#jorn — Public Fediverse posts

Australia seals over-the-horizon radar sale to Canada

JORN, a network of three over-the-horizon radar sites, is a strategic and early-warning asset for Australia. Canada is…
#EuropeSays #Britain #Europe #EU #BAESystems #a-othr #BAE #BAESystemsAustralia #BattlespaceIntegratedSolutions #CanadaOTHR #jindalee #JORN #NORAD
https://www.europesays.com/britain/69123/

https://www.europesays.com/britain/69123/ Australia seals over-the-horizon radar sale to Canada #AOthr #BAE #BAESystems #BAESystemsAustralia #BattlespaceIntegratedSolutions #CanadaOTHR #jindalee #JORN #NORAD

Australia seals over-the-horizon radar sale to Canada

JORN, a network of three over-the-horizon radar sites, is a strategic and early-warning asset for Australia. Canada is…
#Canada #a-othr #BAESystemsAustralia #BattlespaceIntegratedSolutions #CanadaOTHR #jindalee #JORN #NORAD
https://www.europesays.com/canada/101013/

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Matthiae-Mahl: Angela Merkel spricht beim Hamburger Festmahl

Deutschlands ehemalige Bundeskanzlerin Angela Merkel (CDU) und der Präsident des Europäischen Rates, António Costa, sind Ehrengäste des diesjährigen…
#Hamburg #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #Angela #Festmahl(ks) #Germany #hamburg #Jörn #Lauterbach #Lauterbach-Jörn #Merkel
https://www.europesays.com/de/784339/

Coronatus – Dreadful Waters Review

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.0 #2026 #Coronatus #DreadfulWaters #Entertainment #FolkMetal #GermanMetal #Jan26 #Jorn #LambofGod #MassacreRecords #Nightwish #review #reviews #SevenSpires #SymphonicMetal
https://www.newsbeep.com/us/443172/

Coronatus – Dreadful Waters Review

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.0 #2026 #Coronatus #DreadfulWaters #Entertainment #FolkMetal #GermanMetal #Jan26 #Jorn #LambofGod #MassacreRecords #Nightwish #review #reviews #SevenSpires #SymphonicMetal
https://www.newsbeep.com/us/443172/

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in all of its be-corset-ed miscellany. Why? Maybe I need a break from dudes singing ugly for ladies singing pretty. Maybe falling for Seven Spires justified my continued curiosity in the style.1 Maybe I’ve never been as happy as I was discovering Imaginaerum in high school. Regardless, the call brought me now to the German symphonic group Coronatus and their new record, Dreadful Waters. Led by songwriter/drummer Mats Kurth, Coronatus features three singers in mezzo sopranos Leni Eitrich and Sabine Prechtel, and “rock vocals” by Nemesis, who also contributes to songwriting along with guitarist Harry Zeidler. Rounded out with bassist Simon Gutbrod and violinist Tine Jülich, Coronatus wrote Dreadful Waters with a focus on “merging mysticism, danger and the elemental force of water.” All good words, but does Dreadful Waters bring the strings to live up to them and, more importantly, can Coronatus meet my fix for symphonic metal?

Whatever Coronatus is doing, Dreadful Waters sounds nice doing it. Oscillating between varying degrees of symphonic (“The Siren” and “Die Hexe und der Teufel”) and nautically inclined folk metals (“Southern Cross” and “A Seaman’s Yarn”), Dreadful Waters’ production and mix bring out the best in Coronatus’ instrumentation and give everything a rich openness. Guitars sound chunky and bold while taking on an auxiliary role to the violin and vocals, which are always warm and upfront. Coronatus’ mezzo sopranos bring your typical Tarja-era Nightwish operatics to “The Maelstrom” and “To the Reef!” while Nemesis’ “rock voice” means she brings a Jørn-like grizzled theatricality to her performances on “Dark Ice” and “The Ship’s Cook.” But what really stands out to me is Kurth’s drumming, which is more nuanced than the average symphonic drumming performance. The kick patterns on “Through the Brightest Blue”‘s chorus sound more like a Lamb of God drum track than Nightwish, and “To the Reef!” boasts a palpable jauntiness thanks to the percussion groove. Dreadful Waters is composed of many different pieces, so it’s nice that Coronatus got them all to sound good together.

