#nwothm — Public Fediverse posts

Culloden – Witchpricker
#HeavyMetal #Metal #NWOBHM #NWOTHM #SpeedMetal #epicmetal #heavymetal #NewcastleUponTyne
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://cullodenuk.bandcamp.com/album/witchpricker

Culloden – Witchpricker
#HeavyMetal #Metal #NWOBHM #NWOTHM #SpeedMetal #epicmetal #heavymetal #NewcastleUponTyne
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://cullodenuk.bandcamp.com/album/witchpricker

A week has passed since the release of our new album ETERNAL DAGGER and we cannot express how extremely grateful we are for all the positive feedback and love that YOU have shown us! Thank you so much for all your support and dedication.

Now we want to know: From the despairing depths of the Tembling Dungeons to the epic unspeakable heights of the Mountains of Madness, what is your favourite track of the album? Are you SIDE ETERNAL or SIDE DAGGER?

Post in the comments and let us know!

To celebrate the release, we will also hand out 5 free download codes of our new album among all comments! #IronKobra #HeavyMetal #metal #EternalDagger #SpeedMetal #nwothm

A week has passed since the release of our new album ETERNAL DAGGER and we cannot express how extremely grateful we are for all the positive feedback and love that YOU have shown us! Thank you so much for all your support and dedication.

Now we want to know: From the despairing depths of the Tembling Dungeons to the epic unspeakable heights of the Mountains of Madness, what is your favourite track of the album? Are you SIDE ETERNAL or SIDE DAGGER?

Post in the comments and let us know!

To celebrate the release, we will also hand out 5 free download codes of our new album among all comments! #IronKobra #HeavyMetal #metal #EternalDagger #SpeedMetal #nwothm

And in case you are unsure whether ETERNAL DAGGER is for you ... here a list of reviews (thread) ⬇️ #IronKobra #EternalDagger #HeavyMetal #metal #SpeedMetal #nwothm

And in case you are unsure whether ETERNAL DAGGER is for you ... here a list of reviews (thread) ⬇️ #IronKobra #EternalDagger #HeavyMetal #metal #SpeedMetal #nwothm

You can listen to the album in its entirety on our Bandcamp page: https://ironkobra.bandcamp.com/album/eternal-dagger #HeavyMetal #IronKobra #SpeedMetal #metal #nwothm

You can listen to the album in its entirety on our Bandcamp page: https://ironkobra.bandcamp.com/album/eternal-dagger #HeavyMetal #IronKobra #SpeedMetal #metal #nwothm

ETERNAL DAGGER RELEASE ... TODAY!

Time since MIGHT & MAGIC:
11 years.
4,061 days.
5,847,840 minutes.
Enough time to listen to the IRON MAIDEN album 143,564 times.

And now, the time has come.

OUR THIRD ALBUM ETERNAL DAGGER IS OUT TODAY!

We will present some songs tomorrow at Der Detze Rockt, where you will also be able to purchase it in person. We will update the merch on our bandcamp store shortly.

Thanks for the support. It means the world to us.
#IronKobra #EternalDagger #HeavyMetal #SpeedMetal #EpicMetal #metal #rock #nwothm

ETERNAL DAGGER RELEASE ... TODAY!

Time since MIGHT & MAGIC:
11 years.
4,061 days.
5,847,840 minutes.
Enough time to listen to the IRON MAIDEN album 143,564 times.

And now, the time has come.

OUR THIRD ALBUM ETERNAL DAGGER IS OUT TODAY!

We will present some songs tomorrow at Der Detze Rockt, where you will also be able to purchase it in person. We will update the merch on our bandcamp store shortly.

Thanks for the support. It means the world to us.
#IronKobra #EternalDagger #HeavyMetal #SpeedMetal #EpicMetal #metal #rock #nwothm

When last we visited the Iron Kingdom, the frigid temps forced Holdeneye to don his special Arctic Wolf Fur Armor (providing +50% cold resistance). With the changing seasons, the climate has transformed into a desert under a scorching hot sun. These Canucks have been putting out classic-style heavy metal since 2011, though founders Chris Osterman and Leighton Holmes originally started the band under the moniker Twisted in 2004. Despite all that history, Shadows and Dust, their sixth album, will be just the second time they’ve graced these halls, following Holdeneye’s review of 2019’s On the Hunt. As prepared as Holdeneye was for the frigid setting of On the Hunt, his Arctic armor unfortunately could not handle the sudden increase in temperature. So I have come in his stead, donning my Hooded Cloak of the Dragon (+50% heat resistance) to travel the Iron Kingdom and report my findings.

On Shadows and Dust, Iron Kingdom remain defenders of the NWOTHM brand. With their instruments and voices, Iron Kingdom summon classic Judas Priest, Iron Maiden, and Helloween. Much of what they offer is mid-tempo bruisers featuring energetic riffs and kit work. Opener “Defenders” proves to be the standard bearer for the mid-tempo stuff, with solid instrumentation and the catchiest chorus on the record. Iron Kingdom occasionally reach for Painkiller levels of thrash as well. The high-energy “Eternal Emperor” features some killer riffs and is so much fun it competes with the best in the genre. Only two songs fall below the four-minute mark (“Line of Fire,” “Dark Demands”), and these prove lean, mean thrash machines that inject the album with energy and momentum. Not that I frown upon the longer tracks. Iron Kingdom employs plenty of tricks to keep the music engaging, particularly energetic dueling solos from Osterman and Megan Merrick that are simply a blast.

The crew comprising this Kingdom prove themselves more than capable musicians. Osterman takes the traditional part of NWOTHM literally with a lively performance that mixes Bruce Dickinson and Michael Kiske. He hits the high notes, but has a light gruffness to keep songs from growing treacly sweet. Holmes provides occasional backup duty on some call-and-response portions. When he shouts “Fight or die!” in response to Osterman on “Line of Fire,” it’s just pure fun. Holmes also excels at the bass. This chosen weapon proves omnipresent thanks to the strong mixing, adding meat and groove to the underlying riffs. His terrific bass part on “Blood and Steel” turns that into a track highlight. Merrick and Osterman show off their stuff on the guitars, injecting the standard rhythm sections with some acrobatic fretwork that’s reminiscent of last year’s Helms Deep. Max Friesen handles kit duties with aplomb. His mid-tempo work keeps up a constant near-thrash level of energy to prime listeners for when songs do go to the next level.

Shadows and Dust shows a pretty significant creep in length compared to Iron Kingdom’s prior few albums. I believe this is the result of some slightly better song compositions, but also a little bloat. For the most part, these tunes don’t feel their length, but a few less memorable cuts do cause the record to sag. “Deadhouse Gates” threatens to kill the momentum mid-record as it becomes too repetitive in its final minute. Fortunately, “Line of Fire” comes to the rescue with a crucial momentum boost. Finale “Sacred Fire,” an epic in the vein of classic Maiden, also runs a touch too long, but manages to entertain for most of its seven-minute runtime. While Iron Kingdom don’t tread any new ground, Shadows and Dust nonetheless offers plenty of fun without any major missteps.

The Iron Kingdom has proved to be a worthy and fun place to visit. It’s far less expensive than the budget-breaking Magic Kingdom and far less brutal than the Steel Kingdom.1 Sure you can go back and spin classics like Keeper of the Seven Keys a whole bunch, but it’s also fun to hear some fresh songs in the genre from newer bands who know how to write a good lick or two. While the summer is so far shaping up to be another hot one, Shadows and Dust provides the perfect soundtrack to beat the heat. It’s that cool.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released (NA) / Steel Shark Records (EU)
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: June 5th, 2026

When last we visited the Iron Kingdom, the frigid temps forced Holdeneye to don his special Arctic Wolf Fur Armor (providing +50% cold resistance). With the changing seasons, the climate has transformed into a desert under a scorching hot sun. These Canucks have been putting out classic-style heavy metal since 2011, though founders Chris Osterman and Leighton Holmes originally started the band under the moniker Twisted in 2004. Despite all that history, Shadows and Dust, their sixth album, will be just the second time they’ve graced these halls, following Holdeneye’s review of 2019’s On the Hunt. As prepared as Holdeneye was for the frigid setting of On the Hunt, his Arctic armor unfortunately could not handle the sudden increase in temperature. So I have come in his stead, donning my Hooded Cloak of the Dragon (+50% heat resistance) to travel the Iron Kingdom and report my findings.

On Shadows and Dust, Iron Kingdom remain defenders of the NWOTHM brand. With their instruments and voices, Iron Kingdom summon classic Judas Priest, Iron Maiden, and Helloween. Much of what they offer is mid-tempo bruisers featuring energetic riffs and kit work. Opener “Defenders” proves to be the standard bearer for the mid-tempo stuff, with solid instrumentation and the catchiest chorus on the record. Iron Kingdom occasionally reach for Painkiller levels of thrash as well. The high-energy “Eternal Emperor” features some killer riffs and is so much fun it competes with the best in the genre. Only two songs fall below the four-minute mark (“Line of Fire,” “Dark Demands”), and these prove lean, mean thrash machines that inject the album with energy and momentum. Not that I frown upon the longer tracks. Iron Kingdom employs plenty of tricks to keep the music engaging, particularly energetic dueling solos from Osterman and Megan Merrick that are simply a blast.

The crew comprising this Kingdom prove themselves more than capable musicians. Osterman takes the traditional part of NWOTHM literally with a lively performance that mixes Bruce Dickinson and Michael Kiske. He hits the high notes, but has a light gruffness to keep songs from growing treacly sweet. Holmes provides occasional backup duty on some call-and-response portions. When he shouts “Fight or die!” in response to Osterman on “Line of Fire,” it’s just pure fun. Holmes also excels at the bass. This chosen weapon proves omnipresent thanks to the strong mixing, adding meat and groove to the underlying riffs. His terrific bass part on “Blood and Steel” turns that into a track highlight. Merrick and Osterman show off their stuff on the guitars, injecting the standard rhythm sections with some acrobatic fretwork that’s reminiscent of last year’s Helms Deep. Max Friesen handles kit duties with aplomb. His mid-tempo work keeps up a constant near-thrash level of energy to prime listeners for when songs do go to the next level.

Shadows and Dust shows a pretty significant creep in length compared to Iron Kingdom’s prior few albums. I believe this is the result of some slightly better song compositions, but also a little bloat. For the most part, these tunes don’t feel their length, but a few less memorable cuts do cause the record to sag. “Deadhouse Gates” threatens to kill the momentum mid-record as it becomes too repetitive in its final minute. Fortunately, “Line of Fire” comes to the rescue with a crucial momentum boost. Finale “Sacred Fire,” an epic in the vein of classic Maiden, also runs a touch too long, but manages to entertain for most of its seven-minute runtime. While Iron Kingdom don’t tread any new ground, Shadows and Dust nonetheless offers plenty of fun without any major missteps.

The Iron Kingdom has proved to be a worthy and fun place to visit. It’s far less expensive than the budget-breaking Magic Kingdom and far less brutal than the Steel Kingdom.1 Sure you can go back and spin classics like Keeper of the Seven Keys a whole bunch, but it’s also fun to hear some fresh songs in the genre from newer bands who know how to write a good lick or two. While the summer is so far shaping up to be another hot one, Shadows and Dust provides the perfect soundtrack to beat the heat. It’s that cool.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released (NA) / Steel Shark Records (EU)
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: June 5th, 2026

Noch ein Monat und drei Tage bis unser drittes Album ETERNAL DAGGER endlich erscheint — eine schier endlose Wartezeit. Um euch die Zeit etwas zu verkürzen, hier ein Interview, das Ela und Matze kürzlich für the NWOTHM Blog beantwortet haben. Es geht so ziemlich um alles! #nwothm #HeavyMetal #IronKobra
https://thenwothm.com/2026/05/14/interview-iron-kobra-germany/

Noch ein Monat und drei Tage bis unser drittes Album ETERNAL DAGGER endlich erscheint — eine schier endlose Wartezeit. Um euch die Zeit etwas zu verkürzen, hier ein Interview, das Ela und Matze kürzlich für the NWOTHM Blog beantwortet haben. Es geht so ziemlich um alles! #nwothm #HeavyMetal #IronKobra
https://thenwothm.com/2026/05/14/interview-iron-kobra-germany/

#NowPlaying the recent album "Wayfarer" by the band #Kerrigan from #Germany

#HeavyMetal #NWoTHM #AlbumsOf2026

Personal Rating: 9 / 10

Recommended Tracks: "Torchbearer", "Surrender", "Blood and Steel", "Dystopia", "The Fighter", "The Ice Witch", "Wayfarer", "Red Light Tower", "Asylum"

https://kerriganheavymetal.bandcamp.com/album/wayfarer

It's still #BandcampFriday and I could use some motivation to finish the mixing of our upcoming album 🙈
So if you want to support the album, head over to our Bandcamp Site 🤘 :
https://liquidfire.bandcamp.com/

#HeavyMetal #PowerMetal #NWOTHM

It's still #BandcampFriday and I could use some motivation to finish the mixing of our upcoming album 🙈
So if you want to support the album, head over to our Bandcamp Site 🤘 :
https://liquidfire.bandcamp.com/

#HeavyMetal #PowerMetal #NWOTHM

Interview: Cmÿter (Slovakia)

The Nwothm

Bratislava’s Cmÿter are a young band already stirring interest with their stark blend of heavy metal, occult atmosphere, and unmistakably Central European character. Formed in 2024, they’ve arrived with a clear sense of identity and a debut EP that hints at something far darker and more considered than their short history might suggest.

In this interview, Gregor offers a glimpse into the ideas, places, and creative impulses shaping Cmÿter’s world—without stripping away the mystery that makes the band so compelling.

Interview

TheNwothm: For readers discovering you for the first time, how would you introduce Cmÿter and the world you’re building through your music?

