#powermetal — Public Fediverse posts

https://www.europesays.com/es/759279/ Helloween en Lima: los padres del power metal dieron cátedra con brutal concierto en la capital [CRÓNICA] #Conciertos #Entertainment #Entretenimiento #ES #España #HeavyMetal #helloween #Lima #Music #Música #PowerMetal #Spain

FIREWIND (Grècia) presenta nou single: "The Legend of Achilles" #Firewind #HeavyMetal #PowerMetal #Setembre2026 #Grècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

FIREWIND (Grècia) presenta nou single: "The Legend of Achilles" #Firewind #HeavyMetal #PowerMetal #Setembre2026 #Grècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

It's power-metal-driven development night! #PMDD

#PowerMetal #Music #PowerMetalDrivenDevelopment

It's power-metal-driven development night! #PMDD

#PowerMetal #Music #PowerMetalDrivenDevelopment

It's power-metal-driven development night! #PMDD

#PowerMetal #Music #PowerMetalDrivenDevelopment

It's power-metal-driven development night! #PMDD

#PowerMetal #Music #PowerMetalDrivenDevelopment

It's power-metal-driven development night! #PMDD

#PowerMetal #Music #PowerMetalDrivenDevelopment

https://www.europesays.com/es/758030/ Muere Mikko Karmila, productor clave del Metal finlandés, conocido por su trabajo para NIGHTWISH, STRATOVARIUS o CHILDREN OF BODOM #AMORPHIS #BlackMetal #CHILDRENOFBODOM #DeathMelodico #Entertainment #Entretenimiento #ES #España #HardRock #HeavyMetal #ImpaledNazarene #LORDI #MetalSinfónico #Music #Música #Nightwish #PowerMetal #SONATAARCTICA #Spain #STRATOVARIUS

kamelot was f*cking amazing tonight

hadn't seen them since 2008

got some new merch and took a cool photo :>

#music #metal #powermetal #symphonicmetal #kamelot

kamelot was f*cking amazing tonight

hadn't seen them since 2008

got some new merch and took a cool photo :>

#music #metal #powermetal #symphonicmetal #kamelot

kamelot was f*cking amazing tonight

hadn't seen them since 2008

got some new merch and took a cool photo :>

#music #metal #powermetal #symphonicmetal #kamelot

kamelot was f*cking amazing tonight

hadn't seen them since 2008

got some new merch and took a cool photo :>

#music #metal #powermetal #symphonicmetal #kamelot

Today's music:

Kristin Starkey - OLIMPICO

https://youtu.be/lVb8hH4Nlh4

#metal #PowerMetal #SymphonicMetal #usa #music #np #NowPlaying #MastoMusic

Today's music:

Kristin Starkey - OLIMPICO

https://youtu.be/lVb8hH4Nlh4

#metal #PowerMetal #SymphonicMetal #usa #music #np #NowPlaying #MastoMusic

Today's music:

Kristin Starkey - OLIMPICO

https://youtu.be/lVb8hH4Nlh4

#metal #PowerMetal #SymphonicMetal #usa #music #np #NowPlaying #MastoMusic

Today's music:

Kristin Starkey - OLIMPICO

https://youtu.be/lVb8hH4Nlh4

#metal #PowerMetal #SymphonicMetal #usa #music #np #NowPlaying #MastoMusic

https://youtu.be/jPxSNtL_kTg?si=gGUv_YDMbHYHlx6y #meta, #heavymetal, #thrashmetal, #powermetal, #metalheads, #icedearth

Frozen Crown Embrace a Darker Side with New Single “Who Wants to Burn in Heaven”

https://voiceofnoir.com/2026/08/27/frozen-crown-embrace-a-darker-side-with-new-single-who-wants-to-burn-in-heaven/

FROZEN CROWN share triumphant new single “Reborn”

https://voiceofnoir.com/2026/07/29/frozen-crown-share-triumphant-new-single-reborn/

FROZEN CROWN Delve Into Tolkien’s World with New Single, “The One”

https://voiceofnoir.com/2026/06/24/frozen-crown-delve-into-tolkiens-world-with-new-single-the-one/

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,1 this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

Finally, the new year is upon us! A fresh start for some, same shit different year for others; mainly, my minions who toil in the mines ducts of the Filter. Since they don’t get any holidays, they probably don’t even fucking know it’s 2026 yet, but that’s okay. As long as they come back to HQ with a substantial haul, their ability to know when it is is immaterial.

These are the sacrifices we (not me, though), make to ensure you get the goods relatively on time-ish. So say thank you!

Kenstrosity’s Freaky Foursome

Upiór // Forefathers’ Eve (Redemption) [January 2nd, 2026 – Self Released]

Featuring members of Gorod (Benoit Claus) and Xaoc (Kévin Paradis), Upiór pinged my radar after a certain cosmic Discordian pinged me. A blistering combination of Fleshgod Apocalypse opulence and Wachenfeldt aggression, sophomore release Forefathers’ Eve (Redemption) impressed me immediately as “The Black Paintings ripped my face right off. “A Blessing or a Curse” doubled down on speed, blasting rhythms, and eerie melodies to propel itself straight into my Song o’ the Year long-list. Even with three instrumental interludes, all of which are quite fluffy, Forefathers’ Eve (Redemption) crams pummeling riffs, exuberant percussion, and dramatic lushness into its 51-minute runtime. “Forefathers’ Eve (Part I),” a fantastic companion to Fleshgod Apocalypse’s “Cold As Perfection” without aping its features, conjures a similarly affecting character that draws me in completely. Forefathers’ Eve (Redemption)’s middle section continues to build personality and develop greater dynamics from that point, represented most clearly in melodic riffs and expressive leads/soloing (“The Woman that Weeps”). Leading into its conclusion, a tonal shift towards the dire at this junction foreshadows the imminent release of Upiór’s second act, Forefathers’ Eve (Damnation) (due in early April), charring songs like “Forefather’s Eve (Part II)” and “Between the Living and Dead” with blackened rabidity and dissonant flourishes. All of this to say, Upiór launched this latest arc with a striking blow, and I can only imagine what’s in store for Damnation.

Forefathers’ Eve (Redemption) by Upiór

KadavriK // Erde666 [January 9th, 2026 – Self Released]

Germany’s melodic death metal quintet KadavriK have been cranking out records since 2007, but I only heard about them this year, once again, thanks to Discord. Erde666, their fifth outing, takes an unorthodox and progressive approach to melodic death metal, which makes comparisons difficult to draw. Stripped down and raw in some moments, mystical and lush in others, Erde666 is all about textures. Its opening title track explores that spectrum of sounds and philosophies to its fullest, even drawing heavy influence from blues, psychedelia, and sludge at times (“Getrümmerfreund”), but it all coalesces seamlessly. Following up an opener as strong as that would be a tall order for anyone, but KadavriK are clever songwriters, and the long form served them well even compared to the more straightforward tracklists of previous installments (“Nihilist,” “Das Ende Des Anthropozäns”). Off-kilter guitar melodies countered against twinkling Kalmah synths and sweeping strings do a lot of work to elevate and liven the crushing chords of their high-impact riffs as well, which adds a ton of interest into an already unconventional melodic death record (“Widerhall”). All of this makes for a record that might not be as immediate or fast-paced as most aim for in this space, but, counterintuitively, significantly more memorable. Don’t sleep on this one, folks!

Erde 666 by KadavriK

Luminesce // Like Crushed Violets and Linen [November 20th, 2026 – Self Released]

Prolific at a scale I haven’t witnessed since Déhà, Luminesce mastermind Alice Simard, based in Québec, piqued my curiosity for the first time with Like Crushed Violets and Linen, her sophomore effort under the Luminesce moniker. Boasting machine-gun rapidity (“Exploited Monochromaticism”), off-kilter rhythms (“Silver”), and a downright romantic sense of melody (“Like Crushed Violets and Linen,” “Lamp of Fulguration”)—countered by lyrical themes ranging from guilt complexes to gender identity (“To Restore”)—Like Crushed Violets and Linen is a deeply personal record forged in a melodic technical death metal mold. And as such a record, it recalls the vicarious guitar pyrotechnics of Inferi and Obscura while securing a melodic sensibility more in line with neoclassical composition (“The Covenant of Counterfeit Stars”). Unlike many of her contemporaries, however, Alice is a master of editing. Filled with killer ideas and instrumental wizardry without involving a drop of bloat, each of these seven songs coalesce into a buttery-smooth 30-minute excursion that punches far above its feathery mass. The addition of delightful chiptune dalliances helps distinguish Luminesce further from the pack (“To Restore”), though I’m torn about how far forward they are in the mix. In fact, the mix is my main gripe, as Like Crushed Violets and Linen is muffled and a bit flat, despite boasting a much-appreciated meaty bass presence. Nonetheless, if you’re looking for an unlikely tech-death contender, Luminesce might be just what you need.

Like Crushed Violets and Linen by Luminesce

Bone Storm // Daemon Breed [January 30th, 2026 – Self Released]

As the CEO of this Filter company, I withhold the right to break the rules and include a very cool bonus fourth option, Bone Storm’s cavebrained Daemon Breed. Do you like Bolt Thrower? Yes, you do. Do you like Bear Mace? Yes, you do. By proxy, then, you already like Connecticut’s Bone Storm as they draw from the same chunky, groove-laden school of death metal. At a somewhat overachieving 50 minutes, Daemon Breed pummels the listener beneath a veritable smorgasbord of neck-breaking riffs built upon a framework of triplet grooves, swaggering syncopations, and galloping double bass assaults. Their approach is simple and unburdened by blistering speed, fiddly technicality, or atmospheric deviation, and in that way recalls the undeniable immediacy and brutal effectiveness of records like Black Royal’s Firebride. With highlights “Heaven’s End (Burn Them All),” “Plaguerider,” “Sanctimonious Morality,” and above all “Ritual Supremacy,” Bone Storm use that approach with aplomb, proving that the spirit of classic, no-frills death metal is vital and vicarious. Delightfully cogent roars and gutturals allow the most difficult deliveries (see “Daemon Breed”) to feel vicious and purposeful, while a subtle thread of melody (see “Cursed Born”) affords the record a small measure of songwriting variety to break things up just when Daemon Breed needs it most. Heavy reliance on triplets and perhaps a zealous desire to put down every idea that seems good even if it’s placed immediately adjacent to much better one (“Halo of Disease” and “Hammer of Judas” bookending “Ritual Supremacy” are tough positions to defend, as is “Wrist Slitter” next to the fun Frozen Soul-esque “Blood Priest”), hold it back from higher praise only mildly. Moral of the story? Enter the bone zone, with haste!

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

Lord Elephant // Ultra Soul [January 30th, 2026 – Heavy Psych Sounds]

Sometimes, you don’t need dynamic songwriting, harmonic density, or even a vocalist. Sometimes, all you need are riffs. Okay, and maybe some psychedelic leads to go over those riffs. Ultra Soul, the sophomore album from Italian instrumental trio Lord Elephant, delivers 48 minutes of pure, mostly unadulterated stoner-doom. In the feudal jungle of heavy riff rock, Lord Elephant pays scutage to King Buffalo, similarly forming longish compositions where simple, bluesy figures reign supreme, stretching their limbs in grassy patches. Occasionally, guitarist Leandro Gaccione, bassist Edoardo De Nardi, and drummer Tommaso Urzino lock into some lively, head-bobbing grooves (“Gigantia”). But mostly, Lord Elephant keeps things meditative, hypnotizing listeners with Earthless drones and lurches (“Smoke Tower,” “Black River Blues”). De Nardi’s bass often leads the way (“Electric Dunes”), the underwater tone of which reminds me of falling for Isis.1 Lord Elephant aren’t reinventing any wheels here; the familiarity of their bluesy riffing simply won’t interest those for whom such bluesiness is a staid marker of old-man rock. The absence of vocals, however, makes Ultra Soul work as pseudo-ambient music that can set the mood, or accompany tasks, or gateway a normie. Closer listening will reveal, though, a tight trio reveling in the rudiments of rock music—a drummer, bassist, and guitarist vibing on a riff.

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

Juodvarnis // Tékmés [January 23rd, 2026 – Self Released]

Lithuania’s Juodvarnis cooked for a long six years between albums for their fourth record Tékmés. With the confidence and sharpness displayed on all levels by Juodvarnis here, that was clearly time well spent in the kitchen. Sporting a brand of progressive black metal that blends the Enslaved framework of prog-black with the epic heft and melody of Iotunn and the crushing rhythms and harsh vocals of Gojira, Tékmés is tight, lively and achieves a remarkable level of melancholic thoughtfulness without neglecting the average listener’s chronic need for riffs. Translated to “flow” from Hungarian,2 Tékmés navigates inter-song and album-wide progressions of pummeling rhythms (“Dvasios Ligos”) and slow marches (“Tamsiausias Nušvitimas”), impassioned clean vocals (“Platybės”) and razor-throated screams (“Juodos Akys”) to achieve a gradual, natural sense of advancement across its 42-minute journey. If progressive black metal that knows how to riff and can turn the reverb off 11 sounds like a good time to you, give Juodvarnis’ Tékmés a shot sometime.

