#napalmrecords — Public Fediverse posts

Kamelot Announces Dark Asylum Europe Part II Tour with Cyhra for March 2027Ghost Cult Magazine

Symphonic metal legends Kamelot announce the Dark Asylum Europe Pa…
#Europe #EU #Cyhra #DarkAsylum #DarkAsylumEuropePartII #Epica #Europeantour #IgnaciaFernández #JacobHansen #JohanNunez #Kamelot #Karma #March2027 #NapalmRecords #OliverPalotai #PowerMetal #progressivemetal #SaschaPaeth #SeanTibbetts #symphonicmetal #TheBlackHalo #ThomasYoungblood #TommyKarevik
https://www.europesays.com/europe/147397/

Thundermother kick off a new era with “Bimbo Boost” and new album “Mothers of Thunder”

https://voiceofnoir.com/2026/09/27/thundermother-kick-off-a-new-era-with-bimbo-boost-and-new-album-mothers-of-thunder/

Thundermother kick off a new era with “Bimbo Boost” and new album “Mothers of Thunder”

https://voiceofnoir.com/2026/09/27/thundermother-kick-off-a-new-era-with-bimbo-boost-and-new-album-mothers-of-thunder/

Crypta enter a new era with crushing new single “A Portrait of Decay”

https://voiceofnoir.com/2026/09/25/crypta-enter-a-new-era-with-crushing-new-single-a-portrait-of-decay/

Crypta enter a new era with crushing new single “A Portrait of Decay”

https://voiceofnoir.com/2026/09/25/crypta-enter-a-new-era-with-crushing-new-single-a-portrait-of-decay/

Crypta enter a new era with crushing new single “A Portrait of Decay”

https://voiceofnoir.com/2026/09/25/crypta-enter-a-new-era-with-crushing-new-single-a-portrait-of-decay/

Crypta enter a new era with crushing new single “A Portrait of Decay”

https://voiceofnoir.com/2026/09/25/crypta-enter-a-new-era-with-crushing-new-single-a-portrait-of-decay/

DragonForce announces European tour for 2027

Author Arto Mäenpää – 25.9.2026 DragonForce have announced a major European headline tour for spring 2027. The 22-date…
#Europe #EU #Dragonforce #European #NapalmRecords
https://www.europesays.com/europe/146151/

KNIFE drag speed metal deeper into the darkness with “Shadows”

https://voiceofnoir.com/2026/09/24/knife-drag-speed-metal-deeper-into-the-darkness-with-shadows/

KNIFE drag speed metal deeper into the darkness with “Shadows”

https://voiceofnoir.com/2026/09/24/knife-drag-speed-metal-deeper-into-the-darkness-with-shadows/

KNIFE drag speed metal deeper into the darkness with “Shadows”

https://voiceofnoir.com/2026/09/24/knife-drag-speed-metal-deeper-into-the-darkness-with-shadows/

KNIFE drag speed metal deeper into the darkness with “Shadows”

https://voiceofnoir.com/2026/09/24/knife-drag-speed-metal-deeper-into-the-darkness-with-shadows/

DRAGONFORCE enter a new era with Alissa White-Gluz and announce tenth album

https://voiceofnoir.com/2026/09/22/dragonforce-enter-a-new-era-with-alissa-white-gluz-and-announce-tenth-album/

DRAGONFORCE enter a new era with Alissa White-Gluz and announce tenth album

https://voiceofnoir.com/2026/09/22/dragonforce-enter-a-new-era-with-alissa-white-gluz-and-announce-tenth-album/

DRAGONFORCE enter a new era with Alissa White-Gluz and announce tenth album

https://voiceofnoir.com/2026/09/22/dragonforce-enter-a-new-era-with-alissa-white-gluz-and-announce-tenth-album/

DRAGONFORCE enter a new era with Alissa White-Gluz and announce tenth album

https://voiceofnoir.com/2026/09/22/dragonforce-enter-a-new-era-with-alissa-white-gluz-and-announce-tenth-album/

tAKiDA explore passion and intimacy on new single “In Your Bed”

https://voiceofnoir.com/2026/09/20/takida-explore-passion-and-intimacy-on-new-single-in-your-bed/

tAKiDA explore passion and intimacy on new single “In Your Bed”

https://voiceofnoir.com/2026/09/20/takida-explore-passion-and-intimacy-on-new-single-in-your-bed/

tAKiDA explore passion and intimacy on new single “In Your Bed”

https://voiceofnoir.com/2026/09/20/takida-explore-passion-and-intimacy-on-new-single-in-your-bed/

tAKiDA explore passion and intimacy on new single “In Your Bed”

https://voiceofnoir.com/2026/09/20/takida-explore-passion-and-intimacy-on-new-single-in-your-bed/

https://www.europesays.com/nl/312159/ Villagers Of Ioannina City – Venceremos #Amusement #Dutch #Entertainment #FolkMetal #Greece #Griekenland #Music #Muziek #NapalmRecords #Nederland #Nederlanden #Nederlands #Netherlands #NL #progressive #psychrock #recensie #review #venceremos #VillagersOfIoanninaCity #ZwareMetalen

https://www.europesays.com/be-nl/144403/ Villagers Of Ioannina City – Venceremos #Amusement #BE #België #Belgium #Entertainment #FolkMetal #greece #Griekenland #Music #Muziek #NapalmRecords #progressive #psychrock #recensie #review #venceremos #VillagersOfIoanninaCity #ZwareMetalen

Konvent announce their new album, Firesky, is set to arrive this November via Napalm Records. Watch the video for the first single “Exorcise.”

