#powermetal — Public Fediverse posts

ANGEL 7 (Ucraïna) presenta nou àlbum: "Tales of the Night Star" #Angel7 #MelodicDeath #PowerMetal #ThrashMetal #Setembre2026 #Ucraïna #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ANGEL 7 (Ucraïna) presenta nou àlbum: "Tales of the Night Star" #Angel7 #MelodicDeath #PowerMetal #ThrashMetal #Setembre2026 #Ucraïna #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

… live (part 3)
Tsena Koev & Mats Levén

#symphonicmetal #heavymetal #powermetal #operaticmetal #hardrock #metal #rock #music #concert #burgas #бургас #ruse #bulgaria #mölndal #molndal #sweden

… live (part 2)
Tsena Koev & Mats Levén

#symphonicmetal #heavymetal #powermetal #operaticmetal #hardrock #metal #rock #music #concert #burgas #бургас #ruse #bulgaria #mölndal #molndal #sweden

Tsena Koev & Mats Levén
#symphonicmetal & #heavymetal
from #ruse, #bulgaria
and #mölndal, #sweden

🌐 https://tsenakoev.com/

🌐 https://www.metal-archives.com/artists/Mats_Lev%C3%A9n

live at 'modern theatre' in #burgas, bulgaria.

#powermetal #operaticmetal #hardrock #metal #rock #music #concert #бургас #molndal

Tsena Koev & Mats Levén
#symphonicmetal & #heavymetal
from #ruse, #bulgaria
and #mölndal, #sweden

🌐 https://tsenakoev.com/

🌐 https://www.metal-archives.com/artists/Mats_Lev%C3%A9n

live at 'modern theatre' in #burgas, bulgaria.

#powermetal #operaticmetal #hardrock #metal #rock #music #concert #бургас #molndal

Tsena Koev & Mats Levén
#symphonicmetal & #heavymetal
from #ruse, #bulgaria
and #mölndal, #sweden

🌐 https://tsenakoev.com/

🌐 https://www.metal-archives.com/artists/Mats_Lev%C3%A9n

live at 'modern theatre' in #burgas, bulgaria.

#powermetal #operaticmetal #hardrock #metal #rock #music #concert #бургас #molndal

Tsena Koev & Mats Levén
#symphonicmetal & #heavymetal
from #ruse, #bulgaria
and #mölndal, #sweden

🌐 https://tsenakoev.com/

🌐 https://www.metal-archives.com/artists/Mats_Lev%C3%A9n

live at 'modern theatre' in #burgas, bulgaria.

#powermetal #operaticmetal #hardrock #metal #rock #music #concert #бургас #molndal

Tsena Koev & Mats Levén
#symphonicmetal & #heavymetal
from #ruse, #bulgaria
and #mölndal, #sweden

🌐 https://tsenakoev.com/

🌐 https://www.metal-archives.com/artists/Mats_Lev%C3%A9n

live at 'modern theatre' in #burgas, bulgaria.

#powermetal #operaticmetal #hardrock #metal #rock #music #concert #бургас #molndal

Helloween en Chile: 40 años de historia convertidos en una fiesta de power metal | vía #iRock

https://www.irock.cl/helloween-en-chile-40-anos-de-historia-convertidos-en-una-fiesta-de-power-metal/?utm_source=rss&utm_medium=rss&utm_campaign=helloween-en-chile-40-anos-de-historia-convertidos-en-una-fiesta-de-power-metal

#conciertos #helloween #internacional #livereviewinternacional #metal #powermetal #santanderarena #thefanlab

This line still stirs something in us, even after all these years. #powermetal #metalsinger #power

https://www.youtube.com/shorts/TjGIo_YQa7U

#Music #BeastInBlack #PowerMetal

Sonata Arctica en Chile: Desde el corazón del invierno hasta el fin del mundo | vía #ZumbidoCL

https://zumbido.cl/sonata-arctica-en-chile-desde-el-corazon-del-invierno-hasta-el-fin-del-mundo/

#metalsinfónico #powermetal #sonataarctica #teatrocoliseo #thefanlab

WHISPERED (Finlàndia) presenta nou àlbum: "Honorbound" #Whispered #MelodicDeath #Folk #PowerMetal #Setembre2026 #Finlàndia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

WHISPERED (Finlàndia) presenta nou àlbum: "Honorbound" #Whispered #MelodicDeath #Folk #PowerMetal #Setembre2026 #Finlàndia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

