#napalm-records — Public Fediverse posts

Draconian is an institution. Since Where Lovers Mourn dropped 23 years ago, the Swedish death doom sextet upheld an unflappable standard of quality across seven records, marking a legendary discography matched by precious few. Everyone has their favorite out of those seven tomes, but it’s fairly uncommon to find a shared preference. This not only speaks to the diversity of Draconian’s sound despite their tried and true template, but also to the reliable nature of their compositions, capable of striking at the heart of anyone who might encounter them. I, just as susceptible to Draconian’s hooded charm, miraculously came into possession of their eighth outing, In Somnolent Ruin, albeit quite late. However, it took no time whatsoever to recognize that it was special.

As if in celebration of their reunion with original siren Lisa Johansson, Draconian amplified both the beautiful and the beastly sides of their trademark sound for In Somnolent Ruin. Heavy as Arcane Rain Fell and A Rose for the Apocalypse (“The Monochrome Blade”) and delicate as Sovran and Under a Godless Veil (“Lethe”), In Somnolent Ruin trudges inexorably through an unknowable pall with desperate fury and earnest sorrow. A dichotomy of intensity and grace embodies this hour-long funereal march, gloom and mist gently grazing the skin as the earth churns underfoot and a clouded sky thunders above. The emotions conjured through Draconian’s gothic spell, deep ripples that oscillate between tension and release in overwhelming concentrations, black out my vision and light up my synapses. This is what Draconian is known for, and what they do so well they’ve rarely done better than on In Somnolent Ruin.

Whereas Draconian routinely succeeds in songwriting across all of their records, In Somnolent Ruin blossoms primarily because of the striking performances it houses. Lisa and Anders Jacobsson shine here, each pouring every fiber of their being into their vocals (“The Monochrome Blade,” “The Face of God,” “Cold Heavens”). Anders sounds particularly venomous, his serrated growls and screaming rasps curdling my blood and melting my bones with every utterance (“I Gave You Wings”). Lisa belts like never before, showcasing a range and power I didn’t realize she possessed (“Cold Heavens”). Not to be outclassed, guitarists Johan Ericson and Niklas Nord shove thunderous riffs against each other and in concert with only the most bleeding-heart lead melodies (“I Welcome Thy Arrow,” “Misanthrope River”), creating a wonderful miasma of textures and tones that swirl with the deadly grace of smoke. Drummer Daniel Johansson and Bassist Daniel Arvidsson form a formidable rhythm section to bolster In Somnolent Ruin with great heft and shrewd patterns. Daniel Johansson in particular impresses with beats and fills that almost refuse to mimic Niklas’ riffs, instead forging his own path weaving in and out of the spaces between guitars and vocals with powerful muscularity. Working as a finely tuned machine, Draconian’s performance on In Somnolent Ruin is a rare coalescence that elevates every crest and crescendo beyond greatness.

That greatness nonetheless extends to songwriting, as In Somnolent Ruin showcases some of Draconian’s coolest pieces in their discography. With no fewer than four contenders for my Songs o’ the Year playlist (“The Monochrome Blade,” “The Face of God,” “I Gave You Wings,” “Cold Heavens”), the impact of these nine songs, both isolated from and integrated with the whole, leaves nothing but dust and rubble at my feet. Emotionally devastating, richly detailed, and imposing in stature, only one word approaches adequacy when intimating my impressions: majestic. Towering arcs that connect poignant storytelling to heartfelt expressiveness personify In Somnolent Ruin’s transition from the riff-laden challenge “I Welcome Thy Arrow” to the bitter death of “Lethe.” As I traverse that arc, marvelous transitions guide my way through twists and gnarls as beautiful in form as they are lethal to the touch. Draconian created something familiar enough to caress and comfort but surprising in its vitality and charisma, such that each fresh spin feels as compelling and impactful as the first.

I’m left astounded, alone in a clearing of brush and fog. So few discographies boast such reliable and recognizable greatness, but even fewer offer late-stage monoliths of this scale. To critique small nitpicks like the relative innocuousness of interlude “Asteria Beneath the Tranquil Sea” or the slightly less impressive “Anima” feels disingenuous—as if to do so is merely to make up for a perceived neglect of my responsibility to evaluation. Yet even accounting for this internal debate, In Somnolent Ruin is a rare triumph. A love letter to Draconian’s storied past and a celebration of their modern era, refined to staggering excellence.

Rating: Excellent!
DR: Buried Under 6 Feet of Bandwidth | Format Reviewed: Misanthrope Stream
Label: Napalm Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

With 33 songs and over two hours of music, Lord of the Lost has written an ambitious trilogy, mercifully spread across eight months rather than released all at once. On Opvs Noir, the band leans into the darker, more gothic aspects of their pop-infused metal, bringing plenty of guest collaborators aboard to keep things spicy. The first two volumes of this opvs have proven a success, with creative instrumentation and an affecting performance from frontman Chris Harms. The question is whether Lord of the Lost can keep up the momentum across another 11 tracks on Vol. 3. The finale of an ambitious project such as this can often feel bittersweet, as it marks the end of something you have (hopefully) come to love, or, like the finales to the Mission Impossible series or Daniel Craig’s James Bond run, it can just be plain disappointing.

Unlike the more energetic, sometimes ostentatious arrangements of the prior two records, Vol. 3 proves to be a much mellower affair. The gothic symphonic elements often pair with softer pop/rock tunes, many of which aim at mood over hooks. Opener “Kill the Lights” starts off with a poppy beat, some cellos, and a growling Chris Harms, and though the chorus might not stick, it’s an overall good song. The moodier pieces don’t always work, however. “The Shadows Within,” which alternates between slower pop and higher energy techno-pop, is largely forgettable. The minimalist finale, “The Days of Our Lives,” serves as a disappointing send-off for the trilogy, though Harms, as usual, makes it worthwhile with his melodic cadence. Though overall less exciting, Vol. 3 does offer plenty of catchy ballads and duets, including “La Vie Est Hell,” performed with departing Kissin’ Dynamite frontman, Hannes Braun.1 It doesn’t do anything fancy, yet I find it often playing in my head on repeat.2

Opvs Noir Vol. 3 does milk some variety out of a couple of pop-related themes coursing through it: empowerment and doomed love. The two most upbeat tunes, “I’m a Diamond” and “I Hate People,” play out as Rammstein techno-industrial pop anthems for people who don’t quite fit in with mainstream society. While “I’m a Diamond” is the catchiest song on offer, the lyrics are a touch contrived.3 “I Hate People” turns the misanthropic-sounding title on its head by directing its ire towards those who seek to force their limited ideology on others.4 Lyrically, the synth-heavy, hip-hop adjacent “My Funeral” is my favorite, containing tongue-in-cheek lyrics where Harms proclaims that “Black is my happy colour” and “I’m gonna, gonna wear / Pink to my funeral.” Rounding out the pop themes are a few love songs, from the Duran Duran-inspired synth pop track, “Square One,” complete with ’80s toms, to a touching duet with Ambre Vourvahis (Xandria). These touches do help keep a rather mild record from growing stale.