Details: https://metalinsider.net/video/konvent-unleash-exorcise-new-album-arriving-in-november

#Konvent #Firesky #Exorcise #NapalmRecords

Konvent announce their new album, Firesky, is set to arrive this November via Napalm Records. Watch the video for the first single “Exorcise.”

Details: https://metalinsider.net/video/konvent-unleash-exorcise-new-album-arriving-in-november

#Konvent #Firesky #Exorcise #NapalmRecords

https://www.europesays.com/at/399559/ As I Lay Dying: Tracklist & Release des neuen Albums sind offiziell #Ankündigung #AsILayDying #AT #Austria #Entertainment #LineUp #Music #Musik #NapalmRecords #Neubesetzung #NeueSingles #NeuesAlbum #Österreich #TimLambesis #Unterhaltung

TEMPERANCE face their fears on powerful new single “The Tower: Lean Into Fear”

https://voiceofnoir.com/2026/09/16/temperance-face-their-fears-on-powerful-new-single-the-tower-lean-into-fear/

TEMPERANCE face their fears on powerful new single “The Tower: Lean Into Fear”

https://voiceofnoir.com/2026/09/16/temperance-face-their-fears-on-powerful-new-single-the-tower-lean-into-fear/

SCHANDMAUL come full circle with new single “Zwei Raben”

https://voiceofnoir.com/2026/09/12/schandmaul-come-full-circle-with-new-single-zwei-raben/

SCHANDMAUL come full circle with new single “Zwei Raben”

https://voiceofnoir.com/2026/09/12/schandmaul-come-full-circle-with-new-single-zwei-raben/

SCHANDMAUL come full circle with new single “Zwei Raben”

https://voiceofnoir.com/2026/09/12/schandmaul-come-full-circle-with-new-single-zwei-raben/

SCHANDMAUL come full circle with new single “Zwei Raben”

https://voiceofnoir.com/2026/09/12/schandmaul-come-full-circle-with-new-single-zwei-raben/

AUDREY HORNE tackle a divided world on new single “Achilles”

https://voiceofnoir.com/2026/09/06/audrey-horne-tackle-a-divided-world-on-new-single-achilles/

AUDREY HORNE tackle a divided world on new single “Achilles”

https://voiceofnoir.com/2026/09/06/audrey-horne-tackle-a-divided-world-on-new-single-achilles/

Fun fact for fans of AMG lore: I originally found this very metal blog back in early 2010 while searching for reviews of Audrey Horne’s self-titled third album. I auditioned for a writing job, and my first review posted a mere month later. Since then, I’ve reviewed all the Audrey Horne releases, and I admit to being a big fanboy of their retro-leaning hard rock style. At their best, they craft irresistibly fun, punchy anthems, and even at their worst, the music is still pretty damn entertaining, and it never ceases to amuse me that the band features Ice Dale of Enslaved and I fame. 2022s Devil’s Bell had big moments, but felt a bit flat compared to prior platters like Youngblood and Pure Heavy. Now comes 8th album, Achilles, and it’s everything you expect from the band. There’s a strong focus on hooks and replay factor while keeping that 70s rock vibe intact. But can they get the wheels back on the Hornemobile for another monster of a rock album?

The opening title track kicks the party off with a hard-charging attack. Charismatic frontman Toschie leads you on a rowdy ride backed by galloping, churning riffs and a thumping bass rumble, and it’s exactly what I want from Audrey Horne. Then things get moody and introspective with a thick 70s prog rock vibe. Soon it steers back into rocked-out festivities with dominating guitar lines and a kinda sorta Iron Maiden vibe. It’s a cool trip. “In the Eye of a Hurricane” is the perfect Audrey Horne song with a raucous, uncouth vibe and a huge chorus designed to destabilize stadiums. There are even vague traces of Survivor’s “Eye of the Tiger” hidden under the surface. “Vampires” is another win, simple and uber cool, a rock song that gets under your skin on first listen and never lets go. I’ve had this one on replay an obscene amount, and I can’t get enough of it. In a just world, “God Damn Beautiful” would be a huge hit for the band and garner heavy radio play since it’s a dangerously infectious earworm monster. It features bassist Espen Lien on vocals instead of Toschie, though you may not notice at first. He does a bang-up job selling the song, and The Night Flight Orchestra will bitterly wish they wrote this one.

Despite this killer start, Achilles can’t maintain the same level of awesome sauce, and the back half is less memorable. While “Insanity” is pure rock fury and “Hell is Eternity” is like a drunken Iron Maiden doing a rock song, other cuts like “Six Feet in the Ground,” “Running Through the Night,” and closer “New Star Falling” are just okay. They’re pleasant enough, but they don’t hit anywhere near as hard as the better tracks, and at times they’re overly similar to the recent material from The Night Flight Orchestra. There’s an uneventful interlude included as well, and it seems to serve no particular purpose. This makes Achilles very front-loaded, as you get the best 5 cuts within the first 7 tracks. However, at a tight 44 minutes with all cuts in the 3-5 minute frame, it’s a pretty easy, breezy spin.

I’ve been a big fan of Toschie’s vocals and overall frontman persona since I discovered Audrey Horne. He’s one of the best hard rock vocalists out there, and he brings a lot ot personality and gravitas to the material. He’s in great form here, delivering his usual sleazy, ne’er-do-well vocals in a way that feels like he’s about to do something illegal. He’s buoyed by the high-flying leads from Ice Dale and Thomas Tofthagen (ex-Sahg) as they draw inspiration from classic rock acts like AC/DC, Thin Lizzy, and Led Zeppelin, but also rock very Maiden-esque harmonies when things kick into high gear. Behind them, the big bass presence from Espen Lien is counterpointed by rock-solid kit work from Kjetil Greve. Audrey Horne have been around the block and play the kind of music they love, and it shows, even when the writing isn’t consistently great.