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

https://www.europesays.com/es/759457/ FIREWIND anuncia «Gods, Myths & Titans», nuevo disco conceptual con la voz de Henning Basse #Entertainment #Entretenimiento #ES #España #FIREWIND #HeavyMetal #Music #Música #PowerMetal #Spain

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

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

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

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

#PowerMetal #Music #PowerMetalDrivenDevelopment

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

#PowerMetal #Music #PowerMetalDrivenDevelopment

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

#PowerMetal #Music #PowerMetalDrivenDevelopment

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

#PowerMetal #Music #PowerMetalDrivenDevelopment

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

#PowerMetal #Music #PowerMetalDrivenDevelopment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Eight long years after releasing their explosive debut Legends, Novareign returns with long-awaited follow-up Shifting the Axis of the World. In his glowing review of Legends, Doc Wvrm heartily compared Novareign’s potent shredfest to DragonForce’s unabashed technical prowess while simultaneously praising the Los Angeles power-proggers’ songwriting chops. And he wasn’t wrong—for over an hour, Legends unites anthemic, massively addictive power metal hooks with fret-scorching fireworks. Yet with such an incendiary debut comes dreadfully high expectations, and with such a long wait between releases and a couple of lineup changes, Novareign direly needs a worthy successor. Can Shifting the Axis of the World rekindle the stuff of Legends?

Largely, Shifting the Axis of the World maintains the formula that made Legends so damn fun. Long-form power metal awaits listeners, but this time the overarching album length ducks under the hour mark and feels shorter than its fifty-four minutes suggest. Legends nimbly avoided feeling scattershot, and Novareign whets their songwriting on Shifting the Axis of the World even further, constructing a rocket-fueled blast through seven tracks as they take their established power-prog base and add a heaping dose of heavy metal. During Shifting the Axis of the World’s runtime, Novareign crams the bravado and complexity of Angra or Ascension into the classic heavy metal sensibilities of Van Halen or Maiden,1 and the result is at once impressive and comfortingly familiar.

Though the technicality displayed on Legends persists, Novareign integrates it with more finesse on Shifting the Axis of the World’s compositions. The guitar tandem of Balmore Lemus and newcomer David Walston glitters across tracks “Sun & Moon” and “Mors Indecepta,” unleashing flurries of arpeggios and wrist-crippling riffs sure to please fans of high-velocity hijinks. Bassist Moises Galvez also steps into the spotlight (“Ode to the Masses,” “Sun & Moon,” “Blood of the Game”), adding a welcome depth of front ‘n’ center groove that Dr. Wvrm noted was wanting on Legends. Vocalist David Marquez supplies yet another improvement to Shifting the Axis of the World. A few moments on Novareign’s debut stretched the limits of his range, particularly when he added extra grit, but here Marquez sounds completely in control without sacrificing any dynamism. Shifting the Axis of the World supplies ample opportunities for Marquez, where he belts out in a tone that reminds me of Ronnie Romero (Lords of Black, Elegant Weapons) delivered with Bruce Dickinson’s theatricality and forges hooky as fook choruses (“Ode to the Masses” and “Sun & Moon,” especially). Lastly, Ulises Hernandez (Anubis) pummels and flits across his drums with precision clobbering, ensuring no weak links in the Novachain.

Even with Novareign addressing all the quibbles mentioned in their debut’s review, I come away feeling like Shifting the Axis of the World holds back just a touch. The performances are faultless, the songwriting has evolved, and the production never gets in the way of showcasing Novareign’s supreme musicianship—so what’s the rub? Ultimately, though the approach to compositions feels more considered, they sound a bit too safe as well. “Blood of the Game” demonstrates dynamic pacing with enticing peaks and valleys, yet it sprawls over seven minutes. It doesn’t drag, but it also doesn’t leave me wanting any more than it just gave me, either. Shifting the Axis of the World is cohesive and driving, yet its individual tracks extend long enough that none demand immediate replay or serve as a quick jolt of power.[Power Paladin’s “Sword Vigor” continues to be my go-to in 2026.] In the end, this is a meager nitpick, yet it inhibits my likelihood to return as often as I otherwise would. Still, after several plays, I continue to be surprised at how quickly the album goes by, and not once have I wearied of Novareign’s charms.

Without a doubt, Novareign supplies bountiful, jubilant fun on Shifting the Axis of the World. Even though it doesn’t have quite enough jet fuel to propel into list territory, I can’t deny that Shifting the Axis of the World stands as one of the best power metal albums of 2026 so far alongside Lovebites, Power Paladin, and Triumpher. If you’re a fan of progressive power metal or a fiend for gratuitous metallic cheese, don’t let Novareign escape your listening orbit.