Gregor: Cmÿter is is heavy metal that deals with blasphemy, mysticism, and the Inquisition, strongly inspired by the perspective—the vision—of artist and writer Josef Váchal. I am beginning to perceive that the lyrics also touch on existential nihilism. This is probably due to what I read and the values I represent, but it is not surprising in music with this theme. It should be noted that I am not the sole author of all the lyrics; other members of Cmÿter have also contributed to the songs. In fact, one unreleased song has lyrics that were written with the participation of an author outside our band.

Musically, I have probably the greatest authorship. I strongly emphasize the influences of Swedish bands such as Gotham City, Mindless Sinner, Heavy Load, and In Solitude.Of course, it’s not limited to Swedish bands, but also bands such as Thin Lizzy, Saxon, Judas Priest, and Tublatanka.

From reviews and from people, bands such as Mercyful Fate, Bathory, Manilla Road, Stormwitch, and Metalinda are also mentioned in connection with us.

TheNwothm: Cmÿter formed in 2024. What brought each of you together at that particular moment, and when did it become clear that this collaboration should become a band?

Gregor: It was after an Eisenhand concert at Weranda in Bratislava sometime back in 2023. We got pretty drunk, and Palo mentioned something about a band and heavy metal. Since this genre is a way of life for me, the next day, in addition to a headache, I had news about what would happen with our band, haha.

TheNwothm: You’re based in Bratislava. What aspects of the city’s atmosphere or character feel most connected to the spirit of the band?

Gregor: When we were starting the band, I often visited a cemetery called “Cintorín na Kozej bráne” (Goat Gate Cemetery). I used to go there often to read books, drink coffee, or just walk around. I don’t do it as often anymore, but I always enjoy it when I get the chance. I think that the band’s identity is quite influenced by this place.

It is important to note that the first promotional photo is not from this cemetery but from another one – “Ondrejský Cemetery.”

TheNwothm: Slovakia has a rich mix of folklore, history, and darker spiritual traditions. Which parts of Slovak culture have naturally found their way into your music or lyrics?

Gregor: I would say that thematically, not at all, since we take inspiration from Josef Váchal or from our own view of the world of blasphemy, etc., and this gives the whole band a Czechoslovak character. It’s more about the accent and style of language where we come from. I don’t sing with an accent like Malokarpatan, for example, even though I’m very fond of that style. In fact, the original name of the band was supposed to be “Cinter,” which is much closer to us, but in the end we chose “Cmÿter” precisely so that we wouldn’t be imitating the aforementioned band Malokarpatan. Anyway, what I mean is that I don’t sing in standard Slovak, but here and there I use the Bratislava accent, for example.

TheNwothm: Bratislava has its own artistic personality (I enjoyed my visit to the Slovak pub especially!) How has living and creating there shaped the themes or mood of Cmÿter?

Gregor: That’s a very good question. Personally, I can’t imagine Cmÿter changing its base and operating somewhere outside this city, for example in Prague. On my mother’s side, I am a fourth-generation native of Bratislava (maybe even more) and I personally have a very close and specific relationship with this city. This certainly influences the direction of the band and how it functions. 

I used to feel quite sorry for what the city went through during communism, especially in the 1960s. Today, I see it a little differently… The brutalist part of the city’s identity is really interesting and appealing to me, as is the more historical part. 

Fortunately, we no longer have communism, but we are suffering from aggressive development and the pursuit of profit. For example, the “Fuga” club has closed, the “Garáže” is under threat, and the forest parks in the Danube area surrounding Bratislava are also in the developers’ sights. Even the place where we have our rehearsal space is now threatened by developers. 

It sounds terribly sad and catastrophic, but the resistance of citizens is considerable… so there is still some chance of preservation. 

So, the band is clearly influenced by the identity of the city and the problems associated with it.

The pubs here can be really nice, which definitely contributes to the band’s formation, haha.

https://www.youtube.com/watch?v=zfxwonYKfH0&list=RDzfxwonYKfH0&start_radio=1

TheNwothm: Your themes reference mysticism, blasphemy, and the works of Josef Váchal. What first connected you to these ideas, and how do they influence your writing process?

Gregor: I studied fine arts and during my studies I got to know Josef Váchal. I believe that this can have a huge impact and contribution to metal. Josef Váchal had his own vision of occultism and mysticism, which differed quite a bit from the Western one, or rather from what Western occultists worked with. 

So far, lyrics dealing with Váchal’s themes have only appeared in two songs. I am also often influenced by philosophical or academic texts dealing with the Inquisition and similar topics, or simply by my—our own creative intuition.

TheNwothm: Your debut EP Ave Lucifer arrived in 2025. What was the earliest spark that led to this release?

Gregor: We definitely wanted to establish the band’s existence through recordings rather than live performances at first. The complex riffs and vocals are not as simple as they may seem to some. It was simply the first step in the existence of our band.

TheNwothm: When you look back at the creation of “Gróf Reisenstein,” what stands out to you about how that track came together?

Gregor: The band In Solitude and the book “Krvavý román” (Bloody Novel). Before we had anything composed, the band played cover versions of songs by the aforementioned band. We also played something by Saxon, but that was right at the beginning. “Gróf Reisenstein” is our very first song.

TheNwothm: The title track “Ave Lucifer” has a striking name. What was the starting point for developing that piece?

Gregor: In August, actor Karel Heřmánek committed suicide. He played Lucifer in the fairy tale “S čerty nejsou žerty” (Give the Devil His Due) The lyrics of the song are quite satanic, but it is also my tribute to him. 

We also wanted to make a faster and more bestial song so that the EP wouldn’t be all about some strange  blasphemic melancholy. In the song, I also sing “Peklo peklom bude,” (Hell will be hell – A hell is hell) which always reminds me of the Belgian band Acid, which also contributed to this song.

TheNwothm: “Čierny Dom” closes the EP. What can you share about the process of writing or assembling that song?

Gregor: The basic riff is quite old… I composed it sometime in 2017-2019. Of course, its original form was simpler – less technical and in a different key. Lyrically, it differs most from the previous two in terms of theme. Blasphemy still appears here, but more in the realm of the aforementioned existentialist nihilism.

TheNwothm: What was that experience like for you as a new band navigating your first official release?

Gregor: The recording and production were independent – an internal matter for the band. In any case, our label, Tapes of Terror, had already been agreed upon during the recording of the EP. The label just allowed us to release the EP on the internet (Bandcamp and NWOTHM Full Albums) before it comes out on cassette.

As a band, we felt that after a year of existence, we were finally going to release something that would take us further.

TheNwothm: If Cmÿter were represented by an object found in an old Slovak cemetery, what would each of you choose and why?

Gregor: Hmm… a fence? Haha, I don’t really know how to answer that. Cmÿter represents the cemetery as a whole and everything associated with it, including intangible things, not just one object. But let’s say any ornament found in old cemeteries.

TheNwothm: Now that your debut EP is out, what direction are you exploring for your next musical steps? Are you already working on a follow up?

Gregor: We are mainly working on a high-quality, lively set list. This is also connected with preparations for the studio. So, apart from playing concerts, the next big step is to enter the studio again. This time, we won’t be doing it on our own. Personally, I would like to release a single this year that will be a precursor to the release of our debut album… I don’t really know if we’ll manage it because we have to get the finances ready for it.

TheNwothm: Are there regions or countries you’re especially excited to bring Cmÿter to in the future? What shows do you have booked of the rest of the year?

Gregor: Of course, we would like to play in Poland, Germany, Sweden, and basically anywhere in Europe where people want to see us. At the moment, I don’t see Cmÿter going outside Europe in the foreseeable future, although we are not ruling out this possibility in the future. 

Our next show will be at Heavy Metal Thunder in Písek on March the 20th, 2026. Then we’ll probably show up again in April in Bratislava, where we’ll perform with a Chilean heavy metal band, but I won’t reveal any more than that. We already had the opportunity to play in Poland, but it fell through because of the long distance, which would have cost the organiser a lot of money—maybe it will work out some other time.

TheNwothm: How can our readers buy your music and merch?

Gregor: The cassette on the Tapes of Terror website and our merch—so far we only have T-shirts available at concerts, or if there are any left, you can message us on Instagram or email us, because our edition of hand-printed T-shirts is limited.

TheNwothm: Where can fans follow you online?

Gregor: Instagram, Facebook and Bandcamp.

TheNwothm: Anything else you would like to mention?

Gregor: I have nothing to add except to say thank you very much for the interview and your support. I think what you are doing is amazing.

See you at the shows!

Gregor from Cmÿter.

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

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

Live roundup #46

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Metal Warriors

More info: Crush The Neophytes

#2 Warsenal + Support

More info:https://www.facebook.com/thesceptermetal

#3 Friday 13th

More info: https://www.facebook.com/events/1389987619387082/

#4 Konquest + Hounds

More info:https://fb.me/e/4etNG7Cj9

#5 Transylvania + Voidgazer

More info:https://fb.me/e/k3HdfAh7K

#6 Legions of Metal

More info:Legions Of Metal Festival

#7 Keep It True Legions – Leather Nunn

More info:https://keep-it-true.de/tickets/

#8 Iron Echo

More info:https://www.facebook.com/IronEchoMusic

#9 Blades of Steel 2026

More info:https://www.facebook.com/profile.php?id=100092567051166

#10 Hyena

More info:https://www.reservix.de/tickets-hyena-destroy-the-human-race-world-tour-euro-strike-2026-in-moerlenbach-live-music-hall-weiher-am-26-3-2026/e2498379

Review: Greyhawk “Warriors of Greyhawk”

Release date: 13 February 2026

Label: Cruz Del Sur Music

Gage J. Tolin

Fusing classic US power metal, AOR and all things epic metal; GREYHAWK returns with their third album of triumphant battle hymns.

Refreshed, rejuvenated and ready for adventure; GREYHAWK are back with their third album of epic, melodic power/heavy metal fused with an anthemic AOR angle. Shredding guitars, soaring vocals, powerful rhythms and songs that will stick with you are all a part of this majestic opus.

From the very beginning you will be met with soaring guitars, pounding riffs and a classic heavy/power metal attack from the instrumentals. Grandiose and powerful vocals complete the mix, which is perfectly blended by Henrik Udd’s sublime production which is detailed and grandiose. Daniel Porta has provided artwork for this record and clearly the band have had a strong input on all aspects of the release to make sure the entire experience is gripping for you, the fans.

Not many bands blend the more traditional epic heavy/power metal glory with these AOR elements but GREYHAWK do so marvellously, giving the music not only power but memorability, showing that on their third album – this will definitely stand the test of time. The musicianship is continually improving on all counts, from the crushing drumming to the mind-blowing guitar work to the operatic and stunning vocals. Lovers of all things fantastical, adventurous and metallic will be enchanted, enthralled and bedazzled by this stratospheric effort.

“This album is a return to the epic metal roots that we had on our debut album ‘Keepers of the Flame’”, says founding member Darin Wall, “it also features some faster songs where we explore our love for power metal, as well as some of the 80s AOR vibes we had on the last album ‘Thunderheart’. Songs about inner strength, overcoming obstacles in life, and triumphing in victory are all present here. Creating an experience where the listener can find inspiration from the lyrics and energy of the songs, or detach from reality a bit and get lost in some of the epic fantastical themes is the goal.  Ronnie James Dio is the bands biggest influence as far as lyrical themes go.”

Line-Up
Anthony Corso – Vocals
Jesse Berlin – Lead Guitar 
Rob Steinway – Rhythm Guitar
Darin Wall – Bass
Nate Butler – Drums

Review

Greyhawk begin their third full-length album, and first with vocalist Anthony Corso, with “Ascension”, a song that wastes little time in making its mark. While longtime listeners might be a bit put off by the new singer, this quickly faded for me and I found myself enjoying Anthony’s set of pipes. The AOR influence comes through with gusto, at times sounding very akin to the vocal talents of Steve Perry of Journey or Brad Delp of Boston. It helps to give the album a pronounced melodic and anthemic sound to it that I think makes it stand out from their earlier work. On the instrumental side, I did find the production to be a bit cacophonous at times, but I still found the music largely enjoyable. The guitar solo in particular was a great taste of what was to come on the album.

Taking things into a more thrashy realm was “Land of Ashes”, which offered a blitzing pace and sound that I felt more similar to Holy Grail than previous Greyhawk releases. Drummer Nate Butler is killing it throughout the track, with some thundering beats on the kit. Again, I found Corso’s vocals to be more than solid, and they continued to grow on me. While a shorter track, at 3:26, it definitely makes the most of its minutes (as the saying goes), and though I still wasn’t quite sold on the production, everything else was clicking for me up to now.

“Take A Stand” offered a more chanty and simplistic style of track, and I don’t think that’s a bad thing. As I’ve said in other reviews, I appreciate versatility and this shows just that. On top of that, something about this track made it feel like an old Greyhawk track (can’t quite explain why or how that is). While featuring a proper shredder of a guitar solo, the track kept things close to its chest and never strayed too far from the formula that this sort of track offers. It felt like a lead single, and while I do contend that it was a solid addition to the album, I can’t quite rate it higher than that just yet. Alas, future relistens may change my perception.

“Endless Race” returned us to that more thrashy (speedy?) realm, with an opening that ripped like crazy. The melodic guitar harmony coming in to accentuate it was a cherry on top. Speaking of melody, the way in which Corso delivers the chorus is simply dripping with magic and majesty. For some reason, I found the production to really work in the track’s favor for this one, though I retain that I think it’s a touch too clean. This wasn’t a long track, clocking in at just over 4 minutes, and it actually felt shorter than it really was, but I really think it worked. Good stuff here.

