#limbmusic — Public Fediverse posts

Sneaking in at the end of a crowded 2025, Memories of Old released their sophomore record, Never Stop Believing, hoping to fill a Fellowship-sized hole in your heart. Last we saw them in 2020, Emya gave their debut a glowing review, praising vocalist Tommy Johansson and saying the band sounded as if they’d “been playing together for decades.” As you might say in the sports world, Emya may have jinxed them. Since releasing The Zeramin Game, three of the five band members have departed, including Johansson, and it’s taken five years to put together a follow-up. Such high turnover usually spells disaster, and it might also explain the quiet release and lack of a promo. However, both new and remaining members took Journey’s “Don’t Stop Believin'” to heart and want to remind their fans to Never Stop Believing.

It’s clear this new iteration of Memories of Old takes their inspiration from the cheerful style of Fellowship. The record just oozes positivity, from the album title to the lyrical content to the uplifting guitars and synths. Further, new vocalist Noah Simmons sounds a lot like Matthew Corry, with a higher register than your typical power metal vocalist. He just sounds so cheerful every time he sings, and these good vibes are infectious. Songs thrum with energy thanks to the galloping blast beats and the frequent, and often dynamic, solos that invigorate each tune. It’s pure bliss from start to the final track, “Journey to the Stars,” where the band takes us to a place where “angels fly through the sky.” If you’re allergic to this level of optimism, steer clear of Never Stop Believing. For the rest of you, adventure on!

Never Stop Believing by Memories Of Old

Memories of Old excel at not just the good cheer, but also the songwriting and storytelling. Anchored by its catchy chorus “Guardians of the Kingdom” displays these strengths as it methodically builds up from a slower pace to something that has you primed and pumped for battle. There’s a variety on Never Stop Believing that keeps it fresh without sacrificing the character of the band. The muscular, heavy “Memories of Old” takes a page out of the Manowar playbook with an adrenaline-fueled bass drum beat and the second catchiest chorus on the record. Meanwhile, “After the Storm” has a synth that could fit right in with a Trans-Siberian Orchestra holiday hit, followed by a chorus that mixes disco with ABBA pop beats. “Life Begins Again,” the lone ballad, begins with an intro reminiscent of a Mötley Crüe ballad before diving into the tears-of-joy weepies. Memories of Old delivers 55 minutes of symphonic power metal that’s sure to bring out the innocent, joyful child in you.1

In a year that had mid to really good cheesy power metal, with few outstanding acts, Memories of Old stands apart. The vision of the remaining founding members, Billy Jeffs and Anthony Thompson, held together during a period of immense change for the band. I imagine that these guys can put out another set of bangers with some extra time together. Maybe next time they’ll send us the promo so I don’t have to wait to stumble upon this by mistake again.2

Tracks to Check Out: “Never Stop Believing,” “Guardians of the Kingdom,” “Fly Away Together,” “After the Storm”

Christiano Filippini’s Flames of Heaven – Symphony of the Universe Review

By Twelve

Choosing new music to review is an interesting process. Once you pick a thing, you’re pretty much locked into it. So I try to forecast: what will I be okay with listening to over and over again for the next week or two? Having just reviewed Lykke, I was very much in the mood for something more upbeat, and I didn’t have to read far past the band name Christiano Filippini’s Flames of Heaven to know Symphony of the Universe fit the bill. Indeed, when I requested the files for review, Dolphin Whisperer, overheard the request. “Is that Italian power metal?” he asked. “It sounds like Italian power metal.” “I didn’t check,” I answered. “But yes.” We were right. Symphony of the Universe is Flames of Heaven’s sophomore full-length, and it is as Italian, power-y, and cheesy as you’re thinking. In that way, you and D.W. are very much alike.

On that note, I’m having trouble getting this review going because Flames of Heaven really does sound exactly like you might expect given its name, origin, and album photo. Their hallmark: fast, bombastic power metal in the Rhapsody of Fire vein, augmented with keys and arrangements (from Filippini himself), but largely focusing on symphonic/power riffs (Michele Vioni) and high-tenor vocals (Marco Pastorino, Fallen Sanctuary). After a brief orchestral intro track, “On the Wings of Phoenix” sets the stage expertly: the main melody carried by lead guitars in perfect emulation of the impressively catchy chorus, the whole a dedication to adventure, rebirth, and hope. “The Archangel’s Warcry” puts keys at the forefront, creating an epic feel while also boasting one of the most impressive guitar solos on the album. Again, we hear it: a catchy chorus, an upbeat style, a sense of venturing that gets the head nodding even hours later. This is Flames of Heaven’s style, and they’re comfortable in it.

Not that there’s no variety on Symphony of the Universe, though it is a bit sparser than I’d personally prefer. There are straightforward European-style power metal tracks like “Midnight Riders” and “On the Wings of Phoenix,” epics like “The Archangels’ Warcry” and “Symphony of the Universe,” and then traditionally-inspired songs like “Don’t Leave Me Tonight”—the requisite power ballad—and “Tears of Love and Hate.” These songs dial back on the epic fantasy imagery and tread even more familiar roads—love, heartbreak, relationships. The music style similarly changes, dialing back the speed and “power” for a more trad-metal sound (though they do give bassist Giorgio Terenziani a somewhat-rare chance to shine, which is welcome). “When Love Burns” even reminds me of Brother Firetribe, which is not something I say often.

That means there’s a lot going on in Symphony of the Universe. The whole album runs sixty-nine minutes over thirteen tracks, two of which are instrumental bookends. It shifts styles often, though the base formula stays firmly in the “cheesy” Euro-power style. This means it’s a lot to listen to all at once, and I would even suggest that every song could have at least one minute trimmed from it without negatively impacting its quality, and no song over seven minutes needs to be longer than five, especially in “Darkside of Gemini” and “On the Wings of Phoenix.” The number of false stops, “one last chorus” instances, and lengthy interludes add up; I honestly think Symphony of the Universe could be twenty to thirty minutes shorter and better for it, because there wouldn’t be time for ear fatigue to build up. Whether by removing stylistically-clashing songs like “Tears of Love and Hate” (especially jarring, as it follows the monumental “The Archangel’s Warcry”), or cutting down on excess choruses and add-ons at the end of long songs, it seems Flames of Heaven could have edited a lot more of this project than they have.

My feelings for Symphony of the Universe are conflicted: it’s a genuinely fun, catchy album and a reliable, if predictable, sample of modern European power metal. I got the power metal pick-me-up I was hunting for, but there’s simply too much of it—and so much relies on an industry-standard formula. As a whole, Symphony of the Universe splinters under its enormous weight. There’s a great album in here, but the whole feels less than the sum of its parts.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Limb Music
Websites: flamesofheaven.bandcamp.com | facebook.com/cristianofilippinisflamesofheaven
Releases Worldwide: November 14th, 2025

#25 #2025 #brotherFiretribe #christianoFilippinisFlamesOfHeaven #fallenSanctuary #italianMetal #limbMusic #nov25 #powerMetal #review #reviews #rhapsodyOfFire #symphonicMetal #symphonyOfTheUniverse

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose