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https://www.europesays.com/ie/699506/ Valkyrie’s Fire – Out of Darkness Review #2026 #30 #AmericanMetal #DiabloSwingOrchestra #EclipseRecords #Éire #Entertainment #IE #Ireland #Music #Nightwish #OutOfDarkness #PowerMetal #Review #Reviews #Rhapsody #Sep26 #SymphonicMetal #SymphonicPowerMetal #Valkyrie'sFire

Most of my AMG time recently has gone to tech issues 1, but I’ve been wanting to write again. Valkyrie’s Fire’s debut Out of Darkness lured me back with a Nightwish namedrop, which is a dangerous promise, for all that it sounds enticing. In principle, I’m a big fan of power metal, symphonic metal, and indeed symphonic power metal. Alas, as I wrote in my section of the Nightwish ranking, symphonic metal is plagued by terrible, boring bands. It’s much easier to ape the style than it is to write great songs. I don’t know why this is such a problem for this genre in particular, but it doesn’t need to be this way, and so hope springs eternal.

Valkyrie’s Fire avoid this problem on two axes. First, Out of Darkness isn’t actually that beholden to Nightwish tropes, with the possible exception of “Skylark.”2 Yes, they do the duet vocal thing a lot and one of them is a soprano. But the core style they establish early on (“Evermore,” “Valkyrie’s Fire,” etc.) reminds me a lot more of Rhapsody’s many iterations, replete with neoclassical twiddling. Second, and more importantly, this is good actually. It’s fun in a way that doesn’t feel forced. The songs are well-written and memorable. They experiment with a variety of genre embellishments. Some songs have a core-y twist that evokes a little Avenged Sevenfold (meant positively!—”Burning Sky,” “I Will Rise Again”). Others use cello and acoustic guitar to add a folky feel (“Bone and Thorn”), or more delicate piano (“Shattered,” “I see the Angels Fly”). This keeps things fresh and stops any one song sounding too much like all the others.

There is one classic symphonic metal trap Valkyrie’s Fire do fall solidly into, though: a regrettable inability to edit. Out of Darkness is over 70 minutes long, and it really doesn’t need to be. By track twelve, my attention span is definitely strained, and there are still fifteen minutes left of the record. With tighter editing, there’d be a punchy 45-minute album here. I get that it’s hard, as none of the tracks here are total clangers. I probably wouldn’t miss “Valkyrie’s Fire” or “Nocturne,” and many others could use editing down (“Bone and Thorn” is a pretty folk piece but doesn’t need to be seven minutes, “Cascade” could shed a couple of minutes, ten-minute closer “I Will Rise Again” gets a bit too theatrical). This isn’t universal—”Dark Moon” is nearly seven minutes but carries its length well, “Burning Sky” is a neat four—but it does affect most of the record.

I’ve mentioned before being drawn to well-performed duet vocals, and Valkyrie’s Fire are excellent here, with Bettie Floyd on soprano and Adam Sanders on baritone. The vocal melody writing is really good. They use alternating phrases, harmonies, and counterpoint to great effect. This works particularly well combined with Salem Belladonna’s piano and cello on the Clair Obscur-via-doom-metal “Shattered,” where Floyd is at her best. Her range spans from the symphonic metal standard soprano to a poppy tone that reminds me a little of Diablo Swing Orchestra’s current vocalist (“Labyrinth”). There’s one or two bits of vocal direction I don’t quite get on with (just a couple of phrases in “Evermore” and “Valkyrie’s Fire”), but it’s a very minor blip.