Rating: Very Good!!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: Bandcamp | Facebook
Releases Worldwide: July 17th, 2026

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

If your language guide isn't a powermetal song, what are you even doing?

https://www.youtube.com/watch?v=BsfXZjKLT9A

#powermetal #nanowarOfSteel #kotlin #jvm #languageDesign #programmingLanguages #devMetal

Non contents d'avoir inventé les vidéos musicales PowerPoint, Nanowar of Steel a aussi inventé le dev-metal.

Oui, moi aussi j'ai un peu peur.

https://www.youtube.com/watch?v=BsfXZjKLT9A

#PowerMetal #DevMetal

Non contents d'avoir inventé les vidéos musicales PowerPoint, Nanowar of Steel a aussi inventé le dev-metal.

Oui, moi aussi j'ai un peu peur.

https://www.youtube.com/watch?v=BsfXZjKLT9A

#PowerMetal #DevMetal

Learn computer science with Nanowar of Steel.
After Java these Power Point slides will take you to the army of Kotlin.

Nanowar of Steel - Kotlin
https://youtu.be/BsfXZjKLT9A?si=bFUf8EdXI-BB8T97
#music #metal #powermetal #musicvideo #video #computerscience #informatic #programminglanguage #kotlin #slide #powerpoint #Nanowar #NanowarOfSteel

10/10 review for Timeless Rage - My Kingdom Come
https://metalallovertheworld.blogspot.com/2026/05/review-timeless-rage-album-my-kingdom.html
do you agree?

What do you think about our darker take on the genres?
#powermetal #symphonicmetal #progressivemetal #melodicmetal

Metalheads Forever Magazine‬ invited us for an interview about our Dark Symphonic Power Metal endeavour.

https://mhf-mag.com/interview-with-germanys-dark-symphonic-power-metal-band-timeless-rage/

Also on YouTube
https://www.youtube.com/watch?v=km77Zbjld2A

#powermetal #symphonicmetal #progressivemetal #melodicmetal

One month ago Timeless Rage released the Dark Symphonic Power Metal concept album "My Kingdom Come" with a full music video for the title track
current highlights:
- German Metal - Rock - Charts top 30 since 4 weeks, now at position 24
- loved by the press: many 85/100 review ratings and listed in top 5 releases of March
- 132.000 views for title track video on YouTube
- 78.500 streams on Spotify
https://linktr.ee/timelessrage for more

#powermetal #symphonicmetal #melodicmetal #progressivemetal

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

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

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

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

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

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

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

Thanks to you, the new Timeless Rage album
"My Kingdom Come" climbed to position 24 of the German Metal - Rock - Charts this week. THANK YOU!
Can we go up to the top 20 next week?
Please tell your friends about us!
#powermetal #symphonicmetal #melodicmetal #progressivemetal

Wow!
The mighty Power Metal Ranger‬ put our new album "My Kingdom Come" in his top 5 albums of March!

https://youtu.be/U4uhvm-knD0?is=LEJkgIeYTdSnNMqd

#powermetal #symphonicmetal #melodicmetal #allbum #release #releaseradar

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic power metal. Cloaked in velvet drapery as I return to these cobbled alleys I used to haunt, those early years steeping in Nightwish, Leaves’ Eyes, Epica, and Xandria wash over me, evoking a nostalgic bliss. Enter Greece’s Mystfall and their sophomore effort Embers of a Dying World. Relatively fresh on the scene, and competing with newer champions like Elvellon or Dialith, do Mystfall have what it takes to make waves?

If nothing else, Mystfall have two big things going for them: a (relatively) meaty guitar tone and the most convincing death growls and blackened rasps in the genre right now. Thanks to a moderately-better-than-industry-standard mix and master, you can clearly hear the bass guitar thundering underneath lush strings and prominent choirs as well. These are items that countless acts in this space neglect or shortchange, but not Mystfall. Thankfully, those items don’t detract from the usual suspects. Operatic mezzo-soprano lead vocals, heavily accented; hooky verse work and soaring choruses; galloping drums and brisk pacing; rich orchestrations; the gang’s all here, and in fine form for the most part. And, in another unexpected breath of fresh air, Embers of a Dying World clocks in at a tidy 38 minutes, with the longest song just barely brushing past five minutes. It seems that on paper, Mystfall fully understood their assignment and gave me everything the world needs in a modern symphocheese record.