But symphonic metal lives and dies on its vocalists, and while Coronatus’ singers are skilled musicians, their performances can feel awkward. Each vocalist often brings an almost comical level of warble to their voices, swinging tracks like “Southern Cross” and “A Seaman’s Yarn” towards the ridiculous. Nemesis in particular can overdo it, as her heavy, gravelly vibrato can at times chew the scenery. The mezzo soprano and “rock voice” stylings also sometimes stand at odds with each other, as on songs like “The Siren” and “Dark Ice,” they blend poorly and give off the impression that they weren’t in the studio at the same time. When Coroantus coalesce, like on the album highlight “The Ship’s Cook,” the result is a riveting blend of sophistication and grit that I could listen to all day, but moments like this are unfortunately rare on Dreadful Waters.

The slight vocal issues I see on Dreadful Waters may be a symptom of a larger issue on the album: the lukewarm songcraft. Coronatus’ songs mostly stick to either a slowburn or mid-paced stomp, featuring pretty folk melodies and pleasant orchestrations but little in the way of gripping hooks or powerful performances. Further, vocal melodies are usually played overly straight, throwing few unexpected turns or interesting intervals in favor of a fairly standard symphonic metal play sheet. This makes the more metal-friendly tracks like “The Maelstrom” and “The Siren” come off a bit tepid and, at Dreadful Waters’ worst, its ballads in “Southern Cross” and “Die Hexe und der Teufel” real slogs to get through. Only “The Ship’s Cook” excited me, and that’s because its power metal-adjacent vocal heroics and bouncy chorus melody embody what is woefully missing on much of Dreadful Waters: character.

Dreadful Waters neither sinks nor swims. Far from awful, this record’s shortcomings stem from not doing enough to stand out from the symphonic crowd or playing exceptionally well into its tropes. Less fairweather fans of symphonic metal than I may get more out of Coronatus’ style, but detractors of the style won’t be swayed from their haterdom by it either. Coronatus snagged a real winner with “The Ship’s Cook,” though, so I don’t foresee terrible sailing for the band in their future. But for meeting the need for big strings over my metal, Dreadful Waters doesn’t do it for me.



Rating: Disappointing
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in all of its be-corset-ed miscellany. Why? Maybe I need a break from dudes singing ugly for ladies singing pretty. Maybe falling for Seven Spires justified my continued curiosity in the style.1 Maybe I’ve never been as happy as I was discovering Imaginaerum in high school. Regardless, the call brought me now to the German symphonic group Coronatus and their new record, Dreadful Waters. Led by songwriter/drummer Mats Kurth, Coronatus features three singers in mezzo sopranos Leni Eitrich and Sabine Prechtel, and “rock vocals” by Nemesis, who also contributes to songwriting along with guitarist Harry Zeidler. Rounded out with bassist Simon Gutbrod and violinist Tine Jülich, Coronatus wrote Dreadful Waters with a focus on “merging mysticism, danger and the elemental force of water.” All good words, but does Dreadful Waters bring the strings to live up to them and, more importantly, can Coronatus meet my fix for symphonic metal?

Whatever Coronatus is doing, Dreadful Waters sounds nice doing it. Oscillating between varying degrees of symphonic (“The Siren” and “Die Hexe und der Teufel”) and nautically inclined folk metals (“Southern Cross” and “A Seaman’s Yarn”), Dreadful Waters’ production and mix bring out the best in Coronatus’ instrumentation and give everything a rich openness. Guitars sound chunky and bold while taking on an auxiliary role to the violin and vocals, which are always warm and upfront. Coronatus’ mezzo sopranos bring your typical Tarja-era Nightwish operatics to “The Maelstrom” and “To the Reef!” while Nemesis’ “rock voice” means she brings a Jørn-like grizzled theatricality to her performances on “Dark Ice” and “The Ship’s Cook.” But what really stands out to me is Kurth’s drumming, which is more nuanced than the average symphonic drumming performance. The kick patterns on “Through the Brightest Blue”‘s chorus sound more like a Lamb of God drum track than Nightwish, and “To the Reef!” boasts a palpable jauntiness thanks to the percussion groove. Dreadful Waters is composed of many different pieces, so it’s nice that Coronatus got them all to sound good together.