I’m really pleasantly surprised by Out of Darkness. My genre cynicism was mostly unfounded. I often find the mark of a good record is finding lots of bits of it slipping into my head when I’m doing other things (versus having one line going irritatingly round and round). Out of Darkness has done that. Most years, there’s at least one record that reminds me I still love symphonic/power metal. This is very nearly that record for 2026, but the marathon length just adds a tiny bit too much mental effort to listening to it. If Valkyrie’s Fire can kill their darlings next time around, I’m sold.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Eclipse Records
Websites: valkyriesfire.com | facebook.com/valkyriesfireofficial
Releases Worldwide: September 18th, 2026

Most of my AMG time recently has gone to tech issues 1, but I’ve been wanting to write again. Valkyrie’s Fire’s debut Out of Darkness lured me back with a Nightwish namedrop, which is a dangerous promise, for all that it sounds enticing. In principle, I’m a big fan of power metal, symphonic metal, and indeed symphonic power metal. Alas, as I wrote in my section of the Nightwish ranking, symphonic metal is plagued by terrible, boring bands. It’s much easier to ape the style than it is to write great songs. I don’t know why this is such a problem for this genre in particular, but it doesn’t need to be this way, and so hope springs eternal.

Valkyrie’s Fire avoid this problem on two axes. First, Out of Darkness isn’t actually that beholden to Nightwish tropes, with the possible exception of “Skylark.”2 Yes, they do the duet vocal thing a lot and one of them is a soprano. But the core style they establish early on (“Evermore,” “Valkyrie’s Fire,” etc.) reminds me a lot more of Rhapsody’s many iterations, replete with neoclassical twiddling. Second, and more importantly, this is good actually. It’s fun in a way that doesn’t feel forced. The songs are well-written and memorable. They experiment with a variety of genre embellishments. Some songs have a core-y twist that evokes a little Avenged Sevenfold (meant positively!—”Burning Sky,” “I Will Rise Again”). Others use cello and acoustic guitar to add a folky feel (“Bone and Thorn”), or more delicate piano (“Shattered,” “I see the Angels Fly”). This keeps things fresh and stops any one song sounding too much like all the others.

There is one classic symphonic metal trap Valkyrie’s Fire do fall solidly into, though: a regrettable inability to edit. Out of Darkness is over 70 minutes long, and it really doesn’t need to be. By track twelve, my attention span is definitely strained, and there are still fifteen minutes left of the record. With tighter editing, there’d be a punchy 45-minute album here. I get that it’s hard, as none of the tracks here are total clangers. I probably wouldn’t miss “Valkyrie’s Fire” or “Nocturne,” and many others could use editing down (“Bone and Thorn” is a pretty folk piece but doesn’t need to be seven minutes, “Cascade” could shed a couple of minutes, ten-minute closer “I Will Rise Again” gets a bit too theatrical). This isn’t universal—”Dark Moon” is nearly seven minutes but carries its length well, “Burning Sky” is a neat four—but it does affect most of the record.

I’ve mentioned before being drawn to well-performed duet vocals, and Valkyrie’s Fire are excellent here, with Bettie Floyd on soprano and Adam Sanders on baritone. The vocal melody writing is really good. They use alternating phrases, harmonies, and counterpoint to great effect. This works particularly well combined with Salem Belladonna’s piano and cello on the Clair Obscur-via-doom-metal “Shattered,” where Floyd is at her best. Her range spans from the symphonic metal standard soprano to a poppy tone that reminds me a little of Diablo Swing Orchestra’s current vocalist (“Labyrinth”). There’s one or two bits of vocal direction I don’t quite get on with (just a couple of phrases in “Evermore” and “Valkyrie’s Fire”), but it’s a very minor blip.

I’m really pleasantly surprised by Out of Darkness. My genre cynicism was mostly unfounded. I often find the mark of a good record is finding lots of bits of it slipping into my head when I’m doing other things (versus having one line going irritatingly round and round). Out of Darkness has done that. Most years, there’s at least one record that reminds me I still love symphonic/power metal. This is very nearly that record for 2026, but the marathon length just adds a tiny bit too much mental effort to listening to it. If Valkyrie’s Fire can kill their darlings next time around, I’m sold.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Eclipse Records
Websites: valkyriesfire.com | facebook.com/valkyriesfireofficial
Releases Worldwide: September 18th, 2026

Most of my AMG time recently has gone to tech issues 1, but I’ve been wanting to write again. Valkyrie’s Fire’s debut Out of Darkness lured me back with a Nightwish namedrop, which is a dangerous promise, for all that it sounds enticing. In principle, I’m a big fan of power metal, symphonic metal, and indeed symphonic power metal. Alas, as I wrote in my section of the Nightwish ranking, symphonic metal is plagued by terrible, boring bands. It’s much easier to ape the style than it is to write great songs. I don’t know why this is such a problem for this genre in particular, but it doesn’t need to be this way, and so hope springs eternal.

