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VENOM (Regne Unit) presenta nou àlbum: "Into Oblivion" #Venom #Nwobhm #HeavyMetal #SpeedMetal #BlackMetal #Maig2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Chariots Overdrive – The End of Antiquity Review

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, …
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesofHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #NWOBHM #PowerMetal #rancid #review #reviews #TheEndofAntiquity
https://www.newsbeep.com/us/609222/

Chariots Overdrive – The End of Antiquity Review

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, …
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesofHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #NWOBHM #PowerMetal #rancid #review #reviews #TheEndofAntiquity
https://www.newsbeep.com/us/609222/

https://www.europesays.com/uk/921236/ Chariots Overdrive – The End of Antiquity Review #25 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesOfHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #music #NWOBHM #PowerMetal #Rancid #Review #Reviews #TheEndOfAntiquity #UK #UnitedKingdom

Chariots Overdrive – The End of Antiquity Review

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture t…
#NewsBeep #News #Music #2.5 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesofHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #NWOBHM #PowerMetal #Rancid #review #Reviews #TheEndofAntiquity #UK #UnitedKingdom
https://www.newsbeep.com/uk/552187/

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
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#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

♬️ RAVEN + NEFARIOUS at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/03-28.html?utm_source=sp_ma
#dnalounge #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #sanfrancisco

♬️ RAVEN + NEFARIOUS at DNA Lounge tonight: Sat Mar 28, 7pm!
https://www.dnalounge.com/calendar/2026/03-28.html?utm_source=sp_ma
#dnalounge #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #sanfrancisco

@hedders @drrimmer Thank you, didn't know that 👍 – now I'm looking for a Metal version of that song – or Punk or anything louder and harder than the original?? 🤘 🎸 🎶 :nona:

(also no Kuschelrock like this https://theblackheartorchestra1.bandcamp.com/track/if-you-tolerate-this-your-children-will-be-next )

#IfYouTolerateThis #Metal #Punk #ManicStreetPreachers #IfYouTolerateThisYourChildrenWillBeNext #HeavyMetal #DeathMetal #BlackMetal #Punkrock #PunkMetal #DoomMetal #Hardrock #NWOBHM #SpeedMetal #ThrashMetal

I'm cooking something…
Je crois que ça sent bon…

#MusicWriting #Composer #Music #Metal #NWoBHM #NWoTHM #Rock #HardRock #Prog #GuitarPro #GuitarPro8
#Composition #Compositeur

I'm cooking something…
Je crois que ça sent bon…

#MusicWriting #Composer #Music #Metal #NWoBHM #NWoTHM #Rock #HardRock #Prog #GuitarPro #GuitarPro8
#Composition #Compositeur

I'm cooking something…
Je crois que ça sent bon…

#MusicWriting #Composer #Music #Metal #NWoBHM #NWoTHM #Rock #HardRock #Prog #GuitarPro #GuitarPro8
#Composition #Compositeur

https://whatsthiscalled.net/2025/12/13/heavy-evergreen/

#RadioShow for #FreeformPortland

#heavyrock #heavypsych #stonerrock #protometal #doommetal #nwobhm

https://whatsthiscalled.net/2025/12/13/heavy-evergreen/

#RadioShow for #FreeformPortland

#heavyrock #heavypsych #stonerrock #protometal #doommetal #nwobhm

https://whatsthiscalled.net/2025/12/13/heavy-evergreen/

#RadioShow for #FreeformPortland

#heavyrock #heavypsych #stonerrock #protometal #doommetal #nwobhm

https://whatsthiscalled.net/2025/12/13/heavy-evergreen/

#RadioShow for #FreeformPortland

#heavyrock #heavypsych #stonerrock #protometal #doommetal #nwobhm

https://whatsthiscalled.net/2025/12/13/heavy-evergreen/

#RadioShow for #FreeformPortland

#heavyrock #heavypsych #stonerrock #protometal #doommetal #nwobhm

Una banda que marcó el inicio del #heavy #metal moderno tocará en el Z! Live 2026. SAXON referencia esencial #NWOBHM, se incorpora al Templo del Metal @[email protected] #Metalsky #Rock #HardRock #HM #HeavyMetal #Gigs #Tours #Fest #LaFactoríadelRitmo #Press www.instagram.com/p/DRuuwoRjI4e

Si je lançais un appel à contribution pour une compil'
« *Pédales de distorsion* » qui regrouperait des sons de Heavy Metal (dans l'héritage de la compil' *Metal for Muthas* qui a un peu formalisé ce qu'était la New Wave off British Heavy Metal) de groupes d'homosexuels, est-ce qu'il y aurait des gens qui répondraient à l'appel ?

