#nwobhm — Public Fediverse posts

Best Of Priest dropped on Friday.
Why not!

https://music.apple.com/us/album/the-best-of-judas-priest/6778544236

#music #metal #nwobhm #judaspriest

Best Of Priest dropped on Friday.
Why not!

https://music.apple.com/us/album/the-best-of-judas-priest/6778544236

#music #metal #nwobhm #judaspriest

TYGERS OF PAN TANG (Regne Unit) presenta nou single: "Forevermore" #TygersOfPanTang #Nwobhm #HeavyMetal #HardRock #Aor #Juny2026 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

This was a #metal night I won't forget anytime soon!

Necromancer kicked it off with a killer set of brutal, antifascist death/thrash. Antagonizör followed up with no-hold-barred speed metal madness that also had a good dose of #nwobhm thrown in; closing their gig with a super-wholesame Heavy Load cover ("Heavy Metal Thank You"). And Abigail last but not least rocked the stage to shreds, unleashing total black/thrash hell upon Billstedt.

What was the best for me, however, was meeting my old friend Jero again, whom I had last seen in person 24 years ago when he played with Gorgon at Headbangers Open Air 2002. It was sooo nice catching up after this long. 🫶

This was a #metal night I won't forget anytime soon!

Necromancer kicked it off with a killer set of brutal, antifascist death/thrash. Antagonizör followed up with no-hold-barred speed metal madness that also had a good dose of #nwobhm thrown in; closing their gig with a super-wholesame Heavy Load cover ("Heavy Metal Thank You"). And Abigail last but not least rocked the stage to shreds, unleashing total black/thrash hell upon Billstedt.

What was the best for me, however, was meeting my old friend Jero again, whom I had last seen in person 24 years ago when he played with Gorgon at Headbangers Open Air 2002. It was sooo nice catching up after this long. 🫶

#Lagunitas partners with #NWOBHM act #IronMaiden on new #Trooper #IPA

#Petaluma Brewery site to have air guitar contest in June to celebrate tapping into first batches

https://www.pressdemocrat.com/2026/05/27/lagunitas-brewing-company-partners-with-heavy-metal-giant-iron-maiden-on-new-beer/

Un acercamiento a la vertiente estética del legendario grupo londinense. Por Fran Villanueva / #LaFactoríadelRitmo www.lafactoriadelritmo.com/.../musica-y... Up the Irons! #IronMaiden #metalsky #rock #heavymetal #NWOBHM #hardrock #rock #metal #music #press #prensa #música #cultura #heavy #rockduro

Un acercamiento a la vertiente estética del legendario grupo londinense. Por Fran Villanueva / #LaFactoríadelRitmo www.lafactoriadelritmo.com/.../musica-y... Up the Irons! #IronMaiden #metalsky #rock #heavymetal #NWOBHM #hardrock #rock #metal #music #press #prensa #música #cultura #heavy #rockduro

IRON MAIDEN: BURNING AMBITION invita a los fans a experimentar uno de los viajes más emblemáticos de la historia de la música. collectorseriesdiy.blogspot.com/2026/05/iron... #Ironmaiden #ironmaidenfans #yelmocines #UptheIrons! #metalsky #heavymetal #hardrock #metal #NWOBHM #press #Film #heavy

RE: https://bsky.app/profile/did:plc:rei54k7nmu57w3k4oz4q75kl/post/3mmdly7ppo22o

IRON MAIDEN: BURNING AMBITION

IRON MAIDEN: BURNING AMBITION invita a los fans a experimentar uno de los viajes más emblemáticos de la historia de la música. collectorseriesdiy.blogspot.com/2026/05/iron... #Ironmaiden #ironmaidenfans #yelmocines #UptheIrons! #metalsky #heavymetal #hardrock #metal #NWOBHM #press #Film #heavy