While the songs here are well-written, produced, and performed, there’s no denying that it feels as if Lord of the Lost ran out of gas by Vol. 3. The hooks just don’t come as easily, and the lower energy levels feel like a letdown compared to the highs of the first two volumes. One issue is the blandness of the guitars. While creative riffing has not been one of Lord of the Lost’s fortes, they made up for it in the past with more creative arrangements. The generic riffs that fire up on choruses from “The Shadows Within” to “Your Love is Colder Than Death” feel like halfhearted attempts to inject some life into tepid tunes. Much more effective is the penultimate song, “Take Me Far Away,” which ends with an exciting burst of drums and riffs that brings the record to life, albeit briefly.5

This finale ends up bittersweet, feeling more like a whimper than a bang. Yet for fans of Chris Harms and co., it’s not a total loss. Chris Harms is able to elevate even the blandest of tunes; there’s not a single bad song, though many are only mildly enjoyable. Unlike a lot of the dreck that some of the more popular metal bands release, however, Lord of the Lost puts a lot of thought and care into their music, and the Opvs Noir trilogy has plenty to offer those who like their metal less extreme, yet still carrying an edge.



Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: April 10th, 2026

Exodus are one of the legends of the original thrash heyday, but since kicking things off with their stone cold classic debut, Bonded by Blood, way back in 1985, they haven’t had the most consistent career or evil. Lineup changes, recording delays, directional shifts, and issues with band identity always seemed to hamstring this Bay Area collective, and when you look back on their decades in the speed biz, they don’t have many albums in the big win column. When news broke that long-time vocalist Steve “Zetro” Souza was out of the band, I was disappointed. When word came that he would be replaced by another ex-vocalist, Rob Dukes, for their 12th album Goliath, I was dismayed. I’m not the biggest Dukes fan, but hey, I still wanted to see Exodus put out another high-flying statement of extremity for the ages and the aged. After a 5-year wait, what does Goliath actually have in store for you, and will it be in your size?

In a nutshell, you get what most of you were probably expecting: a rather tepid “thrash” platter lacking in bestial excess and infernal overkill, with an even more pronounced absence of sticky hooks. Opener and early single “3111” kicks off with an ominously doomy plod before eventually exploding into a thrashing rage with Dukes sounding surprisingly spry and fierce. The classic Gary Holt riffwork is present and recognizable, but the song never pushes past standard-issue. It also lacks much in the way of memorability. “Hostis Humani Generis” feels more vital and forceful, reminding me of the band’s salad days. With slashing riffs and vocals spat out like venom, some moments even recall their mighty debut, making it an album standout (I use that term loosely here, but more on that later). Dukes is joined on “The Changing Me” by Peter Tägtgren (Hypocrisy, Pain), and at first it seems as if you might get a face-ripping speed feast, but an awkward, out-of-place alt-metal/rock chorus blows the song up, wasting a goodly amount of gleefully beefbrained riffage.

Some of the album’s most interesting bits come during the title track, where Exodus opt for a slow, grinding stomp that sounds like it fell off a sludge metal truck heading to Crowbar Meadows. The riffs are legitimately mean, and the song feels massive and weighty. Props to Dukes for his extra intense, throat-rending performance here, which is well beyond anything we’ve ever heard from him before. It’s an interesting tune, though it’s not what I want or expect from Exodus. They follow this up with the best pure thrash track on offer, “Beyond the Event Horizon,” which feels like a throwback to the Shovel Headed era. There’s enough raw aggression and meataheadedness here to win you over. Sadly, things roll back downhill after this mid-album quality spike. Both “2 Minutes Hate” and “Violence Works” feel like retread filler, and the nearly 8-minute “Summon of the God Unknown” is like an ill-conceived homage to the worst Black Sabbath albums. At 54 minutes, Goliath lives up to its name, feeling ponderous and bloated. While I appreciate that only 2 tracks cross the 6-minute mark, many still feel overstuffed somehow.

I want to be clear that Dukes isn’t the issue here. He goes above and beyond to give a gutsy, intense vocal performance that meets, and at times, exceeds what he did on 2005s Shovel Headed Kill Machine. This is one of his best performances, and he brings a level of versatility I didn’t know he possessed. Gary Holt’s riffing is vital enough at times to make you remember the glory days, but then it lapses into recycled chugs and generic thrash idioms. Some tracks have bite, but not nearly enough of them. I want to point out the surprisingly upfront and audible bass work by Jack Gibson. I don’t recall the bass ever being this in-your-face on an Exodus album, and it provides a satisfyingly low-end pop that helps the material. Ultimately, it’s the songwriting that takes this giant down for the count. There just aren’t enough cuts that feel essential or truly memorable. Half of this sounds like leftovers from the Impact is Imminient sessions, and the other half sounds like B-sides to Force of Habit. That ain’t no way to go through life, son.

As much as I wanted a killer new Exodus album, Goliath is a mixed bag of Jolly Green Giant nuts. I won’t reach for this when I want an Exodus fix, and honestly, there’s nothing here that I feel the need to poach for playlists (and that includes the “standouts”). Loath though I am to suggest it, it might be time to retire this particular pony and remember the better days. Now I need to go spin Bonded by Blood (the original version only!!).

Rating: 2.5/5.0
DR: NA | Format Reviewed: FVKKING STREAM!!
Label: Napalm
Websites: exodus.bandcamp.com/album/goliath | facebook.com/exodusattack | instagram.com/exodusbandofficial
Releases Worldwide: March 20th, 2026

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

Returning with their over-the-top, moar is moar philosophy of fun and shred, on Outstanding Power Lovebites cooks up a sugarbomb so explosive it’ll blow your teeth out your earholes. Minted in 2016, Lovebites has been slinging their brand of power metal for a decade, dropping five full-lengths over that time.1 Outstanding Power marks the band’s fifth full-length release and the first since 2023’s Judgement Day, and these women from Tokyo used the intervening three years to cast a platter that shatters any illusion of restraint. With kicks and licks galore, does Lovebites cram in too much of a good thing, or can their latest LP stand the power?

Anyone unfamiliar with Lovebites can approximate their sound as an all-female version of Galneryus,2 although Lovebites is much more than a clone of a great band. Their full-length debut Awakening from Abyss dropped in 2017, with subsequent albums Clockwork Immortality and Electric Pentagram released in 2018 and 2020, respectively. Both follow-ups impressed, but nothing quite reached the heights of their debut until fourth album Judgement Day hit shelves in 2023. Introducing new bassist Fami,3 Judgement Day honed Lovebites’ attack to a lethal edge, and with even more time spent sharpening their craft, Outstanding Power cuts deeper than ever.

Outstanding Power by Lovebites

Lovebites’ stable lineup exudes an electrifying chemistry throughout Outstanding Power. Each component of the band’s auditory milieu complements the others, whether it’s the blazing guitar tandem of Midori and Miyako, Haruna’s meticulously mechanical drumming, or Fami’s low-end purr and incredibly hooky countermelodies. Musically, Lovebites has never been this exacting. From the calculated rhythms in “Silence the Void” to the galloping rolls in “Blazing Halo,” Haruna’s drumming goads songs with an unflappable urgency that’s simultaneously composed and tempestuous. Meanwhile, Fami’s bass flexes mondo swagger that recalls Geddy Lee’s aggressive plucks and twangs (“The Castaway”) as well as Flea-bitten flourishes (the intro to “Blazing Halo”). In fact, the bass’s expanded role on Outstanding Power defines what elevates the album above the rest of Lovebites’ already first-rate output. Besides trading vicious solos and captivating riffs with fellow axe-bearer Midori, Miyako supplies the keys, channeling duel-lead, arpeggiated runs à la Children of Bodom (“The Castaway”) as nimbly as she blankets moods with Sonata Arctica-informed synth and piano (“Eternally,” “One Will Remain”). Atop it all, singer Asami coos, belts, and wails with a voice that some may find an acquired taste with her heavy use of vibrato, but is powerful and unique. Overall, the songwriting on Outstanding Power synchronizes into lock-step bombast, where each track dazzles with its own fully-fleshed identity and laser-honed melodies.

