#metalchurch — Public Fediverse posts

https://www.europesays.com/at/132931/ Metal Church: „Damit hatte ich nicht gerechnet.“ #AT #Austria #DaveMustaine #DEADTORIGHTS #Entertainment #GeoffTate #KurdtVanderhoof #MetalChurch #Music #Musik #Österreich #Queensryche #RickVanZandt #Savatage #Unterhaltung

New & Noteworthy is back with another stacked week of releases from April 10:

From Immolation and Metal Church to a collaboration between Melvins and Napalm Death, there’s plenty to dig into.

Check out the latest releases and an updated April playlist: https://metalinsider.net/columns/new-noteworthy-columns/new-noteworthy-releases-to-rights-4-10-2026

#NewAndNoteworthy #Metal #NewMusic #Immolation #MetalChurch #NapalmDeath #Melvins

New & Noteworthy is back with another stacked week of releases from April 10:

From Immolation and Metal Church to a collaboration between Melvins and Napalm Death, there’s plenty to dig into.

Check out the latest releases and an updated April playlist: https://metalinsider.net/columns/new-noteworthy-columns/new-noteworthy-releases-to-rights-4-10-2026

#NewAndNoteworthy #Metal #NewMusic #Immolation #MetalChurch #NapalmDeath #Melvins

Metal Church – Dead to Rights Review

I felt a lot of dread about this album. As a huge fan of the classic eras of…
#NewsBeep #News #Music #3.0 #AmericanMetal #CA #Canada #CongregationofAnnihilation #DeadtoRights #Entertainment #HeavyMetal #MetalChurch #RatPakRecords #review #reviews #ThrashMetal
https://www.newsbeep.com/ca/596116/

https://www.europesays.com/at/95155/ Die Metal-Alben der Woche vom 10.04. mit Long Distance Calling, Vomitory u.a. #Alben #AT #Austria #Entertainment #LongDistanceCalling #LordOfTheLost #MetalChurch #Music #Musik #Neuerscheinungen #Österreich #Releases #Unterhaltung #Veröffentlichungen #Vomitory

I felt a lot of dread about this album. As a huge fan of the classic eras of Metal Church, my Steely sense warned me this was going to be an epic dumpster fire, and I didn’t want to see a beloved band hit the rocks (again). After the tragic passing of on and off vocalist Mike Howe following 2018s Damned if You Do, things looked mighty precarious at the Church camp. They eventually got Marc Lopes from Ross the Boss to step in for 2023’s Congregation of Annihilation, but that effort didn’t work too well. Lopes was streeted rather unceremoniously thereafter, and Metal Church announced the addition of Megadeth’s long-running bassist David Ellefson, new frontman Brian Allen (ex- Vicious Rumors, ex-Dark Sky Choir), and ex-Flotsam and Jetsam drummer Ken Mary for 14th album Dead to Rights. The internal drama and major lineup shuffles were red flags, and when the early singles felt underwhelming on cursory listens, I couldn’t help but suspect the best days for the band had already disappeared in the rearview mirror for good.1 I dreaded handing a beloved band another bad review, but felt like that particular train was heading my way. After a few days with Dead to Rights, however, I feel very differently. It won’t elbow any of the classic albums out of the way, but it’s a surprisingly solid and consistently entertaining platter that sounds like the Metal Church I knew and loved. Here’s to happy surprises.

I heard opener “Brainwash Game” several months back as a lead single and didn’t care for it much. Upon hearing it again in the context of the album, however, I found it much more satisfying. It’s simple and thrashy with beefy riffage, and some of the vocal layering reminds me of the Mike Howe glory days, even though Brian Allen is closer to David Wayne in delivery. Allen does a good job finding that fragile sweet spot where aggressive vocalizing doesn’t lapse into Screechville. The chorus works well enough, and there’s some nifty soloing to boot. The title track is a burly, rowdy bandit with Allen laying down manic vocals over biting riffs that keep you invested and headbanging along. The chorus is pure 80s Metal Church, and this one could have been a bonus track on The Dark, which is a good thing indeed. “Deep Cover Shakedown” keeps the momentum going with more riff thunder and a memorable chorus. The guitar phrasing over the chorus is especially effective.

As Dead to Rights rolls along, Metal Church sound as if they’re in a better place, with the writing tighter and much more interesting than last time. They revive their once-prominent penchant for fusing hard rock elements into metal on “Feet to the Fire,” and it works well. They loop in a mellow prog element at the midpoint of the otherwise hard-edged burner “The Show,” and that too pays dividends. “No Memory” is just a badass tune with a seething energy, and one of my favorites here. When Allen intones “Pain has no memory,” it cuts deep. Are there less successful tracks? “F.A.F.O” is a rudimentary thrasher with more balls than brains, but it isn’t really bad. Aside from that, the album holds up surprisingly well with good and very good cuts all over the landscape.

I suspect that the addition of Dave Ellefson helped elevate the overall writing quality this time out. The man’s a very well-seasoned vet, and Megadeth’s best days came when MegaDave had the other Dave to write with. Kurdt Vanderhoof and Rick van Zandt step up to churn out a ton of aggressive, hooky riffs here, where these felt in shorter supply on the last few albums. Brian Allen does a good job vocally, bringing a David Wayne energy to the table without overdoing things and becoming irritating like Marc Lopes did last time.2 It’s like fate put the right people together at the right time to make a successful Metal Church again, against all odds.

Dead to Rights is a good and at times very good album from a band that really needed a win at this point in their decades-long career. It sounds close enough to their classic era to make older fans happy, and it shows these olde dogs can still churn out an album’s worth of quality material when the stars align. Now they just need to hold this lineup together at all costs. Don’t wander off, Dave! The Church needs your support.



Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rat Pak Records
Websites: metalchurchofficial.com | facebook.com/officialmetalchurch | instagram.com/metalchurchofficial
Releases Worldwide: April 10th, 2026

I felt a lot of dread about this album. As a huge fan of the classic eras of Metal Church, my Steely sense warned me this was going to be an epic dumpster fire, and I didn’t want to see a beloved band hit the rocks (again). After the tragic passing of on and off vocalist Mike Howe following 2018s Damned if You Do, things looked mighty precarious at the Church camp. They eventually got Marc Lopes from Ross the Boss to step in for 2023’s Congregation of Annihilation, but that effort didn’t work too well. Lopes was streeted rather unceremoniously thereafter, and Metal Church announced the addition of Megadeth’s long-running bassist David Ellefson, new frontman Brian Allen (ex- Vicious Rumors, ex-Dark Sky Choir), and ex-Flotsam and Jetsam drummer Ken Mary for 14th album Dead to Rights. The internal drama and major lineup shuffles were red flags, and when the early singles felt underwhelming on cursory listens, I couldn’t help but suspect the best days for the band had already disappeared in the rearview mirror for good.1 I dreaded handing a beloved band another bad review, but felt like that particular train was heading my way. After a few days with Dead to Rights, however, I feel very differently. It won’t elbow any of the classic albums out of the way, but it’s a surprisingly solid and consistently entertaining platter that sounds like the Metal Church I knew and loved. Here’s to happy surprises.