RE: https://bsky.app/profile/did:plc:rei54k7nmu57w3k4oz4q75kl/post/3mmdly7ppo22o

IRON MAIDEN: BURNING AMBITION

IRON MAIDEN: BURNING AMBITION invita a los fans a experimentar uno de los viajes más emblemáticos de la historia de la música. collectorseriesdiy.blogspot.com/2026/05/iron... #Ironmaiden #ironmaidenfans #yelmocines #UptheIrons! #metalsky #heavymetal #hardrock #metal #NWOBHM #press #Film

RE: https://bsky.app/profile/did:plc:rei54k7nmu57w3k4oz4q75kl/post/3mmdly7ppo22o

IRON MAIDEN: BURNING AMBITION

IRON MAIDEN: BURNING AMBITION invita a los fans a experimentar uno de los viajes más emblemáticos de la historia de la música. collectorseriesdiy.blogspot.com/2026/05/iron... #Ironmaiden #ironmaidenfans #yelmocines #UptheIrons! #metalsky #heavymetal #hardrock #metal #NWOBHM #press #Film

RE: https://bsky.app/profile/did:plc:rei54k7nmu57w3k4oz4q75kl/post/3mmdly7ppo22o

IRON MAIDEN: BURNING AMBITION

#Película #documental sobre Iron Maiden: Burning Ambition. Próximo pase será en el cine Yelmo de Plaza Mayor el 21 de mayo a las 20:15h. collectorseriesdiy.blogspot.com/2026/05/iron... #Ironmaiden #ironmaidenfans #yelmocines #UptheIrons! #metalsky #heavymetal #hardrock #metal #NWOBHM #press #Film

#Película #documental sobre Iron Maiden: Burning Ambition. Próximo pase será en el cine Yelmo de Plaza Mayor el 21 de mayo a las 20:15h. collectorseriesdiy.blogspot.com/2026/05/iron... #Ironmaiden #ironmaidenfans #yelmocines #UptheIrons! #metalsky #heavymetal #hardrock #metal #NWOBHM #press #Film

VENOM (Regne Unit) presenta nou single: "Nevermore (Full Length Version)" #Venom #Nwobhm #HeavyMetal #SpeedMetal #BlackMetal #Maig2026 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

RAVEN leyenda del movimiento #NWOBHM estará en Malaga el 20 de mayo collectorseriesdiy.blogspot.com/2026/05/rave... #metalsky #heavymetal #powermetal #thrashmetal #hardrock #rock #metal #press #music #ConciertosMálaga #gigs #tours #rockduro #Heavy #Thrash #speedmetal

RAVEN leyenda del movimiento #NWOBHM estará en Malaga el 20 de mayo collectorseriesdiy.blogspot.com/2026/05/rave... #metalsky #heavymetal #powermetal #thrashmetal #hardrock #rock #metal #press #music #ConciertosMálaga #gigs #tours #rockduro #Heavy #Thrash #speedmetal

In der Stimmung für klassischen #HeavyMetal! Die absolut großartig benannten IRON KOBRA aus Gelsenkirchen (sind übrigens auch im Fedi vertreten: @ironkobra) kredenzen uns eine wunderbare Mischung diverser #NWOBHM-Einflüsse - Maiden, Tank, Saxon und, und, und - mit ollen Cirith Ungol und Manowar und nerdigem Rollenspiel-Vibe. Geiler Kram! Am 19.06. gibt's auch ein neues Album - dieses hier ist zwar etwas älter, aber weiterhin mehr als schnieke 😃 ->

Bandcamp-Link zum Album "Might & Magic" von Iron Kobra -> https://ironkobra.bandcamp.com/album/might-magic

TYGERS OF PAN TANG (Regne Unit) presenta nou single: "Electrifyed" #TygersOfPanTang #Nwobhm #HeavyMetal #HardRock #Aor #Maig2026 #RegneUnit #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

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

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

14th April 1980 a great day for #NWOBHM, both these classic albums released on this day
#IronMaiden #judaspriest #albumsyoumusthear #AlbumOfTheDay

🇬🇧 Iron Maiden "The Number of the Beast" – 1982

A defining heavy metal anthem where the track moves from eerie spoken intro into full-throttle riffing, combining precision and theatrical intensity.
Bruce Dickinson’s powerful vocal performance drives the song with operatic force, elevating its apocalyptic themes and giving it an unmistakable identity...