But symphonic metal lives and dies on its vocalists, and while Coronatus’ singers are skilled musicians, their performances can feel awkward. Each vocalist often brings an almost comical level of warble to their voices, swinging tracks like “Southern Cross” and “A Seaman’s Yarn” towards the ridiculous. Nemesis in particular can overdo it, as her heavy, gravelly vibrato can at times chew the scenery. The mezzo soprano and “rock voice” stylings also sometimes stand at odds with each other, as on songs like “The Siren” and “Dark Ice,” they blend poorly and give off the impression that they weren’t in the studio at the same time. When Coroantus coalesce, like on the album highlight “The Ship’s Cook,” the result is a riveting blend of sophistication and grit that I could listen to all day, but moments like this are unfortunately rare on Dreadful Waters.

The slight vocal issues I see on Dreadful Waters may be a symptom of a larger issue on the album: the lukewarm songcraft. Coronatus’ songs mostly stick to either a slowburn or mid-paced stomp, featuring pretty folk melodies and pleasant orchestrations but little in the way of gripping hooks or powerful performances. Further, vocal melodies are usually played overly straight, throwing few unexpected turns or interesting intervals in favor of a fairly standard symphonic metal play sheet. This makes the more metal-friendly tracks like “The Maelstrom” and “The Siren” come off a bit tepid and, at Dreadful Waters’ worst, its ballads in “Southern Cross” and “Die Hexe und der Teufel” real slogs to get through. Only “The Ship’s Cook” excited me, and that’s because its power metal-adjacent vocal heroics and bouncy chorus melody embody what is woefully missing on much of Dreadful Waters: character.

Dreadful Waters neither sinks nor swims. Far from awful, this record’s shortcomings stem from not doing enough to stand out from the symphonic crowd or playing exceptionally well into its tropes. Less fairweather fans of symphonic metal than I may get more out of Coronatus’ style, but detractors of the style won’t be swayed from their haterdom by it either. Coronatus snagged a real winner with “The Ship’s Cook,” though, so I don’t foresee terrible sailing for the band in their future. But for meeting the need for big strings over my metal, Dreadful Waters doesn’t do it for me.



Rating: Disappointing
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in all of its be-corset-ed miscellany. Why? Maybe I need a break from dudes singing ugly for ladies singing pretty. Maybe falling for Seven Spires justified my continued curiosity in the style.1 Maybe I’ve never been as happy as I was discovering Imaginaerum in high school. Regardless, the call brought me now to the German symphonic group Coronatus and their new record, Dreadful Waters. Led by songwriter/drummer Mats Kurth, Coronatus features three singers in mezzo sopranos Leni Eitrich and Sabine Prechtel, and “rock vocals” by Nemesis, who also contributes to songwriting along with guitarist Harry Zeidler. Rounded out with bassist Simon Gutbrod and violinist Tine Jülich, Coronatus wrote Dreadful Waters with a focus on “merging mysticism, danger and the elemental force of water.” All good words, but does Dreadful Waters bring the strings to live up to them and, more importantly, can Coronatus meet my fix for symphonic metal?

Whatever Coronatus is doing, Dreadful Waters sounds nice doing it. Oscillating between varying degrees of symphonic (“The Siren” and “Die Hexe und der Teufel”) and nautically inclined folk metals (“Southern Cross” and “A Seaman’s Yarn”), Dreadful Waters’ production and mix bring out the best in Coronatus’ instrumentation and give everything a rich openness. Guitars sound chunky and bold while taking on an auxiliary role to the violin and vocals, which are always warm and upfront. Coronatus’ mezzo sopranos bring your typical Tarja-era Nightwish operatics to “The Maelstrom” and “To the Reef!” while Nemesis’ “rock voice” means she brings a Jørn-like grizzled theatricality to her performances on “Dark Ice” and “The Ship’s Cook.” But what really stands out to me is Kurth’s drumming, which is more nuanced than the average symphonic drumming performance. The kick patterns on “Through the Brightest Blue”‘s chorus sound more like a Lamb of God drum track than Nightwish, and “To the Reef!” boasts a palpable jauntiness thanks to the percussion groove. Dreadful Waters is composed of many different pieces, so it’s nice that Coronatus got them all to sound good together.