#BoostWelcome

#NWoBHM #NewWaveOfBritishHeavyMetal #NWoTHM #NewWaveOfTraditionalHeavyMetal #HeavyMetal #MetalForMuthas #NewWaveOfFrenchHeavyMetal #NouvelleVagueDeHeavyMetalFrançais #HeavyMetalFrançais #MetalFrançais #MetalFrancophone #TraditionalHeavyMetal #HeavyMetalTraditionnel

Aquilla – Sentinels of New Dawn Review

By Baguette of Bodom

The Polish metal scene is much better known around these parts for its bludgeoning death metal than for classic metal worship, and Aquilla is looking to change that. Formed in Warsaw in 2015, their debut Mankind’s Odyssey was unleashed on the masses in 2022, delivering NWoBHM with a dose of ”80s–’90s speed/power metal influence. Sophomore album Sentinels of New Dawn promises a similar but more epic brand of sci-fi thunder. With a couple EPs and a full-length already under their belt, how does Aquilla navigate this set of space war stories?

Aquilla’s authentic sound immediately makes it clear they’re not messing around. Since the last time they heeded the call, they’ve been through some lineup shifts, vocalist Captain Paradox and rhythm guitarist Jaspar de Phaser both joining in 2023. The resulting shift in sound is both obvious and a major positive. Captain Paradox is the star of the show, his vocals thoroughly combining the best of the ’80s and wailing wild and free like Kai Hansen (Helloween debut, Gamma Ray) or Michael Knoblich (Scanner debut). But the speed and power metal elements in Sentinels of New Dawn don’t stop at the vocals, they are firmly present in the dueling guitar work of Jaspar de Phaser and Kris Invader as well (“Creed of Fire,” “Technocrats’ Tyranny”). The bouncy and varied drum patterns, together with an ’80s Helloween-coated bass performance (“Technocrats’ Tyranny”), round out the rock-solid, energetic foundation of the album.

The greatest strength of Sentinels of New Dawn is its potent, to-the-point songwriting. Mankind’s Odyssey was at times charming, but had a fairly narrow scope and often forgot the ‘speed’ half of speed metal. Here, Aquilla dedicate much more of the album’s runtime to an all-gas, no-brakes approach, something sorely missing from many others of its kind. The record has plenty of tricks up its sleeve, with dual-harmonized NWoBHM leads (“Plunder & Steel,” “Mountains of Black Sleep”) and fun classic-sounding gang vocals (“Plunder & Steel”) increasing the anthemic factor further. But the band also shows songwriting maturity and variety by dipping into Queensrÿchean melodic segments (“Mountains of Black Sleep,” “Battalion 31”). While the combination isn’t seamless—the middle of the album unevenly packed with most of the slower bits—it suits Aquilla well and makes for an entertaining and multifaceted album. Furthermore, relying less on Iron Maiden worship and being more German speed/power metal-informed (“Creed of Fire,” “Battalion 31”) has improved their songcraft significantly. As a result, it feels like the band has now found their element and figured out their sound, combining aspects of old and new(er).

Aquilla is having fun, and it translates into a frenetic and inspired album. At just under 50 minutes—45 minutes omitting the intro and outro—Sentinels is a brisk and empowering experience. Even the 10-minute epic “The Prophet” flies by; a great combination of an Iron Maiden and Gamma Ray epic, with the second half having some of the best and most triumphant guitars of the bunch. The dramatic intro and synthy outro fit in oddly well, too, neither one overstaying its welcome. That being said, there are still some quirks to iron out. The harsh vocals at the start of “The Curse of Mercurion” aren’t too damaging, but they are a rough listen and feel unnecessary. “Bound to Be King,” though competent, lacks a hook that the other barn burners feature. Nevertheless, every song here is a good time at least, and many of them show signs of brilliance at best.

Sentinels of New Dawn shows a young band developing into form. Aquilla is here to kick ass and take names, and their mix of old and new is lively and exciting to listen to. The songwriting has made major strides in the span of three years; their speed and energy has only grown, and the Polish metal scene is all the richer and more varied for it. I hope Aquilla fleshes out their craft even further for the next one—with this lineup, they’re on the cusp of greatness.