#ironmaiden #heavymetal #nwobhm #metalclassic #britishmusic #vinyl #music #vinylrecords #nowspinningonvinyl #nowspinning #nowlistening

https://www.europesays.com/it/389459/ Saxon: Paul Quinn confermate cinque date in Italia del tour europeo An Evening With The King #AnEveningWithTheKing #CentralPub #Entertainment #HarrisonYoung #Intrattenimento #IT #Italia #Italy #KoenHerfst #Music #Musica #NWOBHM #PaulQuinn #Peocio #Pubewinebar #RockLegendsTheRockStory #Saxon #StazioneBirra #StillHot #TeatroCinemaRossini #TheCards

Tailgunner unleash new single “Tears In Rain”

UK heavy metal torchbearers TAILGUNNER have unleashed their brand-new single “Tears in Rain”, now available worldwide. The track delivers a powerful taste of the band’s upcoming debut album Midnight Blitz, set for release on February 6th, 2026 via Napalm Records.

The official video, directed and produced by Andy Pilkington of Very Metal Art, captures Tailgunner’s raw energy and classic heavy metal spirit.

Legendary Judas Priest guitarist K.K. Downing has praised the band:

“TAILGUNNER is a band we should have seen emerge years ago from the UK. They personify everything that is heavy metal… Their energy and rawness, together with their brand of metal, incorporates all of the godfathers and much more. The band has a youthful freshness and a uniqueness that will no doubt elevate them to being a true Metal favourite of the fans.”

Tailgunner about “Tears In Rain”:
‘Lost in time, like Tears in Rain…’ The most iconic monologue in cinematic history, and one of most legendary on-screen moments of the 80s. ‘Blade Runner’ has been a focal point throughout writing our new album, and none more so than here, on our new single ‘Tears in Rain’. Carrying a chorus for the ages, this is a track we can’t wait to take out on the road and have you sing with us, deep into the night. Made for those moments where the light fades and things get that little more epic, ‘Tears in Rain’ is an all-time anthem, here for the modern day.

https://www.youtube.com/watch?v=UeD-9pah4fQ&list=RDUeD-9pah4fQ&start_radio=1

TAILGUNNER 2026 LIVE ONSLAUGHT

Supporting HammerFall

• Jan 14 – Pratteln, Switzerland – Z7
• Jan 15 – Lausanne, Switzerland – Docks
• Jan 17 – Barcelona, Spain – Razzmatazz 1
• Jan 18 – Murcia, Spain – Mamba
• Jan 20 – Sevilla, Spain – Custom
• Jan 21 – Lisbon, Portugal – Republica Da Musica
• Jan 22 – Porto, Portugal – Hard Club
• Jan 23 – Madrid, Spain – La Riviera
• Jan 24 – Villava, Spain – Totem
• Jan 26 – Milan, Italy – Alcatraz

Planet Rock Winters End

• Jan 30 – Porthcawl, Wales

Supporting Fozzy

• Feb 6 – Brighton, England – Chalk
• Feb 7 – Margate, England – Dreamland
• Feb 8 – Manchester, England – The Ritz
• Feb 10 – Norwich, England – Epic Studios
• Feb 11 – Bradford, England – Nightrain
• Feb 13 – Nottingham, England – Rock City
• Feb 14 – Glasgow, Scotland – TV Studios
• Feb 15 – Newcastle, England – Boiler Shop
• Feb 17 – Cardiff, Wales – Tramshed
• Feb 18 – Torquay, England – The Foundry
• Feb 19 – Southampton, England – The 1865
• Feb 20 – London, England – Electric Ballroom
• Feb 21 – Wolverhampton, England – KK’s Steel Mill

