#powermetal — Public Fediverse posts

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

#ThursdayFiveList #ElementsAndCompounds

Visigoth - Steel and Silver
https://song.link/s/3fUxAW6NYaDnpt1kwKxpV3

Symfonia - I Walk in Neon
https://song.link/i/1298865573

Pathfinder - Fifth Element
https://song.link/i/1421972273

Lady Beast - Inner Alchemist
https://song.link/i/1787840916

Falconer - Lord of the Blacksmiths
https://song.link/i/56580563

#NowPlaying #Music #Metal #HeavyMetal #PowerMetal

#ThursdayFiveList #ElementsAndCompounds

Visigoth - Steel and Silver
https://song.link/s/3fUxAW6NYaDnpt1kwKxpV3

Symfonia - I Walk in Neon
https://song.link/i/1298865573

Pathfinder - Fifth Element
https://song.link/i/1421972273

Lady Beast - Inner Alchemist
https://song.link/i/1787840916

Falconer - Lord of the Blacksmiths
https://song.link/i/56580563

#NowPlaying #Music #Metal #HeavyMetal #PowerMetal

#ThursdayFiveList #ElementsAndCompounds

Visigoth - Steel and Silver
https://song.link/s/3fUxAW6NYaDnpt1kwKxpV3

Symfonia - I Walk in Neon
https://song.link/i/1298865573

Pathfinder - Fifth Element
https://song.link/i/1421972273

Lady Beast - Inner Alchemist
https://song.link/i/1787840916

Falconer - Lord of the Blacksmiths
https://song.link/i/56580563

#NowPlaying #Music #Metal #HeavyMetal #PowerMetal

#ThursdayFiveList #ElementsAndCompounds

Visigoth - Steel and Silver
https://song.link/s/3fUxAW6NYaDnpt1kwKxpV3

Symfonia - I Walk in Neon
https://song.link/i/1298865573

Pathfinder - Fifth Element
https://song.link/i/1421972273

Lady Beast - Inner Alchemist
https://song.link/i/1787840916

Falconer - Lord of the Blacksmiths
https://song.link/i/56580563

#NowPlaying #Music #Metal #HeavyMetal #PowerMetal

#ThursdayFiveList #ElementsAndCompounds

Visigoth - Steel and Silver
https://song.link/s/3fUxAW6NYaDnpt1kwKxpV3

Symfonia - I Walk in Neon
https://song.link/i/1298865573

Pathfinder - Fifth Element
https://song.link/i/1421972273

Lady Beast - Inner Alchemist
https://song.link/i/1787840916

Falconer - Lord of the Blacksmiths
https://song.link/i/56580563

#NowPlaying #Music #Metal #HeavyMetal #PowerMetal

Today's music:

Opera Magna - El Pozo y el Péndulo

https://youtu.be/gU1qJ6petdE

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

Today's music:

Opera Magna - El Pozo y el Péndulo

https://youtu.be/gU1qJ6petdE

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

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

Show 1 footnote

1. Belted in your best implacable Euro accent. ↩

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

Show 1 footnote

1. Belted in your best implacable Euro accent. ↩

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

#AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

#AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

#AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

#AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

#AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

KATAGORY V (Estats Units) presenta nou àlbum: "Awaken a New Age of Chaos" #KatagoryV #ProgressiveHeavy #PowerMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

KATAGORY V (Estats Units) presenta nou àlbum: "Awaken a New Age of Chaos" #KatagoryV #ProgressiveHeavy #PowerMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

KATAGORY V (Estats Units) presenta nou àlbum: "Awaken a New Age of Chaos" #KatagoryV #ProgressiveHeavy #PowerMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

KATAGORY V (Estats Units) presenta nou àlbum: "Awaken a New Age of Chaos" #KatagoryV #ProgressiveHeavy #PowerMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

KATAGORY V (Estats Units) presenta nou àlbum: "Awaken a New Age of Chaos" #KatagoryV #ProgressiveHeavy #PowerMetal #Maig2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Katagory V – Awaken a New Age of Chaos Review

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

Katagory V – Awaken a New Age of Chaos Review

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

Katagory V – Awaken a New Age of Chaos Review

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

#20 #2025 #AwakenANewAgeOfChaos #FatesWarning #HeavyMetal #HighRollerRecords #IcedEarth #InnerStrength #KatagoryV #May25 #MemoryGarden #MetallicBlueRecords #MorganaLefay #PowerMetal #ProgPower #ProgressiveMetal #Queensryche #Review #Reviews #Sanctuary #TadMorose