I heard opener “Brainwash Game” several months back as a lead single and didn’t care for it much. Upon hearing it again in the context of the album, however, I found it much more satisfying. It’s simple and thrashy with beefy riffage, and some of the vocal layering reminds me of the Mike Howe glory days, even though Brian Allen is closer to David Wayne in delivery. Allen does a good job finding that fragile sweet spot where aggressive vocalizing doesn’t lapse into Screechville. The chorus works well enough, and there’s some nifty soloing to boot. The title track is a burly, rowdy bandit with Allen laying down manic vocals over biting riffs that keep you invested and headbanging along. The chorus is pure 80s Metal Church, and this one could have been a bonus track on The Dark, which is a good thing indeed. “Deep Cover Shakedown” keeps the momentum going with more riff thunder and a memorable chorus. The guitar phrasing over the chorus is especially effective.

As Dead to Rights rolls along, Metal Church sound as if they’re in a better place, with the writing tighter and much more interesting than last time. They revive their once-prominent penchant for fusing hard rock elements into metal on “Feet to the Fire,” and it works well. They loop in a mellow prog element at the midpoint of the otherwise hard-edged burner “The Show,” and that too pays dividends. “No Memory” is just a badass tune with a seething energy, and one of my favorites here. When Allen intones “Pain has no memory,” it cuts deep. Are there less successful tracks? “F.A.F.O” is a rudimentary thrasher with more balls than brains, but it isn’t really bad. Aside from that, the album holds up surprisingly well with good and very good cuts all over the landscape.

I suspect that the addition of Dave Ellefson helped elevate the overall writing quality this time out. The man’s a very well-seasoned vet, and Megadeth’s best days came when MegaDave had the other Dave to write with. Kurdt Vanderhoof and Rick van Zandt step up to churn out a ton of aggressive, hooky riffs here, where these felt in shorter supply on the last few albums. Brian Allen does a good job vocally, bringing a David Wayne energy to the table without overdoing things and becoming irritating like Marc Lopes did last time.2 It’s like fate put the right people together at the right time to make a successful Metal Church again, against all odds.

Dead to Rights is a good and at times very good album from a band that really needed a win at this point in their decades-long career. It sounds close enough to their classic era to make older fans happy, and it shows these olde dogs can still churn out an album’s worth of quality material when the stars align. Now they just need to hold this lineup together at all costs. Don’t wander off, Dave! The Church needs your support.



Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rat Pak Records
Websites: metalchurchofficial.com | facebook.com/officialmetalchurch | instagram.com/metalchurchofficial
Releases Worldwide: April 10th, 2026

I felt a lot of dread about this album. As a huge fan of the classic eras of Metal Church, my Steely sense warned me this was going to be an epic dumpster fire, and I didn’t want to see a beloved band hit the rocks (again). After the tragic passing of on and off vocalist Mike Howe following 2018s Damned if You Do, things looked mighty precarious at the Church camp. They eventually got Marc Lopes from Ross the Boss to step in for 2023’s Congregation of Annihilation, but that effort didn’t work too well. Lopes was streeted rather unceremoniously thereafter, and Metal Church announced the addition of Megadeth’s long-running bassist David Ellefson, new frontman Brian Allen (ex- Vicious Rumors, ex-Dark Sky Choir), and ex-Flotsam and Jetsam drummer Ken Mary for 14th album Dead to Rights. The internal drama and major lineup shuffles were red flags, and when the early singles felt underwhelming on cursory listens, I couldn’t help but suspect the best days for the band had already disappeared in the rearview mirror for good.1 I dreaded handing a beloved band another bad review, but felt like that particular train was heading my way. After a few days with Dead to Rights, however, I feel very differently. It won’t elbow any of the classic albums out of the way, but it’s a surprisingly solid and consistently entertaining platter that sounds like the Metal Church I knew and loved. Here’s to happy surprises.

I heard opener “Brainwash Game” several months back as a lead single and didn’t care for it much. Upon hearing it again in the context of the album, however, I found it much more satisfying. It’s simple and thrashy with beefy riffage, and some of the vocal layering reminds me of the Mike Howe glory days, even though Brian Allen is closer to David Wayne in delivery. Allen does a good job finding that fragile sweet spot where aggressive vocalizing doesn’t lapse into Screechville. The chorus works well enough, and there’s some nifty soloing to boot. The title track is a burly, rowdy bandit with Allen laying down manic vocals over biting riffs that keep you invested and headbanging along. The chorus is pure 80s Metal Church, and this one could have been a bonus track on The Dark, which is a good thing indeed. “Deep Cover Shakedown” keeps the momentum going with more riff thunder and a memorable chorus. The guitar phrasing over the chorus is especially effective.

As Dead to Rights rolls along, Metal Church sound as if they’re in a better place, with the writing tighter and much more interesting than last time. They revive their once-prominent penchant for fusing hard rock elements into metal on “Feet to the Fire,” and it works well. They loop in a mellow prog element at the midpoint of the otherwise hard-edged burner “The Show,” and that too pays dividends. “No Memory” is just a badass tune with a seething energy, and one of my favorites here. When Allen intones “Pain has no memory,” it cuts deep. Are there less successful tracks? “F.A.F.O” is a rudimentary thrasher with more balls than brains, but it isn’t really bad. Aside from that, the album holds up surprisingly well with good and very good cuts all over the landscape.

I suspect that the addition of Dave Ellefson helped elevate the overall writing quality this time out. The man’s a very well-seasoned vet, and Megadeth’s best days came when MegaDave had the other Dave to write with. Kurdt Vanderhoof and Rick van Zandt step up to churn out a ton of aggressive, hooky riffs here, where these felt in shorter supply on the last few albums. Brian Allen does a good job vocally, bringing a David Wayne energy to the table without overdoing things and becoming irritating like Marc Lopes did last time.2 It’s like fate put the right people together at the right time to make a successful Metal Church again, against all odds.

Dead to Rights is a good and at times very good album from a band that really needed a win at this point in their decades-long career. It sounds close enough to their classic era to make older fans happy, and it shows these olde dogs can still churn out an album’s worth of quality material when the stars align. Now they just need to hold this lineup together at all costs. Don’t wander off, Dave! The Church needs your support.



Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rat Pak Records
Websites: metalchurchofficial.com | facebook.com/officialmetalchurch | instagram.com/metalchurchofficial
Releases Worldwide: April 10th, 2026

I felt a lot of dread about this album. As a huge fan of the classic eras of Metal Church, my Steely sense warned me this was going to be an epic dumpster fire, and I didn’t want to see a beloved band hit the rocks (again). After the tragic passing of on and off vocalist Mike Howe following 2018s Damned if You Do, things looked mighty precarious at the Church camp. They eventually got Marc Lopes from Ross the Boss to step in for 2023’s Congregation of Annihilation, but that effort didn’t work too well. Lopes was streeted rather unceremoniously thereafter, and Metal Church announced the addition of Megadeth’s long-running bassist David Ellefson, new frontman Brian Allen (ex- Vicious Rumors, ex-Dark Sky Choir), and ex-Flotsam and Jetsam drummer Ken Mary for 14th album Dead to Rights. The internal drama and major lineup shuffles were red flags, and when the early singles felt underwhelming on cursory listens, I couldn’t help but suspect the best days for the band had already disappeared in the rearview mirror for good.1 I dreaded handing a beloved band another bad review, but felt like that particular train was heading my way. After a few days with Dead to Rights, however, I feel very differently. It won’t elbow any of the classic albums out of the way, but it’s a surprisingly solid and consistently entertaining platter that sounds like the Metal Church I knew and loved. Here’s to happy surprises.