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

Ectovoid // In Unreality’s Coffin [January 9th, 2026 – Everlasting Spew Records]

Normally, it takes copious amounts of reverb, wonkiness, melody, or turbo-dissonance for death metal to be palatable to me. Every once in a while, however, an album like Ectovoid’s In Unreality’s Coffin comes along and shows me that there is another way. The music’s stickiness has a lot to do with its boundary-straddling take on OSDM. Ostensibly, the battering, percussion, sawblade riffing, and gruff gurgling growls mark it as your everyday modern no-nonsense death metal, somewhere between Cryptopsy and Immolation. But In Unreality’s Coffin is more like tech-death, disso-death, and brutal-death in a trench coat than it is any one of them, or another subgenre.3 Its arpeggios can be rhythmically snappy, sometimes combined with equally sharp vocal delivery (“Intrusive Illusions (Echoes from a Distant Plane)”), but more often than not channel a churning chaos that resists punchiness for a darker unease I find addictive (“Collapsing Spiritual Nebula,” “Erroneous Birth”). The music is constantly speeding up or slowing down, churning guitars collapsing with slides (“Dissonance Corporeum”) or pitching upwards in squeals (“In Anguished Levitation”), or evolving into mania as screams and growls fragment and layer (“Formless Seeking Form”). Rather than being exhausting, it’s exhilarating, with expertly-timed releases of diabolically echoing melody (“Collapsing Spiritual Nebula”) or a new groove to latch onto (“In Unreality’s Coffin”) coming to keep you afloat. Ectovoid keep you guessing without actually really pushing the boundaries, making In Unreality’s Coffin both a lot of fun and straightforwardly br00tal enough to sustain a savage workout; or just a really intense 45 minutes.

In Unreality’s Coffin by Ectovoid

Exxûl // Sealed into None [January 15th, 2026 – Productions TSO]

Phil Tougas has had an impressive start to the year. Before Worm’s Necropalace this February, came Sealed into None, the debut by Exxûl—a genre-blending, kinda blackened epic-power-doom-heavy-metal group also comprising several of Phil’s Atramentus band-mates. Several people brought up this album in the comments on my Worm review, often to the tune of “Exxûl better,” and while I respectfully disagree on the quality ranking of the two, I can’t deny how fabulous Sealed into None is. Here again are genres of music I’m usually unable to connect with—in this instance, power and classical heavy metal—but shaped in a way that opens my eyes and ears. Yes, the high-pitched wail style of singing first took me a little off-guard when they first arose on “Blighted Deity,” and they offend my usual tastes. But they are impressive, and work in a way I thought only harsh vocals could when following the trajectory of distorted keys and guitar (“Walls of Endless Darkness”), or shouting into an atmospheric abyss (“The Screaming Tower”). Oh, and of course, the overall vibe of magnificent, melodramatic blackened doom that sets the scene, capped off with—predictably—phenomenal guitarwork, is just magic and enough for me to get past my knee-jerk vocal ick and love it not in spite of that, but because of what it can bring to the whole. I love the slow builds to dazzling solos (“Bells of the Exxûl through to “Blighted Deity,” “The Screaming Tower”) and the way the camper, heavy-metal sides blur into something darker (“Labyrinthine Fate”). I just love this album, to be honest.

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

Turpitude // Mordoré [January 1, 2026 – Self Released]

Since 2019, Alice Simard has been a prolific presence in Quebec’s underground metal scene. She consistently releases albums for several different projects, from the ambient atmoblack of Coffret de Bijoux to the tech death of Luminesce (also uncovered in this month’s Filter by our Sponge Fren). Mordoré, the fourth full-length for Turpitude, thrives on its riffs and carries a cheerful energy reminiscent of the carefree raw black metal of Grime Stone Records stalwarts Wizard Keep and Old Nick. Yet Simard opts for traditional instruments, no synths, though production choices make the drumsticks sound as if they’re banging against blocks of wood, give the guitars a lofi reverb, and cause Simard’s voice to fade into the background in a cavernous growl. The riffs are the real star, with some terrifically catchy melodic leads and trems throughout (“La Traverse Mordorée,” “Aller de L’avant”). This combination of riffs, a raw sound, and often upbeat tunes draws comparison to Trhä and To Escape. While Mordoré keeps a mostly cheery tone, Turpitude’s no one-trick pony. There’s a tinge of the melancholic on the moody, atmospheric “Peintra,” as well as a successful stab at covering a non-metal song a lá Spider God on “Washing Machine Heart.”4 This is a worthwhile endeavor for those who like their black metal raw and energetic.

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

Valiant Sentinel // Neverealm [January 16th, 2026 – Theogonia Records]

Greek heavy metal heroes Valiant Sentinel dropped their sophomore platter Neverealm back in mid-January, unleashing forty-six minutes that reek of high fantasy. Galloping riffs, driving drums, and vocal harmonies aplenty supply a cinematic adventure that basks in fun. While the pacing of Neverealm mainly operates in high-energy bombast, Valiant Sentinel smartly weaves in mid-paced might, evidenced by how the controlled assault of “Mirkwood Forest” provides a breather after opening chest-thumpers “War in Heaven” and “Neverealm.” Acoustic pieces “To Mend the Ring” and “Come What May” further diversify Neverealm’s heavy metal holdings, and while I’m usually keener on more aggressive numbers, these two tracks comprise some of my favorite moments on the album.5 Mostly, Valiant Sentinel summons comparisons to Germany’s heavy/power scene—chief among them Blind Guardian—going so far as to bring in BG drummer extraordinaire Frederik Ehmke. I also catch fleeting glimpses of Brainstorm and Mystic Prophecy in Valiant Sentinel’s DNA, though guitarist and composer Dimitris Skodras does a commendable job carving out a distinct identity for the band. Featuring skilled performances across the board and guest spots from Burning Witches’ Laura Guldemond (“Neverealm”) and Savatage’s Zak Stevens (“Arch Nemesis”), Valiant Sentinel packs loads of drama into a streamlined package. So what are you waiting for? Go grab your polyhedrals and a Spelljammer, and set sail for Neverealm.