Rating: Very Good!
DR: 6 | Format Reviewed: 320kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#2025 #35 #Aquilla #GammaRay #HeavyMetal #Helloween #HighRollerRecords #IronMaiden #NWOBHM #Oct25 #PolishMetal #PowerMetal #Queensryche #Review #Reviews #Scanner #SentinelsOfNewDawn #SpeedMetal

Helms Deep – Chasing the Dragon Review

By ClarkKent

Helms Deep made quite a splash with their debut, Treacherous Ways, thanks to their high-energy ode to speed metal acts of the ’70s and ’80s. Now they’re back with a little extra firepower in the form of guitarist Ray DeTone and a more progressive-minded drummer in Hal Aponte (Ice Age). The remaining two players make their return, including bassist John Gallagher, who AMG writers have attempted to lure back into the comments section since his infamous critique of Huck N Roll’s review of Raven’s Metal City. Finally, there’s Helms Deep founder and frontman, Alex Sciortino, whose impressive vocals help propel this project to the next level. On Chasing the Dragon, Sciortino promises a new focus while still maintaining their modern take on old-school thrash and traditional heavy metal.

Initially, Chasing the Dragon doesn’t actually sound all that different from Treacherous Ways. Early Satan and Savatage remain strong influences, and you’ll hear classic Iron Maiden, especially on the galloping “Chasing the Dragon.” Judas Priest makes their presence felt on the chugging opener of “Frozen Solid”, while mid-tempo cuts like “Cursed” have a Ride the Lightning-era Metallica feel to them. These songs have a relentless energy with fast, pounding drums and endless riffs oozing from all three guitarists. There are also some new additions to the already impressive Helms Deep sonic repertoire. You’ll first hear it in the final minutes of “Craze of the Vampire,” when the guitar tone takes on a noticeably spacey, prog-like Pink Floyd hue. This turns out to be no accident, as “Red Planet” also dabbles in psychedelia that features arpeggios so fast and fun they’ll make you want to mix your LSD with speed. Even with these psychedelic tones, Helms Deep still promises speed first.

Chasing the Dragon boasts crystal-clear production, allowing the 12-string guitars ample room to soar. Close listens will reward lovers of guitar riffs, and Helms Deep goes buck wild on most songs. “Craze of the Vampire” is a perfect example of the artful fretwork on display, beginning with classical-sounding tremolos, moving into creative rhythm riffs, and putting the icing on the cake with frantic arpeggios during the chorus. It’s not just the 12-string guitars that steal the show. Gallagher’s groovy bass is also prominent. Just listen to the opening of “Black Sefirot” and feel your heart pumping as Gallagher’s noodling prepares you for combat. Sciortino’s riveting voice will spur you onward to battle fierce space dragons as he switches from gruff to high-pitched on the turn of a dime. My one complaint is the drums. Aponte’s work on the kit comes off a bit more repetitive than Mike Heller’s, who handled drums on Treacherous Ways, and gives some songs the feeling that they’re dragging on at parts.

If there’s anything that prevents Chasing the Dragon from achieving greatness, it’s that Helms Deep has pulled a (minor) Senjutsu. While Holdeneye felt that their prior record was “a tad long” at 50 minutes, this one clocks in at almost an hour. The problem with having not one but two 12-string guitars is that musicians don’t want to waste that firepower, and so they play nonstop, almost aimless solos. A number of tracks, such as “Craze of the Vampire” and “Flight of the Harpy,” include three additional minutes of guitar wizardry after Sciortino sets his microphone aside. When the riffs are consistently so fun, however, this is only a minor setback. I might have still given this the 4.0ldeneye treatment if it weren’t for the finale, “Shiva’s Wrath,” a 7+ minute instrumental that falls short of the glory of the classic Metallica instrumentals. It features some fun riffs, but lacks focus.

Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, trying my best to sing along with Sciortino’s anthemic choruses. Fans of that old school thrash and NWoBHM sound should definitely give this one a whirl. It has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project, and I even like the moments of experimental psychedelia he infused in some songs. I will be revisiting this one throughout the year, and I’d probably be considering it for my year-end list if it were more tightly edited. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nameless Grave Records
Websites: helmsdeep666.bandcamp.com | facebook.com/helmsdeep666
Releases Worldwide: June 20th, 2025

#2025 #35 #AmericanMetal #ChasingTheDragon #HeavyMetal #HelmsDeep #IceAge #JudasPriest #Jun25 #Metallica #NamelessGraveRecords #NWOBHM #PinkFloyd #PowerMetal #Raven #Review #Reviews #Satan #Savatage #SpeedMetal

