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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?

Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.

Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.

Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.

Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.

Rating: Mixed
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?

Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.

Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.

Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.

Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.

Rating: Mixed
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?

Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.

Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.

Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.

Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.

Rating: Mixed
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?

Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.

Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.

Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.

Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.

Rating: Mixed
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?

Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.

Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.

Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.

Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.

Rating: Mixed
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026