Neverealm by Valiant Sentinel

Fili Bibiano’s Fortress // Death Is Your Master [January 30th, 2026 – High Roller Records]

Does Shredphobia keep you away from metal? Does the sultry siren call of licks, riffs, and chugs make you break into a cold sweat? If so, I strongly urge you to stay away from Fortress’ sophomore album, Death Is Your Master. Channeling Tony Martin-era Black Sabbath and 80s Judas Priest, Fortress drops six-string shenanigans that’ll get your booty shaking and the floor quaking, offering a romping retro slab that goes down slow ‘n’ easy. The overt classic 80s heavy metal worship on tracks “Flesh and Dagger” and “Night City” delivers riff after riff recalling the glory days, giving Fortress an authenticity that expands what could have otherwise been a one-dimensional LP. Guitarist Fili Bibiano sizzles with axe-slinging abandon, occasionally conjuring the neoclassical debauchery of Yngwie (“Savage Sword,” “Maze”). Still, it’s not all about the guitar, and drummer Joey Mancaruso and vocalist Juan Aguila nail their contributions as Fortress wends their way through a trim thirty-four minutes. On a guitar-forward album featuring slick songwriting and singalong jams, Death Is Your Master bumps, dives, and wails in a slow-burn frenzy of classic heavy goodness. Dig in!

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

Skulld // Abyss Calls to Abyss [January 23rd, 2026 – Time to Kill Records]

While last year was alright for death metal and notably starred Dormant Ordeal, I felt it was lacking in quantity of impressive releases for said cornerstone of the metal underground. Fortunately, Italian group Skulld is here to start off the year with a bang! Abyss Calls to Abyss takes Bolt Thrower’s tank-rolling grooves (“Mother Death”) and Dismember’s melodic buzzsaw action (“Wear the Night as a Velvet Cloak”) and adds in some crust punk influence as extra seasoning (“Le Diable and the Snake”). It feels like they’ve taken some influence from both Finnish and Swedish varieties of death metal as well, and I’m here for it! The band is fluent in switching things up at the drop of a hat without sacrificing energy or cohesion. “Mother Death” and “Drops of Sorrow” go from heavy, dissonant chords to big lead guitar melodies, which in turn lead to a chunky and punky death metal groove that’s bound to get your head moving. Teo’s drumming controls the mood in excellent fashion, adding fast blast beats or slow-pummelling stomps when called for. The vicious, varied growls of Pam further cement the violence contained within and add to the album’s attitude. At a brief 34 minutes spread over eight songs, it wastes no time going for your throat in a multitude of ways. Get this album into your skull or get Skulld!

Abyss Call To Abyss by Skulld

Total Annihilation // Mountains of Madness [January 16th, 2026 – Testimony Records]

What would happen if you took Vader, Slayer and Sodom and threw them in a big ol’ manic death/thrash blender? The answer is Mountains of Madness! While Swiss Total Annihilation’s earliest works were more in line with classic ’80s thrash metal, they have increasingly moved towards more aggressive and relentless pastures, and their songwriting is all the better for it. Fourth album Mountains of Madness channels records like Vader’s Litany and Sodom’s Tapping the Vein in particular (“The Art of Torture,” “Age of Mental Suicide”), taking advantage of a relentless, drum-forward groove and a furious vocal performance. The album’s dual guitar attack weaves together thrashier tunes with parts that reach straight up Swedeath territory, be it melodic or not. In addition, tracks like “Mountains of Madness” and “Choose the Day” throw some melodic thrash akin to Sodom’s self-titled album into the mix for that extra bit of variety and replay value. Mountains of Madness isn’t afraid to slow things down with a satisfying lead riff, but most of Mountains of Madness is at a respectful lightning-fast pace, as thrash should. Another brief but powerful addition to the January pile ov skulls!

Mountains Of Madness by Total Annihilation

Polaris Experience // Drifting Through Voids [January 2nd, 2026 – Distant Comet Entertainment]

On the earliest days of the year, Japan delivered an awesome surprise drop of death metal-influenced progressive thrash! Polaris Experience features various Cynical riffs (“Interplanetary Funambulist,” “Bathyscapes”) while sporting a similarly old-school guitar tone throughout. Being progressive thrash, the main focus is naturally on the oh-so-sweet instrumentation that balances melody and groove seamlessly. The instrumental “Parvati” alone highlights how tight everything is, from the snappy drumming to the bouncy bass work. Most importantly, the music is catchy and memorable despite its relative complexity and lack of brevity. Additionally, Drifting Through Voids uses vocals sparingly but in all the right ways, complementing its technicalities with a traditional thrashy, harsh bark. The fact that it’s a two-man project and a debut makes it all the more impressive. Fans of similar recent progressive and technical shenanigans like Species should take notes post-haste. Considering we’ve already had this and Cryptic Shift this early in the year, and how prog/tech thrash is usually only allowed one or two notable albums per year, we could be in for a banner year for the subgenre. It also marks the first time in ages that a Japanese album has genuinely good production. Welcome to the new millennium!

Drifting Through Voids by Polaris Experience

Is a supergroup still a supergroup if the members who made it a supergroup are no longer part of the band? Last Canada’s Wreck-Defy passed through these halls, Steel Druhm was pleasantly surprised by their third LP, Powers That Be. However, the band that Steel reviewed has seen some significant lineup changes since then. Two of the original power players—Aaron Randall (ex-Annihilator) and Alex Marquez (ex-Malevolent Creation)—have departed, replaced with one newbie (David Allan, drums) and one seasoned vet in vocalist Greg Wagner (Wags Metal Inc.). The glue holding Wreck-Defy together is lead guitarist Matt Hanchuck and ex-Testament bassist Greg Christian, and at essence they remain a speedy act with plenty of killer riff acrobatics. Six albums in, Wreck-Defy prove they remain a force in thrash.