Helms Deep – Chasing the Dragon Review

By ClarkKent

Helms Deep made quite a splash with their debut, Treacherous Ways, thanks to their high-energy ode to speed metal acts of the ’70s and ’80s. Now they’re back with a little extra firepower in the form of guitarist Ray DeTone and a more progressive-minded drummer in Hal Aponte (Ice Age). The remaining two players make their return, including bassist John Gallagher, who AMG writers have attempted to lure back into the comments section since his infamous critique of Huck N Roll’s review of Raven’s Metal City. Finally, there’s Helms Deep founder and frontman, Alex Sciortino, whose impressive vocals help propel this project to the next level. On Chasing the Dragon, Sciortino promises a new focus while still maintaining their modern take on old-school thrash and traditional heavy metal.

Initially, Chasing the Dragon doesn’t actually sound all that different from Treacherous Ways. Early Satan and Savatage remain strong influences, and you’ll hear classic Iron Maiden, especially on the galloping “Chasing the Dragon.” Judas Priest makes their presence felt on the chugging opener of “Frozen Solid”, while mid-tempo cuts like “Cursed” have a Ride the Lightning-era Metallica feel to them. These songs have a relentless energy with fast, pounding drums and endless riffs oozing from all three guitarists. There are also some new additions to the already impressive Helms Deep sonic repertoire. You’ll first hear it in the final minutes of “Craze of the Vampire,” when the guitar tone takes on a noticeably spacey, prog-like Pink Floyd hue. This turns out to be no accident, as “Red Planet” also dabbles in psychedelia that features arpeggios so fast and fun they’ll make you want to mix your LSD with speed. Even with these psychedelic tones, Helms Deep still promises speed first.

Chasing the Dragon boasts crystal-clear production, allowing the 12-string guitars ample room to soar. Close listens will reward lovers of guitar riffs, and Helms Deep goes buck wild on most songs. “Craze of the Vampire” is a perfect example of the artful fretwork on display, beginning with classical-sounding tremolos, moving into creative rhythm riffs, and putting the icing on the cake with frantic arpeggios during the chorus. It’s not just the 12-string guitars that steal the show. Gallagher’s groovy bass is also prominent. Just listen to the opening of “Black Sefirot” and feel your heart pumping as Gallagher’s noodling prepares you for combat. Sciortino’s riveting voice will spur you onward to battle fierce space dragons as he switches from gruff to high-pitched on the turn of a dime. My one complaint is the drums. Aponte’s work on the kit comes off a bit more repetitive than Mike Heller’s, who handled drums on Treacherous Ways, and gives some songs the feeling that they’re dragging on at parts.

If there’s anything that prevents Chasing the Dragon from achieving greatness, it’s that Helms Deep has pulled a (minor) Senjutsu. While Holdeneye felt that their prior record was “a tad long” at 50 minutes, this one clocks in at almost an hour. The problem with having not one but two 12-string guitars is that musicians don’t want to waste that firepower, and so they play nonstop, almost aimless solos. A number of tracks, such as “Craze of the Vampire” and “Flight of the Harpy,” include three additional minutes of guitar wizardry after Sciortino sets his microphone aside. When the riffs are consistently so fun, however, this is only a minor setback. I might have still given this the 4.0ldeneye treatment if it weren’t for the finale, “Shiva’s Wrath,” a 7+ minute instrumental that falls short of the glory of the classic Metallica instrumentals. It features some fun riffs, but lacks focus.

Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, trying my best to sing along with Sciortino’s anthemic choruses. Fans of that old school thrash and NWoBHM sound should definitely give this one a whirl. It has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project, and I even like the moments of experimental psychedelia he infused in some songs. I will be revisiting this one throughout the year, and I’d probably be considering it for my year-end list if it were more tightly edited. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nameless Grave Records
Websites: helmsdeep666.bandcamp.com | facebook.com/helmsdeep666
Releases Worldwide: June 20th, 2025

#2025 #35 #AmericanMetal #ChasingTheDragon #HeavyMetal #HelmsDeep #IceAge #JudasPriest #Jun25 #Metallica #NamelessGraveRecords #NWOBHM #PinkFloyd #PowerMetal #Raven #Review #Reviews #Satan #Savatage #SpeedMetal

Helms Deep – Chasing the Dragon Review

By ClarkKent

Helms Deep made quite a splash with their debut, Treacherous Ways, thanks to their high-energy ode to speed metal acts of the ’70s and ’80s. Now they’re back with a little extra firepower in the form of guitarist Ray DeTone and a more progressive-minded drummer in Hal Aponte (Ice Age). The remaining two players make their return, including bassist John Gallagher, who AMG writers have attempted to lure back into the comments section since his infamous critique of Huck N Roll’s review of Raven’s Metal City. Finally, there’s Helms Deep founder and frontman, Alex Sciortino, whose impressive vocals help propel this project to the next level. On Chasing the Dragon, Sciortino promises a new focus while still maintaining their modern take on old-school thrash and traditional heavy metal.