But symphonic metal lives and dies on its vocalists, and while Coronatus’ singers are skilled musicians, their performances can feel awkward. Each vocalist often brings an almost comical level of warble to their voices, swinging tracks like “Southern Cross” and “A Seaman’s Yarn” towards the ridiculous. Nemesis in particular can overdo it, as her heavy, gravelly vibrato can at times chew the scenery. The mezzo soprano and “rock voice” stylings also sometimes stand at odds with each other, as on songs like “The Siren” and “Dark Ice,” they blend poorly and give off the impression that they weren’t in the studio at the same time. When Coroantus coalesce, like on the album highlight “The Ship’s Cook,” the result is a riveting blend of sophistication and grit that I could listen to all day, but moments like this are unfortunately rare on Dreadful Waters.

The slight vocal issues I see on Dreadful Waters may be a symptom of a larger issue on the album: the lukewarm songcraft. Coronatus’ songs mostly stick to either a slowburn or mid-paced stomp, featuring pretty folk melodies and pleasant orchestrations but little in the way of gripping hooks or powerful performances. Further, vocal melodies are usually played overly straight, throwing few unexpected turns or interesting intervals in favor of a fairly standard symphonic metal play sheet. This makes the more metal-friendly tracks like “The Maelstrom” and “The Siren” come off a bit tepid and, at Dreadful Waters’ worst, its ballads in “Southern Cross” and “Die Hexe und der Teufel” real slogs to get through. Only “The Ship’s Cook” excited me, and that’s because its power metal-adjacent vocal heroics and bouncy chorus melody embody what is woefully missing on much of Dreadful Waters: character.

Dreadful Waters neither sinks nor swims. Far from awful, this record’s shortcomings stem from not doing enough to stand out from the symphonic crowd or playing exceptionally well into its tropes. Less fairweather fans of symphonic metal than I may get more out of Coronatus’ style, but detractors of the style won’t be swayed from their haterdom by it either. Coronatus snagged a real winner with “The Ship’s Cook,” though, so I don’t foresee terrible sailing for the band in their future. But for meeting the need for big strings over my metal, Dreadful Waters doesn’t do it for me.



Rating: Disappointing
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in all of its be-corset-ed miscellany. Why? Maybe I need a break from dudes singing ugly for ladies singing pretty. Maybe falling for Seven Spires justified my continued curiosity in the style.1 Maybe I’ve never been as happy as I was discovering Imaginaerum in high school. Regardless, the call brought me now to the German symphonic group Coronatus and their new record, Dreadful Waters. Led by songwriter/drummer Mats Kurth, Coronatus features three singers in mezzo sopranos Leni Eitrich and Sabine Prechtel, and “rock vocals” by Nemesis, who also contributes to songwriting along with guitarist Harry Zeidler. Rounded out with bassist Simon Gutbrod and violinist Tine Jülich, Coronatus wrote Dreadful Waters with a focus on “merging mysticism, danger and the elemental force of water.” All good words, but does Dreadful Waters bring the strings to live up to them and, more importantly, can Coronatus meet my fix for symphonic metal?

Whatever Coronatus is doing, Dreadful Waters sounds nice doing it. Oscillating between varying degrees of symphonic (“The Siren” and “Die Hexe und der Teufel”) and nautically inclined folk metals (“Southern Cross” and “A Seaman’s Yarn”), Dreadful Waters’ production and mix bring out the best in Coronatus’ instrumentation and give everything a rich openness. Guitars sound chunky and bold while taking on an auxiliary role to the violin and vocals, which are always warm and upfront. Coronatus’ mezzo sopranos bring your typical Tarja-era Nightwish operatics to “The Maelstrom” and “To the Reef!” while Nemesis’ “rock voice” means she brings a Jørn-like grizzled theatricality to her performances on “Dark Ice” and “The Ship’s Cook.” But what really stands out to me is Kurth’s drumming, which is more nuanced than the average symphonic drumming performance. The kick patterns on “Through the Brightest Blue”‘s chorus sound more like a Lamb of God drum track than Nightwish, and “To the Reef!” boasts a palpable jauntiness thanks to the percussion groove. Dreadful Waters is composed of many different pieces, so it’s nice that Coronatus got them all to sound good together.