Dissecting the Leech sets the thrashy tone with some sweet riffs and thumping blast beats on opener “Under the Sun.” Hanchuck collaborates with a long list of guest guitarists, such as Chris Poland (ex-Megadeth) and Mike Gilbert (Flotsam and Jetsam), to ensure a never-ending supply of fresh, exciting riffs, solos, and other guitar antics. As in prior outings, Wreck-Defy plays largely in the Testament mold with a few Megadethian flourishes. However, it’s not all pedal to the medal—plenty of songs vary in tempo, like the melodic, mid-paced “Millenial Dystopia” and the near-ballad “The Path.” While retaining their core identity, Wreck-Defy manage a varied sound throughout Dissecting the Leech, with tunes lasting anywhere from the blink-of-an-eye at three-and-a-half minutes (“Do It Again”) to the progressively-paced six-and-a-half minutes of “I Don’t Care.”1 The latter flexes creative songwriting similar to last year’s Helms Deep, with a mid-track portion that unexpectedly rockets off into a shreddy solo that’s absolutely riveting.

While Hanchuck and Christian prove to be the heart, the two new players more than hold their own. Greg Wagner has the grizzled voice of an old soul and brings a level of grit to the music. Yet he’s no one-trick pony, occasionally rising to the falsetto of many power metal vocalists, not to mention taking a few stabs at King Diamond shrieks. His surprise melodic lilt on “Another Day” proves to be one of the record’s highlights.2 David Allan proves to be quite effective behind the kit as well. His opening kicks to “Under the Sun” establish a fiercely energetic tone that resonates throughout much of Dissecting the Leech. Perhaps my favorite moment comes from “The Haunting Past,” a completely bonkers track that sounds like its instruments have gone haywire before delivering a blitzkrieg of thrashy riffs and blast beats powered by Allan’s jaw-dropping performance.

Wreck-Defy power their thrash into social critiques that prove forceful behind their spirited performances. They tackle environmental, political, and generational issues, casting a gloomy pall over modern events. On “Under the Sun,” they lament the degradation of our planet through warfare (“Look at the damage we’ve done”) and warn, “we’ll all die under the sun.” Concern turns towards the younger generations on “Millenial Dystopia,” where Wreck-Defy observes that “there’s no room to grow old,” leading to a “generation of no hope.” All people want, according to “Another Day,” is “air to breathe / just let me live another day.” Considering critiques from Steel and commenters over juvenile lyrics from Powers That Be, Wreck-Defy appear to have matured in their storytelling and thematic content. They offer a coherent narrative, even if it just boils down to “the world is a mess,” and mankind is facing “a dark, dismal future” (“Revolt”), and end on the hopeful message that they’ll “keep on fighting” for what’s right (“Apocalypse of Hope”).

Like Steel before me, I had never heard of Wreck-Defy before taking this promo, and I’m impressed. Dissecting the Leech is proving among the best in a rather good year for thrash so far, though a few things do hold it back. At 48 minutes, it’s a tad long, but considering its progressive leanings and the impressive musicianship, that’s a minor issue. A couple of songs don’t fit in as well as the rest (“Dissecting the Leech,” “The Path”), proving to be weak links amidst a great set. “The Path” is particularly puzzling, appearing to serve as the evening wind-down music to help settle the kids and old-timers for bedtime. But you’d better hurry because the ironically-named finale, “Apocalypse of Hope,” serves a jolt of caffeine to keep the party going. If you like thrash, you’ll have a good time with Dissecting the Leech.



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Massacre Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026

Remember the Finnish melodic death and power metal fusion of the late ’90s and early ’00s? Bands like Children of Bodom,1 Kalmah, and Norther were all the rage for a short while. You even had stuff like Ensiferum for a folkier interpretation, or Catamenia2 for the blackened side of things. The truth is that it never really left.3 Suotana is one of the bands keeping this sound alive and well, and they have more history than one might think. They spawned in the mid-2000s but took until 2014 to start putting out material. Now, over a decade later, they’re on their fourth full-length, and Ounas II continues right where predecessor Ounas I left off two years ago. Judging them back-to-back, it seems the collective is only growing in strength.

Ounas II is chock full of great songwriting. Melodic death metal, power metal, and even bits of black metal collide in this crazy Finnish kitchen, with Children of Bodom remaining the clear number one influence. Founding members Ville Rautio and Pasi Portaankorva utilize the dual guitar attack in classic ’80s ways (“Winter Visions,” “Twilight Stream”), while Stratovarius sensibilities color their frantic touches of melodic power—both always positives in my book. The harsh vocals of Tuomo Marttinen are frosty and vicious, similar to their swamp brethren in Kalmah.4 Tommi Neitola’s keyboards are the cherry on top, adding a Bodomesque symphonic bombast layer that occasionally approaches Wintersun levels without going overboard (“The Crowned King of Ancient Forest,” “1473 Ounas”).

Ounas II by Suotana

Dealing with two-part concepts is always a challenging task, but Suotana came prepared. It feels like they’ve improved on all of Ounas I’s already strong qualities: the production has more breadth, the album’s layers delve deeper, and there’s more energy and variety in its songs (“Foreverland,” “Twilight Stream”). However, the most impressive thing about Ounas II is that it’s even denser than its sibling. The album clocks in at 39 minutes compared to the first part’s 41,5 which has the huge advantage of avoiding a bloated ‘B-sides’ feel so common with other double album concepts.6 And despite its tight runtime, the songwriting has plenty of room to flourish, as exemplified by “1473 Ounas.” Furthermore, to complement the Summoning cover that crowned the first part, Ounas II unleashes a cover of Children of Bodom’s “Hatebreeder” as its encore. Whether you imagine it as a proper track or a bonus, it’s a great way to end the record with a bang while honoring your influences.7

Suotana has had a long journey to get to this point, and it’s been more than worth it. Their songwriting is only getting faster and better, which further reinforces its catchy extremities. In many ways, Suotana feels like the melodeath-forward twin to Moonlight Sorcery’s excellent brand of power/black metal. Both bands dress to impress with big riffs, melodic violence, and keyboard bombast in all the right ways. Though the back-to-back experience is great, Ounas II is a package that works wonders on its lonesome too, and I think that’s another mark of success for the band. I’m excited to see what these self-aware wizards pictured above are going to summon from that lake next, Ounas or not.

Tracks to Check Out: “Winter Visions,” “Twilight Stream,” “The Crowned King of Ancient Forest,” and a special shout out to the excellent cover of “Hatebreeder.”

Steel Arctus – Dreamruler Review

By Andy-War-Hall

Brothers, you need power metal in your life. No, you do. You need authentic positivity shot straight into your cynic-rotten hearts, now. Most fortunate for you, Greek power metallers Steel Arctus have graced this year of 2025 with their third album Dreamruler, marking the third entry into the chronicles of their titular hero Steel Arctus. 2020’s Fire and Blood detailed the origins of Steel Arctus and his girlfriend Red Sonja the Arcadian Lady, 2022’s Master of War saw him delve into the fires of Hades and now Dreamruler sees him challenge the titular Dreamruler in his evil world of dreams to rescue his bodacious muse. Though the first two albums were good, Steel Arctus only grazed greatness a few times in their young career. Is Dreamruler the one that’ll bring them there? Hold your hammers high.