Achilles is a bit better than Devil’s Bell. It has big moments and memorable romps, but it has a few lower-tier nuggets that drag it down a notch or two. I may want another album as strong as Youngblood, but I’ll settle for releases like this because Audrey Horne are so damn fun and the perfect soundtrack for summer beer chuggery. You like fun, right? Does anyone remember laughter? Ah, fuck you all, I’m getting drunk.

Rating: 3.0/5.0
DR: NA | Format Reviewed: FUCKING STREAM
Label: Napalm
Websites: audrey-horne.bandcamp.com/album/achilles | facebook.com/audreyhorneofficial | instagram.com/audreyhorneofficial/?hl=en
Releases Worldwide: September 4th, 2026

Fun fact for fans of AMG lore: I originally found this very metal blog back in early 2010 while searching for reviews of Audrey Horne’s self-titled third album. I auditioned for a writing job, and my first review posted a mere month later. Since then, I’ve reviewed all the Audrey Horne releases, and I admit to being a big fanboy of their retro-leaning hard rock style. At their best, they craft irresistibly fun, punchy anthems, and even at their worst, the music is still pretty damn entertaining, and it never ceases to amuse me that the band features Ice Dale of Enslaved and I fame. 2022s Devil’s Bell had big moments, but felt a bit flat compared to prior platters like Youngblood and Pure Heavy. Now comes 8th album, Achilles, and it’s everything you expect from the band. There’s a strong focus on hooks and replay factor while keeping that 70s rock vibe intact. But can they get the wheels back on the Hornemobile for another monster of a rock album?

The opening title track kicks the party off with a hard-charging attack. Charismatic frontman Toschie leads you on a rowdy ride backed by galloping, churning riffs and a thumping bass rumble, and it’s exactly what I want from Audrey Horne. Then things get moody and introspective with a thick 70s prog rock vibe. Soon it steers back into rocked-out festivities with dominating guitar lines and a kinda sorta Iron Maiden vibe. It’s a cool trip. “In the Eye of a Hurricane” is the perfect Audrey Horne song with a raucous, uncouth vibe and a huge chorus designed to destabilize stadiums. There are even vague traces of Survivor’s “Eye of the Tiger” hidden under the surface. “Vampires” is another win, simple and uber cool, a rock song that gets under your skin on first listen and never lets go. I’ve had this one on replay an obscene amount, and I can’t get enough of it. In a just world, “God Damn Beautiful” would be a huge hit for the band and garner heavy radio play since it’s a dangerously infectious earworm monster. It features bassist Espen Lien on vocals instead of Toschie, though you may not notice at first. He does a bang-up job selling the song, and The Night Flight Orchestra will bitterly wish they wrote this one.

Despite this killer start, Achilles can’t maintain the same level of awesome sauce, and the back half is less memorable. While “Insanity” is pure rock fury and “Hell is Eternity” is like a drunken Iron Maiden doing a rock song, other cuts like “Six Feet in the Ground,” “Running Through the Night,” and closer “New Star Falling” are just okay. They’re pleasant enough, but they don’t hit anywhere near as hard as the better tracks, and at times they’re overly similar to the recent material from The Night Flight Orchestra. There’s an uneventful interlude included as well, and it seems to serve no particular purpose. This makes Achilles very front-loaded, as you get the best 5 cuts within the first 7 tracks. However, at a tight 44 minutes with all cuts in the 3-5 minute frame, it’s a pretty easy, breezy spin.

I’ve been a big fan of Toschie’s vocals and overall frontman persona since I discovered Audrey Horne. He’s one of the best hard rock vocalists out there, and he brings a lot ot personality and gravitas to the material. He’s in great form here, delivering his usual sleazy, ne’er-do-well vocals in a way that feels like he’s about to do something illegal. He’s buoyed by the high-flying leads from Ice Dale and Thomas Tofthagen (ex-Sahg) as they draw inspiration from classic rock acts like AC/DC, Thin Lizzy, and Led Zeppelin, but also rock very Maiden-esque harmonies when things kick into high gear. Behind them, the big bass presence from Espen Lien is counterpointed by rock-solid kit work from Kjetil Greve. Audrey Horne have been around the block and play the kind of music they love, and it shows, even when the writing isn’t consistently great.

Achilles is a bit better than Devil’s Bell. It has big moments and memorable romps, but it has a few lower-tier nuggets that drag it down a notch or two. I may want another album as strong as Youngblood, but I’ll settle for releases like this because Audrey Horne are so damn fun and the perfect soundtrack for summer beer chuggery. You like fun, right? Does anyone remember laughter? Ah, fuck you all, I’m getting drunk.