Valkyrie’s Fire avoid this problem on two axes. First, Out of Darkness isn’t actually that beholden to Nightwish tropes, with the possible exception of “Skylark.”2 Yes, they do the duet vocal thing a lot and one of them is a soprano. But the core style they establish early on (“Evermore,” “Valkyrie’s Fire,” etc.) reminds me a lot more of Rhapsody’s many iterations, replete with neoclassical twiddling. Second, and more importantly, this is good actually. It’s fun in a way that doesn’t feel forced. The songs are well-written and memorable. They experiment with a variety of genre embellishments. Some songs have a core-y twist that evokes a little Avenged Sevenfold (meant positively!—”Burning Sky,” “I Will Rise Again”). Others use cello and acoustic guitar to add a folky feel (“Bone and Thorn”), or more delicate piano (“Shattered,” “I see the Angels Fly”). This keeps things fresh and stops any one song sounding too much like all the others.

There is one classic symphonic metal trap Valkyrie’s Fire do fall solidly into, though: a regrettable inability to edit. Out of Darkness is over 70 minutes long, and it really doesn’t need to be. By track twelve, my attention span is definitely strained, and there are still fifteen minutes left of the record. With tighter editing, there’d be a punchy 45-minute album here. I get that it’s hard, as none of the tracks here are total clangers. I probably wouldn’t miss “Valkyrie’s Fire” or “Nocturne,” and many others could use editing down (“Bone and Thorn” is a pretty folk piece but doesn’t need to be seven minutes, “Cascade” could shed a couple of minutes, ten-minute closer “I Will Rise Again” gets a bit too theatrical). This isn’t universal—”Dark Moon” is nearly seven minutes but carries its length well, “Burning Sky” is a neat four—but it does affect most of the record.

I’ve mentioned before being drawn to well-performed duet vocals, and Valkyrie’s Fire are excellent here, with Bettie Floyd on soprano and Adam Sanders on baritone. The vocal melody writing is really good. They use alternating phrases, harmonies, and counterpoint to great effect. This works particularly well combined with Salem Belladonna’s piano and cello on the Clair Obscur-via-doom-metal “Shattered,” where Floyd is at her best. Her range spans from the symphonic metal standard soprano to a poppy tone that reminds me a little of Diablo Swing Orchestra’s current vocalist (“Labyrinth”). There’s one or two bits of vocal direction I don’t quite get on with (just a couple of phrases in “Evermore” and “Valkyrie’s Fire”), but it’s a very minor blip.

I’m really pleasantly surprised by Out of Darkness. My genre cynicism was mostly unfounded. I often find the mark of a good record is finding lots of bits of it slipping into my head when I’m doing other things (versus having one line going irritatingly round and round). Out of Darkness has done that. Most years, there’s at least one record that reminds me I still love symphonic/power metal. This is very nearly that record for 2026, but the marathon length just adds a tiny bit too much mental effort to listening to it. If Valkyrie’s Fire can kill their darlings next time around, I’m sold.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Eclipse Records
Websites: valkyriesfire.com | facebook.com/valkyriesfireofficial
Releases Worldwide: September 18th, 2026

Most of my AMG time recently has gone to tech issues 1, but I’ve been wanting to write again. Valkyrie’s Fire’s debut Out of Darkness lured me back with a Nightwish namedrop, which is a dangerous promise, for all that it sounds enticing. In principle, I’m a big fan of power metal, symphonic metal, and indeed symphonic power metal. Alas, as I wrote in my section of the Nightwish ranking, symphonic metal is plagued by terrible, boring bands. It’s much easier to ape the style than it is to write great songs. I don’t know why this is such a problem for this genre in particular, but it doesn’t need to be this way, and so hope springs eternal.