Though not without fault, Outstanding Power unequivocally claims the top spot in Lovebites’ catalog (so far). No small part of this is thanks to Fami and Haruna, who bring the rhythm section to the fore with undeniable performances that match the high-flying axe-work besieging previous releases. The biggest strike against Outstanding Power is the album’s sixty-four-minute runtime, which the sharp songwriting mitigates with infectious melodies and perfectly executed instrumentation. Even Outstanding Power’s weakest cut, seven-minute ballad “Eternally,” contains good moments despite fumbling Lovebites’ momentum down the home stretch. Add in the surprisingly spacious mix4 that gives the band ample space to pop and you’ve got yourself a bona fide power metal classic on your hands.

Power metal presents a challenge to rate, as its natural optimism and oft-cheesy tropes can be at odds with what typically engenders high scores and opinions, and makes Outstanding Power the most difficult score I’ve assessed up to this point. Throughout, Lovebites exemplifies power metal ethos, unleashing high-octane shredded cheese with a flagrant nonchalance that is shamelessly irresistible. With Outstanding Power, Lovebites not only delivers their greatest achievement so far, but the best power metal release I’ve heard in over a year. Relentless riffs, grooves, and fills assail listeners with flamboyant moxie and technical ecstasy, defining an album I haven’t been able to put down since I got my grubby mitts on the damned thing. If fun won’t kill you, give Lovebites’ opus a spin. Or maybe give it a listen anyway, because what’s life without a little Love?

Rating: Great
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 18th, 2026

Maddog

Much to her chagrin, Thus Spoke and I share many things in common. Chief among them is our anaphylactic allergy to major scales; being the two resident vegans, we struggle with cheesy music.5 While this has made power metal a difficult subgenre, Lovebites is an exception. Our coverage of this Japanese juggernaut has been scarce, but I gave 2023’s Judgement Day a tempered positive filter review. Outstanding Power has the same foundation as Lovebites’ prior work, but with a beefier rhythm section, more variety, better riffs, hookier hooks, and more cohesive songwriting. It’s a fantastic record.

Outstanding Power is textbook power metal, in the same sense that Rust in Peace is textbook thrash. The centerpiece is Asami’s vocal performance, which is appropriately over-the-top but steps back to let the instruments shine. Lovebites’ most visible weapon is their dual-guitar assault. Across theatrical leads, deathy riffs, and unrestrained solos, guitarists Midori and Miyako display a mastery of melody. Even with such stiff competition, Lovebites’ rhythm section stands out. Fami’s bass plays every part it can, with blistering riffs, playful lines that recall a young Steve Harris, and explosive additions to choruses. Haruna’s drumming is a gem, especially when her lavish fills and opening salvos help stitch the album together. Both the bass and the drums peak when their respective musicians take the songwriting reins; Fami’s collaborative composition “Blazing Halo” features irresistible dueling bass and guitar solos, while Haruna’s “Forbidden Thirst” highlights her grooviest drum work. No member of Lovebites ever fades into obscurity.

Outstanding Power holds me rapt throughout. Across their hyperactive leads, 1980s virtuoso shredfests (“One Will Remain”), and fanciful Mark Knopfler-style (Dire Straits) joyrides (“Wheels on Fire”), guitarists Midori and Miyako don’t miss a beat. Their dominance becomes clearest when they join forces. Lovebites’ harmonies recall Iron Maiden, and the guitarists’ knack for separating and rejoining makes “The Castaway” an early contender for Song o’ the Year. Asami’s vocals aren’t bulletproof, particularly in her higher register. Still, the vocals and the guitars forge an ironclad alliance that raises Outstanding Power to new heights. The guitars’ imitation of the vocal shouts on “[Grin] Reaper’s Lullaby” makes me grin every time, while the orgiastic leads that accompany the final chorus of “Out of Control” remind me of Madonna’s classic “Burning Up.” Even the ballad “Eternally” is a triumph. While its vocal melodies are memorable, “Eternally” takes a cue from Gamma Ray’s “Lake of Tears” in delegating much of the heavy lifting to the weepy guitars. These ingredients make Outstanding Power a wellspring of enormous climaxes. The guitar solos are at once emotive and explosive (“The Eve of Change”), and each song ends with pizzazz (“Silence the Void”). In short, Outstanding Power is a goddamn pleasure.

Outstanding Power is such a spectacle that I can’t even begrudge its excess. I hear Sunburst in the chugging riffs of “Blazing Halo.” I hear Riot in the downright rowdy “Silence the Void.” I hear 1980s electronica interspersed with chest-thumping power metal in “The Eve of Change.” I hear Symphony X in the vocal melodies and the atmosphere of “Forbidden Thirst.” I hear Kryptos’ heavy metal revival in the rockin’ ruffian riffs of “Out of Control.” I hear blackened melodeath in the vicious “Reaper’s Lullaby,” contrasting with the heart-rending ballad “Eternally.” Most importantly, I hear Lovebites in every moment. All five band members sustain the album’s shifts while sticking to their signature styles. With its balance of variety and continuity, Outstanding Power feels half as long as its 64-minute runtime. Due to the album’s wide emotional range, I even grew to love its more upbeat tracks. Criticizing Lovebites for sounding cheerful seems akin to criticizing Monet because you don’t like yellow water lilies; sometimes flowers are yellow, you twit! Outstanding Power tries to do a lot, and it nails every piece.

As I struggle to process this album, I’m reminded of Eldritch Elitist’s review of Imperial Circus Dead Decadence. Yes, Outstanding Power is self-indulgent; what’s your point? Lovebites paints their variegated image of power metal with five brushes and five million colors, and the result is astounding. It isn’t perfect, and the crushed master makes it harder to appreciate the album’s finer features. But Outstanding Power easily won over my shriveled heart. While major scales make me gag, these ones just feel like the crest of a wave. While I tend to balk at hour-long albums, this one goes by in a heartbeat. Power metal isn’t my usual fare, but Lovebites has created a masterwork.



Rating: 4.5/5.0

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

It is well-established at this point that Mongolia is metal as fuck. Who would have thought that a landlocked country with a population of approximately 3.5 million people would have such a significant impact on culture? From the legends surrounding Genghis Khan to the fact that major IPs like Dune and Predator are incorporating throat singing to enrich their soundscapes, Mongolia has had a lasting impact that far surpasses its relatively small footprint. While Mongolian metal isn’t storming the charts consistently, bands like The Hu have seen massive breakthrough success, with hits listened to by a fanbase that dwarfs the population of their native country. Jumping in on the train is a new band from those storied steppes, UUHAI, mixing a similar style of modern music trappings with native instruments like the horsehead fiddle and zhangu drums. With their debut album Human Herds, are they too late to the party? Or do they have just the right amount of originality to differentiate themselves from other breakthrough bands like Nine Treasures, The Hu, and Tengger Cavalry?