The first, of a few, more lengthy tracks was the title track “Warriors of Greyhawk”. I loved the slow build-up in the beginning for this one, interspersing old recordings of past Greyhawk tracks (really nice touch!). This one had a really great sense of epic washed over it, and the track itself felt like a sort of homage to Greyhawk’s work up to this point. I think this is a pretty strong way to signify that the band is entering a new era with Anthony Corso at the helm. By this point, I really felt like the production was starting to click with me, and the aforementioned Corso’s vocals were doing the same. At just a few ticks over six minutes, this was a bit on the longer side, but it never felt overly such.

“Words of Power” returned us toward the shorter side of tracks for the album, and for this one I was really enjoying Corso’s vocals. While I felt that the overall instrumentation was a touch simplistic for the majority of its runtime, the guitar solo was a brief showcase of wizardry. Someone that I think many will call an MVP of the album though is definitely drummer Nate Butler, who remains in top-form. However, though the vocals, solo, and drumming, were all great, the track overall run a bit hollow for me.

Next up was “Chosen”, which was a more mid-tempo track that served to dish up some extra variety on the album. At times verging on epic, the track featured Corso delivering vocals that I found highly reminiscent of previous Greyhawk singer Rev Taylor, but not in a derivative way. The addition of the band chanting the chorus behind the voice of Corso only helped to elevate the track up the ladder of grandeur. The riffs were simple, but they had a purpose and a weight behind them, something I find easy to appreciate. Pretty solid song here.

“Hyperspace”, a word which I never know whether to hyphenate or not, began as a fairly standard power metal romp, with a slick opening riff. Corso’s vocals here remind me heavily of someone, but I can’t quite my finger on who exactly it is. It’s not so much his performance as it is his delivery and cadence, it’s so familiar. Insane shred-fest of a guitar solo to really steal the show near the end, great stuff all-round.

“Embers Rise” opened with a riff that reminded me a lot of modern Judas Priest or Vicious Rumors (both underrated eras for both bands). The song itself however felt a tad bit underdeveloped or undercooked. On the whole, it was a solid track in all respects, but it definitely felt a touch too safe for me. However, it was one of the few tracks where I can hear the bass through the production and that makes me appreciate it for that.

Changing things up completely was “Rise Above”, the penultimate track, which began with a nice melodic instrumental section that delivered an almost reflective mood. Corso joined in with a deep delivery of the opening lines, only further ushering the song into higher territory. His control over his vocal chords is seriously impressive, the way he can effortlessly switch between the deep and high pitches. Throughout the track, especially by the midpoint, I began to wonder if it was building towards something. My thoughts and ponderings proved correct when the song came to a crescendo with a pretty nice closing sequence (wherein the guitar from the very beginning returned for a spell).

Finally we come to “Eternal Quest”, which opened with an even more melodic guitar part (this one felt much more 80s ballad inspired, like some Ratt or Krokus). The intro sequence lasted a bit over a minute of good buildup before Corso ushered in the song properly with crisp vocals. In terms of tempo, this one kept things more middle-speed for the majority of its runtime, to the point that I admit, it began to feel a touch long in the tooth. A brief, but sharp, guitar solo breaks things up a bit with a nice band-chant sequence that eventually became part of the background (cool touch!). Though overall, I do feel like the prior track was the stronger of the two 6 minute closers.

Conclusion

Greyhawk’s third album introduces fans and newcomers to the arrival of new vocalist Anthony Corso, who showcases his exemplary talents throughout. While the sound is a bit different when compared to their previous releases, it isn’t a massive jump, but rather a gradual one if you’ve followed them for some time. The AOR influence from previous album, “Thunderheart” is definitely refined and pushed more towards the front. However, I do feel that the production was a touch too clean and crisp, and at times just simply too much- though think that chalks more up to personal taste. Building on that, the album had a tendency to feel hot and then cold, rather than feeling like a consistent flow was there (though I could’ve just been in the wrong headspace for it).

TheNwothm Score: 7.5/10

Links

Bandcamp: https://greyhawkmetal.bandcamp.com/album/warriors-of-greyhawk

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

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

Label: https://www.cruzdelsurmusic.com/

Read More Reviews

• Review: Greyhawk “Warriors of Greyhawk”

  10th Jan 2026

• Review: Bullet “Kickstarter”

  7th Jan 2026

• Review: Not Fragile “One Way To Glory”

  5th Jan 2026

• Review: Dagger “The First Cuts”

  4th Jan 2026

#americanHeavyMetal #AOR #Boston #CruzDelSuMusic #dio #epicHeavyMetal #greyhawk #HeavyMetal #Journey #JudasPriest #Krokus #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #powerMetal #Ratt #Review #thenwothm #thenwothmCom #VICIOUSRUMORS

Band of the day: Angel Sword (Finland)

https://www.youtube.com/watch?v=1dms0PctjVk

Band: Angel Sword

Country: Finland

Label: Dying Victims Productions

Members: Jerry Razors – Vocals, Guitars Lightning Mike – Guitars Eviltaker – Bass Alexander Depraved – Drums

Album: World Fighter

Track Info: 1. Vigilantes 00:00 2. Weekend Warrior 03:20 3. Dangerous Games 08:00 4. Church of Rock 11:39 5. Powerglove 15:35 6. Against All Odds 18:18 7. Afterburn 22:28 8. World Fighter 26:42

Angel Sword is a heavy metal band from Helsinki, Finland, formed in 2010. Channeling the energy of the golden era with sharp riffs and uncompromising attitude, the band has carved out a place in the modern scene while staying true to traditional heavy metal roots. With releases ranging from their early demo Where We Are Going You Cannot Come to full‑length albums like Rebels Beyond the Pale, Neon City, and World Fighter, Angel Sword continues to uphold the spirit of classic metal while pushing forward with their own identity.

Links

Bandcamp: http://angelsword.bandcamp.com

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

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

Label: https://www.facebook.com/dyingvictimsproductions

#angelSword #BandOfTheDay #dyingVictimsProductions #HeavyMetal #NewWaveOfTraditionalHeavyMetal #NWOTHM #thenwothm #tradMetal #worldFighter

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

Thunderor unleash new single “Pump Up The Volume”

Canadian heavy metal outfit Thunderor, led by JJ Tartaglia (vocals, drums, Skull Fist) and Jonny Nesta (guitar, formerly of Skull Fist), with Brycen Gunn on bass, have unleashed their electrifying new single “Pump Up The Volume.” This track marks the first preview of their forthcoming second album Bleed For It, scheduled for release in March 2026. Known for their signature blend of arena rock, opera, and heavy metal, Thunderor deliver soaring vocals, powerful choruses, and an energy that encourages fans to embrace life with passion and courage.

The single also serves as the opening number for Thunderor The Musical, the band’s ambitious rock opera that debuted at the Toronto Fringe Festival in 2025. The promotional video even features a cameo appearance from Toronto Mayor Olivia Chow, adding a unique touch to the release.

“This one is a lot of fun. Turn up the music, pump up your life, Pump Up The Volume! It’s also the opening number for the Musical, and it sets the mood nicely. Although the rest of the album ventures to many different places. Special thanks to Olivia Chow and the City of Toronto for her cameo in the promo clip, super cool.” – JJ Tartaglia

https://www.youtube.com/watch?v=YfEG-0n0iz4&feature=youtu.be

Following their acclaimed debut, Thunderor’s second album “Bleed For It” demonstrates growth in both songwriting and performance. The record features stronger vocals, expansive choruses, and a balance of raw heavy metal energy with theatrical storytelling. As a concept album, it doubles as the official soundtrack to Thunderor The Musical, guiding listeners through themes of love, struggle, and perseverance.

The band draws inspiration from icons such as Meat Loaf, Van Halen, Bruce Springsteen, The Darkness, H.E.A.T., Night Flight Orchestra, and their own roots in Skull Fist, creating a modern spin on classic heavy and hair metal.

“Bleed For It” will be released on March 27th, 2026, with a limited vinyl bundle available for pre-order:

Vinyl Bundle Pre-Order

Tour Dates

Canada Tour 2026 with Burning Witches

• April 20 – Piranha Bar, Montreal QC
• April 21 – La Source De La Martiniere, Quebec City QC
• April 22 – The Brass Monkey, Ottawa ON
• April 23 – The Garrison, Toronto ON

Scandinavia Tour 2026 with Chris Holmes (W.A.S.P.)

• May 15 – Nordic Noise, Copenhagen Denmark
• May 16 – Godset, Kolding Denmark
• May 27 – The Abyss, Gothenburg Sweden
• May 28 – Muskelrock, Blädinge Sweden
• May 29 – Lokstallet, Skövde Sweden
• May 30 – Gjerdrum Rock Club, Gjerdrum Norway
• May 31 – Sjøboden Live Scene, Mandal Norway

More info: Boonsdalerecords.com/thunderor | Facebook | Instagram | Music Nova Scotia

About Thunderor

Formed in 2020 by multi-JUNO-nominated musicians JJ Tartaglia and Jonny Nesta, Thunderor deliver hook-filled anthems that channel the spirit of arena rock while weaving in heavy metal, hair metal, and rock opera influences.

Their debut album “Fire It Up” (2022) reached #1 on Earshot’s National Loud Chart in Canada, cementing their reputation as a rising force in the global metal scene. Extensive tours across Europe, Canada, Mexico, and South America followed, with Thunderor sharing stages with acts such as Airbourne, U.D.O., Enforcer, and Night Demon.

In May 2024, their single “Get ‘Em Counted” surpassed 230K views on YouTube, building anticipation for their next chapter. In summer 2025, Thunderor premiered Thunderor The Musical at the Toronto Fringe Festival, a bold rock opera featuring unreleased material that now forms the foundation of their upcoming album.

Set for release in March 2026, “Bleed For It” will feature the high-energy single “Pump Up The Volume,” a track that captures the band’s uplifting spirit and theatrical edge. With enhanced vocals, bigger choruses, and a concept-driven narrative, the album promises to be both a soundtrack to the musical and a standalone heavy metal experience.

#1 #arenaRock #bleedForIt #glamRock #hardRock #HeavyMetal #musical #NewSingle #NewWaveOfTraditionalHeavyMetal #NWOTHM #PumpUpTheVolume #SkullFist #thenwothm #Tnunderor

Thunderor unleash new single “Pump Up The Volume”

Canadian heavy metal outfit Thunderor, led by JJ Tartaglia (vocals, drums, Skull Fist) and Jonny Nesta (guitar, formerly of Skull Fist), with Brycen Gunn on bass, have unleashed their electrifying new single “Pump Up The Volume.” This track marks the first preview of their forthcoming second album Bleed For It, scheduled for release in March 2026. Known for their signature blend of arena rock, opera, and heavy metal, Thunderor deliver soaring vocals, powerful choruses, and an energy that encourages fans to embrace life with passion and courage.

The single also serves as the opening number for Thunderor The Musical, the band’s ambitious rock opera that debuted at the Toronto Fringe Festival in 2025. The promotional video even features a cameo appearance from Toronto Mayor Olivia Chow, adding a unique touch to the release.

“This one is a lot of fun. Turn up the music, pump up your life, Pump Up The Volume! It’s also the opening number for the Musical, and it sets the mood nicely. Although the rest of the album ventures to many different places. Special thanks to Olivia Chow and the City of Toronto for her cameo in the promo clip, super cool.” – JJ Tartaglia

https://www.youtube.com/watch?v=YfEG-0n0iz4&feature=youtu.be

Following their acclaimed debut, Thunderor’s second album “Bleed For It” demonstrates growth in both songwriting and performance. The record features stronger vocals, expansive choruses, and a balance of raw heavy metal energy with theatrical storytelling. As a concept album, it doubles as the official soundtrack to Thunderor The Musical, guiding listeners through themes of love, struggle, and perseverance.

The band draws inspiration from icons such as Meat Loaf, Van Halen, Bruce Springsteen, The Darkness, H.E.A.T., Night Flight Orchestra, and their own roots in Skull Fist, creating a modern spin on classic heavy and hair metal.

“Bleed For It” will be released on March 27th, 2026, with a limited vinyl bundle available for pre-order:

Vinyl Bundle Pre-Order

Tour Dates

Canada Tour 2026 with Burning Witches

• April 20 – Piranha Bar, Montreal QC
• April 21 – La Source De La Martiniere, Quebec City QC
• April 22 – The Brass Monkey, Ottawa ON
• April 23 – The Garrison, Toronto ON

Scandinavia Tour 2026 with Chris Holmes (W.A.S.P.)

• May 15 – Nordic Noise, Copenhagen Denmark
• May 16 – Godset, Kolding Denmark
• May 27 – The Abyss, Gothenburg Sweden
• May 28 – Muskelrock, Blädinge Sweden
• May 29 – Lokstallet, Skövde Sweden
• May 30 – Gjerdrum Rock Club, Gjerdrum Norway
• May 31 – Sjøboden Live Scene, Mandal Norway

More info: Boonsdalerecords.com/thunderor | Facebook | Instagram | Music Nova Scotia

About Thunderor

Formed in 2020 by multi-JUNO-nominated musicians JJ Tartaglia and Jonny Nesta, Thunderor deliver hook-filled anthems that channel the spirit of arena rock while weaving in heavy metal, hair metal, and rock opera influences.

Their debut album “Fire It Up” (2022) reached #1 on Earshot’s National Loud Chart in Canada, cementing their reputation as a rising force in the global metal scene. Extensive tours across Europe, Canada, Mexico, and South America followed, with Thunderor sharing stages with acts such as Airbourne, U.D.O., Enforcer, and Night Demon.

In May 2024, their single “Get ‘Em Counted” surpassed 230K views on YouTube, building anticipation for their next chapter. In summer 2025, Thunderor premiered Thunderor The Musical at the Toronto Fringe Festival, a bold rock opera featuring unreleased material that now forms the foundation of their upcoming album.