Rating: 3.0/5.0
DR: NA | Format Reviewed: FUCKING STREAM
Label: Napalm
Websites: audrey-horne.bandcamp.com/album/achilles | facebook.com/audreyhorneofficial | instagram.com/audreyhorneofficial/?hl=en
Releases Worldwide: September 4th, 2026

Fun fact for fans of AMG lore: I originally found this very metal blog back in early 2010 while searching for reviews of Audrey Horne’s self-titled third album. I auditioned for a writing job, and my first review posted a mere month later. Since then, I’ve reviewed all the Audrey Horne releases, and I admit to being a big fanboy of their retro-leaning hard rock style. At their best, they craft irresistibly fun, punchy anthems, and even at their worst, the music is still pretty damn entertaining, and it never ceases to amuse me that the band features Ice Dale of Enslaved and I fame. 2022s Devil’s Bell had big moments, but felt a bit flat compared to prior platters like Youngblood and Pure Heavy. Now comes 8th album, Achilles, and it’s everything you expect from the band. There’s a strong focus on hooks and replay factor while keeping that 70s rock vibe intact. But can they get the wheels back on the Hornemobile for another monster of a rock album?

The opening title track kicks the party off with a hard-charging attack. Charismatic frontman Toschie leads you on a rowdy ride backed by galloping, churning riffs and a thumping bass rumble, and it’s exactly what I want from Audrey Horne. Then things get moody and introspective with a thick 70s prog rock vibe. Soon it steers back into rocked-out festivities with dominating guitar lines and a kinda sorta Iron Maiden vibe. It’s a cool trip. “In the Eye of a Hurricane” is the perfect Audrey Horne song with a raucous, uncouth vibe and a huge chorus designed to destabilize stadiums. There are even vague traces of Survivor’s “Eye of the Tiger” hidden under the surface. “Vampires” is another win, simple and uber cool, a rock song that gets under your skin on first listen and never lets go. I’ve had this one on replay an obscene amount, and I can’t get enough of it. In a just world, “God Damn Beautiful” would be a huge hit for the band and garner heavy radio play since it’s a dangerously infectious earworm monster. It features bassist Espen Lien on vocals instead of Toschie, though you may not notice at first. He does a bang-up job selling the song, and The Night Flight Orchestra will bitterly wish they wrote this one.

Despite this killer start, Achilles can’t maintain the same level of awesome sauce, and the back half is less memorable. While “Insanity” is pure rock fury and “Hell is Eternity” is like a drunken Iron Maiden doing a rock song, other cuts like “Six Feet in the Ground,” “Running Through the Night,” and closer “New Star Falling” are just okay. They’re pleasant enough, but they don’t hit anywhere near as hard as the better tracks, and at times they’re overly similar to the recent material from The Night Flight Orchestra. There’s an uneventful interlude included as well, and it seems to serve no particular purpose. This makes Achilles very front-loaded, as you get the best 5 cuts within the first 7 tracks. However, at a tight 44 minutes with all cuts in the 3-5 minute frame, it’s a pretty easy, breezy spin.

I’ve been a big fan of Toschie’s vocals and overall frontman persona since I discovered Audrey Horne. He’s one of the best hard rock vocalists out there, and he brings a lot ot personality and gravitas to the material. He’s in great form here, delivering his usual sleazy, ne’er-do-well vocals in a way that feels like he’s about to do something illegal. He’s buoyed by the high-flying leads from Ice Dale and Thomas Tofthagen (ex-Sahg) as they draw inspiration from classic rock acts like AC/DC, Thin Lizzy, and Led Zeppelin, but also rock very Maiden-esque harmonies when things kick into high gear. Behind them, the big bass presence from Espen Lien is counterpointed by rock-solid kit work from Kjetil Greve. Audrey Horne have been around the block and play the kind of music they love, and it shows, even when the writing isn’t consistently great.

Achilles is a bit better than Devil’s Bell. It has big moments and memorable romps, but it has a few lower-tier nuggets that drag it down a notch or two. I may want another album as strong as Youngblood, but I’ll settle for releases like this because Audrey Horne are so damn fun and the perfect soundtrack for summer beer chuggery. You like fun, right? Does anyone remember laughter? Ah, fuck you all, I’m getting drunk.

Rating: 3.0/5.0
DR: NA | Format Reviewed: FUCKING STREAM
Label: Napalm
Websites: audrey-horne.bandcamp.com/album/achilles | facebook.com/audreyhorneofficial | instagram.com/audreyhorneofficial/?hl=en
Releases Worldwide: September 4th, 2026

Fun fact for fans of AMG lore: I originally found this very metal blog back in early 2010 while searching for reviews of Audrey Horne’s self-titled third album. I auditioned for a writing job, and my first review posted a mere month later. Since then, I’ve reviewed all the Audrey Horne releases, and I admit to being a big fanboy of their retro-leaning hard rock style. At their best, they craft irresistibly fun, punchy anthems, and even at their worst, the music is still pretty damn entertaining, and it never ceases to amuse me that the band features Ice Dale of Enslaved and I fame. 2022s Devil’s Bell had big moments, but felt a bit flat compared to prior platters like Youngblood and Pure Heavy. Now comes 8th album, Achilles, and it’s everything you expect from the band. There’s a strong focus on hooks and replay factor while keeping that 70s rock vibe intact. But can they get the wheels back on the Hornemobile for another monster of a rock album?

The opening title track kicks the party off with a hard-charging attack. Charismatic frontman Toschie leads you on a rowdy ride backed by galloping, churning riffs and a thumping bass rumble, and it’s exactly what I want from Audrey Horne. Then things get moody and introspective with a thick 70s prog rock vibe. Soon it steers back into rocked-out festivities with dominating guitar lines and a kinda sorta Iron Maiden vibe. It’s a cool trip. “In the Eye of a Hurricane” is the perfect Audrey Horne song with a raucous, uncouth vibe and a huge chorus designed to destabilize stadiums. There are even vague traces of Survivor’s “Eye of the Tiger” hidden under the surface. “Vampires” is another win, simple and uber cool, a rock song that gets under your skin on first listen and never lets go. I’ve had this one on replay an obscene amount, and I can’t get enough of it. In a just world, “God Damn Beautiful” would be a huge hit for the band and garner heavy radio play since it’s a dangerously infectious earworm monster. It features bassist Espen Lien on vocals instead of Toschie, though you may not notice at first. He does a bang-up job selling the song, and The Night Flight Orchestra will bitterly wish they wrote this one.