UUHAI sits in a space somewhere between the groovy, folksy sound of The Hu and the heavier trappings of Tengger Cavalry. The seven-piece utilizes native instrumentation but implements guitars and modern drums alongside their incredible string work and throat-singing. Human Herds plays out like a Mongolian hard rock hits playlist infused with the spirit of the steppes. UUHAI’s debut focuses on protecting sacred nature and preserving the planet. “Ancient Land” stirs imagery of yawning grasslands and imposing mountains, while “Khurai” has the rhythm of a story told around a fire that leads into an epic adventure. Human Herds is rich with the sounds and emotions of UUHAI’s native land. Juxtaposing the natural aesthetics are the warping riffs on the title track, or the infectious backing rhythm guitar on “Dracula.” The band combines these anachronistic sounds with aplomb, although Human Herds begins to sag towards the back half as UUHAI returns to draw from the same well one too many times.
Human Herds by Uuhai

UUHAI has something special when it comes to crafting Mongolian anthems, and tracks like “Human Herds,” “Dracula,” and “Uuhai” epitomize the best of what Human Herds has to offer. While the theming of the album remains strong throughout, and the quality consistent, it does little to differentiate itself from one end to the other. Songs tend to feature similar chorus stylings, prefaced by throat-singing and bolstered by incredible native instrumentation, but the same formula grows apparent across the album. The production generally captures the richness and quantity of instrumentation on display, but some of the best elements, like the backing riff on “Dracula,” are lost in the mix. “Paradise” shows up towards the end of the album and stands out in a back half that bleeds together. The track’s upbeat, poppy, and borderline saccharine sound is a fun and oddly radio-friendly experience that wouldn’t feel out of place playing in the background at a country bar.

Human Herds is hampered by its repetition, and despite the strength of UUHAI as a unit, it becomes difficult to parse out the differences between certain tracks. Alongside that, some of their sound comes dangerously close to what The Hu has already established, and can feel more like a direct copy than inspiration at the worst of times. While The Hu never quite goes as hard as UUHAI (not that either band is particularly heavy), they have varied and unique song structures in a way that Human Herds can’t contend with, making the comparison even less flattering. With such a unique sound, the genre gets crowded quickly, and bands like Nine Treasures and Tengger Cavalry present more variety, and in the latter’s case, a much heavier sound. Human Herds is cohesive if tired by the end, but it makes for wonderful ambient music, which I mean in the most positive way. While it won’t wow you from moment to moment, it accurately captures the mood and aesthetic of UUHAI’s native land in a way that is unique to them.

Human Herds is a solid debut from a promising band, and there is a lot to like here, especially for fans of hard rock and Mongolian music. While the album strains in the back half, I imagine I will still be spinning it as mood music in the weeks to come, and UUHAI’s hard rock stylings help make a space, however small, for themselves alongside similar bands. It won’t have you storming the Great Wall, but it may leave you pondering your place on Mother Earth.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: A STREAM DAMMIT
Label: Napalm Records
Websites:uuhaiband.com | instagram.com/uuhaiofficial
Releases Worldwide: January 9th, 2026

Recensie: Alter Bridge – Alter Bridge
https://writteninmusic.com/albumrecensie/alter-bridge-alter-bridge/

#Music #Metal #AlterBridge #NapalmRecords

Aephanemer – Utopie [Things You Might Have Missed 2025]

By Grin Reaper

Something about neoclassical instrumentation forged between the hammer and the anvil kindles the embers of my withered Reaper heart. Whether tasting northern comfort with Children of Bodom, basking in festering swamp songs with Kalmah, or unleashing hell with Norther, Finland has long asserted a stranglehold on melodeath of the symphonic persuasion.1 That is, until a modest French foursome threw down the gauntlet. I first encountered Aephanemer between Prokopton and A Dream of Wilderness, and it was love at first listen. Their classical flourishes seamlessly converge with aggressive riffing to develop complex layers of hook-infested earworms so inescapable that no prescription can rid me of their iron thrall. Four years after their last outing, Aephanemer returns with a mature interpretation of their signature sonic stamp.

Grabbing the reins to shepherd listeners to new frontiers of what melodic death metal can sound like, Aephanemer reemerges to show us the way to Utopie. Evolving the neoclassical components of platters past, Aephanemer fully realizes a stunning merger of melodeath and symphonic orchestrations.2 On Utopie, the band crafts an experience that sounds like it was written with classical composition as its basis rather than as a reservoir of embellishments. Earlier albums comprised songs with classical ingredients, but on Utopie, Aephanemer sculpts a singular work with movements and motifs that unfold through its fifty-one-minute runtime, giving the album a degree of unity and cohesion that is sometimes sought yet rarely achieved in modern music.

Where Utopie’s soundscape exudes consonance, its composition is structured in two halves. The front bears quicker, sticky numbers while the back embraces longer-form, sweeping arrangements. “Contrepoint” appropriately serves as the intermediary between each half, though the track itself conforms to the fore’s characteristics. “Le Cimetière Marin,” “La Règle du Jeu,” and “Par-delà le Mur des Siècles” fashion an opening trio of gluey tunes that flow harmoniously into one another, surprising me with how quickly those fifteen minutes pass every time I listen. The final triad of tracks encompass half the album’s runtime and deliver the soaring majesty of epics while maintaining momentum. Throughout, Aephanemer’s galloping rhythms, arpeggiated leads, and bubbly tom rolls (plus intermittent flute trills and orchestral strings) sustain a vital energy, providing a pervasive sense of kinesis and grandeur. Martin Hamiche’s guitar tone is buoyant and silky,3 the perfect counterpoint to Marion Bascoul’s harsh rasps. Mickaël Bonnevialle underpins Aephanemer’s bombast with flurries of fills and rolls, always in support of the overarching sound while occasionally commanding well-deserved spotlight. Even as a three-piece, the band performs as tightly as ever.

Utopie is the sound of a band with a vision so crisp and vivid that all you need to do is close your eyes to be whisked away to paradise. Aephanemer oozes jubilance and confidence, harnessing the successes of previous albums and honing them to an eager edge, sallying forth with nary a concern for detractors. In a year where melodeath claimed two of 2025’s Records o’ the Month (Aversed and In Mourning), plus saw releases from Amorphis, Buried Realm, Mors Principium Est, and Vittra, Utopie claims the top spot of the genre in my humble (but accurate) estimation. Aephanemer in 2025 best embodies the spirit and triumph of what symphonic melodeath can do, mustering a celebration of undeniable charm and panache. Go forth and embrace bliss. Go to Utopie.

Tracks to Check Out: “Le Cimetiére Marin,” “Contrepoint,” “La Rivière Souterraine,” “Utopie (Partie II)”

#2025 #aephanemer #amorphis #aversed #buriedRealm #childrenOfBodom #frenchMetal #inMourning #kalmah #melodeath #melodicDeathMetal #morsPrincipiumEst #napalmRecords #norther #symphonicMetal #thingsYouMightHaveMissed2025 #tymhm #utopie #vittra

Bloodbound – Field of Swords Review

By Baguette of Bodom

Bloodbound has always been a band with a confusing identity. These Swedes lit up a storm with debut Nosferatu in 2006, an underappreciated heavy/power gem fusing the best of Iron Maiden’s gallops with the hooks of Helloween and HammerFall. The golden pipes of Urban Breed (ex-Tad Morose) were the cherry on top. However, the curse of unstable lineups would strike. Urban Breed would leave for one album, rejoin for the odd-but-good, progpower-meets-Kalmah melodeath sound of Tabula Rasa, and promptly leave again. A decade of struggles followed, ranging from watered-down HammerFall to withered Sabaton to simply tepid heavy metal. 2021’s Creatures of the Dark Realm was a surprising resurgence, drifting Bloodbound more towards saccharine Europower. This brings us to newcomer Field of Swords. Where does it fit into this unconventional discography?