Initially, Chasing the Dragon doesn’t actually sound all that different from Treacherous Ways. Early Satan and Savatage remain strong influences, and you’ll hear classic Iron Maiden, especially on the galloping “Chasing the Dragon.” Judas Priest makes their presence felt on the chugging opener of “Frozen Solid”, while mid-tempo cuts like “Cursed” have a Ride the Lightning-era Metallica feel to them. These songs have a relentless energy with fast, pounding drums and endless riffs oozing from all three guitarists. There are also some new additions to the already impressive Helms Deep sonic repertoire. You’ll first hear it in the final minutes of “Craze of the Vampire,” when the guitar tone takes on a noticeably spacey, prog-like Pink Floyd hue. This turns out to be no accident, as “Red Planet” also dabbles in psychedelia that features arpeggios so fast and fun they’ll make you want to mix your LSD with speed. Even with these psychedelic tones, Helms Deep still promises speed first.

Chasing the Dragon boasts crystal-clear production, allowing the 12-string guitars ample room to soar. Close listens will reward lovers of guitar riffs, and Helms Deep goes buck wild on most songs. “Craze of the Vampire” is a perfect example of the artful fretwork on display, beginning with classical-sounding tremolos, moving into creative rhythm riffs, and putting the icing on the cake with frantic arpeggios during the chorus. It’s not just the 12-string guitars that steal the show. Gallagher’s groovy bass is also prominent. Just listen to the opening of “Black Sefirot” and feel your heart pumping as Gallagher’s noodling prepares you for combat. Sciortino’s riveting voice will spur you onward to battle fierce space dragons as he switches from gruff to high-pitched on the turn of a dime. My one complaint is the drums. Aponte’s work on the kit comes off a bit more repetitive than Mike Heller’s, who handled drums on Treacherous Ways, and gives some songs the feeling that they’re dragging on at parts.

If there’s anything that prevents Chasing the Dragon from achieving greatness, it’s that Helms Deep has pulled a (minor) Senjutsu. While Holdeneye felt that their prior record was “a tad long” at 50 minutes, this one clocks in at almost an hour. The problem with having not one but two 12-string guitars is that musicians don’t want to waste that firepower, and so they play nonstop, almost aimless solos. A number of tracks, such as “Craze of the Vampire” and “Flight of the Harpy,” include three additional minutes of guitar wizardry after Sciortino sets his microphone aside. When the riffs are consistently so fun, however, this is only a minor setback. I might have still given this the 4.0ldeneye treatment if it weren’t for the finale, “Shiva’s Wrath,” a 7+ minute instrumental that falls short of the glory of the classic Metallica instrumentals. It features some fun riffs, but lacks focus.

Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, trying my best to sing along with Sciortino’s anthemic choruses. Fans of that old school thrash and NWoBHM sound should definitely give this one a whirl. It has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project, and I even like the moments of experimental psychedelia he infused in some songs. I will be revisiting this one throughout the year, and I’d probably be considering it for my year-end list if it were more tightly edited. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nameless Grave Records
Websites: helmsdeep666.bandcamp.com | facebook.com/helmsdeep666
Releases Worldwide: June 20th, 2025

#2025 #35 #AmericanMetal #ChasingTheDragon #HeavyMetal #HelmsDeep #IceAge #JudasPriest #Jun25 #Metallica #NamelessGraveRecords #NWOBHM #PinkFloyd #PowerMetal #Raven #Review #Reviews #Satan #Savatage #SpeedMetal

Helms Deep – Chasing the Dragon Review

By ClarkKent

Helms Deep made quite a splash with their debut, Treacherous Ways, thanks to their high-energy ode to speed metal acts of the ’70s and ’80s. Now they’re back with a little extra firepower in the form of guitarist Ray DeTone and a more progressive-minded drummer in Hal Aponte (Ice Age). The remaining two players make their return, including bassist John Gallagher, who AMG writers have attempted to lure back into the comments section since his infamous critique of Huck N Roll’s review of Raven’s Metal City. Finally, there’s Helms Deep founder and frontman, Alex Sciortino, whose impressive vocals help propel this project to the next level. On Chasing the Dragon, Sciortino promises a new focus while still maintaining their modern take on old-school thrash and traditional heavy metal.