Summer Festivals

• Jun 4 – Stykkishólmur, Iceland – Satán Festival
• Jun 6 – Sölvesborg, Sweden – Sweden Rock Festival
• Jun 7 – Trondheim Festival, Norway
• Jun 13 – Donington Park, England – Download Festival
• Jun 26 – Spálené Poříčí, Czech Republic – Basinfire Festival
• Jun 27 – Rock Am Hartsfeldsee, Germany
• Jul 4 – Rock Harz Festival, Germany
• Jul 18 – Maidstone, England – Maid of Stone Festival
• Aug 6 – Leyendas Del Rock, Spain
• Aug 8 – Alcatraz Festival, Belgium
• Aug 9 – Geiselwind, Germany – Keep it True Legions Festival
• Aug 15 – Eindhoven, Netherlands – Dynamo Metal Festival
• Aug 21 – Hells Pells Festival, Germany
• Sep 5 – Coventry, England – Hella Rock Festival

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

Pre-Order “MIDNIGHT BLITZ” here: http://lnk.to/TailgunnerMidnightBlitz

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

#AndyPilkington #BritishHeavyMetal #HeavyMetal #kkDowning #MidnightBlitz #NewAlbum #NewWaveOfTraditionalHeavyMetal #nwobhm #NWOTHM #Tailgunner #TailgunnerTearsInRain #tearsInRain #thenwothmCom #VeryMetalArt

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

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

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

I am not a number, I am a free man!

#ironmaiden #numberofthebeast #heavymetal #nwobhm #music

#ironmaiden #pieceofmind #nwobhm #heavymetal #music

#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

#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

Fourth Dominion – Diana’s Day Review

By Iceberg

August promo-picking gets weird around the Sump, weird enough even for this reviewer’s detritus-sifting sensibilities. But the sophomore album from Rochester, NY’s Fourth Dominion stood out to me for two reasons. First: a quietly stunning, lovely piece of album art. Secondly: the multiple genre drops of gothic metal, post-punk, and a peculiar term new to me: “deathwave.” Lead vocalist and primary songwriter Meadow Wyand seems to have coined the term to describe the burgeoning gothic/alt-metal scene, a style encapsulated by the much-loved moniker Chameleons, Unto Others. That comparison, along with a bevy of other name drops that we’ll get into below, was enough to get me on board the dark, melancholy pagan train of Diana’s Day.

The image conjured up by the term deathwave—a blend of dark metal and new-wave—is fitting for parts of Diana’s Day, but that doesn’t reveal the whole picture. There’s a lot of infectious punk and post-punk energy here, blending the fuck-you attitude of Hole with the ‘80s strut of Siouxsie and the Banshees. While Wyand channels the dry, droning vocal styles of The Cure and early ‘00s AFI, the rest of the band plows ahead with NWoBHM laced riffs (“From Below,” “Hill of Swords”) and more mid-tempo Untoothers swagger (“Lilim,” “Goetia”). The production here deserves mention, punching well above its weight. There’s a pleasant, crackling quality to the bass guitar throughout, lending drive and texture to the instrumental breaks (“Bloodstains,” “Lilim”). The roomy master with a DR 9 lets all the layers of guitars—which are bountiful—sit in their own corner of the sound world, rewarding repeat listens. What starts off sounding like a standard punky garage band record reveals layer after layer, something unexpected given the musical style presented.

Fourth Dominion write tight, punchy goth rock songs that aim to smack you in the mouth and get out before you can react. Tracks are lean and cut to radio-friendly proportion, generally consisting of an intro, verse-chorus pattern, bridge and outro. Trimmed-down structures like this tend to be over-reliant on their choruses for memorability, and the band manage to deliver some strong ones (“Burn the Prisons,” “Hill of Swords,” “Casca Dreaming”). The guitar leads, when they crop up, are of note and well executed, hearkening back to the NWoBHM influences (“Lilim,” “Her Wings”). A compelling trio of songs closes the album, leaning heavily on picked acoustic guitars, forming a kind of reflective, ballad-esque triptych. Combined with the raucous, off-beat energy in the center of “Her Wings,” this trio shows a completely different side of Fourth Dominion, which unfortunately makes for something of a lopsided listening experience.