But symphonic metal lives and dies on its vocalists, and while Coronatus’ singers are skilled musicians, their performances can feel awkward. Each vocalist often brings an almost comical level of warble to their voices, swinging tracks like “Southern Cross” and “A Seaman’s Yarn” towards the ridiculous. Nemesis in particular can overdo it, as her heavy, gravelly vibrato can at times chew the scenery. The mezzo soprano and “rock voice” stylings also sometimes stand at odds with each other, as on songs like “The Siren” and “Dark Ice,” they blend poorly and give off the impression that they weren’t in the studio at the same time. When Coroantus coalesce, like on the album highlight “The Ship’s Cook,” the result is a riveting blend of sophistication and grit that I could listen to all day, but moments like this are unfortunately rare on Dreadful Waters.

The slight vocal issues I see on Dreadful Waters may be a symptom of a larger issue on the album: the lukewarm songcraft. Coronatus’ songs mostly stick to either a slowburn or mid-paced stomp, featuring pretty folk melodies and pleasant orchestrations but little in the way of gripping hooks or powerful performances. Further, vocal melodies are usually played overly straight, throwing few unexpected turns or interesting intervals in favor of a fairly standard symphonic metal play sheet. This makes the more metal-friendly tracks like “The Maelstrom” and “The Siren” come off a bit tepid and, at Dreadful Waters’ worst, its ballads in “Southern Cross” and “Die Hexe und der Teufel” real slogs to get through. Only “The Ship’s Cook” excited me, and that’s because its power metal-adjacent vocal heroics and bouncy chorus melody embody what is woefully missing on much of Dreadful Waters: character.

Dreadful Waters neither sinks nor swims. Far from awful, this record’s shortcomings stem from not doing enough to stand out from the symphonic crowd or playing exceptionally well into its tropes. Less fairweather fans of symphonic metal than I may get more out of Coronatus’ style, but detractors of the style won’t be swayed from their haterdom by it either. Coronatus snagged a real winner with “The Ship’s Cook,” though, so I don’t foresee terrible sailing for the band in their future. But for meeting the need for big strings over my metal, Dreadful Waters doesn’t do it for me.



Rating: Disappointing
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in all of its be-corset-ed miscellany. Why? Maybe I need a break from dudes singing ugly for ladies singing pretty. Maybe falling for Seven Spires justified my continued curiosity in the style.1 Maybe I’ve never been as happy as I was discovering Imaginaerum in high school. Regardless, the call brought me now to the German symphonic group Coronatus and their new record, Dreadful Waters. Led by songwriter/drummer Mats Kurth, Coronatus features three singers in mezzo sopranos Leni Eitrich and Sabine Prechtel, and “rock vocals” by Nemesis, who also contributes to songwriting along with guitarist Harry Zeidler. Rounded out with bassist Simon Gutbrod and violinist Tine Jülich, Coronatus wrote Dreadful Waters with a focus on “merging mysticism, danger and the elemental force of water.” All good words, but does Dreadful Waters bring the strings to live up to them and, more importantly, can Coronatus meet my fix for symphonic metal?

Whatever Coronatus is doing, Dreadful Waters sounds nice doing it. Oscillating between varying degrees of symphonic (“The Siren” and “Die Hexe und der Teufel”) and nautically inclined folk metals (“Southern Cross” and “A Seaman’s Yarn”), Dreadful Waters’ production and mix bring out the best in Coronatus’ instrumentation and give everything a rich openness. Guitars sound chunky and bold while taking on an auxiliary role to the violin and vocals, which are always warm and upfront. Coronatus’ mezzo sopranos bring your typical Tarja-era Nightwish operatics to “The Maelstrom” and “To the Reef!” while Nemesis’ “rock voice” means she brings a Jørn-like grizzled theatricality to her performances on “Dark Ice” and “The Ship’s Cook.” But what really stands out to me is Kurth’s drumming, which is more nuanced than the average symphonic drumming performance. The kick patterns on “Through the Brightest Blue”‘s chorus sound more like a Lamb of God drum track than Nightwish, and “To the Reef!” boasts a palpable jauntiness thanks to the percussion groove. Dreadful Waters is composed of many different pieces, so it’s nice that Coronatus got them all to sound good together.