Initially, Chasing the Dragon doesn’t actually sound all that different from Treacherous Ways. Early Satan and Savatage remain strong influences, and you’ll hear classic Iron Maiden, especially on the galloping “Chasing the Dragon.” Judas Priest makes their presence felt on the chugging opener of “Frozen Solid”, while mid-tempo cuts like “Cursed” have a Ride the Lightning-era Metallica feel to them. These songs have a relentless energy with fast, pounding drums and endless riffs oozing from all three guitarists. There are also some new additions to the already impressive Helms Deep sonic repertoire. You’ll first hear it in the final minutes of “Craze of the Vampire,” when the guitar tone takes on a noticeably spacey, prog-like Pink Floyd hue. This turns out to be no accident, as “Red Planet” also dabbles in psychedelia that features arpeggios so fast and fun they’ll make you want to mix your LSD with speed. Even with these psychedelic tones, Helms Deep still promises speed first.

Chasing the Dragon boasts crystal-clear production, allowing the 12-string guitars ample room to soar. Close listens will reward lovers of guitar riffs, and Helms Deep goes buck wild on most songs. “Craze of the Vampire” is a perfect example of the artful fretwork on display, beginning with classical-sounding tremolos, moving into creative rhythm riffs, and putting the icing on the cake with frantic arpeggios during the chorus. It’s not just the 12-string guitars that steal the show. Gallagher’s groovy bass is also prominent. Just listen to the opening of “Black Sefirot” and feel your heart pumping as Gallagher’s noodling prepares you for combat. Sciortino’s riveting voice will spur you onward to battle fierce space dragons as he switches from gruff to high-pitched on the turn of a dime. My one complaint is the drums. Aponte’s work on the kit comes off a bit more repetitive than Mike Heller’s, who handled drums on Treacherous Ways, and gives some songs the feeling that they’re dragging on at parts.

If there’s anything that prevents Chasing the Dragon from achieving greatness, it’s that Helms Deep has pulled a (minor) Senjutsu. While Holdeneye felt that their prior record was “a tad long” at 50 minutes, this one clocks in at almost an hour. The problem with having not one but two 12-string guitars is that musicians don’t want to waste that firepower, and so they play nonstop, almost aimless solos. A number of tracks, such as “Craze of the Vampire” and “Flight of the Harpy,” include three additional minutes of guitar wizardry after Sciortino sets his microphone aside. When the riffs are consistently so fun, however, this is only a minor setback. I might have still given this the 4.0ldeneye treatment if it weren’t for the finale, “Shiva’s Wrath,” a 7+ minute instrumental that falls short of the glory of the classic Metallica instrumentals. It features some fun riffs, but lacks focus.

Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, trying my best to sing along with Sciortino’s anthemic choruses. Fans of that old school thrash and NWoBHM sound should definitely give this one a whirl. It has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project, and I even like the moments of experimental psychedelia he infused in some songs. I will be revisiting this one throughout the year, and I’d probably be considering it for my year-end list if it were more tightly edited. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nameless Grave Records
Websites: helmsdeep666.bandcamp.com | facebook.com/helmsdeep666
Releases Worldwide: June 20th, 2025

#2025 #35 #AmericanMetal #ChasingTheDragon #HeavyMetal #HelmsDeep #IceAge #JudasPriest #Jun25 #Metallica #NamelessGraveRecords #NWOBHM #PinkFloyd #PowerMetal #Raven #Review #Reviews #Satan #Savatage #SpeedMetal

#ironmaiden #pieceofmind #nwobhm #heavymetal #music

Am 3. September 1984 ist das Studioalbum "Powerslave" von Iron Maiden erschienen. Auf dem Cover sind einige Geheimnisse versteckt.