Set for release in March 2026, “Bleed For It” will feature the high-energy single “Pump Up The Volume,” a track that captures the band’s uplifting spirit and theatrical edge. With enhanced vocals, bigger choruses, and a concept-driven narrative, the album promises to be both a soundtrack to the musical and a standalone heavy metal experience.

#1 #arenaRock #bleedForIt #glamRock #hardRock #HeavyMetal #musical #NewSingle #NewWaveOfTraditionalHeavyMetal #NWOTHM #PumpUpTheVolume #SkullFist #thenwothm #Tnunderor

Band of the day: Dark Forest (UK)

https://www.youtube.com/watch?v=b7CW5SVxyyM&list=RDb7CW5SVxyyM&start_radio=1

Band: Dark Forest

Country: UK

Label: Cruz del Sur Music

Members: Josh Winnard – Vocals Christian Horton – Guitars, Bass Patrick Jenkins – Guitars Adam Sidaway – Drums

Album: Ridge & Furrow (EP)

Track Info: 1. Skylark 00:00 2. The Golden Acre 06:40 3. Ridge & Furrow 12:18 4. Meadowland 18:45 5. Under The Greenwood Tree 20:57

Dark Forest is a heavy metal band from Dudley in the West Midlands, England. Formed in 2002, they are known for blending soaring melodies with themes drawn from mythology, history, patriotism and classic metal traditions. Signed to Cruz del Sur Music, the band has released a series of acclaimed albums including Dark Forest, Dawn of Infinity, The Awakening, Beyond the Veil and Oak, Ash & Thorn. Their music has appeared on several compilations, including Fear Candy and British Steel, marking their place in the rising force of British heavy metal.

https://www.youtube.com/watch?v=j21z8KCbuVc&list=RDj21z8KCbuVc&start_radio=1

Links

Bandcamp: https://darkforest-uk.bandcamp.com/album/ridge-and-furrow

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

Instagram:

Label: https://www.cruzdelsurmusic.com/store/

#bandOfTheDay #britishHeavyMetal #cruzDelSuMusic #darkForest #heavyMetal #newWaveOfTraditionalHeavyMetal #nwothm #ridgeFurrow #thenwothmCom

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

Live roundup #39

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Haunt

More info: https://www.facebook.com/hauntthenation

#2 2 Minutes To Tulsa 2026

More info: https://www.facebook.com/profile.php?id=100091898229431

#3 Speed Queen

More info: https://fb.me/e/88lj0eOFj

#4 Enforcer

More info: https://www.instagram.com/enforcerofficial

#5 Hëiligen

More info: https://www.instagram.com/heiligenheavymetal/

#6 Rock Hard Festival 2026

More info: https://www.rockhard.de/rhfestival

#7 FullMetal Osthessen 

More info: https://www.facebook.com/FullMetalOsthessen

#8 Tyrannt

More info: https://www.instagram.com/tyrannband/

#9 High Voltage La Ceja

More info: https://www.instagram.com/revenge.speedmetal/

#10 Messiah + Amethyst & Klaw

More info: http://www.Eisenwerk.ch

#1 #10 #2 #2MinutesToTulsa2026 #3 #4 #5 #6 #7 #8 #9 #amethyst #angelWitch #enforcer #haunt #heiligen #heavyMetal #lucifer #megaColossus #messiah #nwothm #picture #revenge #sacredWarrior #scavenger #snowblind #speedQueen #thenwothm #thenwothmCom #tyrannt #wytchHazel

Support the scene: Eld Varg (Scotland)

I recently came across a Scottish heavy metal band that caught my attention by the name of Eld Varg. This trio have been around since 2013 and already have a stack of releases out.And now they are celebrating the release of their new record “Destroyer” As you know merch is a big part for any bands income so I wanted to show just what they have to offer over on their official web shop!

Web shop: https://www.eldvarg.com/category/all-products

Remember buying physical merch always goes so much further. It puts more money in bands pockets, helping them to do what they do best and that is deliver the metal! So if you love the bands music and can do so, grab some merch and help keep the metal flame burning!

https://www.youtube.com/watch?v=IKzl_Hwpgaw&list=RDIKzl_Hwpgaw&start_radio=1

Links

Website: https://www.eldvarg.com/

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

Instagram: https://www.instagram.com/p/DQeunHdDIdc/

Read More Support The Scene Posts

• Support the scene: Skullovich (USA)

  21st Nov 2025

• Support the scene: Bitter Price (Germany)

  14th Nov 2025

• Support the scene: Sin Starlett (Switzerland)

  7th Nov 2025

• Support the scene: Legendry (USA)

  10th Oct 2025

#bandMerch #buyBandMerch #destroyer #eldVarg #eldVargScotland #heavyMetal #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #supportTheScene #thenwothm #thenwothmCom

Interview: Wild Witch (Brazil)

The Nwothm

Wild Witch emerged from Curitiba’s underground in 2011, carving out a fierce identity rooted in classic heavy metal. In this interview, guitarist Lucas Shred and bassist Felipe Leite trace the band’s journey, reflect on Brazil’s metal scene, and share glimpses of the chaos, camaraderie, and craft behind their latest release.

https://www.youtube.com/watch?v=ADFTDsEYPE0

Interview

TheNwothm: Greetings Wild Witch! Can you start by telling our readers where you are based and who is in the band?

Lucas Shred: Greetings! We would like to thank you for this opportunity to share a little about us! We’re based in Curitiba – Brazil. The crew consists of: Felipe Leite (bass), Lucas Shred (guitars), Tiago Rebel (vocals) and Weiberlan Garcia (drums).

TheNwothm: When the four of you first came together in 2011, what was the spark that made it official?

Felipe Leite: Our first Line up was formed by Felipe Leite (bass), Weiberlan (drums), Flav Scheidt (vocal) and Mariano Burich (guitar). The main idea in the beginning was to form a band to have fun, play some covers. In our first rehearsal we played some songs such like Burning the Witches (Warlock), Strong Arm of the Law (Saxon), Running Free (Iron Maiden) and Strutter (KISS). Then, almost in the same day, Mariano and I bring the first two Wild Witch songs: Burning Chains and Trail of Bones. That was the start we needed to the band get more serious. After that many other songs came up like WitchRipper, From the Purgatory and Diabolic Jaws and we recorded our first EP.

TheNwothm: What’s the story behind the band name Wild Witch. Was it a lightning bolt moment or a slow brew?

Felipe Leite: We thought about many names, such like Sandman (because we were really fan of the comic book) and Lamia, a greek mythology demon. Wild Witch was part of a brainstorm made between Flav and I. We came with some option in the rehearsal and the guys voted for Wild Witch. It was a strong name. Two inspirations for that were the song Wild Child by W.A.S.P. and Don1t Burn the Witch by Venom.

TheNwothm: How has growing up in Brazil shaped your approach to heavy metal?

Lucas Shred: Brazil has plenty of metal bands one can be inspired of, but it’s also a very rich land in terms of popular music, which makes our musical vocabulary have some variations and different influences. And about being in a metal band, we also had to learn to fight for it – no support from government for musicians.

https://www.youtube.com/watch?v=fHo-T_MBQnA

TheNwothm: What’s something about the Brazilian metal scene that international fans might not know but should?

Felipe Leite: Something that they should know is that there are a lot of great bands working hard to put out new material. It’s crazy because Heavy Metal in Brazil got more popular in the second half of the 80s, after Rock in Rio 1. But even late it grew so fast. Traditionally, Thrash, Death and Power Metal used to be more popular here and we could mention Sepultura, Sarcofago, Angra and Viper. But bands like Iron Maiden and Judas Priest always had a great base of fans. In the early 2000s we have a very good revival of Thrash Metal here with bands like Violator, ByWar and others that really influenced me on my music formation and my preference for 80s Metal. The first band I had with Mariano and Weiberlan was an oldschool Thrash Metal band.

After that we also had a revival of Traditional Heavy Metal that still going on with a lot of bands. I was a great fan of Saxon and, my idea in the beginning, was to form a band that sound like Saxon in Wheels of Steel era. Today Heavy Metal that people use to call as NWOTHM still very popular in Brazil. Lucas have played in Hell Gun and now he is also on Phantom Star, two Traditional Metal bands. I also played in Axecuter and now I am playing bass on Espectro, both Heavy Metal. But what is more interesting his that all these bands are different from each other. Espectro is a Heavy Metal that sounds more like 70s rock like Sabbath and Lizzy. Phantom Star sounds more like Savatage. Even Wild Witch have changed through the years. But all these bands are always recording albums, producing video clipes and travelling for playing. 

TheNwothm: Growing up, was there a particular artist or band that made you say “I want to do that”?

Lucas Shred: For me (Lucas) it was Kiko Loureiro from Angra.

Felipe Leite: Biff Byford, from Saxon, and Marcel Schmier from Destruction. Not by technique but because I saw Destruction when I was a teenager and that shocked me, one of my first concerts. 

TheNwothm: I would love to know your preferred format for music for both the band and for collecting and why! Vinyl, cassette, CD, digital?

Lucas Shred: For the band’s merch, due to easier sells, the CD is great. For collecting, vinyl is great for the audio unique quality and the size of the cover art, easy to see it’s details.

Felipe Leite: Actually, I collect both. When I was younger I used to buy more CDs as most of my Metal friends in school used to not have Turntable. So we used to do exchange of music on times that downloading was really difficult. I knew many different thing through this process. But I always preferred Vinyl and also bought some when I was teenager as they used to be cheaper then CDs at that time. Today I have about 800 CDs and 600 LPs on my collection. My dream is to release both Wild Witch albums in vinyl.

TheNwothm: So let us talk about the music! Let’s rewind to 2013. What do you remember most vividly about recording “Burning Chains?”

Lucas Shred: I wasn’t there yet, but when I heard it, I thought “this is one of the bands I’d love to be part of”

Felipe Leite: We didn’t have any experience on that. I have recorded a demo with Mariano in another band we had but it was totally unprofessional. So we decided to not start with a full lenght album to learn more about recording process. At the end, it was more satisfying than expected and I still love that EP. We still playing the title track and we re-recorded WitchRipper that still being the last song of our concerts.

TheNwothm: “The Offering”  then landed in 2017 with strong reviews. What was the biggest creative risk you took on that album?

Felipe Leite: Most songs on “The Offering” were made at the beginning of the band. We started to record in 2013 and had a version with Flav Scheidt singing, but the production was really bad. So, we decide to restart from the beginning at Sonata Prima Studio in 2015, after I returned to Brazil (I lived in Dublin in 2014 and 15). We recorded the album throughout the year. Flav was focusing on some other goals at that time related to college, so she was not that involved in the process. I mean hard work like going to studio and practicing the songs. Also, we broke up at the end of the year, before she record the vocals and we decided we could no longer continue playing together.

So, I started to study and got vocal classes and recorded the lead vocals. For that album I think it worked fine, it was more focusing on sounding more “Rock” like early British bands like Saxon and Angel Witch. On Reaper’s Blade we changed a little, and we are sounding more powerful, with more influences of Power Metal bands, so I decided that we needed a stronger voice from a tenor dedicated to this. That’s why we invited Tiago, but I still sang some songs of “The Offering” in the shows, and the album had a good receptivity.

TheNwothm: “Reaper’s Blade” is your latest full-length. What’s one track from that album you’d love to see fans dissect line by line?

Lucas Shred: “Magic’s Sin” already drove some attention, but it’s still our favourite.” The Quahog” and the “Pearl” haves some interesting metaphors in its lyrics and Get Out! Is very provocative.

Felipe Leite: I have a special connection with “WitchRipper” but I agree with Lucas. “Magic’s Sin” is powerful! It’s my favorite and the one we see the best approval from people who likes us. But I love every song in this album. Fist is amazing as well, Quahog and the Pearl, King of Skies.

TheNwothm: What did you enjoy most about putting your latest record together?

Lucas Shred: Working together as a band and as friends. Easy group decisions and also enjoying the process of seeing your ideas getting shaped.

Felipe Leite: I think it was a hard journey. During the process we had many problems that postponed this like the covid pandemic and the passing of our friend and guitar player Paulo Ryba. Release this was like the feeling of doing the great work of our lives. This album is really special for me.

TheNwothm: And looking back at the music you have created so far is there a song you particularly enjoyed writing or playing live?

Lucas Shred: “Heavy Metal Inferno” is very fun to play.

Felipe Leite: I agree with Lucas and that’s the most exciting part on having a band and recording new albums. When you notice that some songs are too strong to leave the setlist even with a lot of great new songs coming up. In our last show there were a lot of younger faces that knew us from Reaper’s Blade and playing “Heavy Metal Inferno,” a simple and catchy song from the first album was amazing!

https://www.youtube.com/watch?v=rr6jcpjgRAM

TheNwothm: If Wild Witch had a signature drink at a bar, what would it be called and what’s in it?

Lucas Shred: A bock or red ale, called Bruxa Selvagem (Wild Witch in portuguese).

Felipe Leite: I prefer malty and winter beer so I would go with Lucas, maybe a brown or red ale. Or maybe something from the German school like a Dunkel Weiss or a Weizen Bock.

TheNWothm: If you weren’t in Wild Witch, what would you be doing instead—no music allowed?

Lucas Shred: Cinema, painting

Felipe Leite: Painting or drawing comics. 

TheNwothm: What’s been your most chaotic gig moment so far—gear failure, crowd madness, anything goes?

Lucas Shred: Without a doubt, one gig in São Paulo (can’t remember the year). Both guitarists were drunk, but under control. Can’t say the same about the drummer, who forgot how to play the songs. My belt broke and my pants started to fall off, so I used the guitar to hold it on its place.

TheNwothm: Are there any upcoming live plans fans should be watching for as we head into 2026?