Valkyrie’s Fire avoid this problem on two axes. First, Out of Darkness isn’t actually that beholden to Nightwish tropes, with the possible exception of “Skylark.”2 Yes, they do the duet vocal thing a lot and one of them is a soprano. But the core style they establish early on (“Evermore,” “Valkyrie’s Fire,” etc.) reminds me a lot more of Rhapsody’s many iterations, replete with neoclassical twiddling. Second, and more importantly, this is good actually. It’s fun in a way that doesn’t feel forced. The songs are well-written and memorable. They experiment with a variety of genre embellishments. Some songs have a core-y twist that evokes a little Avenged Sevenfold (meant positively!—”Burning Sky,” “I Will Rise Again”). Others use cello and acoustic guitar to add a folky feel (“Bone and Thorn”), or more delicate piano (“Shattered,” “I see the Angels Fly”). This keeps things fresh and stops any one song sounding too much like all the others.

There is one classic symphonic metal trap Valkyrie’s Fire do fall solidly into, though: a regrettable inability to edit. Out of Darkness is over 70 minutes long, and it really doesn’t need to be. By track twelve, my attention span is definitely strained, and there are still fifteen minutes left of the record. With tighter editing, there’d be a punchy 45-minute album here. I get that it’s hard, as none of the tracks here are total clangers. I probably wouldn’t miss “Valkyrie’s Fire” or “Nocturne,” and many others could use editing down (“Bone and Thorn” is a pretty folk piece but doesn’t need to be seven minutes, “Cascade” could shed a couple of minutes, ten-minute closer “I Will Rise Again” gets a bit too theatrical). This isn’t universal—”Dark Moon” is nearly seven minutes but carries its length well, “Burning Sky” is a neat four—but it does affect most of the record.

I’ve mentioned before being drawn to well-performed duet vocals, and Valkyrie’s Fire are excellent here, with Bettie Floyd on soprano and Adam Sanders on baritone. The vocal melody writing is really good. They use alternating phrases, harmonies, and counterpoint to great effect. This works particularly well combined with Salem Belladonna’s piano and cello on the Clair Obscur-via-doom-metal “Shattered,” where Floyd is at her best. Her range spans from the symphonic metal standard soprano to a poppy tone that reminds me a little of Diablo Swing Orchestra’s current vocalist (“Labyrinth”). There’s one or two bits of vocal direction I don’t quite get on with (just a couple of phrases in “Evermore” and “Valkyrie’s Fire”), but it’s a very minor blip.

I’m really pleasantly surprised by Out of Darkness. My genre cynicism was mostly unfounded. I often find the mark of a good record is finding lots of bits of it slipping into my head when I’m doing other things (versus having one line going irritatingly round and round). Out of Darkness has done that. Most years, there’s at least one record that reminds me I still love symphonic/power metal. This is very nearly that record for 2026, but the marathon length just adds a tiny bit too much mental effort to listening to it. If Valkyrie’s Fire can kill their darlings next time around, I’m sold.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Eclipse Records
Websites: valkyriesfire.com | facebook.com/valkyriesfireofficial
Releases Worldwide: September 18th, 2026

Most of my AMG time recently has gone to tech issues 1, but I’ve been wanting to write again. Valkyrie’s Fire’s debut Out of Darkness lured me back with a Nightwish namedrop, which is a dangerous promise, for all that it sounds enticing. In principle, I’m a big fan of power metal, symphonic metal, and indeed symphonic power metal. Alas, as I wrote in my section of the Nightwish ranking, symphonic metal is plagued by terrible, boring bands. It’s much easier to ape the style than it is to write great songs. I don’t know why this is such a problem for this genre in particular, but it doesn’t need to be this way, and so hope springs eternal.