Despite this killer start, Achilles can’t maintain the same level of awesome sauce, and the back half is less memorable. While “Insanity” is pure rock fury and “Hell is Eternity” is like a drunken Iron Maiden doing a rock song, other cuts like “Six Feet in the Ground,” “Running Through the Night,” and closer “New Star Falling” are just okay. They’re pleasant enough, but they don’t hit anywhere near as hard as the better tracks, and at times they’re overly similar to the recent material from The Night Flight Orchestra. There’s an uneventful interlude included as well, and it seems to serve no particular purpose. This makes Achilles very front-loaded, as you get the best 5 cuts within the first 7 tracks. However, at a tight 44 minutes with all cuts in the 3-5 minute frame, it’s a pretty easy, breezy spin.

I’ve been a big fan of Toschie’s vocals and overall frontman persona since I discovered Audrey Horne. He’s one of the best hard rock vocalists out there, and he brings a lot ot personality and gravitas to the material. He’s in great form here, delivering his usual sleazy, ne’er-do-well vocals in a way that feels like he’s about to do something illegal. He’s buoyed by the high-flying leads from Ice Dale and Thomas Tofthagen (ex-Sahg) as they draw inspiration from classic rock acts like AC/DC, Thin Lizzy, and Led Zeppelin, but also rock very Maiden-esque harmonies when things kick into high gear. Behind them, the big bass presence from Espen Lien is counterpointed by rock-solid kit work from Kjetil Greve. Audrey Horne have been around the block and play the kind of music they love, and it shows, even when the writing isn’t consistently great.

Achilles is a bit better than Devil’s Bell. It has big moments and memorable romps, but it has a few lower-tier nuggets that drag it down a notch or two. I may want another album as strong as Youngblood, but I’ll settle for releases like this because Audrey Horne are so damn fun and the perfect soundtrack for summer beer chuggery. You like fun, right? Does anyone remember laughter? Ah, fuck you all, I’m getting drunk.

Rating: 3.0/5.0
DR: NA | Format Reviewed: FUCKING STREAM
Label: Napalm
Websites: audrey-horne.bandcamp.com/album/achilles | facebook.com/audreyhorneofficial | instagram.com/audreyhorneofficial/?hl=en
Releases Worldwide: September 4th, 2026

Recensie: Accept – Teutonic Titans
https://writteninmusic.com/albumrecensie/accept-teutonic-titans/

#Music #Metal #Accept #NapalmRecords

Recensie: Accept – Teutonic Titans
https://writteninmusic.com/albumrecensie/accept-teutonic-titans/

#Music #Metal #Accept #NapalmRecords

KAMELOT open the gates of RavenHill with haunting new album Dark Asylum

https://voiceofnoir.com/2026/08/31/kamelot-open-the-gates-of-ravenhill-with-haunting-new-album-dark-asylum/

KAMELOT open the gates of RavenHill with haunting new album Dark Asylum

https://voiceofnoir.com/2026/08/31/kamelot-open-the-gates-of-ravenhill-with-haunting-new-album-dark-asylum/

KAMELOT open the gates of RavenHill with haunting new album Dark Asylum

https://voiceofnoir.com/2026/08/31/kamelot-open-the-gates-of-ravenhill-with-haunting-new-album-dark-asylum/

Brymir Unleash New Single “Tempestbound”

https://voiceofnoir.com/2026/08/30/brymir-unleash-new-single-tempestbound/

Brymir Unleash New Single “Tempestbound”

https://voiceofnoir.com/2026/08/30/brymir-unleash-new-single-tempestbound/

Brymir Unleash New Single “Tempestbound”

https://voiceofnoir.com/2026/08/30/brymir-unleash-new-single-tempestbound/

Schandmaul Set Sail for a New Era with Sternensegler

https://voiceofnoir.com/2026/08/29/schandmaul-set-sail-for-a-new-era-with-sternensegler/

Schandmaul Set Sail for a New Era with Sternensegler

https://voiceofnoir.com/2026/08/29/schandmaul-set-sail-for-a-new-era-with-sternensegler/

Schandmaul Set Sail for a New Era with Sternensegler

https://voiceofnoir.com/2026/08/29/schandmaul-set-sail-for-a-new-era-with-sternensegler/

Flotsam and Jetsam Unleash New Single “The Edge of Nowhere”

https://voiceofnoir.com/2026/08/27/flotsam-and-jetsam-unleash-new-single-the-edge-of-nowhere/

BLACK SPIKES Return Everything to Dust with New Single “DULKĖS”

https://voiceofnoir.com/2026/08/26/black-spikes-return-everything-to-dust-with-new-single-dulkes/

BLACK SPIKES Return Everything to Dust with New Single “DULKĖS”

https://voiceofnoir.com/2026/08/26/black-spikes-return-everything-to-dust-with-new-single-dulkes/

Kamelot should need no introduction, but this is an article, so they get one anyway. The US-based group have dominated at a crossroads between power, progressive, and symphonic metal for much of the thirty-one years since their debut. I can personally credit Kamelot with breaking me out of my Nightwish-shaped early impression of metal, and I still love their approach to the style; they’ve created their own sound, and they do it well. Over their last few albums, however, Kamelot have sounded a little too much like themselves, with recent releases sounding very much like one another. Whether or not that’s a good thing is up to the individual, but for this reviewer, the question isn’t whether Dark Asylum, their fourteenth full-length, will be good, but whether it will feel new, fresh, or exciting.