Field of Swords doubles down on Bloodbound’s recent melodic adventures. The double bass drumming of ’90s power metal is immediately recognizable, following in the steps of Stratovarius and HammerFall. The guitar work, too, has rejuvenated. Gone are almost all of the Sabatonisms that marred some of the band’s lowest points; here, the Olsson brothers’ rhythmic assault is simple but effective (“As Empires Fall,” “Born to Be King”), and its attitude carries the medieval fantasy spirit of [Luca Turilli(‘s) / Lione] Rhapsody [of Fire] minus the wank. The vocals of Patrik J. Selleby fit this style like a glove, his adapted performance being one of the strongest of his tenure thus far.

Bloodbound’s newfound breakneck pace and consistency are their greatest assets. The decision to go borderline sparkly on Field of Swords could have backfired, marking yet another sudden left turn in a discography full of them. Instead, it feels like a natural development from the past three albums. While the album on the surface is written like standard ’90s–’00s melodic power metal (“Field of Swords”), the execution of classic power chord choruses leading into blazing solos (“The Code of Warriors,” “Forged in Iron”) is surprisingly fiery and fun. Most importantly, Field of Swords forgoes balladry and prioritizes speed for a lion’s share of its 45-minute runtime. The record has a unified image unusual of Bloodbound. It’s not infallible—the unnecessary Sabaton sing-along stomp rears its head on the second half of “Pain and Glory”—but it is tightly-knit in a way I greatly appreciate.

As catchy as Field of Swords is, there are a few things preventing it from being a resounding success. For one, Bloodbound rely too much on one-note Battle Beastian disco synths. While Fredrik Bergh contributes plenty of pleasant backing bombast to the album as well, his main weapon of choice is sharp and high up in the mix, leading to fatigue on some otherwise strong choruses (“Defenders of Jerusalem,” “Light the Sky”). The band is still not immune to odd songwriting shifts either. In addition to the aforementioned “Pain and Glory” stumble, closing track “The Nine Crusades” features Unleash the Archers’ talented Brittney Slayes, only for her voice to drown under sappiness unfit for the record. Even so, the concoction here is potent. Cuts like “Land of the Brave” and “Light the Sky” are some of Bloodbound’s fastest and most energetic to date, and this sudden burst of frenzy is admirable of a veteran band.

For the first time in a while, Bloodbound’s sound has a true sense of direction. Field of Swords’ all-gas, no-brakes approach gives the record more urgency than they’ve had in forever, and both the songwriting and album flow greatly benefit in return. Despite some lingering issues, Field of Swords ends up being one of the better albums in the band’s catalog. Both Creatures of the Dark Realm and this album indicate the Europower-forward realignment continues to work in their favor. I can’t say I don’t still long for the days of Nosferatu, and Bloodbound could place a bit more faith in their strong guitar work and vocal lines, but whatever they’re doing is paying off once more. I can only hope this progress continues.

Rating: Good!
DR: N/A | Format Reviewed: Stream o’ Piss
Label: Napalm Records | Bandcamp
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 21st, 2025

#lucaTurillisLioneRhapsodyOfFire #2025 #30 #battleBeast #bloodbound #fieldOfSwords #hammerfall #helloween #ironMaiden #kalmah #napalmRecords #nov25 #powerMetal #review #reviews #sabaton #stratovarius #swedishMetal #tadMorose #unleashTheArchers

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

Tailgunner set to return with “Midnight Blitz”

British heavy metal rising force Tailgunner will release their new full-length album “Midnight Blitz” on Friday, February 6th 2026 through Napalm Records.

The album delivers ten tracks of high-voltage heavy metal, including the explosive title track, the cinematic “Tears in Rain,” and the apocalyptic “War in Heaven.” Produced by K.K. Downing with additional production by Anthony Wall, the record was mixed and mastered by Jacob Hansen. Artwork was created by DEATH.BY.VHS, with graphic design by Revolver Creative and Andreas Markaritzer, and photography by Tunde Valiszka.

Tracklisting:

1. Midnight Blitz
2. Tears in Rain
3. Follow Me in Death
4. Dead Until Dark
5. Barren Lands & Seas of Red
6. War in Heaven
7. Blood Sacrifice
8. Night Raids
9. Eye of the Storm
10. Eulogy

Album preorder and merch at Napalm Records: https://tinyurl.com/yc79hy7k

Tailgunner have also released a new music video for the title track, directed, filmed and edited by Charlie Smith at Mind Art Visual. Watch here:

https://www.youtube.com/watch?v=nnsTQq_8mR8&list=RDnnsTQq_8mR8&start_radio=1

Speaking about the album, Tailgunner state:

Whilst touring our debut album, we shared stages with members of Iron Maiden, Judas Priest and Accept. We watched, we learned, and we put it all down on tape. The aim behind Midnight Blitz was to craft an all-time album opener, like ‘Aces High,’ ‘Painkiller,’ ‘Welcome to the Jungle’ and ‘Hells Bells.’ Everyone remembers the first time you hear the opening track on an album that changes everything. The hair stands up on the back of your neck and you know from this moment onwards, nothing will ever be the same. The launch sequence on the next era of Tailgunner has been hit. ‘Masters of the skies, never call it quits. Time to do or die, we are the Midnight Blitz.

K.K. Downing adds:

Tailgunner is a band we should have seen emerge years ago from the UK. They personify everything that is heavy metal. They are loud and proud, and totally descended from everyone in metal that has gone before. Their energy and rawness, together with their brand of metal, incorporates all of the godfathers and much more. Maiden, Priest, Motörhead, Def Leppard—the list is endless. The band has a youthful freshness and a uniqueness that will no doubt elevate them to being a true metal favourite of the fans.

Photo Credits: Tailgunner

TAILGUNNER 2026 LIVE DATES

Supporting Hammerfall

January 14th – Pratteln, Switzerland – Z 7

January 15th – Lausanne, Switzerland – Docks

January 17th – Barcelona, Spain – Razzmatazz 1

January 18th – Murcia, Spain – Mamba

January 20th – Sevilla, Spain – Custom

January 21th – Lisbon, Portugal – Republica Da Musica

January 22th – Porto, Portugal – Hard Club January 23 – Madrid, Spain – La Riviera

January 24th – Villava, Spain – Totem January 26 – Milan, Italy – Alcatraz

January 30th – Porthcawl, Wales – Planet Rock Winters End

Supporting Fozzy

February 6th – Brighton, England – Chalk

February 7th – Margate, England – Dreamland

February 8th – Manchester, England – The Ritz

February 10th – Norwich, England – Epic Studios

February 11 – Bradford, England – Nightrain

February 13th – Nottingham, England – Rock City

February 14th – Glasgow, Scotland – TV Studios

February 15th – Newcastle, England – Boiler Shop

February 17th – Cardiff, England -Tramshed

February 18th – Torquay, England – The Foundry

February 19th – Southampton, England – The 1865

February 20th – London, England – Electric Ballroom

February 21st – Wolverhampton, England – KK’s Steel Mill

Summer Festivals

June 4th – Stykkishólmur, Iceland – Satán Festival,

June 6th – Sölvesborg, Sweden – Sweden Rock Festival

June 13th – Donington Park, England – Download Festival

June 26th – Spálené Poříčí, Czech Republic – Basinfire Festival

July 18th – Maidstone, England – Maid of Stone Festival

August 9th – Geiselwind, Germany – Keep it True Legions Festival

August 15th – Eindhoven, Netherlands – Dynamo Metal Festival

September 5th – Coventry, England – Hella Rock Festival

Follow Tailgunner:

Facebook: Http://www.facebook.com/tailgunnerhq

Instagram: Http://www.Instagram.com/tailgunnerhq

#BritishHeavyMetal #HeavyMetal #IronMaiden #JudasPriest #kkDowning #MidnightBlitz #napalmRecords #NewWaveOfTraditionalHeavyMetal #NWOTHM #Tailgunner #thenwothm #thenwothmCom

Delain – The Human Contradiction #CD #DelImaginarioDiscos #idDI396 #DynamoRecords #idDYN26402 #NapalmRecords #SymphonicMetal #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise #Há1ano

Stuck in the Filter: August 2025’s Angry Misses

By Kenstrosity

The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.1 The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.2 The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Luke’s Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

#2025 #Aeternus #AmericanMetal #Americana #AnOceanOvPutridStinkyVileDisgustingHell #Aug25 #Bask #BlackMetal #BlackenedDeathMetal #BurningWitches #CelestialTwilightBeyondTheCrimsonVeil #CelticFrost #Clutch #CosmicMother #CrimsonDawn #Danzig #DarkAmbient #DeathMetal #Deathhammer #DefLeppard #Defacement #Demilich #DigitalPlague #Doomed #DryDrunk #DutchMetal #EdgedCircleProductions #Emperor #Enslaved #Fellship #FinnishMetal #FrozenCrown #FuManchu #GermanMetal #GiantHaze #Glassing #Hardcore #HeavyMetal #Hellbutcher #HellsHeadbangersRecords #HotGraves #Huntsmen #Incantation #Inquisition #IronMaiden #JudasPriest #Kallias #Kraków #Kyuss #MelodicBlackMetal #Meshuggah #MoonlightSorcery #MorbidAngel #Motörhead #NapalmRecords #NorwegianMetal #OldNick #PersonalRecords #PhantomFire #Plasmodulated #PowerMetal #ProgressiveDeathMetal #RawBlackMetal #Review #Reviews #SelfRelease #SilentMillenia #Slayer #Sludge #SludgeMetal #SomaliYachtClub #SpeedMetal #StonerRock #Stormkeep #StreetSects #StuckInTheFilter #StuckInTheFilter2025 #SwissMetal #SymphonicBlackMetal #TechnicalDeathMetal #TheTurning #TonzonenRecords #Turian #Voivod #Voyager #Wharflurch

New Merch T-Shirt from #Alestorm. I love myself some #Pirate #Metal music, so much so I bought their complete CD collection from #NapalmRecords. Aaaargh Wench, fill my goblet again!

Ambush – Evil in All Dimensions Review

By Steel Druhm

Back in the Year of the Great Plague, Sweden’s Ambush ambuscaded me with Infidel, knocking my noggin with an electrified baseball bat of 80s metal nostalgia. It hit that sweet 1981-1984 classic heavy metal spot so hard, it almost created a time vortex that allowed me to bail on COVID and drink shitty beers and Tango with my ne’er-do-well teenage self. Infidel sounded like a perfect fusion of Dokken, Europe, Accept, and the early Ozzy solo stuff, and that shit sells itself to geezers like me. Album high point, “Hellbiter” is one of my favorite metal tunes of the last 10 years, and I still spin it regularly.1 I’ve been patiently waiting for the follow-up for what seems like an eternity, and now we finally get Evil in all Dimensions. Can their fourth release deliver half as much unfiltered 80s glory as its predecessor? Let’s measure these dimensions!

Ambush go for the throat on the opening title track, and it’s a glorious mash-up of 80s metal and Euro-power. It’s high-energy, speedy, and full of top-flight guitar work as Oskar Jacobsson showcases his Don Dokken-meets-Joey Tempest vocal magic in all dimensions. The chorus is weirdly addictive, and the whole thing is just pure metal excess in the vein of Manimal. It will also remind you why you like metal in the first place, and that’s just awesome. Then the really BIG stuff hits with “Maskirovka.” It’s a righteous throwback gem that sounds like Iron Maiden wrote an enormous anthem for Europe. There’s a huge dramatic gallop, manly riffs, and Jacobsson’s laser-like voice piercing through everything. It’s a song you hear once and fall in love with, and it’s on a collision course with my Song o’ the Year trophy. But wait, there’s MOAR. “Iron Sign” sounds like a long-lost cut from Cities’ stellar 1986 Annihilation Absolute opus, and the riff-work here is relentlessly awesome.2

The hits keep on coming, with “The Reaper” going so old school, it almost leaves the 80s entirely to visit the early Rainbow days for a stadium-shaking retro-raging beast you couldn’t kill with 10,000 steely knives. The guitars are so slick and tasty here, you’ll never want them to stop noodling. “Bending the Steel” brings the unstoppable riffage of early Grave Digger to the battle and shells your brain until you scream for more. Things leave on a high note with “Heavy Metal Brethren,” which is another high-octane burner purpose-built to rock your skull bones. Are there stumbles? I suppose power ballad “I Fear the Blood” is less thrilling than its peers, but it serves its purpose by changing the tempo and giving you a breather. “Come Angel of Night” is frantic fun but a touch less hook-tastic; but otherwise, I have no complaints. When the album’s 40 minutes expire, you’ll wish there was more, and with every song in the 4-5 minute window, the writing is sharp and designed to sink hooks and depart. This is what makes Ambush such a throwback pleasure. They know their game, play it hard, and flee into the night, leaving you spent, sweaty, and satisfied. That’s metal, folks.

I’m a big fan of Oskar Jacobsson’s vocals. The guy has golden pipes and that kind of crisp, clear voice you might not associate with metal, but boy does it work when backed with beefy riffs. He’s improved since Infidel, offering different deliveries and greater versatility. He owns the material completely and elevates everything to the next level. Olof Engkvist and new fretbeast Karl Dotzek do NOT fuck around, swinging for the fences with reckless and wild shredding and tight, crunchy leads that amplify each song. There’s more than a little Accept and Judas Priest worship in their heroic playing, but they borrow from many a great 80s act along the way and make sure the air guitar muscles get a real workout. They know how to conjure the spirits of the golden age of metal more than most bands, and they work their necromancy hard.

Ambush have the Kavorka, and use their animal magnetism to lure you to the slaughter.3 Evil in All Dimensions is a very worthy sequel to Infidel with several cuts that will be among the best old school things you’ll hear this year. They’re one of the most entertaining metal bands going, and it’s impossible to listen to this and not get a jolt of energy. You need this sweet molten magic in your veins, so go get yourself Ambushed.