Valkyrie’s Fire avoid this problem on two axes. First, Out of Darkness isn’t actually that beholden to Nightwish tropes, with the possible exception of “Skylark.”2 Yes, they do the duet vocal thing a lot and one of them is a soprano. But the core style they establish early on (“Evermore,” “Valkyrie’s Fire,” etc.) reminds me a lot more of Rhapsody’s many iterations, replete with neoclassical twiddling. Second, and more importantly, this is good actually. It’s fun in a way that doesn’t feel forced. The songs are well-written and memorable. They experiment with a variety of genre embellishments. Some songs have a core-y twist that evokes a little Avenged Sevenfold (meant positively!—”Burning Sky,” “I Will Rise Again”). Others use cello and acoustic guitar to add a folky feel (“Bone and Thorn”), or more delicate piano (“Shattered,” “I see the Angels Fly”). This keeps things fresh and stops any one song sounding too much like all the others.

There is one classic symphonic metal trap Valkyrie’s Fire do fall solidly into, though: a regrettable inability to edit. Out of Darkness is over 70 minutes long, and it really doesn’t need to be. By track twelve, my attention span is definitely strained, and there are still fifteen minutes left of the record. With tighter editing, there’d be a punchy 45-minute album here. I get that it’s hard, as none of the tracks here are total clangers. I probably wouldn’t miss “Valkyrie’s Fire” or “Nocturne,” and many others could use editing down (“Bone and Thorn” is a pretty folk piece but doesn’t need to be seven minutes, “Cascade” could shed a couple of minutes, ten-minute closer “I Will Rise Again” gets a bit too theatrical). This isn’t universal—”Dark Moon” is nearly seven minutes but carries its length well, “Burning Sky” is a neat four—but it does affect most of the record.

I’ve mentioned before being drawn to well-performed duet vocals, and Valkyrie’s Fire are excellent here, with Bettie Floyd on soprano and Adam Sanders on baritone. The vocal melody writing is really good. They use alternating phrases, harmonies, and counterpoint to great effect. This works particularly well combined with Salem Belladonna’s piano and cello on the Clair Obscur-via-doom-metal “Shattered,” where Floyd is at her best. Her range spans from the symphonic metal standard soprano to a poppy tone that reminds me a little of Diablo Swing Orchestra’s current vocalist (“Labyrinth”). There’s one or two bits of vocal direction I don’t quite get on with (just a couple of phrases in “Evermore” and “Valkyrie’s Fire”), but it’s a very minor blip.

I’m really pleasantly surprised by Out of Darkness. My genre cynicism was mostly unfounded. I often find the mark of a good record is finding lots of bits of it slipping into my head when I’m doing other things (versus having one line going irritatingly round and round). Out of Darkness has done that. Most years, there’s at least one record that reminds me I still love symphonic/power metal. This is very nearly that record for 2026, but the marathon length just adds a tiny bit too much mental effort to listening to it. If Valkyrie’s Fire can kill their darlings next time around, I’m sold.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Eclipse Records
Websites: valkyriesfire.com | facebook.com/valkyriesfireofficial
Releases Worldwide: September 18th, 2026

AI interpretatie van Helloween's Havy Metal Is the Law. In 3 formaten. #heavymetal #powermetal #helloween #music #AIart

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

What makes a random promo grab special is the absence of expectations and the ignorance of any band or album lore, at least in the initial stages. The promise of this blank slate drew me to Italian power metal quartet Aletheya, comprised of members from Fleshgod Apocalypse, Stormlord, Ivory Moon, and Concept. Debuting with their upcoming LP Chance to Reborn, Aletheya ventured a story centered around inner conflict and human resilience with a focus on perseverance, self-reflection, and hope. That concept suits the context of power metal perfectly, but how well does the final product coalesce into something exciting and compelling in this competitive arena?

Musically, Aletheya stick pretty closely to the established power metal blueprints established by bands like Rhapsody of Fire, Helloween, and Galneryus. That means a metric ton of double bass runs, thunderous gallops, whimsical synths and twinkling effects, and lightning-fast solo shreds with soaring choruses on top. Those with an affinity for the genre trappings will find great comfort here, and those averse to the same will find a familiar repulsion awaits. Nonetheless, Aletheya are charming and exuberant, such that Chance to Reborn is very difficult to dislike. In fact, the longer I spent time with it, the more I wanted to spend additional time with it.