Felipe Leite: We will give a time of recordings and will keep playing the songs from “Reaper’s Blade.” But I really want to record something new. 

TheNwothm: How can our readers buy your music and merch?

Felipe Leite: Now we are selling all our stuff by social media contacting directly the band, but really soon we will activate the selling of our merch in our bandcamp for Brazil and rest of the World.

TheNwothm: Where can fans follow you online?

Felipe Leite: follow us on Instagram (wildwitch.metal) and facebook. Also we have a channel on youtube with our live videos and studio video clipes for Diabolic Jaws and Magic’s Sin. We are also in all streaming platforms. 

TheNwothm: Anything else you would like to mention?

Felipe Leite: Thank you very much for all the support! It was a great pleasure to answer this questions. We could spend hours talking and writing about something that we love like making Heavy Metal! 

Bandcamp: https://wildwitch.bandcamp.com/

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

Instagram: http://instagram.com/wildwitch.metal/

Label: Classic Metal Records

#brasil #brazilianHeavyMetal #burningChains #heavyMetal #newWaveOfTraditionalHeavyMetal #nwothm #theOffering #thenwothm #thenwothmCom #wildWitch #wildWitchBrazil

Helvetets Port: Tomas Ericson on inspiration vs influence

The Nwothm

I am sometimes asked the question of what has inspired or influenced Helvetets Port’s music. I am sure these terms are interchangeable to some, but to me the question has made my brain rev up to a higher degree than I expected. Perhaps because I have felt there is a difference that I should take more seriously in order to answer the question. In this article I would like to make a distinction between inspiration and influence: the former is something that can act as a “muse”, or something which you strive for, even if it is not necessarily heard in your music. Whereas influence is something that could be more clearly heard, or an “inspiration that has broken through” if you will. Let us start with five sources of inspiration and why it stays on that side of the fence:

Thor (CAN) – Unchained (1983) and Only the Strong (1985)

This is peak efficiency in songwriting. The songs are straightforward and catchy without being cheerful or predictable. I often see my songs getting out of hand when it comes to complexity and abstruseness at the writing stage, and then I try to think “more Thor”. No one could do it quite like them though. They could get seriously epic and heavy with the same simplicity in songs like When Gods Collide and Ride of the Chariots, and it is genius level.

Killen (USA) – Restless is the Witch (1989)

This is perhaps not so much a direct musical inspiration, rather a “heavy metal-philosophical” one. On this cassette, particularly on the two songs that are unique for this release – Birth of a King and The Resurrection/Vampire – Killen demonstrate the ways in which you can warp heavy metal to its limits while still being impervious of accusations of deviating from trueness. And, check out the video of “Scream in the Night” on Youtube for some serious overall coolness inspiration. Their full-length album from 1987 is also a major lesson in giving zero fucks.

Witch Cross (DEN) – Fit for Fight (1984)

In heavy metal there are two overarching themes with their respective moods, from which all sub-themes stem. The old and the new (well, 80s new). The old is the ancient or medieval; fantasy, the epic stuff. The new is the (80s) contemporary, nightlife, street level stuff. And although Witch Cross can excel in the former (especially on some older demo stuff) it is in the “new” category where they truly set the ultimate mood. The first minute of “Light of a Torch” and “Face of a Clown” is like the equivalent of 100 Stranger Things first seasons. It’s all you need if you want to get in the mood to make neon light music – but never to be equalled.

Tyrant (Gloucester, UK) and Tyrant (Mansfield, UK)

For two bands with the same name from the same country to be inseparable regarding the same kind of inspiration is a cosmic fluke. But there they stand, as the two most important bastions of the medieval sub-theme of the “old” category. One of them only having recorded two songs. Listen to a few Tyrant songs and you have bathed yourself in enough medieval melancholy to subtract a few hundred years from the atmosphere of the music you write next. Highlights if I have to choose: “Day of the Knight” and “Shadows of the Night”.

Overkill (Winnenden, GER) – Demo (1984)

It is difficult to be directly musically influenced by these Germans, perhaps because all the songs are so different from each other, but each superb in their own way. Heavy Metal Forces, the catchy anthem; The Iron Sword, the medieval epic song and Killers in the Dawn, a number that surpasses the meanness of all thrash metal while being classic heavy metal. They are a major inspiration when it comes to varying your songs without losing the core, and also to try and change your vocal colour depending on the song.

https://www.youtube.com/watch?v=IBxKivzih7I

And here are five sources of influence and it turns out to be a somewhat patriotic list:

Gotham City (SWE)

The elephant in the room, the influence of all influences! Notwithstanding the music, the sharp-sighted can probably tell that our logo and the artwork to our first single are heavily influenced by Gotham City. They are the main reason I got into obscure heavy metal and the main influence to start Helvetets Port. Their music has the perfect blend of coolness, quirkiness and regalness. Right now I am working on a song which is especially influenced by them, called “We Played Heavy Metal”.

Heavy Load (SWE)

There is always a bit, small or big, of Heavy Load and especially Ragne Wahlquist in one’s guitar playing, singing and songwriting. It is as though their work is the template for heavy metal. When you sit down with a guitar, there is always this little quick subconscious process in your head of “what is guitar playing all about?” in order to get your bearings as to what you are about to do with that strange object in your lap. And that subconscious backdrop is made by Heavy Load. The melancholy and earnestness, the E minor riffs that can always lead to greatness.

Kim Sixx (DEN) – Demo 1984

Kim Sixx in my opinion have the most commendable mix of guitar playing “tools” out of any band. There is perfect division of riffs, rhythm, licks, solos and melodies. Of course not only the division but the way it is played. This, and the fact that they might be the most true template of a classic heavy metal band imaginable, is a huge influence and inspiration. On a song like “Ruled with an Iron Hand”, I tried to summon the guitar practices of Kim Sixx.

Rising (SWE) – The Show is Over (song from the “Just One Bite …” demo 1984)

Now I am going to talk about a couple of songs that have distinct parts that have left an everlasting impression and which I feel I can never really fully explore, an itch that never goes away. For this Rising song it is about the very end, where it is almost like they are starting a new, awesome song and then it stops. It is the ultimate risky “kill your idols” technique in songwriting, creating a yearning that you as a songwriter want to almost fulfill but not quite. This I tried to recreate in the ending of “Cry of the Night”.

Zone Zero (SWE) – Evil Dream (B side from the “Heavy Metal” 7″ 1982)

With the Zone Zero song it is a similar deal in changing parts, but a more abrupt change and preferably more in the middle of the song. The time I first heard the tempo change in Evil Dream might be the most significant listening experience in my life and I get goosebumps just thinking about it. It shows that if you have written a cool part you can just brute force it into whatever place your heart feels like. Having it become as mind-blowing as in Evil Dream is a different matter though. Some places where I have attempted it is for example in “The Invincible” when the lone riff starts, and “Stan Brinner” when the final kind of chorus starts, and many more. Basically, whenever there is a part change that is not very “natural”, the spirit of Evil Dream looms over it.

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

Conclusion by TheNwothm

For Tomas Ericson, Helvetes Port is shaped by inspiration that sparks imagination and influence that leaves its mark in sound. Together they create a vision that balances tradition with individuality, keeping the old spirit of heavy metal alive in a unique way.

How do you see it? Does heavy metal thrive more on unseen muses or on the influences we can clearly hear? Let us know!

Photo Credit: Sabrina (Visual_Evidence) 

#heavyMetal #helvetetsPort #inspirationVsInfluence #newWaveOfTraditionalHeavyMetal #nwothm #thenwothm #thenwothmCom #tomasEricson #tradMetal #traditionalHeavyMetal

Write for us

We’re expanding the team at TheNwothm.com and we’re still looking for new contributors to help us grow! If you think you’ve got what it takes, check out the details below and send in your application.

About us TheNwothm.com is your ultimate destination for everything related to the New Wave of Traditional Heavy Metal. From the latest news and reviews to exclusive interviews and beyond, we celebrate and elevate this vibrant genre. The site was founded in 2023 with one clear goal: to shine a spotlight on NWOTHM bands from every corner of the globe.

Why join us? This site wouldn’t be what it is today without our dedicated team of writers, who live and breathe NWOTHM. We’re small but committed, united by a shared love for the genre and a drive to spread the word. Now we’re looking for voluntary contributors who share that passion. Join us in amplifying the voices of incredible bands and be part of a growing community of like-minded enthusiasts.

Benefits of writing for TheNwothm 🏆

• Get your writing in front of thousands of metal fans
• Review new music before release
• Opportunities to interview bands when available
• Press passes to shows (based on input and availability)

Must haves ❤️

• Ability to write in English
• Basic understanding of WordPress
• Passion for NWOTHM and related genres

What will help your application ✅

• Willingness to contribute weekly
• Ability to turn pieces around quickly
• Initiative to source news and features
• Clear communication via Slack
• Genuine passion for writing and heavy metal

What we are not looking for ❌

• Poor or irregular communication
• Missed deadlines or rushed, low-effort pieces
• Writers already covering the same niche elsewhere

If you have any questions about contributing, don’t hesitate to get in touch—we’ll be happy to answer.

#heavyMetal #joinTheTeam #newWaveOfTraditionalHeavyMetal #nwothm #openToEveryone #thenwothm #writeForThenwothm #writeForUs

Reminder: Share your voice for our upcoming feature!

We’re working on a permanent section for the website, and it begins with one simple but important question:

What does NWOTHM mean to you?

• How do you interpret the term?
• How does it make you feel?
• How do you think it all began?

We’d love to hear your thoughts. Please share your comments below, through social media, or by email at [email protected] — and don’t forget to include your country. Your words could even become part of the feature itself.

The feature is planned to go live in the new year, so keep an eye out.

#heavyMetal #newWaveOfTraditionalHeavyMetal #nwothm #thenwothm #thenwothmCom #whatDoesNwothmMeanToYou2

Review: Mausoleum Gate “Space, Rituals and Magick’

Release date: Out Now

Label: Cruz Del Sur Music

The Nwothm

Finnish heavy metal cult Mausoleum Gate return with their heavily anticipated third studio album. “Space, Rituals and Magick” is available now via Cruz Del Sur Music on vinyl, CD, and digital formats.

Formed in 2008, Mausoleum Gate have carved a reputation for their mystical and atmospheric approach to heavy metal, drawing inspiration from obscure gems of the 1980s and beyond. Their latest work continues this tradition, offering a journey into other realms and ancient times with a distinctive sound that remains recognisably their own.

Guitarist Count L.F remarks:

Well the notorious third album shall we say? Or so the legend that I have heard goes. This time with Mausoleum Gate. The album took remarkable time to make for various reasons. Sometimes the song not intended to album was growing a serious epic and so on. Well as we called it -The Church of Isaac 666 (a phrase in Finnish called “Iisakin kirkko” which means a building that is never finished) but here we are! As usual the album differs from previous albums. This seems to be the case with us. Anyway still sounding Mausoleum Gate. This is the point. Our line-up has changed quite a lot since the last album and that of course changes the sound of the band but you can recognise the band. And the melodies and harmonies are still there. This time the compositions are maybe more of a band effort than ever before which gives a new nuances. New members: Jarno Saarinen, Jari Kourunen and Jarno Koskell have brought a great addition to Mausoleum Gate – as well as playing wise and composing wise. The new line-up has been tested live a few times but now its time to reveal the claws in album size! Last but definitely not the least our long time artist Timo Raita who did awesome job this time – again!

Review

Vision Divine is the first track of the album and essentially my introduction to the band. Noticeably straight I get this very organic vibe especially with the drums which do not feel over processed and focus on the acoustic qualities. There are repeating synths phrases and effects that make you feel your travelling through space. I am loving the jump in pacing and the melodic work delivered by the guitars. It just injects this sense of energy which catches your attention instantly. And throughout everything flies forward on top of some great (and sometimes unusually interesting) synth beds).The solo work slots in perfectly adding some flair to the song. And the vocal work helps to gel everything together ultimately creating this very organic, raw and nostalgic sound which has got me tuned in.

Lucifer Shrine shines strong with powerful and bright synth chords to open up the track. Unlike “Vision Divine” the tempo takes a step into the mid tempo range but packs a lot of punch. Notably I am liking the flowing feel of the melodies by both the guitars and synth notes in the background. And due to the mix being being very unrefined or polished you can here nuances, the roughness and grit of the guitar tones. And it is a pleasant listen. The vocals just like the track before are like butter on top of toast. Smooth and just go really well with the music. When the song breaks down to some riffing the synths even jump in for a bit of play. A refreshing break to a lot of the heavy metal and hard rock I have been listening too. Then it starts to get hella’ funky! The bass begins vibing the synths go off on one and the guitars are doing their thing. It comes all back together for one big bout driving towards the end. The vocals here are lower in key and add some nice weight to the song

Sacred Be Thy Throne come in at just around seven minutes so lets see if the length works. The band this time around have dialled things back to a mid/slower tempo pace. The band are all running together giving us some wonderful ideas before transition into a softer section where it is acoustic guitars, rolling snare patterns and calming vocal lines.Even little touches of synth in the background. A great way to bring balance to a song. Then a ripping riff cuts in helping to bring everything else back driving things forward. Things play out for a bit keeping the flow before dropping back down to our acoustic style section. However this time things pick up with some bold and heroic synths lighting up the mix in the background. Soon enough some majestic guitar harmonies shine light on the music and even the synths have a go. And as the sng progresses everything is gradually building in height and tone. The vocals that have played between calm and collected hit moments of energy and strength – especially when stacked.The passion just really holds this track up and high and does so until the very end. I am really digging this song and how the musical structure for not one minute feels boring. The acoustics and calm vocals bring Sacred Be Thy Throne to a close rounded everything off. What a brilliant song!

https://www.youtube.com/watch?v=8OoZ9nH5z24

4. Shine The Night has a very unusual intro. Just imagine you are floating through the darkness of space and matter flies past you. The sounds of synth notes cry from the silent dead void like alien calls. The pulsing bass notes drift in with a 16th note hi-hat beat and glossy guitar riffs. Little tweets of synths cry out all presenting a very spacey vibe. The verses are strong and muscular with driving rhythms and ballsy vocals. There is a couple of times where the verse and main glossy riffs repeat. But later on there are some developments where the things feel heightened and the synths beep noises like a spaceship computer. The whole track really does feel like a trip through space and time. And I really think that the atmosphere and synths are what what create this whole feeling.