Rating: 3.5/5.0
DR: NA | Format Reviewed: An everflowing STREAM of ass
Label: Napalm
Websites: facebook.com/ambushsweden | instagram.com/ambushsweden
Releases Worldwide: September 5th, 2024

#2025 #35 #Ambush #Dokken #Europe #EvilInAllDimensions #HeavyMetal #Infidel #JudasPriest #Manimal #NapalmRecords #Review #Reviews #Sep25 #SwedishMetal

Månegarm – Edsvuren Review

By Angry Metal Guy

Once upon a time, Månegarm was an apex predator of the blackened folk metal scene that took metal by storm (er, Storm) in the early-to-mid-2000s. For a brief moment, as Heathenfests proliferated and white guys from Wisconsin,1 fell in love with songs about Vikings and runes, the Viking metal/folk metal subgenre was the Next Big Thing, fueled by a surprisingly liquid supply of fiddles, jaw harps, gallops, and flask-swinging choruses. Yet, time wasn’t kind. Turisas ghosted us after leaving us a weird note, Finntroll got lost in the woods and returned changed, and even Thyrfing and Moonsorrow have slowed to a crawl. But Månegarm has never stopped.2 With the impending release of Edsvuren (Oathbound or Sworn), their thirteenth full-length and fifth since signing with Napalm Records, this Swedish trio stands as one of the last standard-bearers of this once-ferocious scene.

Månegarm’s arc explains how we got here. From Havets vargar (2000) to Nattväsen (2009), Månegarm was among the hardest-hitting of the folk metal vanguard. They blended black metal’s blasting intensity with violin counterpoint (and solos), and Erik Grawsiö’s gravel-throated roar. But following Nattväsen, Månegarm underwent a serious change. With the departure of their violinist and bassist, Grawsiö moved to bass, but more importantly, they emerged with a retooled sound. By 2013’s Legions of the North, Månegarm had begun shaping themselves towards something more akin to Amon Amarth’s mid-paced crunch than the blastful abandon of their black metal roots. Edsvuren continues the same trajectory, letting the flames burn low rather than trying to rekindle the blaze; content to let the embers glow.

When the wind blows right, however, Månegarm’s fire burns bright. When these Swedes go heavy, the results are still vital—some of the best metal they’ve released in years. The opening trifecta demonstrates this: “I skogfruns famn” brims with trem-picked harmonies, fiddle, and melodies and pacing that evoke Isengard or Lumsk. “Lögrinns värn” picks up the pace and builds on Amon Amarthian heft, while “En Blodvittneskrans”—one of the album’s standout tracks—crackles with surprisingly punk-inflected drumming and tremelos that transport me to Bjoergvin. On the album’s back half, we again find heavy tracks that brim with harmonic minor riffing, fantastic vocal harmonies, and creative songwriting. “Skild från hugen” stretches into a seven-minute epic, weaving gallops, fiddle, and a doomy interlude where Elinor Videfors’ smoky alto helps to elevate the song. While “Likgökens fest” follows with another blast of urgency. In these moments, Månegarm is vibrant and confident, with a powerful sound and presence.

Much of Edsvuren, however, lives in the embers. Acoustic folk tracks like “Rodhins hav,” “Till gudars följe,” and “I runor ristades orden” aren’t filler; they’re beautiful. The production places each acoustic strum and hand drum with care, and Videfors’ voice adds a crystalline, haunting quality. Ancient and evocative, these songs are built on droning harmonies and modal folk melodies. And they sound great. In listening to these, I’m reminded of Panopticon’s Laurentian Blue, folk music with fiddle and a deep melancholy.3 The problem is proportion. Nearly half the record lives in this slower, acoustic, or mid-paced heavy space. And when stacked back-to-back (“Rodhins hav” through “Hör mitt kall,” and then again in the closing pair of songs), the album sputters. At 51 minutes, Edsvuren isn’t overlong, but there are moments when the pacing lengthens the album.

The vocals provide the oxygen that keeps Edsvuren burning, showcasing some of the finest arrangements Månegarm has ever recorded. Grawsiö’s extreme vocals remain commanding, but it’s his cleans—gravelly and full,4 at times evoking throat singing—that unite Edsvuren. The interplay with the guest vocalists—Elinor Videfors, Grawsiö’s daughter Lea on “I skogfruns famn”—is well balanced. And at its best, the record gives the impression that you’re sitting around the campfire and listening to them sing. Choruses bloom into layers of voices that feel almost ritualistic—but at least communal—and are balanced expertly in the mix (“Till gudars följe”). There’s an almost Finntrollian playfulness in the vocal arrangements at times (again, “Till gudars följe”), while at other times the harmonies are clinically tight like harmonic minor Bad Religion or early Soen. Even when the riffs tread familiar ground—or the album feels like it’s slowing down too much—the vocals continually elevate compositions and keep me hooked.

Edsvuren is an album that’s easy to like, but tricky to love. But I can say with confidence that it’s my favorite Månegarm since the Napalm run began in 2013. The heavy material is vital, energetic, and it reminds me of why I fell in love with these Swedish wolves to begin with. The folk songs and feel are brittle and beautiful, and give the album character and variety. Unfortunately, the overall balance of the record leans a little too hard into mid-tempo riffs, rock feels rather than blastbeats, and acoustic folk music—resulting in pacing that makes it feel less than the sum of its Very-Good!-to-Great! parts. I enjoy the songs, I admire the craft, but taken as a whole, they leave Edsvuren a little low on bite. Edsvuren may not spark anew Månegarm’s flames, but it tends the embers—keeping them warm enough for fellowship, beer, and song.

Rating: Good!
DR: N/A | Format Reviewed: Stream5
Label: Napalm Records
Websites: linktr.ee/manegarmofficial | manegarm.bandcamp.com
Releases Worldwide: August 29th, 2025

#2025 #30 #AmonAmarth #Aug25 #BadReligion #Edsvuren #Finntroll #FolkMetal #HavetsVargar #Isengard #LaurentianBlue #Lumsk #Månegarm #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NapalmRecords #Nattväsen #Panopticon #Review #Reviews #Soen #Storm #Thyrfing #Turisas #VikingMetal

Unleashed – Fire Upon Your Lands Review

By Steel Druhm

One of the most amusing stories in metal lore is how every single member of influential Swedish death metal act Nihilist left because they didn’t want to work with Johnny Hedlund any longer. These wayward musicians then formed Entombed, leaving Hedlund to his own devices to create Unleashed and chart his own course into Swedish metal history. That course often involved tales of Viking raids and drunken toasting to the Norse Gods, beating Amon Amarth to those now well-worn tropes by some 5 years. The typical Unleashed sound is riffy, hooky, and a touch anthemic, but heavy enough to leave hammer marks. It’s been a long, strange voyage since 92, and they’ve had their share of ups and downs, but they’ve been trending in the right direction since 2012s Odalheim. It’s been almost 4 years since they dropped 2021s No Sign of Life, but here they come again with 15th album, Fire Upon Your Lands. Are the longships still seaworthy? Does the fire still burn in Eitri’s foundry? Let us test the runes.