The biggest detractor holding me back from doing exactly that at any opportunity is Chance to Reborn’s flat and plastic engineering. While not that dissimilar to the Industry Standard™ for power metal, every player except for vocalist Gianni Carcione occupies the same placement at dead center, resulting in a crowded soundscape dominated by Gianni’s heavily accented delivery in the front. Songs like “The Rule” and “Chasing the Sun” in particular suffer for such a lack in sonic dynamics. The former is meant to hit hard the way only Teutonic power metal can, but the engineering’s lack of guts siphon the muscle away from the tune and leaves its sharp, punchy ending dulled and ineffective. The latter should’ve been a sunny, inspirational hair-raiser—and it is for the most part—but this overly sterilized production makes it hard for even Gianni’s empowered vocal runs to punch above their weight as intended.

On the other hand, the songs themselves are sleeper builds, pumping fun and a palpable love for the genre deep into the veins. While at first I was cool on many of these tunes, the electric “Chasing the Sun” began that elusive catalytic reaction I so greedily seek. Eventually, high-energy frolics “Eye of the Stone,” “The Rule,” “Echoes of Oblivion,” and “Stealer” became impossible to resist. Cheesy as they are, their charms seem infinite. Gianni’s bright and unique tonal quality and exuberant delivery—highly reminiscent of Glenn from Superstore if that immensely lovable character fronted a europower act himself1—combine with Francesco Menale’s rapid-fire gallops and neoclassical noodles and David Folchitto’s adrenaline-spiked percussion to great effect. Other songs don’t fare quite as well if only because they sound remarkably similar to one another (“Invisible Heroes,” “Chance to Reborn,” etc.), which gives away a shortage of distinct songwriting ideas and pathways. Consequently, Aletheya aren’t able to support nearly 50 minutes of material on stable footing. Instead, they stretch themes and repeated structures so thin at times that the tissues holding the whole together threaten to tear apart.

Chance to Reborn is a competent, charming, but imperfect first record by a fledgling act. The talent and skill are there, and Gianni in particular boasts a unique and lovable voice that might take getting used to at first, but shines with personality. If the rest of the band can find a similar wealth of character and imbue their songwriting with a wealth of distinct ideas—even if they don’t necessarily challenge genre convention—then future Aletheya works could become truly exciting and epic to behold. Revisiting their engineering process to give their next round more dynamics and guts only promises even greater yields. Until that time, take an hour and test Chance to Reborn’s charms for yourself!

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rockshots Records
Website: Facebook
Releases Worldwide: September 18th, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026

First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024’s The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.

And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Pagan’s Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conte’s kinetic rhythms and Campitelli’s synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like “Through Your Light”1 and “Convicted to Rise.” There’s even a few surprises thrown in for good measure, including djent-focused tracks (“Radiance,” “Heavenfall”) and serene ballads (“Through Your Light”) that help keep things fresh. Although the stylistic departures of “Heavenfall” and “Radiance” seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.

Losing most of your roster can hamstring even the best bands, but in Noveria’s case, the shakeup has proven transformative. Francesco Corigliano’s departure left a massive void, but Frank Marino is quick to quell any fears he can’t fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesn’t persist on Becoming After, stuffing Noveria’s songs to the brim with hooks and towering choruses. Possessing James LaBrie’s (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like “Cold Flames,” “Convicted to Rise,” “Echoes From the Abyss,” and “Infinite Horizons” with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the record’s dense instrumentation.

As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the group’s sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the record’s ambitious foundation. When paired with Campitelli’s fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeli’s (DGM) dynamic bass lines and Conte’s battering drum work provide a low-end backbone that underpins Noveria’s grandiose arrangements, resulting in songwriting that remains interesting throughout the record’s substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, “Heavenfall” and “Viper’s Nest,” which are far from bad but feel overshadowed by the stronger material surrounding them.

Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveria’s streak of inconsistent releases, but they now have my full attention.

Rating: Very Good
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/becoming-after | noveriaofficial.com/home.html | facebook.com/NoveriaOfficial
Releases Worldwide: August 21st, 2026