There are still formidable obstacles standing in the way of Fourth Dominion delivering a great entry in the goth-rock pantheon. Truth be told, I believe Meadow Wyand’s vocal delivery is going to be a make-or-break point for many listeners, and it depends on your tolerance for the punk, post-punk style of singing. Her earnest, lyric-driven style is on brand with the band’s new-wave/gothic roots, but the combination of a siloed, upfront mix and a focus on a pitched, mid-range performance weakens many of the tracks. When she reaches into her higher register (the final chorus of “Bloodstains”) or lower (“Lilim,” “Death in Fall”) she delivers her most convincing performances. The aforementioned slim song structures devolve into repetitive forms as the album continues, and the variety found in “From Below” or the very groovy “Tormenta Purgatoria” would pay dividends spread throughout the record.

Diana’s Day takes some getting used to, but once acclimated, and upon closer inspection, there’s a breath of fresh air contained in here. It’s clear Wyand poured her heart and soul into the lyrical content of this album, and the impact of the closing tracks speaks volumes about the shared human experience of trauma and release. I think with a renewed focus on their strengths (guitar leads, variety of structure) and a better mix/variety for Wyand’s vocals the band would find a place for themselves amongst the “darkwave” elite. Until that time, I cautiously recommend Fourth Dominion for fans of new gothic metal and punk nostalgia. Something to break up the blasts and brees.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2024

#25 #2024 #AFI #AmericanMetal #DianaSDay #DoomMetal #FiadhProductions #FourthDominion #GothMetal #Hole #Jul24 #NWOBHM #postPunk #PunkRock #Review #Reviews #SiouxsieAndTheBanshees #TheCure #UntoOthers

Fourth Dominion – Diana’s Day Review

By Iceberg

August promo-picking gets weird around the Sump, weird enough even for this reviewer’s detritus-sifting sensibilities. But the sophomore album from Rochester, NY’s Fourth Dominion stood out to me for two reasons. First: a quietly stunning, lovely piece of album art. Secondly: the multiple genre drops of gothic metal, post-punk, and a peculiar term new to me: “deathwave.” Lead vocalist and primary songwriter Meadow Wyand seems to have coined the term to describe the burgeoning gothic/alt-metal scene, a style encapsulated by the much-loved moniker Chameleons, Unto Others. That comparison, along with a bevy of other name drops that we’ll get into below, was enough to get me on board the dark, melancholy pagan train of Diana’s Day.

The image conjured up by the term deathwave—a blend of dark metal and new-wave—is fitting for parts of Diana’s Day, but that doesn’t reveal the whole picture. There’s a lot of infectious punk and post-punk energy here, blending the fuck-you attitude of Hole with the ‘80s strut of Siouxsie and the Banshees. While Wyand channels the dry, droning vocal styles of The Cure and early ‘00s AFI, the rest of the band plows ahead with NWoBHM laced riffs (“From Below,” “Hill of Swords”) and more mid-tempo Untoothers swagger (“Lilim,” “Goetia”). The production here deserves mention, punching well above its weight. There’s a pleasant, crackling quality to the bass guitar throughout, lending drive and texture to the instrumental breaks (“Bloodstains,” “Lilim”). The roomy master with a DR 9 lets all the layers of guitars—which are bountiful—sit in their own corner of the sound world, rewarding repeat listens. What starts off sounding like a standard punky garage band record reveals layer after layer, something unexpected given the musical style presented.