Steel Arctus are sworn to the flame of metal glory, and Dreamruler carries that fire by way of anthemic power metal. Dreamruler is imbued with the fantasy-minded songwriting of Dio, the epic vocal acrobatics of Lost Horizon and the fist-balling machismo of Judas Priest and Visigoth. “Riding through the Night” sees Steel Arctus fuse Judas Priest grit and Nocturnal Rites hookiness, “Fate of the Beast” marries Stratovarius neoclassical-isms with Paladin riffing and “Will to Power” embodies so much Manowar that I’m surprised Manowar never wrote it. Steel Arctus harness these influences into lean, catchy tunes that—while never feeling totally original, obviously—feel deeply energized and alive. Just hearing the Lost Horizon bloopy synths and grandeur of “Defender of Steel,” the Iced Earth thrash-power of “Cry for Revenge,” and the Savatage class and nastiness of “Dreamruler” evoked that sense of first getting into metal again. Listening to Dreamruler is listening to everything Steel Arctus love distilled into forty-seven minutes of heavy metal bliss.

This mimicry of established styles wouldn’t work so well if Steel Arctus weren’t incredible musicians. Thankfully, guitarist Nash G. churns out quality riffs like it’s nothing, bringing beefy grooves to “Will to Power” and nimble plucking on “Fires of Death”. While extremely technical and wah-heavy (“Fires of Death”), G.’s solos avoid hollowness through a melody-first approach; just hear those twins on “Dreamruler” or how “Wicked Lies” plays with the riff beneath it. Drummer Minas Chatziminas crushes his kicks (“Defender of Steel”) while fitting in cool tom and cymbal work (“Riding through the Night”) and just enough kick variation for some rhythmic interest (“Dreamruler”), while bassist Strutter (Wardrum) lays down thick-toned bass runs throughout Dreamruler and even leads on “Wicked Lies.” But vocalist Tasos Lazaris (Fortress Under Siege, White Wizzard) is the leader of this quest called Dreamruler, as his incredible range (“Legend of the Warrior”,) power (“Cry for Revenge”) and charisma (“Glory of the Hero”) sharpen the hooks of Dreamruler and give Steel Arctus a commanding presence. Put together, and Dreamruler’s an outstandingly fun romp worthy of Steel Arctus’ many influences.

The only blemish on Dreamruler is that the ending isn’t a smash success. The penultimate “Legend of the Warrior” opens in dramatic fashion, replete with swirling synths, plucked clean guitar and spoken narration à la Lost Horizon that really sounds like Steel Arctus are building towards a true epic conclusion akin to “Highlander (The One).” Instead, it and the closing instrumental “Onar (όναρ),”1 move through mid-paced crawls that leave Dreamruler with a minor case of anticlimax. They’re not bad songs— “Legend of the Warrior” features Lazaris’ most dynamic performance and “Onar (όναρ)” sounds genuinely restorative in its pleasantness—but with how much pathos Steel Arctus weave into their music I think Dreamruler would’ve benefited from a bigger, grander finale. Steel Arctus can tell a story: I have no idea what happens in Dreamruler narrative-wise, but when Lazaris commands “Hammer Highyaaa!” on “Defender of Steel,” who needs a plot? I’m right there anyway.

Steel Arctus have leveled up tremendously on Dreamruler, and anyone with even a smidgen of appreciation for power metal should give this a spin. They don’t do anything new or novel whatsoever on Dreamruler, and, yeah, these are the most generic power metal song titles imaginable, but Steel Arctus hammered their way into greatness by sheer force of will anyway—along with amazing performances and adept songcraft, of course. Everything about Dreamruler is wholehearted, from Steel Arctus’ celebration of heavy metal’s past to their overwhelming showmanship. This is music of gigantic melancholy and gigantic mirth and easily one of, if not the year’s best power metal albums.

Rating: Great
DR: 72 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: steelarctus.com | steelarctus.bandcamp | facebook.com/steelarctus
Releases Worldwide: November 28th, 2025

#2025 #40 #dio #dreamruler #epicMetal #fortressUnderSiege #greekMetal #heavyMetal #icedEarth #judasPriest #lostHorizon #manowar #noRemorseRecords #nocturnalRites #nov25 #paladin #powerMetal #review #reviews #savatage #steelArctus #stratovarius #visigoth #wardrum #whiteWizzard

Bloodbound – Field of Swords Review

By Baguette of Bodom

Bloodbound has always been a band with a confusing identity. These Swedes lit up a storm with debut Nosferatu in 2006, an underappreciated heavy/power gem fusing the best of Iron Maiden’s gallops with the hooks of Helloween and HammerFall. The golden pipes of Urban Breed (ex-Tad Morose) were the cherry on top. However, the curse of unstable lineups would strike. Urban Breed would leave for one album, rejoin for the odd-but-good, progpower-meets-Kalmah melodeath sound of Tabula Rasa, and promptly leave again. A decade of struggles followed, ranging from watered-down HammerFall to withered Sabaton to simply tepid heavy metal. 2021’s Creatures of the Dark Realm was a surprising resurgence, drifting Bloodbound more towards saccharine Europower. This brings us to newcomer Field of Swords. Where does it fit into this unconventional discography?

Field of Swords doubles down on Bloodbound’s recent melodic adventures. The double bass drumming of ’90s power metal is immediately recognizable, following in the steps of Stratovarius and HammerFall. The guitar work, too, has rejuvenated. Gone are almost all of the Sabatonisms that marred some of the band’s lowest points; here, the Olsson brothers’ rhythmic assault is simple but effective (“As Empires Fall,” “Born to Be King”), and its attitude carries the medieval fantasy spirit of [Luca Turilli(‘s) / Lione] Rhapsody [of Fire] minus the wank. The vocals of Patrik J. Selleby fit this style like a glove, his adapted performance being one of the strongest of his tenure thus far.