I’ll say this for the 2025 version Unleashed: they still pack a lot of vim and vigor in their raiding kit. Opener “Left for Dead” gives no quarter, coming for your head like a rabid berserker. It’s heavy, mean, and reminds me of the extra-nasty stuff on their Where No Life Dwells debut, before they adopted the whole Viking schtick. Hedlund sounds large and pissed off, and the riffs have weight and teeth. “A Toast to the Fallen” keeps the heaviness flowing while shoehorning in lines about toasting the fallen and hailing Thor at every possible opportunity. Since I’m never opposed to hailing and toasting Thor, I have no beef, and it’s a fun, beer-swigging tune for the bold. From there, Unleashed run like an everflowing stream from one ballsy beat down to another like “War Comes Again,” with aggression and urgency balanced adroitly with nods to macho melodeath. It’s a classic Unleashed cut and hits the spot like the blood of one’s enemies. The burly, battle-hardened title track feels like it came from their Midvinterblut album, which is one of my personal favorites, so I enjoy it plenty.1

The best part about Fire Upon Your Lands is the overall consistency of the material. There’s a pornucopia of raw energy and sizzle over the album’s 38 minutes, with pretty much every song delivering body blows. Even cheese-stuffed anthem “Hold Your Hammers High” works due to sheer caveman death metal seduction. Are there issues? Well, the track “To My Only Son” is like a shameless reboot of Manowar’s classic gem “Defender,” about a warrior’s letter to his son telling him how to live proudly. Hell, they even borrow the line, “As you read these words, I want you to know…”. Since I grew up blasting “Defender” a zillion times in my formative years, my brain autofills with “…that I would have been there to watch you grow. But my call was heard, and I did go.” It’s not a bad song, but it cuts way too close to a legendary moment in metal.2 Closing cut “Unknown Flag” is a bit odd, since it seems to be about pirates and therefore conflicts with the whole Vikings ethos. It’s the weakest track here, but it isn’t a dead loss, just a touch underwhelming. With all the songs in the 2-4 minute window, things blast along at a frantic pace, their tried-and-true style sounding refreshed, reborn, and badass. It’s one of the most lively Unleashed platters, and it all hangs together well.

With the same lineup in place forever, the playing is tight, crisp, and effectively minimalist when needed, maximalist when it helps. Johnny Hedlund’s booming death vocals sound surprisingly ageless. He’s found the Fountain of Death Youth and snarls and roars like a much younger man throughout the Viking blitz. He’s always had a certain Neanderthal charm to his delivery, and it’s still present as he regales you with yarns about conquest and chronic mead abuse. Long-time axe tandem Tomas Olsson and Fredrik Folkare bring their riffy, gritty style to the field, delivering thuggy grooves, vicious leads, a touch of classic d-beatery, and interestingly fluid and melodic solo work. The riff quality is above average, and they drive the material hard. I’m especially fond of their work on “Left for Dead” and “A Toast to the Fallen,” and they bring just enough blackened rage to the party to spice up the more typical death lines.

After some 33 years in the raiding game, Unleashed don’t show their age on Fire Upon Your Lands. All the classic Unleashed trademarks are present, the writing is sharp, and the attitude is appropriately beastial and unyielding. I didn’t expect this much fire, and I’m very happy to be burned by it. Now it’s your turn to gird thy loins and push that enemy shield wall into the sea. Do it for Johnny!

Rating: 3.5/5.0
DR: NA | Format Reviewed: Damn This Goddamn STREAM to Hades!!
Label: Napalm
Websites: unleashed.se/website/index.php | facebook.com/unleashed | instagram.com/unleashed_official
Releases Worldwide: August 15th, 2025

#2025 #35 #AmonAmarth #Aug25 #DeathMetal #Entombed #FireUponYourLands #NapalmRecords #Review #Reviews #SwedishMetal #Unleashed

Lord of the Lost – Opvs Noir Vol. 1

By ClarkKent

Chris Harms has been in the music business since 1999, but it wasn’t until founding Lord of the Lost in 2007 that he seems to have found his home. I say this not because I am familiar with him or the band, but because Harms has released ten full-length albums, three orchestral albums, four live albums, and one compilation since forming Lord of the Lost. Probably Lord of the Lost’s biggest claim to fame is their participation at Eurovision in 2023, representing Germany, where they unfortunately placed last in the final round. But wait, isn’t Eurovision for pop music? Why are these guys being covered on Angry Metal Guy? Apparently, they’re metal enough to sign to Napalm Records and also have toured with KMFDM and Iron Maiden. And now with Eurovision in the rearview mirror, Lord of the Lost look to return to their darker roots with Opvs Noir Vol. 1, the first in a planned trilogy.

Lord of the Lost play Rammstein-inspired industrial metal with a gothic tinge and pop beats. Synths typically dominate the mix, but occasionally the guitars take over on heavier cuts like “Damage” and “Lords of Fyre.” What surprised me most was the variety of sounds on Opvs Noir Vol. 1, from the folk-y instruments on “Lords of Fyre” to the use of symphonics throughout. The chants, organs, and strings on cuts like “Moonstruck” evoke Fleshgod Apocalypse, and they often bring a cinematic touch, which is appropriate given the musicians’ penchant for elaborate costumes and makeup. On top of this already grandiose blending of genres is a touch of hip hop, most apparent on “Bazaar Bizarre,” where Harms semi-raps over rhythmic beats. While these descriptions might scare many of you off, this is actually a lot of fun. The songs are catchy and the mix of styles means you never know what you’ll get from track to track.

Anchoring the music is the performance of Harms, as well as the choice of collaborators throughout Opvs Noir Vol. 1. Harms has an undeniable charisma–his voice has a dark, sexy tenor that fits perfectly in either pop or heavy metal. He reminds me of Billy Idol and that dude who sings “Blue Monday.” Harms also tries on some occasional death metal growls, and while his voice isn’t as brutal as those more practiced in the style, they’re effective in the few instances he uses them. Aiding Harms is a well-curated mix of collaborators, from the obscure to the more well-known. Notably, Within Temptation performs a duet with Lord of the Lost on the slow tearjerker, “Light Can Only Shine in the Darkness,” where Sharon den Adel’s soft lilt contrasts nicely with Harms’ deeper resonance. Probably my favorite is a collaboration with cellist Tina Guo on “Ghosts,” though the catchiest chorus belongs to “Lords of Fyre,” performed with fellow Napalm-signed Germans, the power metal band Feuerschwanz. 1

Lord of the Lost make very few missteps on Opvs Noir Vol. 1. The 11-song record clocks in at a tidy 44 minutes, though it’s almost eerie how many songs come in at the 3:40 mark. While they largely play to a traditional pop structure, Lord of the Lost also succeed on the more progressively-structured “The Things We Do For Love,” which weaves from soft piano to heavy Eisbrecher-inspired riffs to hip hop to a chorus that absolutely nails it. Yet a few tracks keep this from being yet another 4.0 notch in my belt. “The Sadness in Everything” ruins a talented performance by Anna Maria Rose by having her sing a melody that sounds an awful lot like “This is Halloween” from A Nightmare Before Christmas. The finale also veers into self-parody when Harms sings “Twinkle twinkle brittle star” like a dramatic re-imagining of the classic children’s tune. These moments may be small, but they do undermine the album’s conclusion.

Opvs Noir Vol. 1 is a very good start to this planned trilogy. Don’t let the pop tag scare you away. Lord of the Lost has some quality songwriting–the performances and collaborations should be enough to interest anyone who is a fan of industrial metal, symphonic metal, or even power metal. This is yet another Napalm act, like Warkings, where the songwriting improves on older material–at least that which I’ve sampled from both bands. Yes, that material is well-polished, poppy, and catchy, but it’s a ton of fun and a welcome break from the bleakness of death and doom metal.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: August 8th, 2025

#2025 #35 #Aug25 #BillyIdol #Deathstars #Eisbrecher #Feuerschwanz #FleshgodApocalypse #GermanMetal #GlamMetal #GothicMetal #IndustrialMetal #IronMaiden #KMFDM #LordOfTheLost #NapalmRecords #OpvsNoirVol1 #Pop #PopMetal #Rammstein #Review #Reviews #Stimmgewalt #SymphonicMetal #Warkings #WithinTemptation