywire before delivering a blitzkrieg of thrashy riffs and blast beats powered by Allan’s jaw-dropping performance.

Wreck-Defy power their thrash into social critiques that prove forceful behind their spirited performances. They tackle environmental, political, and generational issues, casting a gloomy pall over modern events. On “Under the Sun,” they lament the degradation of our planet through warfare (“Look at the damage we’ve done”) and warn, “we’ll all die under the sun.” Concern turns towards the younger generations on “Millenial Dystopia,” where Wreck-Defy observes that “there’s no room to grow old,” leading to a “generation of no hope.” All people want, according to “Another Day,” is “air to breathe / just let me live another day.” Considering critiques from Steel and commenters over juvenile lyrics from Powers That Be, Wreck-Defy appear to have matured in their storytelling and thematic content. They offer a coherent narrative, even if it just boils down to “the world is a mess,” and mankind is facing “a dark, dismal future” (“Revolt”), and end on the hopeful message that they’ll “keep on fighting” for what’s right (“Apocalypse of Hope”).

Like Steel before me, I had never heard of Wreck-Defy before taking this promo, and I’m impressed. Dissecting the Leech is proving among the best in a rather good year for thrash so far, though a few things do hold it back. At 48 minutes, it’s a tad long, but considering its progressive leanings and the impressive musicianship, that’s a minor issue. A couple of songs don’t fit in as well as the rest (“Dissecting the Leech,” “The Path”), proving to be weak links amidst a great set. “The Path” is particularly puzzling, appearing to serve as the evening wind-down music to help settle the kids and old-timers for bedtime. But you’d better hurry because the ironically-named finale, “Apocalypse of Hope,” serves a jolt of caffeine to keep the party going. If you like thrash, you’ll have a good time with Dissecting the Leech.



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Massacre Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026

This song just keeps sticking in your head. An absolute banger! As if #Nevermore and #IcedEarth had a child.

https://song.link/y/jUDgiOskP0g

#witherfall #nowPlaying