Bloodbound’s newfound breakneck pace and consistency are their greatest assets. The decision to go borderline sparkly on Field of Swords could have backfired, marking yet another sudden left turn in a discography full of them. Instead, it feels like a natural development from the past three albums. While the album on the surface is written like standard ’90s–’00s melodic power metal (“Field of Swords”), the execution of classic power chord choruses leading into blazing solos (“The Code of Warriors,” “Forged in Iron”) is surprisingly fiery and fun. Most importantly, Field of Swords forgoes balladry and prioritizes speed for a lion’s share of its 45-minute runtime. The record has a unified image unusual of Bloodbound. It’s not infallible—the unnecessary Sabaton sing-along stomp rears its head on the second half of “Pain and Glory”—but it is tightly-knit in a way I greatly appreciate.

As catchy as Field of Swords is, there are a few things preventing it from being a resounding success. For one, Bloodbound rely too much on one-note Battle Beastian disco synths. While Fredrik Bergh contributes plenty of pleasant backing bombast to the album as well, his main weapon of choice is sharp and high up in the mix, leading to fatigue on some otherwise strong choruses (“Defenders of Jerusalem,” “Light the Sky”). The band is still not immune to odd songwriting shifts either. In addition to the aforementioned “Pain and Glory” stumble, closing track “The Nine Crusades” features Unleash the Archers’ talented Brittney Slayes, only for her voice to drown under sappiness unfit for the record. Even so, the concoction here is potent. Cuts like “Land of the Brave” and “Light the Sky” are some of Bloodbound’s fastest and most energetic to date, and this sudden burst of frenzy is admirable of a veteran band.

For the first time in a while, Bloodbound’s sound has a true sense of direction. Field of Swords’ all-gas, no-brakes approach gives the record more urgency than they’ve had in forever, and both the songwriting and album flow greatly benefit in return. Despite some lingering issues, Field of Swords ends up being one of the better albums in the band’s catalog. Both Creatures of the Dark Realm and this album indicate the Europower-forward realignment continues to work in their favor. I can’t say I don’t still long for the days of Nosferatu, and Bloodbound could place a bit more faith in their strong guitar work and vocal lines, but whatever they’re doing is paying off once more. I can only hope this progress continues.

Rating: Good!
DR: N/A | Format Reviewed: Stream o’ Piss
Label: Napalm Records | Bandcamp
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 21st, 2025

#lucaTurillisLioneRhapsodyOfFire #2025 #30 #battleBeast #bloodbound #fieldOfSwords #hammerfall #helloween #ironMaiden #kalmah #napalmRecords #nov25 #powerMetal #review #reviews #sabaton #stratovarius #swedishMetal #tadMorose #unleashTheArchers

Stuck in the Filter: August 2025’s Angry Misses

By Kenstrosity

The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.1 The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.2 The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Luke’s Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

#2025 #Aeternus #AmericanMetal #Americana #AnOceanOvPutridStinkyVileDisgustingHell #Aug25 #Bask #BlackMetal #BlackenedDeathMetal #BurningWitches #CelestialTwilightBeyondTheCrimsonVeil #CelticFrost #Clutch #CosmicMother #CrimsonDawn #Danzig #DarkAmbient #DeathMetal #Deathhammer #DefLeppard #Defacement #Demilich #DigitalPlague #Doomed #DryDrunk #DutchMetal #EdgedCircleProductions #Emperor #Enslaved #Fellship #FinnishMetal #FrozenCrown #FuManchu #GermanMetal #GiantHaze #Glassing #Hardcore #HeavyMetal #Hellbutcher #HellsHeadbangersRecords #HotGraves #Huntsmen #Incantation #Inquisition #IronMaiden #JudasPriest #Kallias #Kraków #Kyuss #MelodicBlackMetal #Meshuggah #MoonlightSorcery #MorbidAngel #Motörhead #NapalmRecords #NorwegianMetal #OldNick #PersonalRecords #PhantomFire #Plasmodulated #PowerMetal #ProgressiveDeathMetal #RawBlackMetal #Review #Reviews #SelfRelease #SilentMillenia #Slayer #Sludge #SludgeMetal #SomaliYachtClub #SpeedMetal #StonerRock #Stormkeep #StreetSects #StuckInTheFilter #StuckInTheFilter2025 #SwissMetal #SymphonicBlackMetal #TechnicalDeathMetal #TheTurning #TonzonenRecords #Turian #Voivod #Voyager #Wharflurch

Elettra Storm – Evertale Review

By ClarkKent

Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown. Looking to make a foothold in this scene is Elettra Storm with the release of their sophomore album, Evertale. While it may look like a strange word for those not fluent in Italian, Elettra comes from the Greek mythological figure, Electra/Elektra. It also serves as a root word for electricity, which helps explain both the odd-sounding band name and the storm surrounding the head of the woman on the cover. This quintet isn’t looking to reinvent the cheese wheel; they just want to write some catchy songs and give their lead singer, Crystal Emiliani, a chance to show off her pipes. Do they have that spark to set the power metal world on fire?

While people like to tease that Wilderun is Disney metal, if Disney were to actually sign a metal artist, they would likely sound like Elettra Storm. They straddle the line between power metal and hard rock mixed with some pop. They don’t quite bring the dance vibes like Battle Beast, but their power metal also isn’t as aggressive or hard-hitting as Frozen Crown. Guitar riffs and drum beats are relatively muted, though not without a lively energy, as Elettra Storm largely plays it safe instrumentally. Instead, they rely on the strength of their frontwoman, and Emiliani delivers. She channels a mix of Disney-friendly pop artists from Idina Menzel to Celine Dion. On “Blue Phoenix,” I half-expected Emiliani to break out into “Let it go” when she buoyantly sings the refrain “And rise again,” while “Secrets of the Universe” has a moment where her voice briefly brought me back to that titanic hit from decades ago.

For power metal of this caliber to work, the choruses need to be catchy, but on this score, Evertale is a mixed bag. It’s not that the choruses are a miss, but that they’re often forgettable. It doesn’t help that the lyrics tend to be convoluted. On “Hero Among Heroes,” Emiliani sings “Hero among heroes / Rise the sword up in the sky / Strong of arm and mind”—this ESL tendency hampers catchiness. Evertale also suffers a general lack of hooks. For the most part, riffs are bland, standard rock fare, and melodies are nil. Opener “Endgame” has some hooky synths, but Elettra Storm rarely returns to them on the rest of the record. “Master of Fairytales” also shows potential when it opens with energetic blast beats and a decent chorus, but the song drops that energy the rest of the way. “Blue Phoenix,” on the other hand, is proof they have the capability of writing really good power metal. It has Evertale’s most creative riffs, a consistent level of energy, and a chorus that soars in a dazzling display like the mythological bird. In the end, Elettra Storm could learn a lot from studying stalwarts of catchy power metal like Unleash the Archers.