I heard opener “Brainwash Game” several months back as a lead single and didn’t care for it much. Upon hearing it again in the context of the album, however, I found it much more satisfying. It’s simple and thrashy with beefy riffage, and some of the vocal layering reminds me of the Mike Howe glory days, even though Brian Allen is closer to David Wayne in delivery. Allen does a good job finding that fragile sweet spot where aggressive vocalizing doesn’t lapse into Screechville. The chorus works well enough, and there’s some nifty soloing to boot. The title track is a burly, rowdy bandit with Allen laying down manic vocals over biting riffs that keep you invested and headbanging along. The chorus is pure 80s Metal Church, and this one could have been a bonus track on The Dark, which is a good thing indeed. “Deep Cover Shakedown” keeps the momentum going with more riff thunder and a memorable chorus. The guitar phrasing over the chorus is especially effective.

As Dead to Rights rolls along, Metal Church sound as if they’re in a better place, with the writing tighter and much more interesting than last time. They revive their once-prominent penchant for fusing hard rock elements into metal on “Feet to the Fire,” and it works well. They loop in a mellow prog element at the midpoint of the otherwise hard-edged burner “The Show,” and that too pays dividends. “No Memory” is just a badass tune with a seething energy, and one of my favorites here. When Allen intones “Pain has no memory,” it cuts deep. Are there less successful tracks? “F.A.F.O” is a rudimentary thrasher with more balls than brains, but it isn’t really bad. Aside from that, the album holds up surprisingly well with good and very good cuts all over the landscape.

I suspect that the addition of Dave Ellefson helped elevate the overall writing quality this time out. The man’s a very well-seasoned vet, and Megadeth’s best days came when MegaDave had the other Dave to write with. Kurdt Vanderhoof and Rick van Zandt step up to churn out a ton of aggressive, hooky riffs here, where these felt in shorter supply on the last few albums. Brian Allen does a good job vocally, bringing a David Wayne energy to the table without overdoing things and becoming irritating like Marc Lopes did last time.2 It’s like fate put the right people together at the right time to make a successful Metal Church again, against all odds.

Dead to Rights is a good and at times very good album from a band that really needed a win at this point in their decades-long career. It sounds close enough to their classic era to make older fans happy, and it shows these olde dogs can still churn out an album’s worth of quality material when the stars align. Now they just need to hold this lineup together at all costs. Don’t wander off, Dave! The Church needs your support.



Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rat Pak Records
Websites: metalchurchofficial.com | facebook.com/officialmetalchurch | instagram.com/metalchurchofficial
Releases Worldwide: April 10th, 2026

I felt a lot of dread about this album. As a huge fan of the classic eras of Metal Church, my Steely sense warned me this was going to be an epic dumpster fire, and I didn’t want to see a beloved band hit the rocks (again). After the tragic passing of on and off vocalist Mike Howe following 2018s Damned if You Do, things looked mighty precarious at the Church camp. They eventually got Marc Lopes from Ross the Boss to step in for 2023’s Congregation of Annihilation, but that effort didn’t work too well. Lopes was streeted rather unceremoniously thereafter, and Metal Church announced the addition of Megadeth’s long-running bassist David Ellefson, new frontman Brian Allen (ex- Vicious Rumors, ex-Dark Sky Choir), and ex-Flotsam and Jetsam drummer Ken Mary for 14th album Dead to Rights. The internal drama and major lineup shuffles were red flags, and when the early singles felt underwhelming on cursory listens, I couldn’t help but suspect the best days for the band had already disappeared in the rearview mirror for good.1 I dreaded handing a beloved band another bad review, but felt like that particular train was heading my way. After a few days with Dead to Rights, however, I feel very differently. It won’t elbow any of the classic albums out of the way, but it’s a surprisingly solid and consistently entertaining platter that sounds like the Metal Church I knew and loved. Here’s to happy surprises.

I heard opener “Brainwash Game” several months back as a lead single and didn’t care for it much. Upon hearing it again in the context of the album, however, I found it much more satisfying. It’s simple and thrashy with beefy riffage, and some of the vocal layering reminds me of the Mike Howe glory days, even though Brian Allen is closer to David Wayne in delivery. Allen does a good job finding that fragile sweet spot where aggressive vocalizing doesn’t lapse into Screechville. The chorus works well enough, and there’s some nifty soloing to boot. The title track is a burly, rowdy bandit with Allen laying down manic vocals over biting riffs that keep you invested and headbanging along. The chorus is pure 80s Metal Church, and this one could have been a bonus track on The Dark, which is a good thing indeed. “Deep Cover Shakedown” keeps the momentum going with more riff thunder and a memorable chorus. The guitar phrasing over the chorus is especially effective.

As Dead to Rights rolls along, Metal Church sound as if they’re in a better place, with the writing tighter and much more interesting than last time. They revive their once-prominent penchant for fusing hard rock elements into metal on “Feet to the Fire,” and it works well. They loop in a mellow prog element at the midpoint of the otherwise hard-edged burner “The Show,” and that too pays dividends. “No Memory” is just a badass tune with a seething energy, and one of my favorites here. When Allen intones “Pain has no memory,” it cuts deep. Are there less successful tracks? “F.A.F.O” is a rudimentary thrasher with more balls than brains, but it isn’t really bad. Aside from that, the album holds up surprisingly well with good and very good cuts all over the landscape.

I suspect that the addition of Dave Ellefson helped elevate the overall writing quality this time out. The man’s a very well-seasoned vet, and Megadeth’s best days came when MegaDave had the other Dave to write with. Kurdt Vanderhoof and Rick van Zandt step up to churn out a ton of aggressive, hooky riffs here, where these felt in shorter supply on the last few albums. Brian Allen does a good job vocally, bringing a David Wayne energy to the table without overdoing things and becoming irritating like Marc Lopes did last time.2 It’s like fate put the right people together at the right time to make a successful Metal Church again, against all odds.

Dead to Rights is a good and at times very good album from a band that really needed a win at this point in their decades-long career. It sounds close enough to their classic era to make older fans happy, and it shows these olde dogs can still churn out an album’s worth of quality material when the stars align. Now they just need to hold this lineup together at all costs. Don’t wander off, Dave! The Church needs your support.



Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Rat Pak Records
Websites: metalchurchofficial.com | facebook.com/officialmetalchurch | instagram.com/metalchurchofficial
Releases Worldwide: April 10th, 2026

Tänään vahingossa löydettyä: Metal Church on edelleen hengissä ja tekee uutta musiikkia 😳

Olen MC:n tuntenut lähinnä -91-vuoden The Human Factor levystä josta kyllä tykkäsin mutta en sitten näköjään niin paljoa että olisi bändin tekemisiä muuten tullut seurattua. Tänä vuonna näkyy olevan uusi levy tulemassa ja pari maistiaisbiisiä kuulostaa ihan kelpo rässiltä. Innostuiskohan tästä tsekkaamaan jotain muutakin tuotantoa 😅

#musadontti #metalli #metalchurch

Formed in Bologna, Italy, HyperioN has been kicking around since 2015. When they visited these halls in 2017, Eldritch Elitist called their debut, Dangerous Days, “the strongest 3.0 possible,” citing its ability to “effortlessly [inject] elements of trash and power metal into the proceedings” and its “significant room for future growth.” HyperioN returns now in 2026 with their third full-length,1 Cybergenesis, a concept album chronicling an interdimensional war, humanity’s enslavement, and their eventual rebellion and liberation. Although still a five-piece, HyperioN sports an entirely new lineup save for founding guitarist Davide Cotti. Can this massive injection of fresh blood catapult these space-age heavy metallers to the greater heights Eldritch Elitist saw in the band?

New blood or not, HyperioN has a vision for their sound and proudly stays the course. Like previous efforts, Cybergenesis is heavily inspired by the likes of Metal Church and Judas Priest. But thematically rooted in sci-fi territory, HyperioN establishes the futuristic, dystopian backdrop of Cybergenesis’ narrative in much the same fashion that Blaze Bayley did on Silicon Messiah. A neoclassical opening gives way to a “Deafening” detonation of traditional heavy metal, soaring and gritty vocals, and Mozartian fills. HyperioN maintains this momentum with sticky choruses (“Yet We Still Fight,” “Blood over Chrome”), courtesy of new vocalist Max Morelli, and the strong axe work of Cotti and newcomer Francis Dipasquale (“Rewire, Rebuild,” “The Shackles of Chronitus,” “Rhizome Rider”). The potential Eldritch Elitist saw is brutally obvious when the band comes together to exceed their mathematical sum. Moments like the ends of “Grain of Sand”—where a squealing guitar lead cranks up the intensity of the final chorus—and “The Shackles of Chronitus”—where the solo extends to usher Morelli back to center stage—are particularly well done.

Cybergenesis by HyperioN

From a songwriting perspective, Cybergenesis is largely on par with previous efforts—aside from the baffling spoken word intro on “The Whole of Time”—but it’s not executed as well. Morelli is a fairly good vocalist, but he is much different than HyperioN’s previous vocalist and can’t reach the clean, clear highs of Dangerous Days. Rather than find ways to highlight the registers where he does excel, Morelli struggles to mimic previous efforts and seems shoved into too rigid a box. Bassist Simone Cauli employs a tone notably rougher than before. It’s got a retro sound that feels at odds with the futuristic subject matter of Cybergenesis. Where the bass was velvety on Dangerous Days, it’s much grittier or more textured here. Similar to HyperioN’s debut, drummer Francesco Madonna puts in a serviceable but largely unremarkable performance.

Structurally, Cybergenesis isn’t breaking any new ground. Most songs fall in the 4-5 minute range and follow a standard verse-chorus-verse-chorus pattern. No risks are taken here, and this is a fundamentally safe album. This isn’t a criticism per se—HyperioN’s ability to competently utilize well-established constructions is certainly impressive—but it does hold Cybergenesis back from being greater. To its credit, it’s a pretty lean record, clocking in at just under 40 minutes. The music moves along at a good pace, and there’s no real bloat to be found here. But especially in the back half, Cybergenesis can get repetitive as its lack of originality becomes more apparent, which somewhat counteracts the album’s good pacing and brisk runtime.

HyperioN boasts some great guitar work, especially in solos and hooks and such, but I struggled to find much else on Cybergenesis that stood out. I see the same opportunity for growth that Eldritch Elitist did on their debut, but this feels like a step back. It’s marred by a vocal performance that struggles to match the music and a general lack of novel material. Nonetheless, Cybergenesis is solid meat-and-potatoes fare. It’s good background music and playlist filler, but it’s nothing to write home about. You won’t find any new metal converts worshipping at the altar of Cybergenesis, but for those who dig trad/heavy metal muchly, HyperioN’s newest offering should be plenty filling.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: Jan 15th, 2026

https://www.europesays.com/es/248559/ Single de STRYPER. Vuelven METAL CHURCH con single y nueva formación. Vídeo de CLAWFINGER. #CLAWFINGER #Entertainment #Entretenimiento #ES #España #METALCHURCH #Music #Música #Spain #STRYPER

Review: HyperioN – “Cybergenesis”

Release date: January 15th, 2026

Label: Fighter Records

Pablo Rumel

Cybergenesis marks a new chapter for HyperioN—a rebirth within traditional heavy metal that fuses the legacy of bands like Metal Church, Queensrÿche, and Judas Priest with a modern, progressive energy. After several lineup changes, guitarist and main composer Davide Cotti leads this return with a tighter sound, sharp riffs, and refined production that solidifies the band’s identity. With the addition of vocalist Max Morelli, the album stands as a work of maturity and renewal, preserving the classic essence while propelling HyperioN into the future.

Review

Deafening: A neoclassical lick in high notes and a spiraling, fast riff open the first movement of Cybergenesis. Quick shifts between galloping rhythms and power chords create an energetic track, with slow, emotional sections midway through. The guitar solo weaves with the rhythm guitar, building harmonies and opening a dynamic palette of colors that expand with every listen.

Max Morelli’s voice isn’t that of a virtuoso, but he hits the high notes well and delivers the narratively charged, theatrical parts with clarity. His tone leans closer to the heavy prog of the eighties than to the operatic techniques of nineties power metal.

It’s on Rewire, Rebuild where Morelli’s strength truly shines. He handles falsettos and sustains notes with a steady vibrato, adding rougher, raspier refrains, moving far more comfortably in mid and aggressive registers than in excessively high ones.

As for percussion, we’re dealing with a drummer who knows how to handle rhythmic changes, pounding the snare with force in the most intense parts, giving space to the lead guitars through clever snare work, never overplaying fills or crashing cymbals.

The neoclassical solos and shifting structures bring progressive versatility, breaking monotony with every turn and riff. If you listen closely to Yet We Still Fight, you’ll hear its progressive opening before it downshifts into traditional heavy metal, adding timeless power chords and bursts of rapid single-string picking, layered choirs full of grandeur, and a powerful close between verses, with a thunderous snare and stellar artificial harmonics. One of the album’s highlights.

The Shackles of Chronitus is the classic slow, heavy track, perfect for lowering the pace and entering a darker, more powerful realm. Yet, it must be said, the vocal reverb is too high, which hurts the final mix. It doesn’t sound bad, but the voice borders on saturation, and while it doesn’t drown the guitars, its brightness breaks the balance that worked so well in the other songs.

https://www.youtube.com/watch?v=U57MUq5Bf8A

Until the fifth track, Blood Over Chrome, the bass lines were barely audible, something corrected here with an intro led by sharp, bright, pick-driven bass. It takes the lead in rhythmic sections, with quick scales and greater presence in the composition. The song takes a classic heavy metal route, with tight rhythmic sections, razor-edged twin guitars trading rapid runs, and Simone Cauli’s bass at the forefront. The closing with stadium-style choruses gives it the epic vibe the track demands.