5. Space, Rituals And Magick gets down to business with some heavy metal riffing and more spacey vibes with trickling synth melodies and bubbling sound effects in the background. The song has pace and does not mess around getting locked into the riffs all while the bass and drums provide a solid backbone. The vocals have been spot on throughout the whole album just making everything feel together and wholesome. There are some unusual vocal moments which do not feel human but more like a robot which are ace. lines brimming with character and charm. Layered beneath, the synth beds add width and depth, amplifying the atmosphere. The space‑like vibe shines especially bright here, evoking the sensation of flying through an asteroid field. The outro ties everything together seamlessly, rounding off the track as another excellent addition to the release.

We reach the end of this epic journey with the Witches Circle. Now this track comes in at just over eight minutes making it the longest track on the record. And unlike the rest of the album a large part of this track is stripped back. The intro is very merry and glistens bright but that acts as a brief flash before what follows next. Acoustic guitars and warm vocal lines gracefully come in as well as very light tip taps on hand drums. These just help to keep the flow moving forward. The title of Witches Circles is sung at intervals while synth piano notes gradually weave in to the song. And over time ]the music builds, the bass getting a little more interesting, the drums dropping in to a slow and mellow 4/4 beat. Semi acoustic guitar riffing comes in and the synth notes play out in the background. Everything feels so chilled yet retro and nostalgic yet I have travelled back in time. Little guitar melodies sing out delightfully with almost whispering vocal lines joining for a stint. But as we approach the last two minutes the dazzling vibes of the intro section returns and even some ideas like you would hear at American football game flash by. The song closes with a few repeats of the title ending a great and adventurous album!

Conclusion

Overall, this album delivers a cohesive and engaging journey that blends raw, organic instrumentation with rich, space-inspired atmosphere. Each track stands out in its own way, whether through energetic riffs, mid-tempo grooves, or expansive, emotional builds, but they are all tied together by expressive vocals, unpolished warmth, and imaginative synth work. The band moves effortlessly between heavy metal power and cosmic ambience, keeping the album dynamic and never dull. By the time the final track closes, it is clear this release is both adventurous and confidently crafted, offering a refreshing and memorable experience from start to finish.

TheNwothm Score: 10/10

Links

Bandcamp: https://mausoleumgatemetal.bandcamp.com/album/space-rituals-and-magick

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

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

Label: https://cruzdelsurmusic.bandcamp.com/

https://www.youtube.com/watch?v=TBDbBoZAJL4

Read More Reviews

• Review: Mausoleum Gate “Space, Rituals and Magick’

  22nd Nov 2025

• Review: Hounds “Rise of the Immortals”

  17th Nov 2025

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

#cruzDelSur #cruzDelSurMusic #heavyMetal #mausoleumGate #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #ritualsAndMagick #space #spaceMetal #spaceRock #thenwothm #thenwothmCom

Exclusive interview with Jimmy Lozano of Jet Jaguar

Mark Pruett

Formed in 2014 in the vibrant heart of Cancún, Jet Jaguar has quickly risen as one of Mexico’s most electrifying metal exports. In a country where heavy metal pulses through the veins of generations, their sound is both a tribute and a rallying cry. They are proof that the love of metal in Mexico is fierce, loyal, and deeply rooted. Also, the future is in the great hands of these underground heroes.

Their name carries weight. The jaguar, a sacred symbol in local mythology, represents power, protection, and the ability to walk between worlds. It’s a fitting emblem for a band that blends tradition with thunder. And yes, there’s a nod to the Japanese cult hero Jet Jaguar, who is a kaiju-fighting machine with a heart of gold and fists of steel. That fusion of myth and pop culture mirrors the band’s own blend of classic metal spirit and modern fire.

In this interview, we dive into their journey, their inspirations, and the roar behind the riffs. Jet Jaguar is a force to be reckoned with their new release Severance (out on October 24, 2025). Check out the lead single, “Mach 10”, which is speed metal, face melting, and riff blazing powerhouse of energy.

Full review of the album, Severance, is coming soon!

https://youtu.be/OMD1cGogyGM

Photo Credit: Jet Jaguar

#heavyMetal #jetJaguar #jimmyLozano #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #thenwothm #thenwothmCom

Interview: Kaine (UK)

The Nwothm

Kaine have been keeping the flame of heavy metal alive since 2009. Rooted in East Anglia’s thriving scene, the band blend Sabbath, Priest, Maiden, and thrash influences into a sound that’s fast, heavy, and defiantly DIY. Sixteen years on, they remain one of the UK’s most enduring heavy metal acts, with a catalogue that charts their resilience and evolution. In this interview with TheNwothm, Kaine reflect on their journey and share what’s next.

https://www.youtube.com/watch?v=7tuGaWfGYHo

Interview

TheNwothm: For those who might be discovering Kaine for the first time, how would you introduce yourselves and where you’re from?

Kaine: We’re Kaine, we are from East Anglia in England. We’re probably one of the heavier NWOTHM bands, and we’ve been at this for 16 years now. We’re very much a DIY band and not a lot of people know we exist! Our influences are essentially Sabbath, Priest, NWOBHM, and the early Thrash movement in the States. We’re often referred to as a Speed Metal band, as that’s one of the closest approximations people can make to us! 

TheNwothm: How did the band form back in 2009?

Kaine: You could say we were one of the original British NWOTHM bands to emerge around that time, along with Osmium Guillotine. Hamerex were around a few years before us, and not long after we formed, you had bands like Amulet, Neverworld, and Toledo Steel emerging, Culloden, Midnight Force, Seven Sisters, Heathen Kings, and up until more recently, Tailgunner, who are the first British NWOTHM band to break into the mainstream.

In Ireland, you had a band called Celtic Legacy, which was very much in the vein of what we now call NWOTHM, too. When we started in 2009, it was a reaction to the Emo and Metalcore scene that dominated the UK underground at the time. There were no straight-up Metal bands playing, and if you went to a gig, it would be a something-core band playing to a handful of school friends, and the venues were empty. People who liked old school Metal were put off and stayed home, so we decided to do our own band playing music influenced by the likes of Sabbath, Priest, Maiden, and the wider NWOBHM movement, as well as the American bands that were influenced by that same movement. We turn 17 in January, so we have been around longer than the NWOBHM movement ran back in the day! 

TheNwothm: Colchester isn’t always the first place people think of when it comes to heavy metal. How has being based there shaped your identity as a band?

Kaine: That’s surprising because Colchester, along with Ipswich, probably has two of the best, if not the best, alternative music scenes in the country. This area has always been a hotbed for Metal music. If you look at an act like Cradle of Filth, over the years, they have recruited heavily from the scene here. There are still plenty of venues, promoters, and bands playing great live music across the Rock and Metal sphere in this area, and we’re very lucky to have such a thriving scene. We’re local to the area and are very much proud of it. Norwich also has a thriving Metal scene. I’d argue East Anglia as a whole has one of the best Metal scenes in the country. 

TheNwothm: When you’ve toured across Britain and Ireland, have you noticed differences in how audiences respond compared to back home in Colchester?

Kaine: We have only played two gigs in Ireland, which were supporting Mordred on tour back in 2014. As for Britain, audiences have always been receptive wherever we have gone. We have always had a loyal following in Scotland, so we try to visit as often as we can afford to, but really, we have enjoyed great responses over the years up and down the country. We enjoy getting out there and playing everywhere we can. 

https://www.youtube.com/watch?v=N_Nh2GlG-t4

TheNwothm: Growing up, did you have a particular metal hero whose posters were on your wall?

Kaine: We all have a range of heroes and influences, everyone from Priest, Maiden, AC/DC, Sabbath, Metallica, Megadeth, in fact, Toby has a Marty Friedman tattoo, he is that much of a fan of him, and Liam has an Ozzy tattoo now too! We have looked up to and been inspired by a lot of bands collectively. 

TheNwothm: If you could cover one classic track from your influences like Sabbath or Maiden, which would it be?

Kaine: We recently did a Sabbath tribute set in honour of Ozzy Osbourne, which included Paranoid, War Pigs, Iron Maiden, Black Sabbath, and The Straightener. It would be difficult to choose a single track from our influences to be a definitive “one”, but at a push, Painkiller by Judas Priest would probably be one we could do justice to. 

The Nwothm: Your debut “Falling Through Freedom” (2012) was the first full-length release. Looking back, what was the biggest challenge in getting that record out?

Kaine: Aside from being young, having no label support, and frankly not really knowing what the f*#k we were doing at the time, the biggest issue was a mixture of budget and personnel changes that happened during the writing and recording of that record. We did our best with it, and in hindsight we should have held off doing a record until we had a more stable line-up and played the songs live a lot more to hone them, but as previously stated, we didn’t have any management or a label to really guide us, we just had a go at putting a record together and in all fairness a few people still love songs from that album, despite it being a totally unpolished DIY effort. 

The Nwothm: “The Waystone” (2014) saw you touring extensively, even alongside Monument and Mordred. What memories stand out most from that era?

Kaine: We were meant to release that album under MGR Records, which was Monument’s label at the time. We had to write, record, and release it to their schedule, which meant we probably didn’t spend as much time on the record as we should have. We had a big disagreement with MGR Records during that tour; they were using our bassist at the time to cover for Chris Dale, unpaid, and not only tried to steal him from our band but were totally unprofessional in how they dealt with the band in general. On the last date of the tour, we fired them and put the record out ourselves.

This album, however, did launch the band, and we got a lot of good shows booked, and a festival appearance (Wildfire) off the back of that record. It sold over a thousand copies on CD, so for us it was a successful record. Our tour with Mordred was a much more positive experience. We replaced Furyon last minute and had less than a day to prepare for the tour before we were off on a ferry to Ireland. Touring with Mordred was an amazing experience and one of the highlights of our career. The Waystone was a bit of a missed opportunity for us, I think. Had we had a label more interested in making us a success and had a little more time to finish it, it would have been more successful, but we made the best of a bad situation. 

TheNwothm: “A Crisis of Faith” (2018) marked a turning point before the current line-up came together. How did that album reflect the band’s state at the time?

Kaine: A Crisis of Faith was a very carefully written record. We started putting it together at the end of 2015 and fleshed the tracks out on the road. Most people think it should have been a bigger success than it was, but sadly, the line-up that put it together had to part almost immediately after its release. We did get to play the main stage of HRH Metal at a sold-out o2 Academy in Birmingham, which is probably the most people we ever played to. Most people expected the band to die when the three other members left, but we had spent a small fortune on studio time and printing the release, so it couldn’t simply be left for scrap. We had a few weeks to recruit a new line-up to continue the gigging schedule we had at the time, which we did, and it turned out to be the right thing for the band. 

The Nwothm: “Reforge the Steel” (2019) has a title that feels defiant. What was the driving force behind that record?

Kaine: Reforge The Steel is as close to a “Rage Sadler” solo record as you will ever get. These songs were written solely by Rage while the new line-up was learning the A Crisis of Faith material. The band then started learning the new tracks and playing them live alongside the Crisis material, and by the end of 2018, we were back in the studio again to put together this record. It often ends up at the top of fans’ lists of favourite Kaine records, so we must have done something right with this one. The record was a marker to show that we were not dead, the band would continue, and that there was a lot more to Kaine going forward. The title literally refers to the reformation of the band from near extinction. 

The Nwothm: “After Extinction” (2022) is your latest album! How do you think it compares to your previous works, and do you each have a favourite track from the record?

Kaine: It’s our heaviest record since our debut album, and it’s the only record we’ve ever done that hit the mainstream charts; it actually reached number 85 on the top 100 in the UK. The lead single A Slave to the Grind seems to be the track everyone loves from that album. It was a different experience from Reforge the Steel, as this record was a collaborative effort. We love all the tracks on the album, but staples of the current set are Second Coming, Protesting for Profit, and A Slave to the Grind. 

https://www.youtube.com/watch?v=ndhF-pe-Gl0

TheNwothm: Are there any hints you can share about new material in the works?

Kaine: Extinctions End is a redo of the Covid-era album and EP. We had to record those releases between several studios and in a very disrupted fashion due to the pandemic, so we have re-recorded a selection of songs that complement each other from both releases, in a different format and style from the original. I think the release will surprise a few people, especially those who still think we’re a Poundland-Maiden knockoff! 

TheNwothm: Do you see yourselves experimenting with different sounds or sticking firmly to the classic heavy metal roots?

Kaine: We have a new EP we’re writing at the moment, which is a pure love letter to NWOBHM, and we’re working on a new album, which has heavier material than we have done before. 

TheNwothm: Where would you most love to take Kaine next, if you could choose anywhere in the world?

Kaine: We’ve never played in Europe, so that would be amazing, America, Japan, also, but we’re realistic. Many of the promoters there have been aware of us for years, but have never asked us to play, so we’re not optimistic that it will change in the future!  If we can just make our UK gigs sustainable, we will be happy. We’re not rock stars, we’re just four regular blokes that happen to be mates and play in a Metal band together. That’s really what we’re about more than anything. 

TheNwothm: If you could design your dream tour line-up with Kaine plus three other bands, who would you pick?