Dort sind einige Wörte und Sätze sowie Zeichnung(en) versteckt:
1. WOT? No Guiness
2. Indiana Jones was here 1941
3. Mickey Mouse (Zeichnung)
4. Wot a load of crap
5. Bollocks

#ironmaiden #metal #nwobhm #heavymetal #powerslave #fun #fakten #wissen #sprachen #kultur #fakt #kunst #vinyl

👑 Heavy Metal Kingdom - Wie britische Bands den Rock aufmischten 🤘 🎸 (arte-Mediathek bis 29.3.2025) - Doku über die "New Wave of British Heavy Metal" (NWOBHM)

"Die Doku blickt zurück auf eine musikalische und kulturelle Revolution der 1980er-Jahre in Großbritannien: Die New Wave of British Heavy Metal – auch bekannt unter der umständlichen Abkürzung NWOBHM – war nicht nur ein Sprungbrett für legendäre Bands wie Iron Maiden und Def Leppard, sondern stellte auch die Weichen für den Metal von heute.

Vor 40 Jahren wurde in Großbritannien die Rockmusik revolutioniert: mit brutalen Riffs und hämmernden Rhythmen eroberte NWOBHM die Szene – das unaussprechliche Akronym für New Wave of British Heavy Metal. Es war eine musikalische Explosion, die zu einem integralen Bestandteil der Rockgeschichte wurde. Aus der Bewegung entstanden Bands wie Iron Maiden, Saxon, Girlschool und Def Leppard.
Als die neue Metal-Welle Ende der 1970er Jahre auf Großbritannien zurollte, galt Punk als cooler, war Disco angesagter. Der neue Stil mit den massiven Sounds war zwar hart und schnell, aber irgendwie auch oldschool. Die Medien interessierten sich nicht für das Genre, es blieb beim subkulturellen Randphänomen. Dabei gäbe es ohne NWOBHM heute wohl keine headbangenden und Luftgitarre spielenden Fans, weder Metal-Magazine noch Metal-Festivals. Der Film blickt auf die Geschichte einer Bewegung zurück, die die Grundlagen für den Metal von heute legte. NWOBHM hat es verdient, dass man sich an ihre fulminanten Erfolge und nicht weniger großartigen Flops erinnert.
Regisseurin Sophie Peyrard lässt die verrückte und kreative Atmosphäre Anfang der 1980er Jahre im Film wieder aufleben. Als Material dienen ihr dabei ausschließlich Archivaufnahmen, Konzertmitschnitte und Interviews mit den Menschen, die damals Musikgeschichte schrieben – zum Beispiel Paul Di‘Anno, der erste Sänger von Iron Maiden, Biff Byford von Saxon oder Kim McAuliffe von Girlschool, einer der wenigen weiblichen Heavy-Metal-Formationen, die sich in dieser Männerdomäne behaupten konnten.
Außerdem traf sich die Regisseurin mit Lars Ulrich, dem Schlagzeuger und Mitbegründer von #Metallica , einer der größten Metalbands der Welt. Die Formation aus den USA ist auf den Einfluss von Diamond Head zurückzuführen, einer NWOBHM-Gruppe, die heute weitgehend in Vergessenheit geraten ist."

#Doku #Musik #NWOBHM #HeavyMetal #IronMaiden #Saxon #Girlschool #DefLeppard @[email protected]

⚔️ Iron Maiden ⚔️
The metal legends are celebrating 50 years of heavy metal with their Run For Your Lives 2025 Tour! 🤘🔥 Don’t miss your chance to grab official Iron Maiden merch from their Amazon store!

🛒 Shop now: http://dlvr.it/TJ13hx (paid link)
#CommissionsEarned

#IronMaiden #HeavyMetal #NWOBHM #MaidenFans #UpTheIrons #MetalMerch #CommissionsEarned

⚔️ Iron Maiden ⚔️
The metal legends are celebrating 50 years of heavy metal with their Run For Your Lives 2025 Tour! 🤘🔥 Don’t miss your chance to grab official Iron Maiden merch from their Amazon store!

🛒 Shop now: http://dlvr.it/THt6DQ (paid link)
#CommissionsEarned

#IronMaiden #HeavyMetal #NWOBHM #MaidenFans #UpTheIrons #MetalMerch #CommissionsEarned

⚔️ Iron Maiden ⚔️
The metal legends are celebrating 50 years of heavy metal with their Run For Your Lives 2025 Tour! 🤘🔥 Don’t miss your chance to grab official Iron Maiden merch from their Amazon store!

🛒 Shop now: http://dlvr.it/THkh7x (paid link)
#CommissionsEarned

#IronMaiden #HeavyMetal #NWOBHM #MaidenFans #UpTheIrons #MetalMerch #CommissionsEarned

#RIP Paul Di’Anno.