Grain of Sand shows HyperioN fully owning their style. A fast riff spirals and twists through chromatic breaks, heading straight into solo guitars and another furious charge: all within thirty seconds. The vocal phrasing, as noted, is raw and not technically extravagant, yet it bursts with force and grit, especially in the chorus and atmospheric clean-guitar parts.

We reach Rhizoma Rider, what a title! With a pure metal intro crafted in progressive fashion, it develops into a mid-tempo song, thick and pounding, recalling Judas Priest’s Ripper Owens era and much of Grave Digger’s raw energy. What The Shackles of Chronitus aimed for is achieved here. The percussion hits like a hammer, the twin guitars attack in unison, supported by strong bass lines, and everything sounds at full power, on a professional level. This track is the gem for fans of heavier metal… Listen to that palm-muted section in the final third! Classic as a leather jacket, as effective and simple as a hammer striking an anvil.

The journey ends with the ultra-epic The Whole of Time. As a closing piece, it’s clear the band gives everything here: a cybernetic voice intro, memorable choirs backed by synths, martial-like percussion, and a mid-tempo rhythm that narrates the story in pure heavy metal form. It’s a dramatic song with guitar-hero solos and an excellent finale.

Conclusion

We’ve focused on the musical aspects of the album, but attention must also be paid to its concept, to the narrative unfolding between songs. Of course, the music takes precedence, since a song can hold a poem or a novel within it, but if the music fails, nothing else matters. That’s not the case here. Music and concept, from the artwork onward, move as one. The album runs close to forty minutes, which is always a good sign.

TheNwothm Score: 8.5/10

Links

Bandcamp:https://hyperionbandheavy.bandcamp.com/

Facebook: https://www.facebook.com/hyperionbandheavy

Instagram:https://www.instagram.com/hyperionband

Label:https://www.fighter-records.com/

Read More Reviews

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

• Review: Ninth Circle – “Anthem of the Immortal”

  12th Nov 2025

• Review: Bergfried “Romantik III”

  9th Nov 2025

• Review: Creatures – “Creatures II”

  8th Nov 2025

#FighterRecords #HeavyMetal #italian #ItalianHeavyMetal #JudasPriest #metalChurch #NewAlbum #NWOTHM

Hirax – Faster than Death Review

By Dr. A.N. Grier

When Hirax’s newest record dropped, I thought, “These guys are still around?” That’s not me being a dick. They haven’t released a new album since 2014. I suppose that’s on par with the band considering they’ve been on and off since 1984—this year’s Faster than Death only being their sixth full-length release. With vocalist Katon W. de Pena being the only remaining original member of the band, it appears that once a record is complete, that lineup leaves, and the wait begins for a new one to pen another release. The same can be said for Faster than Death. Not only do we see a new lineup to support de Pena but a dedicated roster for live events. This is a shame because I feel the success of 2014’s Immortal Legacy was due to the crew’s performances and songwriting abilities. Because, believe it or not, Immortal Legacy is one of the band’s strongest releases. But Faster than Death proves that once Hirax gets onto something, they revert to their past and mess it up.

Case in point, this new record returns to the band’s days of yore where you can’t tell if a release is an EP or LP. Unlike the thirty-eight-minute Immortal Legacy—which provided plenty of breathing room to explore a riff or idea—Faster than Death lives up to its name with a nearly twenty-two-minute runtime. Not that I’m quite in a place to discover if I can die in that time, but I do know that my morning coffee shits take longer than it takes to listen to this record. With songs one to two minutes in length, even Hirax’s traditional speed-meets-thrash-meets-borderline-hardcore style struggles to provide a memorable and meaningful track. They were better at it in the olde days with Raging Violence and Hate, Fear and Power,1 but those who feel Hirax made a significant impact on the Bay Area scene are kidding themselves. That said, what they worked so hard for on Immortal Legacy is gone on Faster than Death.

“Drill into the Brain” kicks the album off with a standard Hirax thrash lick and de Pena’s classic cleaner vocal style that brings to mind the Anthraxes and Metal Churches of the scene. But it’s nothing more than a simple chorus and blistering solo in a one-minute expanse. So, naturally, I’m worried. Thankfully, there are some stellar tracks on Faster than Death, specifically “Drowned Bodies,” “Psychiatric Ward,” and “Revenant.” The first is a chugtastic piece with an Anthraxy riff and vocal performance. As the riff changes occur and the nifty blastbeats build the back half of the song back to Chugger Town, the band finds that raw intensity that makes their better songs so good. “Psychiatric Ward” is similar in approach but for all my disappointments with these shorter track lengths, it delivers the goods and brings some hefty shit to it’s mere minute-and-a-half runtime. “Revenant” is the longest track on the record and the most unique. Displaying some slick fretboard work and a sinister, eerie atmosphere, the track is the album’s pleasing black sheep—specifically when it ventures into Testament-like territories and the massive build to the end.

But that’s about all I can return to without getting annoyed. The opener flies by so fast that you can’t get a grip on what’s going on, “Armageddon” is forgettable, the title track is boring, and, while the closing “Worlds End” has its moments, the vocals feel uninspired and I’m already done with the album because of the closer’s predecessor. Why do you ask? Because it’s a re-recording of their 1985 classic, “Warlord’s Command.” The album is only nine tracks long. Did they really run out of ideas that require re-recording a song like “Warlord’s Command?” I have no idea but all it does here is disrupt the flow, cripple the closer—all for a heavier version of a track that few remember.2

Outside the handful of songs that I enjoy, the only redeeming quality of Faster than Death is that it’s short and dynamic as fook. If it were rawer, the master’s openness would make it feel like it came from the ’80s. But that feeling doesn’t last long because Faster than Death is pretty one-dimensional. While their older material and even Immortal Legacy displayed some original guitar, bass, and drum work, Faster than Death is centered predominately on chugging trash riffs. It works with some of the stronger tracks, but others become predictable and begin to blend. I wanted to like this new release because the previous one felt like a step in the right direction. But now we are pulled back down the rungs, and I’m too tired to climb the latter again.

Rating: 2.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Armageddon Label | Bandcamp
Websites: hirax.bandcamp.com | facebook.com/hiraxthrashmetal
Releases Worldwide: February 28th, 2025

#20 #2025 #AmericanMetal #Anthrax #ArmageddonLabel #FasterThanDeath #Feb25 #Hirax #MetalChurch #Review #Reviews #SpeedMetal #Testament #ThrashMetal

Hirax – Faster than Death Review

By Dr. A.N. Grier

When Hirax’s newest record dropped, I thought, “These guys are still around?” That’s not me being a dick. They haven’t released a new album since 2014. I suppose that’s on par with the band considering they’ve been on and off since 1984—this year’s Faster than Death only being their sixth full-length release. With vocalist Katon W. de Pena being the only remaining original member of the band, it appears that once a record is complete, that lineup leaves, and the wait begins for a new one to pen another release. The same can be said for Faster than Death. Not only do we see a new lineup to support de Pena but a dedicated roster for live events. This is a shame because I feel the success of 2014’s Immortal Legacy was due to the crew’s performances and songwriting abilities. Because, believe it or not, Immortal Legacy is one of the band’s strongest releases. But Faster than Death proves that once Hirax gets onto something, they revert to their past and mess it up.