But symphonic metal lives and dies on its vocalists, and while Coronatus’ singers are skilled musicians, their performances can feel awkward. Each vocalist often brings an almost comical level of warble to their voices, swinging tracks like “Southern Cross” and “A Seaman’s Yarn” towards the ridiculous. Nemesis in particular can overdo it, as her heavy, gravelly vibrato can at times chew the scenery. The mezzo soprano and “rock voice” stylings also sometimes stand at odds with each other, as on songs like “The Siren” and “Dark Ice,” they blend poorly and give off the impression that they weren’t in the studio at the same time. When Coroantus coalesce, like on the album highlight “The Ship’s Cook,” the result is a riveting blend of sophistication and grit that I could listen to all day, but moments like this are unfortunately rare on Dreadful Waters.

The slight vocal issues I see on Dreadful Waters may be a symptom of a larger issue on the album: the lukewarm songcraft. Coronatus’ songs mostly stick to either a slowburn or mid-paced stomp, featuring pretty folk melodies and pleasant orchestrations but little in the way of gripping hooks or powerful performances. Further, vocal melodies are usually played overly straight, throwing few unexpected turns or interesting intervals in favor of a fairly standard symphonic metal play sheet. This makes the more metal-friendly tracks like “The Maelstrom” and “The Siren” come off a bit tepid and, at Dreadful Waters’ worst, its ballads in “Southern Cross” and “Die Hexe und der Teufel” real slogs to get through. Only “The Ship’s Cook” excited me, and that’s because its power metal-adjacent vocal heroics and bouncy chorus melody embody what is woefully missing on much of Dreadful Waters: character.

Dreadful Waters neither sinks nor swims. Far from awful, this record’s shortcomings stem from not doing enough to stand out from the symphonic crowd or playing exceptionally well into its tropes. Less fairweather fans of symphonic metal than I may get more out of Coronatus’ style, but detractors of the style won’t be swayed from their haterdom by it either. Coronatus snagged a real winner with “The Ship’s Cook,” though, so I don’t foresee terrible sailing for the band in their future. But for meeting the need for big strings over my metal, Dreadful Waters doesn’t do it for me.



Rating: Disappointing
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026

Tågstationen i Jörn. En fin gammal träbyggnad. Som bland annat Lenin stannat till vid på sin resa genom Sverige. Det känns som att man får komma in och värma sig vid en eld när man kliver in i från vinterkylan till den lilla väntsalen.

#jörn #skellefteå #tågstation #tågstationer #tåg #västerbotten

Tågstationen i Jörn. En fin gammal träbyggnad. Som bland annat Lenin stannat till vid på sin resa genom Sverige. Det känns som att man får komma in och värma sig vid en eld när man kliver in i från vinterkylan till den lilla väntsalen.

#jörn #skellefteå #tågstation #tågstationer #tåg #västerbotten

Heathen’s Eye – Port Inspiro Review

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

Heathen’s Eye – Port Inspiro Review

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

New Artist announced for Sweden Rock Festival 2025: 🔥 Jorn 🔥

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Sweden_Rock_Festival_2025 #Jorn #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

Das ebenso monumentale Gemälde „Stalingrad“ malte #Jorn über viele Jahre und setzte sich dabei mit den Kriegserinnerungen eines Freundes und eigenen Gedanken auseinander. Ich musste dabei an Cy Twomblys Lepanto-Zyklus denken - da gab mir Lucas Haberkorn den guten Rat, die aktuelle Sonderausstellung zu Martha Jungwirth auch noch anzuschauen. Ein sehr guter Tipp!