Der ehemalige Sänger von Iron Maiden ist vor ein paar Tagen gestorben und keiner von Euch sagt bescheid! 😥

https://www.youtube.com/watch?v=2i3mRc-ufUI

#HeavyMetal #IronMaiden #NWOBHM #PaulDiAnno

This week, I are been mostly buying...

"Wolf At the Door" by Trespass, "Rock You Tonight - The Anthology" by Marseille aaaaand the New Wave of British Heavy Metal compilation Lars Ulrich brought out. The NWOBHM album along with Twisted Into Form by Forbidden were the first two vinyl albums I bought around 1991 but I'd never tracked down the CD version of NWOBHM...until now! 🤘😎

#nwobhm #trespass #marseille #rockmusic #metalmusic

Thoroughly enjoying the band bios on #Spotify written by Eduardo Rivadavia (for #AllMusic). 🎶

All "liner notes" should be this entertaining. 😁

#Whiplash #Thrash #Metal #NWOBHM #Music

#TheMetalDogArticleList
#guitarworld
“My being fired was premature… We’d wrapped pre-production on Killers but I never got the chance to record”: Meet Dennis Stratton, the man who brought harmony guitars to Iron Maiden
Armed with a Les Paul Custom copy and an obscenely heavy old combo amp, Stratton only discovered metal when he joined the future giants – and left them the legacy of harmony guitar attack

https://www.guitarworld.com/features/dennis-stratton-iron-maiden

#DennisStratton #IronMaiden #HeavyMetal #Guitarist #NWOBHM

Today's #AlbumOddTheYear2023 category from @Kitty is:

New school does old school - modern/new artists or bands are playing with the old styles

This is probably cheating, because I've talked about this band before, and I have only this single, released in October.

I am nominating Realm of the Damned, from the Swedish band Bronze (formerly known as Kramp). Captures the NWOBHM energy very well, and that's a compliment.

https://bronzeofficial.bandcamp.com/track/realm-of-the-damned

#Bronze #Kramp #NWOBHM #FemaleFrontedMetal

#TheMetalDogArticleList
#louder
“The only way we could afford it was to record on New Year’s Eve, because no one else wanted to.” How Iron Maiden made The Soundhouse Tapes
A cash-strapped Iron Maiden slept on floors and recorded on New Year’s Eve to make their debut EP. 45 years later, it’s one of rock’s most sought-after rarities.

https://www.loudersound.com/features/iron-maiden-story-of-soundhouse-tapes

#IronMaiden
#TheSoundhouseTapes
#HeavyMetalHistory
#NWOBHM
#'RunningFree'
#DougSmith
#BronzeRecords
#RecordLabelCompetition

#TheMetalDogArticleList
#BraveWords
What If PAUL DI’ANNO Had Remained In IRON MAIDEN?
By Greg Prato Would Maiden have gone on to enjoy the same worldwide success if singer Paul Di'Anno remained behind the mic?

https://bravewords.com/news/what-if-paul-dianno-had-remained-in-iron-maiden

#IronMaiden #PaulDiAnno #BruceDickinson #HeavyMetal #SingingStyle #MusicHistory #NWOBHM #LiveForever #MaidenFans

#TheMetalDogArticleList
#Dig!
Powerslave: The Story Behind Iron Maidens Epic Fifth Album
Theyd already brought metal to the mainstream, but the Powerslave album showed that Iron Maiden still had ambition to burn in the mid-80s.

https://www.thisisdig.com/feature/powerslave-iron-maiden-album/

#IronMaiden #Powerslave #SteveHarris #BruceDickinson #DaveMurray #AdrianSmith #CliveBurr #NickoMcBrain #MetalAlbum #NWOBHM

#TheMetalDogArticleList
#louder
A beginner’s guide to Iron Maiden in five essential albums
Get a whistle-stop tour of Iron Maiden history with these five essential numbers from The Beast

https://www.loudersound.com/features/beginners-guide-to-iron-maiden

#IronMaiden #HeavyMetal #NWOBHM #80sMetal #HeavyMetalPioneers #Vocals #GuitarSolos #DrumSolos #MaidenEngland #NumberOfTheBeast #TheDanceOfDeath #TheBookOfSouls #BruceDickinson #SteveHarris #DarrellBayley #Powerslave

https://youtu.be/FiLaLcB7SeM

La meva #CançóDelDia per al dimarts 16 de maig és aquesta dels #IronMaiden #Leyton #NWOBHM #HeavyMetal 📆!