Case in point, this new record returns to the band’s days of yore where you can’t tell if a release is an EP or LP. Unlike the thirty-eight-minute Immortal Legacy—which provided plenty of breathing room to explore a riff or idea—Faster than Death lives up to its name with a nearly twenty-two-minute runtime. Not that I’m quite in a place to discover if I can die in that time, but I do know that my morning coffee shits take longer than it takes to listen to this record. With songs one to two minutes in length, even Hirax’s traditional speed-meets-thrash-meets-borderline-hardcore style struggles to provide a memorable and meaningful track. They were better at it in the olde days with Raging Violence and Hate, Fear and Power,1 but those who feel Hirax made a significant impact on the Bay Area scene are kidding themselves. That said, what they worked so hard for on Immortal Legacy is gone on Faster than Death.

“Drill into the Brain” kicks the album off with a standard Hirax thrash lick and de Pena’s classic cleaner vocal style that brings to mind the Anthraxes and Metal Churches of the scene. But it’s nothing more than a simple chorus and blistering solo in a one-minute expanse. So, naturally, I’m worried. Thankfully, there are some stellar tracks on Faster than Death, specifically “Drowned Bodies,” “Psychiatric Ward,” and “Revenant.” The first is a chugtastic piece with an Anthraxy riff and vocal performance. As the riff changes occur and the nifty blastbeats build the back half of the song back to Chugger Town, the band finds that raw intensity that makes their better songs so good. “Psychiatric Ward” is similar in approach but for all my disappointments with these shorter track lengths, it delivers the goods and brings some hefty shit to it’s mere minute-and-a-half runtime. “Revenant” is the longest track on the record and the most unique. Displaying some slick fretboard work and a sinister, eerie atmosphere, the track is the album’s pleasing black sheep—specifically when it ventures into Testament-like territories and the massive build to the end.

But that’s about all I can return to without getting annoyed. The opener flies by so fast that you can’t get a grip on what’s going on, “Armageddon” is forgettable, the title track is boring, and, while the closing “Worlds End” has its moments, the vocals feel uninspired and I’m already done with the album because of the closer’s predecessor. Why do you ask? Because it’s a re-recording of their 1985 classic, “Warlord’s Command.” The album is only nine tracks long. Did they really run out of ideas that require re-recording a song like “Warlord’s Command?” I have no idea but all it does here is disrupt the flow, cripple the closer—all for a heavier version of a track that few remember.2

Outside the handful of songs that I enjoy, the only redeeming quality of Faster than Death is that it’s short and dynamic as fook. If it were rawer, the master’s openness would make it feel like it came from the ’80s. But that feeling doesn’t last long because Faster than Death is pretty one-dimensional. While their older material and even Immortal Legacy displayed some original guitar, bass, and drum work, Faster than Death is centered predominately on chugging trash riffs. It works with some of the stronger tracks, but others become predictable and begin to blend. I wanted to like this new release because the previous one felt like a step in the right direction. But now we are pulled back down the rungs, and I’m too tired to climb the latter again.

Rating: 2.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Armageddon Label | Bandcamp
Websites: hirax.bandcamp.com | facebook.com/hiraxthrashmetal
Releases Worldwide: February 28th, 2025

#20 #2025 #AmericanMetal #Anthrax #ArmageddonLabel #FasterThanDeath #Feb25 #Hirax #MetalChurch #Review #Reviews #SpeedMetal #Testament #ThrashMetal

Hirax – Faster than Death Review

By Dr. A.N. Grier

When Hirax’s newest record dropped, I thought, “These guys are still around?” That’s not me being a dick. They haven’t released a new album since 2014. I suppose that’s on par with the band considering they’ve been on and off since 1984—this year’s Faster than Death only being their sixth full-length release. With vocalist Katon W. de Pena being the only remaining original member of the band, it appears that once a record is complete, that lineup leaves, and the wait begins for a new one to pen another release. The same can be said for Faster than Death. Not only do we see a new lineup to support de Pena but a dedicated roster for live events. This is a shame because I feel the success of 2014’s Immortal Legacy was due to the crew’s performances and songwriting abilities. Because, believe it or not, Immortal Legacy is one of the band’s strongest releases. But Faster than Death proves that once Hirax gets onto something, they revert to their past and mess it up.

Case in point, this new record returns to the band’s days of yore where you can’t tell if a release is an EP or LP. Unlike the thirty-eight-minute Immortal Legacy—which provided plenty of breathing room to explore a riff or idea—Faster than Death lives up to its name with a nearly twenty-two-minute runtime. Not that I’m quite in a place to discover if I can die in that time, but I do know that my morning coffee shits take longer than it takes to listen to this record. With songs one to two minutes in length, even Hirax’s traditional speed-meets-thrash-meets-borderline-hardcore style struggles to provide a memorable and meaningful track. They were better at it in the olde days with Raging Violence and Hate, Fear and Power,1 but those who feel Hirax made a significant impact on the Bay Area scene are kidding themselves. That said, what they worked so hard for on Immortal Legacy is gone on Faster than Death.

“Drill into the Brain” kicks the album off with a standard Hirax thrash lick and de Pena’s classic cleaner vocal style that brings to mind the Anthraxes and Metal Churches of the scene. But it’s nothing more than a simple chorus and blistering solo in a one-minute expanse. So, naturally, I’m worried. Thankfully, there are some stellar tracks on Faster than Death, specifically “Drowned Bodies,” “Psychiatric Ward,” and “Revenant.” The first is a chugtastic piece with an Anthraxy riff and vocal performance. As the riff changes occur and the nifty blastbeats build the back half of the song back to Chugger Town, the band finds that raw intensity that makes their better songs so good. “Psychiatric Ward” is similar in approach but for all my disappointments with these shorter track lengths, it delivers the goods and brings some hefty shit to it’s mere minute-and-a-half runtime. “Revenant” is the longest track on the record and the most unique. Displaying some slick fretboard work and a sinister, eerie atmosphere, the track is the album’s pleasing black sheep—specifically when it ventures into Testament-like territories and the massive build to the end.

But that’s about all I can return to without getting annoyed. The opener flies by so fast that you can’t get a grip on what’s going on, “Armageddon” is forgettable, the title track is boring, and, while the closing “Worlds End” has its moments, the vocals feel uninspired and I’m already done with the album because of the closer’s predecessor. Why do you ask? Because it’s a re-recording of their 1985 classic, “Warlord’s Command.” The album is only nine tracks long. Did they really run out of ideas that require re-recording a song like “Warlord’s Command?” I have no idea but all it does here is disrupt the flow, cripple the closer—all for a heavier version of a track that few remember.2

Outside the handful of songs that I enjoy, the only redeeming quality of Faster than Death is that it’s short and dynamic as fook. If it were rawer, the master’s openness would make it feel like it came from the ’80s. But that feeling doesn’t last long because Faster than Death is pretty one-dimensional. While their older material and even Immortal Legacy displayed some original guitar, bass, and drum work, Faster than Death is centered predominately on chugging trash riffs. It works with some of the stronger tracks, but others become predictable and begin to blend. I wanted to like this new release because the previous one felt like a step in the right direction. But now we are pulled back down the rungs, and I’m too tired to climb the latter again.