Den monumentalen Webteppich mit dem Titel „Die lange Reise“ hat #Jorn von drei professionellen Weberinnen, Inge Bjørn, Paola Faimali und Yvette Prince anfertigen lassen. Es ist ein faszinierendes Kunstwerk.

Asger #Jorn war ein eigenwilliger, in vielen Techniken arbeitender Künstler, dem es vor allem um Zusammenarbeit und das gemeinsame Herstellen von Bedeutung ging.

Die meisten Bilder gefallen mir nicht auf den ersten Blick, aber wenn man sich auch nur ein bisschen Zeit nimmt, ziehen sie einen sofort in ein Gespräch. Hier erst mal ein paar, die ich mir auch aufhängen würde:

Asger #Jorn war ein eigenwilliger, in vielen Techniken arbeitender Künstler, dem es vor allem um Zusammenarbeit und das gemeinsame Herstellen von Bedeutung ging.

Die meisten Bilder gefallen mir nicht auf den ersten Blick, aber wenn man sich auch nur ein bisschen Zeit nimmt, ziehen sie einen sofort in ein Gespräch. Hier erst mal ein paar, die ich mir auch aufhängen würde:

Noch nirgendwo bin ich so von Kunst überrascht worden wie in Dänemark - erstmals im #Louisiana-Museum bei Kopenhagen, heute im Museum #Jorn in Silkeborg, ein luftiger Bau, der Platz für eine Dauerausstellung über Asger Jorn (ja peinlich, kannte ich nicht) und für Sonderausstellungen sowie ein sehr schönes #Museumscafé bietet. Zudem grenzt es an einen schönen Park 🧶

Noch nirgendwo bin ich so von Kunst überrascht worden wie in Dänemark - erstmals im #Louisiana-Museum bei Kopenhagen, heute im Museum #Jorn in Silkeborg, ein luftiger Bau, der Platz für eine Dauerausstellung über Asger Jorn (ja peinlich, kannte ich nicht) und für Sonderausstellungen sowie ein sehr schönes #Museumscafé bietet. Zudem grenzt es an einen schönen Park 🧶

Australia looks like selling our Jindalee over-the-horizon radar technology (JORN) to Canada, in a move that will likely upset Trump. The USA was originally going to be the customer, but Trump happened, so ...

The sale is worth $6 billion, on a roughly $1 billion investment cost, so not a bad return.

The UK might be sniffing around, too.

The news: https://youtu.be/jleRLW3LS8A

Background on the system: https://www.dst.defence.gov.au/innovation/jindalee-operational-radar-network

#Australia #Defence #Jindalee #JORN

Australia looks like selling our Jindalee over-the-horizon radar technology (JORN) to Canada, in a move that will likely upset Trump. The USA was originally going to be the customer, but Trump happened, so ...

The sale is worth $6 billion, on a roughly $1 billion investment cost, so not a bad return.

The UK might be sniffing around, too.

The news: https://youtu.be/jleRLW3LS8A

Background on the system: https://www.dst.defence.gov.au/innovation/jindalee-operational-radar-network

#Australia #Defence #Jindalee #JORN

Sen kompostikirjan laina-aika alkoi tänään ja olen jo puolivälissä. Tyyli on #journalistinen , ehkä siksi, että kirjoittaja on toimittaja. Olen oppinut, että Harri Holkerilla oli rakastajatar avioliittonsa aikana että Märta Tikkanen on ehkä ollut Jörnin kanssa sillai ja Arja Saijonmaa ihan varmasti. Lisäksi #Donner on ehdottanut joskus, että Mannerheimin patsaalle voisi laittaa pyörät, jota sitä voisi kuljetella eikä tarvitsisi sijoituspaikasta kiistellä. #kirjamastodon #jörn

Looks like I have a bunch of #newReleases on #Spotify to check out.

#MonoInc, #Delain, #InfectedMushroom, #Dio, #Jorn, #AesDana, #Brainpower, #MCLars, #AmberianDawn, #PoetsOfTheFall, #LisaGerrard, #Faderhead, #GreenDay, #MarkoHietala and #Sabaton with #Apocalyptica, make for a nice diverse lineup, so I'm sure I'll have something for various moods. :)