Fourth Dominion write tight, punchy goth rock songs that aim to smack you in the mouth and get out before you can react. Tracks are lean and cut to radio-friendly proportion, generally consisting of an intro, verse-chorus pattern, bridge and outro. Trimmed-down structures like this tend to be over-reliant on their choruses for memorability, and the band manage to deliver some strong ones (“Burn the Prisons,” “Hill of Swords,” “Casca Dreaming”). The guitar leads, when they crop up, are of note and well executed, hearkening back to the NWoBHM influences (“Lilim,” “Her Wings”). A compelling trio of songs closes the album, leaning heavily on picked acoustic guitars, forming a kind of reflective, ballad-esque triptych. Combined with the raucous, off-beat energy in the center of “Her Wings,” this trio shows a completely different side of Fourth Dominion, which unfortunately makes for something of a lopsided listening experience.

There are still formidable obstacles standing in the way of Fourth Dominion delivering a great entry in the goth-rock pantheon. Truth be told, I believe Meadow Wyand’s vocal delivery is going to be a make-or-break point for many listeners, and it depends on your tolerance for the punk, post-punk style of singing. Her earnest, lyric-driven style is on brand with the band’s new-wave/gothic roots, but the combination of a siloed, upfront mix and a focus on a pitched, mid-range performance weakens many of the tracks. When she reaches into her higher register (the final chorus of “Bloodstains”) or lower (“Lilim,” “Death in Fall”) she delivers her most convincing performances. The aforementioned slim song structures devolve into repetitive forms as the album continues, and the variety found in “From Below” or the very groovy “Tormenta Purgatoria” would pay dividends spread throughout the record.

Diana’s Day takes some getting used to, but once acclimated, and upon closer inspection, there’s a breath of fresh air contained in here. It’s clear Wyand poured her heart and soul into the lyrical content of this album, and the impact of the closing tracks speaks volumes about the shared human experience of trauma and release. I think with a renewed focus on their strengths (guitar leads, variety of structure) and a better mix/variety for Wyand’s vocals the band would find a place for themselves amongst the “darkwave” elite. Until that time, I cautiously recommend Fourth Dominion for fans of new gothic metal and punk nostalgia. Something to break up the blasts and brees.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2024

#25 #2024 #AFI #AmericanMetal #DianaSDay #DoomMetal #FiadhProductions #FourthDominion #GothMetal #Hole #Jul24 #NWOBHM #postPunk #PunkRock #Review #Reviews #SiouxsieAndTheBanshees #TheCure #UntoOthers

Fourth Dominion – Diana’s Day Review

By Iceberg

August promo-picking gets weird around the Sump, weird enough even for this reviewer’s detritus-sifting sensibilities. But the sophomore album from Rochester, NY’s Fourth Dominion stood out to me for two reasons. First: a quietly stunning, lovely piece of album art. Secondly: the multiple genre drops of gothic metal, post-punk, and a peculiar term new to me: “deathwave.” Lead vocalist and primary songwriter Meadow Wyand seems to have coined the term to describe the burgeoning gothic/alt-metal scene, a style encapsulated by the much-loved moniker Chameleons, Unto Others. That comparison, along with a bevy of other name drops that we’ll get into below, was enough to get me on board the dark, melancholy pagan train of Diana’s Day.

The image conjured up by the term deathwave—a blend of dark metal and new-wave—is fitting for parts of Diana’s Day, but that doesn’t reveal the whole picture. There’s a lot of infectious punk and post-punk energy here, blending the fuck-you attitude of Hole with the ‘80s strut of Siouxsie and the Banshees. While Wyand channels the dry, droning vocal styles of The Cure and early ‘00s AFI, the rest of the band plows ahead with NWoBHM laced riffs (“From Below,” “Hill of Swords”) and more mid-tempo Untoothers swagger (“Lilim,” “Goetia”). The production here deserves mention, punching well above its weight. There’s a pleasant, crackling quality to the bass guitar throughout, lending drive and texture to the instrumental breaks (“Bloodstains,” “Lilim”). The roomy master with a DR 9 lets all the layers of guitars—which are bountiful—sit in their own corner of the sound world, rewarding repeat listens. What starts off sounding like a standard punky garage band record reveals layer after layer, something unexpected given the musical style presented.