Rating: 2.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Armageddon Label | Bandcamp
Websites: hirax.bandcamp.com | facebook.com/hiraxthrashmetal
Releases Worldwide: February 28th, 2025

#20 #2025 #AmericanMetal #Anthrax #ArmageddonLabel #FasterThanDeath #Feb25 #Hirax #MetalChurch #Review #Reviews #SpeedMetal #Testament #ThrashMetal

Hirax – Faster than Death Review

By Dr. A.N. Grier

When Hirax’s newest record dropped, I thought, “These guys are still around?” That’s not me being a dick. They haven’t released a new album since 2014. I suppose that’s on par with the band considering they’ve been on and off since 1984—this year’s Faster than Death only being their sixth full-length release. With vocalist Katon W. de Pena being the only remaining original member of the band, it appears that once a record is complete, that lineup leaves, and the wait begins for a new one to pen another release. The same can be said for Faster than Death. Not only do we see a new lineup to support de Pena but a dedicated roster for live events. This is a shame because I feel the success of 2014’s Immortal Legacy was due to the crew’s performances and songwriting abilities. Because, believe it or not, Immortal Legacy is one of the band’s strongest releases. But Faster than Death proves that once Hirax gets onto something, they revert to their past and mess it up.

Case in point, this new record returns to the band’s days of yore where you can’t tell if a release is an EP or LP. Unlike the thirty-eight-minute Immortal Legacy—which provided plenty of breathing room to explore a riff or idea—Faster than Death lives up to its name with a nearly twenty-two-minute runtime. Not that I’m quite in a place to discover if I can die in that time, but I do know that my morning coffee shits take longer than it takes to listen to this record. With songs one to two minutes in length, even Hirax’s traditional speed-meets-thrash-meets-borderline-hardcore style struggles to provide a memorable and meaningful track. They were better at it in the olde days with Raging Violence and Hate, Fear and Power,1 but those who feel Hirax made a significant impact on the Bay Area scene are kidding themselves. That said, what they worked so hard for on Immortal Legacy is gone on Faster than Death.

“Drill into the Brain” kicks the album off with a standard Hirax thrash lick and de Pena’s classic cleaner vocal style that brings to mind the Anthraxes and Metal Churches of the scene. But it’s nothing more than a simple chorus and blistering solo in a one-minute expanse. So, naturally, I’m worried. Thankfully, there are some stellar tracks on Faster than Death, specifically “Drowned Bodies,” “Psychiatric Ward,” and “Revenant.” The first is a chugtastic piece with an Anthraxy riff and vocal performance. As the riff changes occur and the nifty blastbeats build the back half of the song back to Chugger Town, the band finds that raw intensity that makes their better songs so good. “Psychiatric Ward” is similar in approach but for all my disappointments with these shorter track lengths, it delivers the goods and brings some hefty shit to it’s mere minute-and-a-half runtime. “Revenant” is the longest track on the record and the most unique. Displaying some slick fretboard work and a sinister, eerie atmosphere, the track is the album’s pleasing black sheep—specifically when it ventures into Testament-like territories and the massive build to the end.

But that’s about all I can return to without getting annoyed. The opener flies by so fast that you can’t get a grip on what’s going on, “Armageddon” is forgettable, the title track is boring, and, while the closing “Worlds End” has its moments, the vocals feel uninspired and I’m already done with the album because of the closer’s predecessor. Why do you ask? Because it’s a re-recording of their 1985 classic, “Warlord’s Command.” The album is only nine tracks long. Did they really run out of ideas that require re-recording a song like “Warlord’s Command?” I have no idea but all it does here is disrupt the flow, cripple the closer—all for a heavier version of a track that few remember.2

Outside the handful of songs that I enjoy, the only redeeming quality of Faster than Death is that it’s short and dynamic as fook. If it were rawer, the master’s openness would make it feel like it came from the ’80s. But that feeling doesn’t last long because Faster than Death is pretty one-dimensional. While their older material and even Immortal Legacy displayed some original guitar, bass, and drum work, Faster than Death is centered predominately on chugging trash riffs. It works with some of the stronger tracks, but others become predictable and begin to blend. I wanted to like this new release because the previous one felt like a step in the right direction. But now we are pulled back down the rungs, and I’m too tired to climb the latter again.

Rating: 2.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Armageddon Label | Bandcamp
Websites: hirax.bandcamp.com | facebook.com/hiraxthrashmetal
Releases Worldwide: February 28th, 2025

#20 #2025 #AmericanMetal #Anthrax #ArmageddonLabel #FasterThanDeath #Feb25 #Hirax #MetalChurch #Review #Reviews #SpeedMetal #Testament #ThrashMetal

#TheMetalDogArticleList
#BraveWords
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RIOT V Singer TODD MICHAEL HALL To Release Off The Rails Album In October; Produced By METAL CHURCH’s KURDT VANDERHOOF

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Today In Metal History 🤘 July 26th, 2024🤘METAL CHURCH, THE ROLLING STONES, EXTREME, ZZ TOP, FATES WARNING, NEVERMORE
TALENT WE LOST R.I.P. Mike Howe (METAL CHURCH, HERETIC): August 21, 1965 – July 26, 2021 (aged 55)

https://bravewords.com/news/today-in-metal-history-july-26th-2024metal-church-the-rolling-stones-extreme-zz-top-fates-warning-nevermore

#MetalChurch #TheRollingStones #Extreme #ZZTop #FatesWarning #Nevermore #MikeHowe #MickJagger #RogerMeddowsTaylor #GaryFrancisCaineCherone #AndyTimmons #ErikNorlander

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#BraveWords
Today In Metal History 🤘 July 26th, 2024🤘METAL CHURCH, THE ROLLING STONES, EXTREME, ZZ TOP, FATES WARNING, NEVERMORE
TALENT WE LOST R.I.P. Mike Howe (METAL CHURCH, HERETIC): August 21, 1965 – July 26, 2021 (aged 55)

https://bravewords.com/news/today-in-metal-history-july-26th-2024metal-church-the-rolling-stones-extreme-zz-top-fates-warning-nevermore

#MetalChurch #TheRollingStones #Extreme #ZZTop #FatesWarning #Nevermore #MikeHowe #MickJagger #RogerMeddowsTaylor #GaryFrancisCaineCherone #AndyTimmons #ErikNorlander

#NowPlaying #TheMetalDogIsNowPlaying
#MetalChurch
The Dark
Ton of Bricks

YouTube Search:
https://youtube.com/results?search_query=Metal+Church+The+Dark+Ton+of+Bricks

Songwhip:
https://songwhip.com/Metal-Church/Ton-of-Bricks

Lyrics:
https://genius.com/Metal-church-ton-of-bricks-lyrics

LastFM:
https://www.last.fm/music/Metal+Church/_/Ton+of+Bricks

#heavymetal #thrashmetal #metal #Powermetal #USPowerMetal

#NowPlaying #TheMetalDogIsNowPlaying
#MetalChurch
The Dark
Ton of Bricks

YouTube Search:
https://youtube.com/results?search_query=Metal+Church+The+Dark+Ton+of+Bricks