Elettra Storm actually feels most at home on the lone track that’s geared more towards pop than metal: “One Last Ray of Light.” This tune eschews the usual power metal trappings of noodly riffs and high energy. It features a piano and what sounds like a mandolin playing a lovely melody.1 Then the chorus hits and the real magic happens. Emiliani’s voice rises to a beautiful lilt as she belts out the catchiest chorus on Evertale. The song is a certifiable banger, and it is also where Elettra Storm sounds most comfortable. Between this and “Blue Phoenix,” Elettra Storm have it in them to write some great power metal—if only they could apply these successes to the rest of Evertale.

The end result is an album that is pleasantly bland, with tracks ranging from forgettable to slightly above average, as well as a couple that are quite good. I won’t deny that I sometimes find myself whistling a random tune like “Judgment Time” while I’m out and about. Evertale hits that sweet spot between power metal and adult pop/rock where it could find an audience in either genre. Elettra Storm provides an electric vocalist, a little bit of guitar noodling, and radio rock song structures that make it a pleasant in-the-moment listen. But the record fails to take many risks or hit many of the highs the genre is capable of. Instead, it plays things a little too safe and doesn’t quite live up to its elettra-fying name.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#25 #2025 #BattleBeast #CelineDion #ElettraStorm #Evertale #FrozenCrown #HardRock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #UnleashTheArchers #Wilderun

Exelerate – Hell for the Helpless Review

By Grin Reaper

After dropping their self-titled debut in 2023, Exelerate returns with their patented twist of power thrash to unleash Hell for the Helpless. This cross-genre hybrid takes the speed and wiolence of thrash and marries it with the upbeat and anthemic buoyancy of power metal. Megadeth and Dio are listed as primary influences, but I hear more recent Flotsam & Jetsam, Unleash the Archers and Iced Earth. Exelerate skewed heavily toward thrash on their debut, but they tone down the aggression to embrace power metal swagger on Hell for the Helpless. While they continue to flex technical chops and guitar wizardry, the speed and flamboyance of Exelerate take a back seat this go round. Perhaps this is to put a finer point on their new album’s concept, which is billed as an exploration of adverse mental states and the capacity to overcome through healing and understanding. It’s a noble position, and one I believe could connect with listeners, but does the reformulation help Hell for the Helpless cross the finish line, or do they take the foot off the Exelerater and run out of gas?

Generally speaking, concept albums are comprised of an interconnectedness between songs that transcends face value. At the risk of gravely oversimplifying, there are two flavors—narrative and thematic concepts. Hell for the Helpless bears the flag of the latter. Exelerate brings musical congruity, as there are self-referential moments like when the mournful guitar melody from “The Breach” creeps back in toward the end of “The Summoning.” While I admire the cleverly interwoven motifs, it’s not enough to earn the ‘concept’ moniker. The best concept albums merge narrative and thematic cohesion in ways that are immediately accessible yet profoundly tethered, and there’s more Exelerate could have done to distill their message. Adding a story or featuring guest vocalists to represent different mental maladies could have accentuated the nuances of the themes explored. Instead, Hell for the Helpless feels a touch light on conceptual gravity.

Still, Exelerate finds plenty of moments to dazzle with their musicianship, excelling when it comes to hooky guitar licks and throat-searing falsettos. Guitarist Mads Sorensen and guitarist/vocalist Stefan Jensen set fretboards aflame across Hell for the Helpless, slinging neoclassical solos (“The Summoning”) and dispensing frenetic bursts of arpeggiated runs (“A Painful Debt”). There’s nary a track that isn’t sticky with ear candy, and even when the pace slows down (“Falling in Lust”), Sorensen and Jensen make those bad axes wail. Speaking of wailing, Jensen doesn’t hold back during his vocal onslaught. Living somewhere between Queensrÿche’s Geoff Tate and Flotsam & Jetsam’s Eric Knutson, Jensen most frequently occupies power metal’s comfort zone of high-pitched histrionics. At the top end of his register, he bears a passing resemblance to Unleash the Archers’ Brittney Slayes (“Stranger out of Time”). Jensen also dips into growls (“Impending Doom”), adding welcome variation in the back half. The rhythm section earns their keep as well—bassist Io Sklarstrup rumbles along and drummer Stig Eilsøe-Madsen drives the momentum throughout. There aren’t many showy moments for them, but the duo skillfully supports the foundation of Hell for the Helpless.

Despite the slick musicianship and luster of a deft production, Hell for the Helpless falters when evaluated as a whole. Power metal is no stranger to bloat, and the fifty-three-minute runtime is too long for what Exelerate deals out. Six of the ten tracks clear the five-minute mark, but they lack the riff diversity and substance to sustain those lengths. A minute could be trimmed from most tracks and engender a tighter, more focused album, rather than songs seeming like butter scraped over too much bread. Regardless of this and the concept execution stumble, Hell for the Helpless is a success. The mix gives all contributors space to be heard and appreciated, and the guitar tone is perfect for power thrash.

Exelerate’s latest revs my engine, goosing the throttle in lots of right ways. Addictive guitars, supercharged melodies, and singalong choruses deserve at least one spin, although repeated listens will remain a hurdle for some. I quite enjoyed my many listens and think Hell for the Helpless is a bundle of fun. Refining their approach will turbo boost what comes next for Exelerate and I’ll patrol for future releases from these Danes with my fingers crossed that we get the high-octane thrill ride they’re capable of driving.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: From the Vaults
Websites: exelerate.bandcamp.com | exelerate.dk | facebook.com/Exelerateband
Releases Worldwide: September 12th, 2025

#2025 #30 #Dio #DutchMetal #Exelerate #FlotsamJetsam #FromTheVaults #HellForTheHelpless #IcedEarth #Megadeth #PowerMetal #PowerThrash #Queensryche #Review #Reviews #Sep25 #ThrashMetal #UnleashTheArchers

#NowPlaying #TheMetalDogIsNowPlaying
#Kalmah
Swampsong
Heroes To Us

YouTube Search:
https://youtube.com/results?search_query=Kalmah+Swampsong+Heroes+To+Us

Lyrics:
https://genius.com/Kalmah-heroes-to-us-lyrics

#MelodicDeathMetal #deathmetal #metal #Powermetal #finnishmetal