Kaine: Oddly, we have found in the past that the Death Metal audience has been far more receptive to us than most! So a tour with Obituary, Carcass, and Kaine would be a dream line-up as it would be riffs galore and full of raw energy. However, I doubt we could ever afford to buy onto a tour like that! That’s the nature of the music business. But if they ever needed a support, we’d be more than up for it! 

TheNwothm: What gigs do you have coming up for the rest of 2025 and 2026

Kaine: We have just one gig, which is on May 17th at Club85 in Hitchin. Nobody else wants us at the moment! Joking aside, there will hopefully be more dates announced in the future. 

TheNwothm: How can our readers buy your music and merch?

Kaine: We have CDs, vinyl, shirts, and hoodies for sale on Bandcamp:, and we also do exclusive merch and CDs over at Patreon starting at just £1 a month: https://patreon.com/kaine_metal?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink

TheNwothm: Where can fans follow you online?

Kaine:

Facebook

Instagram

YouTube channel

TheNwothm: Anything else you would like to mention?

Kaine: We’ve recently relaunched our YouTube channel, so we would invite people to check that out first! 

#aCrisisOfFaith #afterExtinction #fallingThroughFreedom #heavyMetal #kaine #kaineColchester #kaineUk #newEp #nwothm #theWaystone #thenwothm #thenwothmCom

Have you heard One of Us? Check out their new single!

Mexico’s darkened heavy metal force One Of Us continue their ascent with the release of “Espectro,” their latest single accompanied by an official video.

Recorded, mixed and mastered at Buried Sun Studio, with visuals directed by Alberto Torres Piñera, Espectro delivers a haunting journey through eternity and melancholy.

Band Statement “Between shadows and echoes from beyond, a sonic journey through eternity and melancholy. The band draws us into a realm where specters wander without redemption, prisoners of time and memory. A muffled cry amid heavy riffs and voices that echo like lamentations from the abyss. Death can be an eternal sentence.”

Espectro will feature on the upcoming EP, scheduled for release in 2026 through Metal Coffin Records.

The band previously released The Dark Descent (EP) in 2024, available now via their official Bandcamp page.

Line‑up

• Nuria – Vocals
• Rich – Guitar
• Antonio – Drums
• Ryder – Bass

Links

Facebook: https://www.facebook.com/oneofus666

Bandcamp: https://666oneofus.bandcamp.com/

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

#AlbertoTorresPiñera #DarkenedHeavyMetal #HeavyMetal #MetalCoffinRecord #NewWaveOfTraditionalHeavyMetal #NWOTHM #OneOfUs #thenwothm

Review: Hounds “Rise of the Immortals”

Release date: 21st November 2025

Label: Iron Shield Records

The Nwothm

Review

The sound of galloping horses and chains awakens Knightmare Fight before shouts of Knightmare warms us up. The song takes full charge with a sound that all feels so heroic. Big synths act as bed for vocals that have a lot of power and throat. Like a stampede the music comes at you with pace and energetic riffs like your going into battle. If your the type of person that likes to wield plastic swords and axes at shows this is the son that is going to give you that opportunity.

Warrior is next up and at seven minutes in length lets see what unfolds. It cracks open with a ripping riff before an explosive solo erupts. This midtempo banger uses a mix of quick picking nad fiery rhythms to carry the song. But what I love is that there is a lot of changes in structure. There are exciting choruses which use cymbal hits, snare rolls and shouts of Warrior to get fans singing along. And just like the first track there are synth beds to add to that epicness creating width and scale. If your a fan of mighty solos and lead licks there is a plenty. From soaring solos that go to the skies to more chilled and smooth licks that cry out your ears will be serenaded! However there are some sections of the song I particularly love and that is when the vocals take a more heartfelt and deep delivery over rung out chords delivering a sense of wonderful height and expression! Excellent!

A.O.R. (All Out Running) opens with classic pulsating synths and squealing laser like guitar notes. Chords come roaring in with the bass and rolling drums before getting into the thick of things. A little lead section cracks its whip before the 4/4 driving rhythm pushes the song forward. The chugging that is locked with the drums literally has me gently banging my head while I am sat here writing this review. But once again the chorus does it for me making me throw my fist in the air shouting the song title with passion. And just like songs before there are some gentle pads in the background adding some thickness to the song. There is even more great lead work that will have you air guitaring at different moments. And even an interesting repeating note sequence on a synth before eventually returning with another huge sounding chorus. And when i say huge they literally go all out!

Lohengrin drops down to a more mellow and heartfelt direction. Slow drumming and bass lines are present with an atmosphere that carries delicate piano notes and semi acoustic guitars through the mist. Chords come in adding some weight before a lead guitar comes in weeping and letting out all its deepest emotions. And it is all magnificent. There are some bitter sweet feelings radiating from the instrumentation with regards to the choice of chords and notes. While there is a lot of brightness there are also moments which feel sad. This is an instrumental that gradually evolves, especially in the lead work which gets more intricate and sparks more flair. The fade out is very gradual which is a fitting end to the sing.

Rise Of The Immortals opens with a lonesome piano and intermittent stabs of rung out chords and cymbal hits. Gradually the piano picks up before a lead solo joins. It soon roars with everything thundering in. But all the while the piano continues at moments having more presence then others. Funnily enough the background melody reminds me of the James Bond theme. One thing that is album has not fallen short on is vocals that delivered fantastic performances. You can really feel the passion and heart with every line sung. A little solo comes makes an appearance before we move back to another verse. The music builds up adding some more complex drum patterns and then as we approach the half way mark there are some guitar screeches and shouts to break things up. Yet soon enough, we land on a small yet feisty guitar solo. The song powers on revisiting another verse and more guitar screeches and vocal shouts. When we land around the six minute mark everything drops down to more piano taking all the intensity away so we can breathe for a moment. The 4/4 drum patterns come back in along with the bass guitar and vocals soon enough going all out for the last moments of the song, especially with a hug ripping solo!

More piano welcomes us with the start of Still Believe. However this time there are some excellent guitar melodies to begin with. And rather then opting for huge instrumental passage the vocals come pretty much straight in over a gliding acoustic section where drums and bass gracefully carry the guitars. The music erupts for moments with powerful guitar chords and passionate vocal lines to add some height and intensity. The almost mid song sparking solo breaks things up helping it to transition back to the flowing sounds of acoustic guitars and vocals. I always welcome songs that bring balance to an album rather then being all full guns blazing. The song continues to bounce between softer moments and ones with more oomph. Later in the song there is a small stint where the solo takes control on top of quick picking rhythms. It almost feels like an erruption of guitar notes. Excellent!

Fatal Destroyer is the closing song on the record and we return to that uptempo energy. This just like some of the earlier tracks has the momentum and charge you could want. Electrifying lead moments and the return of synths even gaining some of the spotlight. The vocals are full of heart and emotion, really going for it and putting on commanding performance. But mid way through it drops down to more acoustic guitars with sailing strings in the background to give the sense of drifting. The song transforms into a slightly hypnotic atmosphere, mellow and chilled with a bit of play in the guitar work. A very expected ending that helps the listeners ears to calm down after a huge adventure of an album.

Conclusion

This album closes with a strong sense of completeness, weaving together its heavier moments and softer passages into a journey that feels both expansive and carefully balanced. The interplay of synths, guitars, and vocals consistently delivers scale and emotion, while the shifts in pace and atmosphere keep the listener engaged from start to finish. By the time the final track fades, the record has offered not just energy and spectacle but also depth and reflection, leaving a lasting impression as a well‑crafted and rewarding listen.

TheNwothm Score: 8.5/10

Links

Bandcamp: https://houndsmetal.bandcamp.com/album/rise-of-the-immortals

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

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

Label: https://ironshieldrecords.de/

https://www.youtube.com/watch?v=aNOaqNRa3Pk

Read More Reviews

• Review: Hounds “Rise of the Immortals”

  17th Nov 2025

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

#HeavyMetal #Hounds #HoundsMetal #ironShieldRecords #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #thenwothmCom

Review: Tabernacle “The Iron Tabernacle”

Release date: Out Now

Label: Stormspell Records

The Nwothm

Epic power doom with mystical progressive vibes. Formed in 2019, Tabernacle channels the spirit of Manilla Road, Omen, and Viking era Bathory into a sound that is hauntingly melodic and crushingly epic. Emerging from early Judas Priest–inspired roots, the trio of Rayner (guitars and vocals), Jasper (bass), and Shawn (drums) forged a darker path with their 2021 demo Terror in Thrace. Their debut full-length, The Iron Tabernacle, expands that vision with progressive flourishes reminiscent of Fates Warning (The Spectre Within) and Adramelch (Irae Melanox), weaving tales of ancient bloodshed, fallen empires, and spectral tragedy. For fans of Scald, Vendel, and the arcane edge of epic metal.

Release features:

• Jewel Case release with multi-page booklet featuring info, credits, lyrics, band photos
• Debut album by the Middle Eastern epic power doom combo with historical themes and progressive influences
• CD pressing limited to 300 copies worldwide

Review

Treasure Voyages is the intro song on the album and straight away there is an instance of calm. Acoustic guitars come in playing gentle, soft melodies against an airy backdrop and toms and eventually a weird synth which felt a bit out of place. But I love how easy going this intro feels. It almost feels emotions in passing. Great little start

Hannibal’s Crossing comes in like a neanderthal or troll with a club hunting down an enemy. The guitar tones are gritty and the whole low tone of the music gives it this edge, this sinister feel. Imagine riffs that feel meaty, something that you can really sink your teeth into and chew on. This style of heavy metal feels like a reflection of a cave dweller, or something dark that you would not want to cross paths with. In terms of pace the song remains steady throughout keeping everything tight and locked in. It is when the solo hits that the pace drops down to slow swagger helping listeners really get into the riffs. There is am interesting part of the song where the riffs start to break up and bits begin to dissolve where we the bass comes through.

On the Bloodied Fields of Westphalia opens with a flash of drums before dragging us into the riffs. Just like Hannibal’s Crossing everything feels very organic and at the same time slightly eerie. There was a moment where some of the riffs reminded of megadeth’s Five Magics but more earthy which was pretty cool. One vibe I do get from the music is that it feels very casual, a looseness to things and I am not sure if that is a good or bad thing. Almost if you have woken up from sleepless night. The music so far leans into epic/heavy-doom territories giving the music some weight, which to be honest suits the vocal style. Either way the song remains in that mid tempo kind of spot with raw riffs and an authentic feel.

The Curse of Akkad comes in with gliding strings before the rhythms and bass drop in. The music has this hopping feel in terms of the riff delivery adding some character to the music. Sometimes I do get this feeling that things are being pushed or trying to be held together, just down to how loose and relaxed the music is played. I am not sure if that is down to musicianship or the attitude of the members but It feels odd and a bit strange.There just feels like there is a lack of punch and I got this feeling in the last two tracks. The one thing that this song does deliver on is the chorus. The layered vocals and the vocal melody itself sounds very exotic like it is from distant sands. This shows when the creativity spark ignites and shows off what can be achieved.

The Legacy of Malik Ambar starts of with guitar effects before transitioning into the main body of the song. The music itself at times just feels sleepy and mellow in ways yet the rhythms jolt emphasising drum hits. All of this is going on while the bass wonders along in thought projecting its mind out loud. There are some interesting riffs going on but I am waiting for something to jump out and excite me. Maybe I am bias as I am more into faster stuff but even the slow feel of things is not hitting very hard. This is a track of almost 9 minutes and when we approach the second half of the song it feels like it could have been a second song. There is slightly more play in the pacing but the length for me started to burn my interest admittedly. It did pick up towards the end which woke me up slightly but I wished that been more present in the song.

The Dawn Weeps makes me think of of some space bing talking with the subtle strings and organ esque gently playing in the background. The spoken passage definitely captures your attention and is a surprising change in the rhythm of the album. But I am curious how it fits into the whole narrative of the album.

These Crying Seas is the final track on the album and once again takes a mid tempo approach with cascading riffs and rumbling drum ideas. The verses step up with the vocals a little bit as they feel brighter and a bit more creative in direction. In general the music leans on more weighty hungry riffs to drive the song forward. The tempo does pick up and It is a refreshing change in an album which sits predominantly at mid tempo speeds. Either way the riffs still feel dark and creepy which has been the majority of the record. Another solid and straightforward song that takes the album out.

Conclusion

Taken as a whole, the album feels like a band still exploring and developing its sound. There are moments of atmosphere and flashes of creativity, particularly in the choruses and occasional shifts in pacing, but much of the record sits in a mid‑tempo zone that doesn’t always deliver the excitement or punch it seems to reach for. The looseness in performance adds a raw, organic quality, yet at times it drifts into casualness that undercuts the impact. What emerges is a body of work that shows promise and identity in formation, but also leaves the sense that the band’s most compelling statement is still ahead of them.

TheNwothm Score: 7/10

Links

Bandcamp: https://tabernacle-hm.bandcamp.com/album/terror-in-thrace

Facebook: https://www.facebook.com/tabernacle.metal/

Instagram: https://www.instagram.com/tabernaclemetal?utm_source=qr

Label: https://stormspell.bigcartel.com/product/tabernacle-the-iron-tabernacle-cd-preorder

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

Read More Reviews

• Review: Tabernacle “The Iron Tabernacle”

  16th Nov 2025

• Review: Darklon “Mind Reaper”

  15th Nov 2025

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

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

  12th Nov 2025

#doom #epicHeavyMetal #heavyDoom #HeavyMetal #NewAlbum #NWOTHM #Review #stormspellRecords #Tabernacle #TheIronTabernacle

Thank you!

Wow! We have just had a large donation from Scott Malthouse for our Gofundme campaign. Thank you so, so much for your generous donation. Your kindness will help us to keep doing what we do and that is deliver the metal. Thank you from the team!