Songwhip:
https://songwhip.com/Metal-Church/Ton-of-Bricks

Lyrics:
https://genius.com/Metal-church-ton-of-bricks-lyrics

LastFM:
https://www.last.fm/music/Metal+Church/_/Ton+of+Bricks

#heavymetal #thrashmetal #metal #Powermetal #USPowerMetal

#NowPlaying #TheMetalDogIsNowPlaying
#MetalChurch
The Dark
Ton of Bricks

YouTube Search:
https://youtube.com/results?search_query=Metal+Church+The+Dark+Ton+of+Bricks

Songwhip:
https://songwhip.com/Metal-Church/Ton-of-Bricks

Lyrics:
https://genius.com/Metal-church-ton-of-bricks-lyrics

LastFM:
https://www.last.fm/music/Metal+Church/_/Ton+of+Bricks

#heavymetal #thrashmetal #metal #Powermetal #USPowerMetal

#NowPlaying #TheMetalDogIsNowPlaying
#MetalChurch
The Dark
Ton of Bricks

YouTube Search:
https://youtube.com/results?search_query=Metal+Church+The+Dark+Ton+of+Bricks

Songwhip:
https://songwhip.com/Metal-Church/Ton-of-Bricks

Lyrics:
https://genius.com/Metal-church-ton-of-bricks-lyrics

LastFM:
https://www.last.fm/music/Metal+Church/_/Ton+of+Bricks

#heavymetal #thrashmetal #metal #Powermetal #USPowerMetal

#NowPlaying #TheMetalDogIsNowPlaying
#MetalChurch
The Dark
Ton of Bricks

YouTube Search:
https://youtube.com/results?search_query=Metal+Church+The+Dark+Ton+of+Bricks

Songwhip:
https://songwhip.com/Metal-Church/Ton-of-Bricks

Lyrics:
https://genius.com/Metal-church-ton-of-bricks-lyrics

LastFM:
https://www.last.fm/music/Metal+Church/_/Ton+of+Bricks

#heavymetal #thrashmetal #metal #Powermetal #USPowerMetal

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 28th, 2023🤘METAL CHURCH, SATYRICON, ROBERT PLANT, AC/DC, GRAVE, OZZY OSBOURNE

https://bravewords.com/news/today-in-metal-history-june-28th-2023metal-church-satyricon-robert-plant-ac-dc-grave-ozzy-osbourne

#MetalChurch #Satyricon #RobertPlant #ACDC #Grave #OzzyOsbourne #KISS #BillyIdol #Lordi #JonLord #KimMitchell #Stryper #Queensryche #OzzysOsbourne #Kyuss #Widowmaker #Throwdown #Sodom #SevereTorture #Agathodaimon #Darkane #Sirenai #Impiety #Manegarm #Beastwars #BloodyHammers #CroMags #GenerationAxe #HeIsLegend #Majesty

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 28th, 2023🤘METAL CHURCH, SATYRICON, ROBERT PLANT, AC/DC, GRAVE, OZZY OSBOURNE

https://bravewords.com/news/today-in-metal-history-june-28th-2023metal-church-satyricon-robert-plant-ac-dc-grave-ozzy-osbourne

#MetalChurch #Satyricon #RobertPlant #ACDC #Grave #OzzyOsbourne #KISS #BillyIdol #Lordi #JonLord #KimMitchell #Stryper #Queensryche #OzzysOsbourne #Kyuss #Widowmaker #Throwdown #Sodom #SevereTorture #Agathodaimon #Darkane #Sirenai #Impiety #Manegarm #Beastwars #BloodyHammers #CroMags #GenerationAxe #HeIsLegend #Majesty

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 28th, 2023🤘METAL CHURCH, SATYRICON, ROBERT PLANT, AC/DC, GRAVE, OZZY OSBOURNE

https://bravewords.com/news/today-in-metal-history-june-28th-2023metal-church-satyricon-robert-plant-ac-dc-grave-ozzy-osbourne

#MetalChurch #Satyricon #RobertPlant #ACDC #Grave #OzzyOsbourne #KISS #BillyIdol #Lordi #JonLord #KimMitchell #Stryper #Queensryche #OzzysOsbourne #Kyuss #Widowmaker #Throwdown #Sodom #SevereTorture #Agathodaimon #Darkane #Sirenai #Impiety #Manegarm #Beastwars #BloodyHammers #CroMags #GenerationAxe #HeIsLegend #Majesty

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 28th, 2023🤘METAL CHURCH, SATYRICON, ROBERT PLANT, AC/DC, GRAVE, OZZY OSBOURNE

https://bravewords.com/news/today-in-metal-history-june-28th-2023metal-church-satyricon-robert-plant-ac-dc-grave-ozzy-osbourne

#MetalChurch #Satyricon #RobertPlant #ACDC #Grave #OzzyOsbourne #KISS #BillyIdol #Lordi #JonLord #KimMitchell #Stryper #Queensryche #OzzysOsbourne #Kyuss #Widowmaker #Throwdown #Sodom #SevereTorture #Agathodaimon #Darkane #Sirenai #Impiety #Manegarm #Beastwars #BloodyHammers #CroMags #GenerationAxe #HeIsLegend #Majesty

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 June 28th, 2023🤘METAL CHURCH, SATYRICON, ROBERT PLANT, AC/DC, GRAVE, OZZY OSBOURNE

https://bravewords.com/news/today-in-metal-history-june-28th-2023metal-church-satyricon-robert-plant-ac-dc-grave-ozzy-osbourne

#MetalChurch #Satyricon #RobertPlant #ACDC #Grave #OzzyOsbourne #KISS #BillyIdol #Lordi #JonLord #KimMitchell #Stryper #Queensryche #OzzysOsbourne #Kyuss #Widowmaker #Throwdown #Sodom #SevereTorture #Agathodaimon #Darkane #Sirenai #Impiety #Manegarm #Beastwars #BloodyHammers #CroMags #GenerationAxe #HeIsLegend #Majesty

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 May 26th, 2024 🤘 EUROPE, THE BEATLES, KINGDOM COME, IHSAHN, DANZIG, METAL CHURCH
HEAVY BIRTHDAYS 76th Stephanie “Stevie” Lynn Nicks - 1948 47th Birthday Mark Hunter (CHIMAIRA) - 1977 Heavy Releases 57th THE BEATLES’ Sgt. Pepper's Lonely Hearts Club Band - 1967 46th DAVID GILMOUR’s David Gilmour - 1978 38th Birthday EUROPE's The Final...
https://bravewords.com/news/today-in-metal-history-may-26th-2024-europe-the-beatles-kingdom-come-ihsahn-danzig-metal-church

#StevieNicks #MarkHunter #TheBeatles #KingdomCome #Ihsahn #MetalChurch

#TheMetalDogArticleList
#BLABBERMOUTH
METAL CHURCH Guitarist KURDT VANDERHOOF's HALL AFLAME Releases Music Video For '1974'

https://blabbermouth.net/news/metal-church-guitarist-kurdt-vanderhoofs-hall-aflame-releases-music-video-for-1974

#HallAflame #KurdtVanderhoof #MetalChurch