Dark Asylum is a Kamelot record, no doubt about it. Seasoned as they are, it’s hard for Kamelot to miss, and their signature sound—that dark, polished power metal augmented by bombastic orchestration and ear-worm choruses—is on full display here. Even the structure of Dark Asylum is typical of Kamelot: opener “Sanctorium” is an overly dramatic intro that probably doesn’t need to be there, and “Ashen World” is mighty, galloping symphonic power metal led by melodic guitar leads from Youngblood and a riveting vocal performance from Karevik that recalls “Veil of Elysium,” though it has nothing on the phenomenal chorus of the title track that follows. It’s a very Kamelot way to open an album: huge choruses of the Haven variety supported by melodic leads that echo Ghost Opera. Throughout, Oliver Palotai’s keys build their own melodies, support the catchy choruses, and add ambience as songs demand. It’s a familiar formula to anyone who’s listened to Kamelot in the last decade, with the same highs and lows as you’re used to.

In fact, it’s so typical of Kamelot’s last decade that I could probably just quote previous reviews to tell you about it. As with The Shadow Theory, Youngblood’s rhythm guitars are increasingly pushed to the background. This weakens otherwise anthemic songs like “One Last Masquerade,” which features Tobias Sammet and subsequently sounds more like a bonus track from Avantasia’s Ghostlights than Kamelot. Also, as with The Shadow Theory, Kamelot’s production of harsh vocals makes them feel superficial; in this case, it’s primarily “Sanctuary” that just kind of has them, though not for lack of effort by Ignacia Fernández (Decessus). Of course, Kamelot still take themselves very seriously, so much so that there’s a 40-second track for Latin singing that may be important for the story, but feels completely out of place as an actual track. Finally, while Karevik’s silky vocals are a terrific match for Kamelot’s music and vision, he still seems to be struggling a little to deliver on high notes, particularly in the chorus of “Godlike Alchemy.”

So it seems Dark Asylum is a familiar story: when Kamelot succeed, they really succeed, and if they could just do it for fifteen straight tracks, their latest could be their best. Although the muted rhythm guitars hold back Dark Asylum as a whole, it has some great highs: “Cassandra’s Disease,” “Ashen World,” “One Last Masquerade,” the title track. But it also has “Beneath the Moon (Tunglið),” a Nordic ballad that feels like it’s on the wrong album1, and “Enigma (Think of Me),” a forgettable power ballad that misses the mark on both sides of that moniker. Dark Asylum works best when Kamelot do what they do best: inspired, memorable guitar leads and soaring choruses. Songs that reach for this but don’t quite land include “Kaleidoscope” and “The Puppet King,” both of which are fine, but leave little impact. Kamelot’s passion for their sound is evident, but consistency in songwriting is something they have, to my ears, struggled with in recent years, and Dark Asylum continues that trend.

Of course, even when Kamelot does miss, they’re still Kamelot, so Dark Asylum has some truly great songs on it. It’s not fresh, though; it’s not exciting. I truly admire Kamelot for the passion they still have for what they do. I was, however, hoping for more than the same album; it now feels like they’ve done thrice before.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: kamelot.bandcamp.com | kamelot.com | facebook.com/kamelotofficial
Releases Worldwide: August 28th, 2026

Kamelot should need no introduction, but this is an article, so they get one anyway. The US-based group have dominated at a crossroads between power, progressive, and symphonic metal for much of the thirty-one years since their debut. I can personally credit Kamelot with breaking me out of my Nightwish-shaped early impression of metal, and I still love their approach to the style; they’ve created their own sound, and they do it well. Over their last few albums, however, Kamelot have sounded a little too much like themselves, with recent releases sounding very much like one another. Whether or not that’s a good thing is up to the individual, but for this reviewer, the question isn’t whether Dark Asylum, their fourteenth full-length, will be good, but whether it will feel new, fresh, or exciting.

Dark Asylum is a Kamelot record, no doubt about it. Seasoned as they are, it’s hard for Kamelot to miss, and their signature sound—that dark, polished power metal augmented by bombastic orchestration and ear-worm choruses—is on full display here. Even the structure of Dark Asylum is typical of Kamelot: opener “Sanctorium” is an overly dramatic intro that probably doesn’t need to be there, and “Ashen World” is mighty, galloping symphonic power metal led by melodic guitar leads from Youngblood and a riveting vocal performance from Karevik that recalls “Veil of Elysium,” though it has nothing on the phenomenal chorus of the title track that follows. It’s a very Kamelot way to open an album: huge choruses of the Haven variety supported by melodic leads that echo Ghost Opera. Throughout, Oliver Palotai’s keys build their own melodies, support the catchy choruses, and add ambience as songs demand. It’s a familiar formula to anyone who’s listened to Kamelot in the last decade, with the same highs and lows as you’re used to.