Fourth Dominion write tight, punchy goth rock songs that aim to smack you in the mouth and get out before you can react. Tracks are lean and cut to radio-friendly proportion, generally consisting of an intro, verse-chorus pattern, bridge and outro. Trimmed-down structures like this tend to be over-reliant on their choruses for memorability, and the band manage to deliver some strong ones (“Burn the Prisons,” “Hill of Swords,” “Casca Dreaming”). The guitar leads, when they crop up, are of note and well executed, hearkening back to the NWoBHM influences (“Lilim,” “Her Wings”). A compelling trio of songs closes the album, leaning heavily on picked acoustic guitars, forming a kind of reflective, ballad-esque triptych. Combined with the raucous, off-beat energy in the center of “Her Wings,” this trio shows a completely different side of Fourth Dominion, which unfortunately makes for something of a lopsided listening experience.

There are still formidable obstacles standing in the way of Fourth Dominion delivering a great entry in the goth-rock pantheon. Truth be told, I believe Meadow Wyand’s vocal delivery is going to be a make-or-break point for many listeners, and it depends on your tolerance for the punk, post-punk style of singing. Her earnest, lyric-driven style is on brand with the band’s new-wave/gothic roots, but the combination of a siloed, upfront mix and a focus on a pitched, mid-range performance weakens many of the tracks. When she reaches into her higher register (the final chorus of “Bloodstains”) or lower (“Lilim,” “Death in Fall”) she delivers her most convincing performances. The aforementioned slim song structures devolve into repetitive forms as the album continues, and the variety found in “From Below” or the very groovy “Tormenta Purgatoria” would pay dividends spread throughout the record.

Diana’s Day takes some getting used to, but once acclimated, and upon closer inspection, there’s a breath of fresh air contained in here. It’s clear Wyand poured her heart and soul into the lyrical content of this album, and the impact of the closing tracks speaks volumes about the shared human experience of trauma and release. I think with a renewed focus on their strengths (guitar leads, variety of structure) and a better mix/variety for Wyand’s vocals the band would find a place for themselves amongst the “darkwave” elite. Until that time, I cautiously recommend Fourth Dominion for fans of new gothic metal and punk nostalgia. Something to break up the blasts and brees.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2024

#25 #2024 #AFI #AmericanMetal #DianaSDay #DoomMetal #FiadhProductions #FourthDominion #GothMetal #Hole #Jul24 #NWOBHM #postPunk #PunkRock #Review #Reviews #SiouxsieAndTheBanshees #TheCure #UntoOthers

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#louder
“The kids who wanted to buy our records were like, ‘Cool! The religious right’s burning them!’” The track-by-track guide to Iron Maiden’s The Number Of The Beast
From Invaders to Hallowed Be Thy Name, here’s everything you need to know about each song on Iron Maiden’s 1982 breakthrough

https://www.loudersound.com/features/iron-maiden-number-of-the-beast-track-by-track-guide

#IronMaiden #NumberoftheBeast #TrackbyTrack #HeavyMetal #SteveHarris #DaveMurray #ClassicAlbum #NWOBHM

#TheMetalDogArticleList
#louder
“The kids who wanted to buy our records were like, ‘Cool! The religious right’s burning them!’” The track-by-track guide to Iron Maiden’s The Number Of The Beast
From Invaders to Hallowed Be Thy Name, here’s everything you need to know about each song on Iron Maiden’s 1982 breakthrough

https://www.loudersound.com/features/iron-maiden-number-of-the-beast-track-by-track-guide

#IronMaiden #NumberoftheBeast #TrackbyTrack #HeavyMetal #SteveHarris #DaveMurray #ClassicAlbum #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

#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