We are 100% a non profit independent music site dedicated to the world of nwothm. And our focus has always been the music celebrating bands from all over the world no matter how big or small. We don’t focus on gossip and negativity, just celebration of the music and providing a platform for bands to be heard.

Any funds we raise through donations etc go straight back into the site, helping with running costs and keeping the site online. We also have the aim at producing some promo materials so we can further promote the site and reach more audiences!

Thank you not only to the generous people who have donated to the site, but also to everyone who reads our work and shares it with others. Your support means the world to us. You are all incredible, and we truly appreciate each and every one of you.

If you would like to donate to our campaign you can do so here https://www.gofundme.com/f/fuel-thenwothmcom-support-independent-metal-media

Our supporters

Genaro Garza I Chris Willis I Jan Altmann I Diogo Carrijo Arruda I Bernhard Henning I Michele Turco I Venelina Panova I Holger Betz I Jorge Espirito I Mgnee I Chris Willis I Road Warrior I Jan Altmann

Our GoFundMe campaign(s) supporters

Thanks to our current donors!

Trevor Church (Haunt) I Tony Griggs I Ted Jedlicki I Marc Andre Kriegl Dennis Eikenkötter (Schwermetallisch Reviews) I Gage Tolin I Chris Willis I Hristos Tzolis I Danica Minor I Kramer Ronald I Tyler Healt I Trent Wilson I Cello Nonna I Bampilis Panagiotis I Melissa Nee I Scott Malthouse

#campaign #donation #Gofund #Gofundme #HeavyMetal #NewWaveOfTraditionalHeavyMetal #NWOTHM #supportOurWork #supporters #thenwothm #thenwothmCom

Fundraising campaign update

Hey everyone, so today I wanted to provide an update to our GoFundMe campaign! We’re currently 21 percent of the way towards our initial fundraising goal. The campaign has seen a lot of clicks and interest, but progress has been slower than expected. If you’ve already donated or shared the link, thank you. Your support helps keep the site running and focused on the music.

TheNwothm is an 100% independent non-profit project run entirely by volunteers from around the world. Since launching in 2023, we’ve covered hundreds of bands through news, reviews and interviews. Our aim is to give artists a platform and keep traditional heavy metal alive.

This fundraiser helps cover core site costs for the year ahead. If we reach our target, we’ll also be able to produce flyers and stickers to grow the community offline. You can view the campaign by clicking the banner or scanning the QR code here:

We’re proud of what we’ve built so far, including the successful branding campaign that gave the site its own identity. If you believe in what we’re doing and want to help us move forward, any contribution makes a real difference.

Thank you to everyone who has supported us so far:

Current fundraiser: Melissa Nee I Bampilis Panagiotis

Website supporters: Genaro Garza | Chris Willis | Jan Altmann | Diogo Carrijo Arruda | Bernhard Henning | Michele Turco | Venelina Panova | Holger Betz | Jorge Espirito | Mgnee | Road Warrior

Previous GoFundMe campaign: Trevor Church (Haunt) | Tony Griggs | Ted Jedlicki | Marc Andre Kriegl | Dennis Eikenkötter (Schwermetallisch Reviews) | Gage Tolin | Hristos Tzolis | Danica Minor | Kramer Ronald | Tyler Healt | Trent Wilson | Cello Nonna

Thanks for helping us keep true metal alive and independent. – Rob and TheNwothm team

#fundraising #goFundMe #HeavyMetal #keepMetalAlive #NewWaveOfTraditionalHeavyMetal #nonProfit #NWOTHM #supportThenwothm #supportingMusic #thenwothm #unsignedBands

What does Nwothm mean to you?

We’re working on a permanent feature for the website, and one section will ask fans a simple but important question:

What does nwothm mean to you?

(How do you interpret the term? How does it make you feel? How do you think it all began?)

We’d love to hear your thoughts. Please share your comments below, through social media or email [email protected] and include your country. Your words could even become part of the feature itself!

The feature is planned to go live in the new year, so keep an eye out.

Contact email submitted remains strictly confidential and will not be shared with 3rd parties. By submitting your information (name, country, comment and photo) you are giving us permission to use them on the site as part of a permanent feature.

#HeavyMetal #NewWaveOfTraditionalHeavyMetal #NWOTHM #thenwothm #thenwothmCom #WhatDoesNwothmMeanToYou_

Live roundup #37

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Blast From The Past

More info: https://www.facebook.com/bftpfestival

#2 Cherekee

More info: https://www.instagram.com/cherokee_hardrock/

#3 Metal Invaders

More info: https://www.instagram.com/metalinvadersperu/

#4 Portrait

More info: https://www.facebook.com/portraitsweden

#5 Heavy Agger

More info: https://www.facebook.com/profile.php?id=100057666780412

#6 Triumpher with Scavenger

More info:https://www.instagram.com/scavengerofficialband/

#7 Blizzard Hunter

More info: https://www.facebook.com/BlizzardHunter

#8 Cobra Spell

More info: https://www.facebook.com/cobraspell

#9 Nightbound at K-23 ATTACK

More info: https://www.facebook.com/NightboundOfficial

#10 Arena Headbangers 2026

More info: https://www.facebook.com/creaturesheavymetal

#1 #10 #2 #3 #4 #5 #6 #7 #8 #9 #adx #arenaHeadbanger2026 #blastFromThePast #BlizzardHunter #Cherokee #CobraSpell #creatures #HeavyAgger #HeavyMetal #k23Attack #liveRoundup #MedievalSteel #metalInvaders #NewWaveOfTraditionalHeavyMetal #Nightbound #NWOTHM #portrait #scavenger #thenwothm #thenwothmCom #thorium #Toxikull

Review: HyperioN – “Cybergenesis”

Release date: January 15th, 2026

Label: Fighter Records

Pablo Rumel

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

Review

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

TheNwothm Score: 8.5/10

Links

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

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

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

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

Read More Reviews

• Review: HyperioN – “Cybergenesis”

  14th Nov 2025

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

  12th Nov 2025

• Review: Bergfried “Romantik III”

  9th Nov 2025

• Review: Creatures – “Creatures II”

  8th Nov 2025

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

Wytch Hazel: Heaven & Spell tour 2026 with special guests Phantom Spell

Wytch Hazel are set to embark on their first headline tour in spring 2026, following the critical success of their fifth album V: Lamentations. The Heaven & Spell Tour will see the band perform across Germany, Belgium and the Netherlands, joined by Phantom Spell for a run of dates that promises to be both immersive and unforgettable.

This is a huge moment for us. I’m absolutely thrilled to be announcing our very first headline tour. We’re joined by friends and kindred spirits Phantom Spell—I couldn’t imagine a better pairing. We’re already putting everything into making these shows truly special. I can’t wait to see our amazing fans on this run of dates. – Frontman Colin Hendra.

The tour brings together two acts with deep roots in the UK’s underground metal scene. Hendra and Phantom Spell’s Kyle McNeal have shared stages and creative visions since the early 2010s, when Wytch Hazel and Seven Sisters first began to draw attention for their distinctive sound and commitment to classic influences.

Audiences can expect a journey through musical landscapes shaped by medieval imagery, spiritual themes and the golden age of 1970s rock. The Heaven & Spell Tour is a celebration of storytelling, atmosphere and the enduring power of melody. It is a rare chance to experience two bands at the height of their creative powers, offering a glimpse into other worlds through sound.

Tickets are available via Dragon Productions: https://vivenu.com/seller/dragon-productions-uwxk

Wytch Hazel: https://wytchhazel.com/

Phantom Spell: https://linktr.ee/phantomspell

#dragonProductions #hardRock #HeavenSpellTour #HeavyMetal #NWOTHM #PhantomSpell #progRock #thenwothm #thenwothmCom #WytchHazel

HyperioN unleash lyric video for “Rewire, Rebuild” ahead of new album ‘Cybergenesis’

Rising from the heart of Italy’s heavy metal underground, HyperioN have dropped a gripping lyric video for “Rewire, Rebuild,” the second single from their forthcoming album, Cybergenesis. Watch it now on YouTube:

http://www.youtu.be/F_t3ubeiPMc

The track is streaming across all major platforms, including Bandcamp, Spotify, Apple Music, Amazon Music, Tidal, Pandora, AWA, and Deezer.

Set for release on January 15th, 2026 via Fighter Records, Cybergenesis marks HyperioN’s third full-length studio album and is now available for pre-order: hyperionbandheavy.bandcamp.com/album/cybergenesis

A concept-driven record steeped in classic sci-fi lore, Cybergenesis delivers eight tracks of high-octane traditional heavy metal. The album’s narrative follows a doomed space mission that triggers the awakening of the Choir—an ancient alien hive mind—and humanity’s descent into a brutal war against cyborg overlords. At the center of this rebellion stands the Rhizome Rider, a fallen commander reborn to lead the final charge for freedom.

Drawing inspiration from genre-defining works like Star Trek and Ghost in the Shell, Cybergenesis explores themes of resistance, sacrifice, and the enduring strength of the human spirit.

The album’s cover art was hand-painted by UK illustrator Ryan T. Hancock, known for his work with Seven Sisters, Blood Star, and Stormborn. HyperioN deliberately chose a traditional canvas approach to reflect the album’s raw, human essence.

Tracklist:

1. Deafening
2. Rewire, Rebuild
3. Yet We Still Fight
4. The Shackles of Chronitus
5. Blood Over Chrome
6. Grain of Sand
7. Rhizome Rider
8. The Whole of Time

Current Line-up:

• Davide Cotti – Guitars
• Francesco Madonna – Drums
• Max Morelli – Vocals
• Simone “Nega” Cauli – Bass
• Francis Dipasquale – Guitars

About HyperioN: Founded in 2015 by drummer Jason Beghelli and guitarist Davide Cotti, HyperioN emerged with a mission to revive traditional heavy metal, channeling the spirit of Metal Church, early Queensrÿche, and Judas Priest. Their debut album Dangerous Days (2017) earned critical acclaim and led to live appearances alongside Italian metal stalwarts.

Following lineup changes and the release of Into The Maelstrom (2020), the band weathered the pandemic and expanded their global reach via Bandcamp and streaming platforms. With a refreshed lineup and renewed creative fire, HyperioN now present Cybergenesis—a bold new chapter that honors their roots while pushing their sound into cinematic, sci-fi territory.

LInktree: linktr.ee/hyperionband

Fighter Records: fighter-records.com

#Cybergenesis #FighterRecords #HeavyMetal #HyperioN #metal #NewAlbum #NWOTHM #rewireRebuild #thenwothm #thenwothmCom

Horned Legions Arise: one-day metal festival hits Hereford in support of HRRO

A new metal festival is set to take over Hereford on Saturday, 31 January 2026, bringing ten bands together for a single day of live music in aid of the Herefordshire Reuse and Recycling Organisation (HRRO). The event, titled Horned Legions Arise, will be held at The Victory (formerly The Jolly Roger) and runs from 2:00 pm to 11:30 pm.

The lineup features a mix of rising and established underground acts including Toledo Steel, Hanowar, Desolator, Arkham Witch, Koba, Mudlarker, Grave Altar, Kinstrife, Mount Slatra, and Bullhead. Expect a full spectrum of heavy metal styles from classic riff-driven anthems to doom, speed, and raw underground energy.

All proceeds will go directly to HRRO, supporting local sustainability and reuse initiatives. The day will also feature a charity raffle, merchandise stalls, and a full bar.

Tickets are priced at £10 and available now via Eventbrite: https://www.eventbrite.co.uk/e/horned-legions-arise-one-day-metal-festival-in-aid-of-hrro-tickets-1740113037939

Venue details: The Victory (formerly The Jolly Roger) 88 Saint Owen’s Street Hereford HR1 2QD United Kingdom

#ArhamWitch #Bullhead #Desolator #GraveAltar #Hanowar #HeavyMetal #Kinstrife #Koba #MountSlatra #Mudlarker #NewWaveOfTraditionalHeavyMetal #News #NWOTHM #thenwothm #thenwothmCom #ToledoSteel

Ambush’s Osker Jakobsson share his Top 5 NWOTHM bands:

#Ambush #NWOTHM #Century #WytchHazel #EvilInAllDimensions #Top5

https://metalinsider.net/guest-blog/ambushs-osker-jakobsson-share-his-top-5-nwothm-bands

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

Great album for those who love #NWOTHM #PowerMetal #HeavyMetal

Also worth a check out for #TTRPG fans

#OwlBear

https://owlbearmetal.bandcamp.com/album/feather-and-claw

#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore

#TheMetalDogArticleList
#BraveWords
New Wave Of Traditional Heavy Metal 20 Essential Albums
By Nick Balazs & Mark Gromen (this article was first published in 2020) If youve been living under a rock or are too busy clinging to your Powerslave record; there is a new generation of forces carrying the flag of traditional heavy metal.

https://bravewords.com/news/new-wave-of-traditional-heavy-metal-20-essential-albums

#TraditionalHeavyMetal #NWOTHM #EssentialAlbums #HeavyMetal #AlbumRecommendations #HeavyMetalHistory #HeavyMetalLovers

#TheMetalDogArticleList
#BraveWords
FIFTH ANGEL's KEN MARY - "Grunge Wiped Out Everything"; Video
FaceCulture has released the new video below, along with the following message: "Heavy metal band, Fifth Angel, had a promising start with their self-titled debut album (1986), but with the emergence of grunge music, the scene was decimated, opportunities were ...

https://bravewords.com/news/fifth-angel-s-ken-mary-grunge-wiped-out-everything-video

#FifthAngel #KenMary #Grunge #NWOTHM #HeavyMetal #MusicNews #VideoRelease #VideoPremiere #RetroFuturism