In fact, it’s so typical of Kamelot’s last decade that I could probably just quote previous reviews to tell you about it. As with The Shadow Theory, Youngblood’s rhythm guitars are increasingly pushed to the background. This weakens otherwise anthemic songs like “One Last Masquerade,” which features Tobias Sammet and subsequently sounds more like a bonus track from Avantasia’s Ghostlights than Kamelot. Also, as with The Shadow Theory, Kamelot’s production of harsh vocals makes them feel superficial; in this case, it’s primarily “Sanctuary” that just kind of has them, though not for lack of effort by Ignacia Fernández (Decessus). Of course, Kamelot still take themselves very seriously, so much so that there’s a 40-second track for Latin singing that may be important for the story, but feels completely out of place as an actual track. Finally, while Karevik’s silky vocals are a terrific match for Kamelot’s music and vision, he still seems to be struggling a little to deliver on high notes, particularly in the chorus of “Godlike Alchemy.”

So it seems Dark Asylum is a familiar story: when Kamelot succeed, they really succeed, and if they could just do it for fifteen straight tracks, their latest could be their best. Although the muted rhythm guitars hold back Dark Asylum as a whole, it has some great highs: “Cassandra’s Disease,” “Ashen World,” “One Last Masquerade,” the title track. But it also has “Beneath the Moon (Tunglið),” a Nordic ballad that feels like it’s on the wrong album1, and “Enigma (Think of Me),” a forgettable power ballad that misses the mark on both sides of that moniker. Dark Asylum works best when Kamelot do what they do best: inspired, memorable guitar leads and soaring choruses. Songs that reach for this but don’t quite land include “Kaleidoscope” and “The Puppet King,” both of which are fine, but leave little impact. Kamelot’s passion for their sound is evident, but consistency in songwriting is something they have, to my ears, struggled with in recent years, and Dark Asylum continues that trend.

Of course, even when Kamelot does miss, they’re still Kamelot, so Dark Asylum has some truly great songs on it. It’s not fresh, though; it’s not exciting. I truly admire Kamelot for the passion they still have for what they do. I was, however, hoping for more than the same album; it now feels like they’ve done thrice before.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: kamelot.bandcamp.com | kamelot.com | facebook.com/kamelotofficial
Releases Worldwide: August 28th, 2026

Flotsam and Jetsam started out as the ultimate underdog act, and somehow, they’ve retained that workaday everyman vibe over a 40-plus-year career. Gaining more fame from having their founding bassist poached by Metallica than they ever would from their excellent debut, their early years resulted in some high-flying platters. As with most metal bands, the early 90s shift in the American music scene toward grunge and grunge-adjacent sounds put them in a difficult position, and Flotsam did their best to adapt to the changing tastes without selling out. Through the 90s and the aughts, they had up-and-down moments, culminating in the utter train wreck dumpster fire of 2012s Ugly Noise where obituaries were penned, including by Yours Steely. But something strange happened when the band hit absolute rock bottom. They simply refused to go quietly into that good night. 2016 saw them rebound muchly with their self-titled album, and since then they’ve had a late-career upswing that can only be described as remarkable. Three more successful albums followed, proving there was still plenty of fuel in their war machine, and that brings us to their 16th release, Rats in the Temple. Can the little band from Arizona that could keep right on coulding? I always root for them, but eventually the biscuit wheels have to come off this unlikely gravy train, right?

That bad train day will not be today, however. Rats in the Temple is another rock-solid release from a band that seems to have figured out the formula for keeping things sounding fresh and vital. When I saw that Rats clocked in at a whopping 56-plus minutes, I had grave concerns, but the truth is, there isn’t much extra padding on these here bones. With every song sitting in the 3-4 minute window and the band showing serious veteran writing savvy, everything comes up Flotszilla. Opener “Harvesting the Hate” is a great initial shot to the brain stem with the classic Flotsam working-class thrash/trad metal hybrid sound intact and as toothsome as ever. There’s a nifty Middle Eastern vibe and unexpected symphonics before things really kick into gear, and things feel more epic and sweeping than the usual Flots-y material. Eric A.K.’s voice has aged like fine hobo wine, and he can still command the arena like a 20-something brash monkey. He powers the song through a big chorus backed by punchy guitar lines from Michael Gilbert and Steve Conley, and all is good. There’s a bit of an alt-rock vibe to some of the riff phrasing, but this is straight-up metal all day long, and it has real bite. Subsequent cuts like “Absolution” and “Blame the Knife” deliver geeked-up, extra-crunchy rowdy chowder that would have fit on the early albums. Then they hit you with the grandiose and large-scale “The Ghost Behind My Door,” which flirts with melodeath riffage as well as Brainstorm-esque epic trad metal. It’s just a killer tune.

Ripper after ripper fly by, and though you keep waiting for things to get stale, it never happens. Later tunes like “Last Rites” and “A Taste for War” are straight-up badassery with high energy and hooks. In fact, the last 4 tracks are some of the album’s strongest material. Penultimate cut “Anthem for the Broken” could be mistaken for a Brainstorm or Primal Fear song, and it has curb-stomp appeal. The gritty closer “Going Down That Way” feels like a return to the flawed but fun Drift album, but the writing is better, with the heaviness amplified. Nothing feels skippable, but given the album’s mammoth runtime, they probably could have cut either “Damnation” or “The Edge of Nowhere” to tighten the experience a bit. That being said, Rats doesn’t feel like a long listen, and the songs all fly by and demand replays. That says A LOT about the songwriting.1

With the same lineup from the last few albums returning, you get a seasoned, battle-tested crew who know what they’re about. I’ve been a fan of Eric A.K.’s voice since the beginning, and during their darker days, he was the only reason I kept checking out the band’s releases (High through My God). He sounds as good as ever here, and though I miss those laser-like high notes from the olden days, I don’t expect them from a man 40 years into his metal career. Michael Gilbert and Steve Conley seem to have gotten their hands on some kind of unregulated pre-workout powder prior to recording, because their riffs feel WAY more beefy, burly, and brawly. On tracks like “Absolution” and “First on the Spike,” they sound possessed by fire and ribeye, and that’s the recipe for getting the Steel ov Approval stamped on your head. I also appreciate how they blend thrash, traditional, and power metal elements into their playing to keep things feeling fresh and forceful so late in their career.