Katagory V – Awaken a New Age of Chaos Review

By Dolphin Whisperer

Katagory V, not to be confused with any band called Category 5 or Five or any variation thereof, has been rollicking with power chord and falsetto vocal abandon for the better part of a quarter-century. Not continuously, though, as founding bass-slinger Dustin Mitchell put the riff-train on pause from 2014 to 2023 after struggling to fund the release of 2015’s Resurrect the Insurgence. With roots in a progressive and riff-heavy attitude that mirrored the doom-weighted Swedish power metal sound of (then) contemporaries Memory Garden and Tad Morose but with a stronger foot in early USPM progenitors like Fates Warning and Queensrÿche, Katagory V carved a niche within a niche in the American underground. And now with a reunited vigor for overdriven and melodramatic riffcraft, Awaken a New Age of Chaos hopes to stir in wanting loins the tingle of amplified bravado.

Awaken a New Age sees only a couple of line-up shifts from the Katagory V early days, with Resurrect vocalist Albert Rybka (Acracy, Empyrean Sanctum) returning to the mic—his more “modern” prog/power croon had previously shifted the sound towards a big chorus focus. As a band with minds set to reverence for a faded style, Katagory V’s emergence in the early ’00s put them beyond the tail end of their target audience, so a little change went a long way. Wielding classic tones, playful rhythms, and meaty guitar drives, the working man, angsty escapades of 2001’s Present Day or 2007’s Hymns of Dissension could have sat comfortably alongside the Sanctuary and Morgana Lefay CDs in a 12-disc changer with a slot to spare. But with Rypka at the vocal helm, a great world of vocal possibilities held the potential to unfold across Katagory V’s earnest and downtrodden societal observations.

For whatever reason, though, Rypka has chosen the path of the Ripper1, often relying on a shaky, low-power talk-sing that bursts into glass-shattering falsetto to imbue this new outing with extra metal force. While the shrill technique has earned a place in the hallowed halls of heavy metal, Rypka’s particular tendency on Awaken to jump from hobbling refrain to cloud-crashing wail derails the midtempo riff-groove of far too many tracks, “Legacy in Blood,” “Night Wing,” and “I Miss You” being the most screechy offenders. The kind of steady-drive prog/power in which Katagory V exists depends on a song navigating swiftly through its narrative dips and dives. And though Rypka can pull off plenty of smoother mic-twisting contortions against thrashy accelerations (“Empire of Ignorance,” “Prophet of Sorrow”) and moody, progressive growers (“Through Fate’s Eyes”), his theatrical and treble-abusing antics make continuous enjoyment difficult.

Katagory V, however, glues enough runtime together with a tight rhythmic chemistry, which keeps Awaken from succumbing to its more grating qualities. From the classic piano-to-drum tumble of “Absolution Divide” to the Iced Earth-galloping “Blood Siphon” to the Death-worshipping bridge of “Prophet of Sorrow,” Katagory V can carry a mighty thump and rumble. At their most epic and progressive on “Through Fate’s Eyes” and “Escape to Beyond,” they even approximate the kind of sweeping heavy metal of a power-to-prog transitioning Fates Warning in a way few bands attemp in this modern age. Though Awaken doesn’t wear this level of success at every step, the brief walk along this road that reclaims the glory of Katagory V’s youth shows that the fire for metal remains.

As an act like Inner Strength has shown, the sounds of the past can live anew in hands dedicated to iteration, refinement, and exploration. With Awaken a New Age of Chaos, the idea of growth within this aged style of heavy, progressive metal from a pre-Meshuggah world,2 leans far closer to a thoughtfully executed jam session of remembered riffs than it does towards finding its own brand of melancholy. Katagory V never, unfortunately, got the chance to make much of a mark in the annals of the developing prog frontier. And while a grander level of success is normal in the dreams of hopeful musicians—and in light of Awaken a New Age of Chaos not being likely to accelerate their ascension—Katagory V can still stand proud with their dusty contributions to the history of the Utah underground.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Labels: Metallic Blue Records (USA) | High Roller Records (EU)
Websites: katagoryv.bandcamp.com3 | facebook.com/KatagoryV
Releases Worldwide: May 16th, 2025

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