I hoped Flotsam and Jetsam could keep their recent winning streak going, and lo and behold, Rats in the Temple may be the best of their string of comeback albums. It flirts with greatness, and leaves me little room to complain. For a band sitting on so many releases over so many years, that’s a fookin’ miracle of science and art! Get down with these temple rats.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fucking STREAM!
Label: Napalm
Websites: flotstildeath.com | facebook.com/flotsamandjetsam.official | instagram.com/flotsamandjetsamofficial
Releases Worldwide: August 28th, 2026

Flotsam and Jetsam started out as the ultimate underdog act, and somehow, they’ve retained that workaday everyman vibe over a 40-plus-year career. Gaining more fame from having their founding bassist poached by Metallica than they ever would from their excellent debut, their early years resulted in some high-flying platters. As with most metal bands, the early 90s shift in the American music scene toward grunge and grunge-adjacent sounds put them in a difficult position, and Flotsam did their best to adapt to the changing tastes without selling out. Through the 90s and the aughts, they had up-and-down moments, culminating in the utter train wreck dumpster fire of 2012s Ugly Noise where obituaries were penned, including by Yours Steely. But something strange happened when the band hit absolute rock bottom. They simply refused to go quietly into that good night. 2016 saw them rebound muchly with their self-titled album, and since then they’ve had a late-career upswing that can only be described as remarkable. Three more successful albums followed, proving there was still plenty of fuel in their war machine, and that brings us to their 16th release, Rats in the Temple. Can the little band from Arizona that could keep right on coulding? I always root for them, but eventually the biscuit wheels have to come off this unlikely gravy train, right?

That bad train day will not be today, however. Rats in the Temple is another rock-solid release from a band that seems to have figured out the formula for keeping things sounding fresh and vital. When I saw that Rats clocked in at a whopping 56-plus minutes, I had grave concerns, but the truth is, there isn’t much extra padding on these here bones. With every song sitting in the 3-4 minute window and the band showing serious veteran writing savvy, everything comes up Flotszilla. Opener “Harvesting the Hate” is a great initial shot to the brain stem with the classic Flotsam working-class thrash/trad metal hybrid sound intact and as toothsome as ever. There’s a nifty Middle Eastern vibe and unexpected symphonics before things really kick into gear, and things feel more epic and sweeping than the usual Flots-y material. Eric A.K.’s voice has aged like fine hobo wine, and he can still command the arena like a 20-something brash monkey. He powers the song through a big chorus backed by punchy guitar lines from Michael Gilbert and Steve Conley, and all is good. There’s a bit of an alt-rock vibe to some of the riff phrasing, but this is straight-up metal all day long, and it has real bite. Subsequent cuts like “Absolution” and “Blame the Knife” deliver geeked-up, extra-crunchy rowdy chowder that would have fit on the early albums. Then they hit you with the grandiose and large-scale “The Ghost Behind My Door,” which flirts with melodeath riffage as well as Brainstorm-esque epic trad metal. It’s just a killer tune.

Ripper after ripper fly by, and though you keep waiting for things to get stale, it never happens. Later tunes like “Last Rites” and “A Taste for War” are straight-up badassery with high energy and hooks. In fact, the last 4 tracks are some of the album’s strongest material. Penultimate cut “Anthem for the Broken” could be mistaken for a Brainstorm or Primal Fear song, and it has curb-stomp appeal. The gritty closer “Going Down That Way” feels like a return to the flawed but fun Drift album, but the writing is better, with the heaviness amplified. Nothing feels skippable, but given the album’s mammoth runtime, they probably could have cut either “Damnation” or “The Edge of Nowhere” to tighten the experience a bit. That being said, Rats doesn’t feel like a long listen, and the songs all fly by and demand replays. That says A LOT about the songwriting.1

With the same lineup from the last few albums returning, you get a seasoned, battle-tested crew who know what they’re about. I’ve been a fan of Eric A.K.’s voice since the beginning, and during their darker days, he was the only reason I kept checking out the band’s releases (High through My God). He sounds as good as ever here, and though I miss those laser-like high notes from the olden days, I don’t expect them from a man 40 years into his metal career. Michael Gilbert and Steve Conley seem to have gotten their hands on some kind of unregulated pre-workout powder prior to recording, because their riffs feel WAY more beefy, burly, and brawly. On tracks like “Absolution” and “First on the Spike,” they sound possessed by fire and ribeye, and that’s the recipe for getting the Steel ov Approval stamped on your head. I also appreciate how they blend thrash, traditional, and power metal elements into their playing to keep things feeling fresh and forceful so late in their career.

I hoped Flotsam and Jetsam could keep their recent winning streak going, and lo and behold, Rats in the Temple may be the best of their string of comeback albums. It flirts with greatness, and leaves me little room to complain. For a band sitting on so many releases over so many years, that’s a fookin’ miracle of science and art! Get down with these temple rats.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fucking STREAM!
Label: Napalm
Websites: flotstildeath.com | facebook.com/flotsamandjetsam.official | instagram.com/flotsamandjetsamofficial
Releases Worldwide: August 28th, 2026