Embers Of A Dying World by Mystfall

In practice, Embers of a Dying World acquits itself quite nicely as well. Enlisting the help of studio bassist and harsh vocalist Stelios Varotsakis was an inspired choice, as his counterpoint on both instruments elevates everything it touches (“Embers of a Dying World,” “Fading Memories”). It is my assertion that Mystfall make him a full-fledged member of the band immediately. However, his contributions aren’t so astounding as to distract from Marialena Trikoglou’s siren song, Aris Baris’ chuggy riffs, or Dimitris Miglis’ expressive percussion. Hints of old school Epica melodies (“Crimson Dawn,” “Echoes of Arcadia”), Leaves’ Eyes/Xandria adventurism (“Whispers of the Tempest,” “Guardians of the Earth,” “Cosmic Legends”) and Nightwish double bass bounce (“Sleeper in the Abyss”) coalesce into a fun variety of moods and motifs, all smartly woven together to allow each performer their spotlight. With such a bizarrely tight runtime, Embers of a Dying World is also ridiculously easy to spin multiple times in one session, assisting greatly with long-term memorability.

Unfortunately, Mystfall still struggles to find a distinct identity in the homologous plague the symphonic power metal scene perpetuates. While crafting an enjoyable album that is undoubtedly fun and wholly engaging, its similarity to those bands that originally forged the style is undeniable and obvious. Partly due to the strict and restrictive nature of operatic singing techniques—and the physiological difficulties that committing to that style poses to the exploration of any other kind of singing—Marialena’s technically competent performance here lacks impact and power when pinned against singers who can and do work in multiple disciplines (Simone Simons, Floor Jansen, Veronica Bordacchini). On the instrumental front, Aris Baris’ riffs rarely venture outside of the conventions long upheld in this field, often allowing the orchestrations to take point when leading melodies or initiating motifs. Even the dramatic orchestrations lack the showstopping quality they could have if they were either recorded with a full orchestra or more unique in composition or arrangement.

As a result, Embers of a Dying World feels misplaced in time. Were it released in 1996 or thereabouts, it would’ve constituted an instant hit, a direct competitor to the pack leaders at the time. In 2026, it’s one in a million, albeit better made and brilliantly edited. As maligned by songwriting issues and stylistic banality as symphonic power metal often is, competing for acclaim and attention in that crowded place requires a fierce, striking showing. Mystfall have everything they need to make that showing, but Embers of a Dying World falls just short of that elusive threshold. That said, I’m impressed with it enough to wait avidly for what Mystfall might come up with next!

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Scarlet Records
Websites: mystfallofficial.com | facebook.com/mystfallofficial
Releases Worldwide: March 20th, 2026

With tha A, with the G!

Still my favourite wather forecast.

Nanowar Of Steel - Stormwarrior of the Storm
https://youtu.be/Jy99ywCp3qU?si=Y9OZY5rC9si4YTjp

#metal #powermetal #music #musicvideo #video #nanowar #nanowarofsteel #weatherforecast #weather #italy

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

Picture it. Asheville, North Carolina, 2024. A devastating hurricane had just ripped through my region, wiping out entire sections of our richest cultural centers and critical economic staples, not to mention forever impacting the lives and homes of hundreds of thousands of residents (myself included). But, as the absorbent and resilient sponge I know myself to be—and with the help of hordes of kind and loving friends and family—I persisted. Not even a full month after disaster struck, I resumed my writership by covering Greek heavy metal quintet Triumpher’s sophomore epic Spirit Invictus. An eternity spans between then and now, but like myself, Triumpher persists, Piercing the Heart of the World in 2026.

Those who heed Triumpher’s call as I do will be happy to know that the MegatonManowarsword righteousness these Greeks wield like Olympians remains as stalwart as ever. In fact, Piercing the Heart of the World marks the high-water mark of the Triumpher troupe’s songwriting skill and performative prowess. Mars Triumph puts down a vocal showcase of a singular passion, his wild and animalistic delivery reminiscent of Riot City’s early work. That invigorating spirit finds loyal and unflinching support from stellar guitar leads, galloping riffs, and scorching tremolo waves courtesy of guitarists Christopher Tsakiropoulos and Mario Ñ Peters. Meanwhile, Stelios Zoumis rumbles like a thunderous storm, throwing hefty bass bolts through every measure to anchor every one of Piercing’s 45 minutes in righteous metal. Driving the march toward inevitable WICTORY, Agis Tzoukopoulos tumbles, pounds, and stomps his way through every technique known to metalkind in the pursuit of maximum awesomeness, and finds it with alarming regularity here.

Piercing The Heart Of The World by TRIUMPHER

Piercing the Heart of the World proves that Triumpher achieved the next stage of evolution in their still-young career. With the massive one-two punch of “Black Blood” and “Destroyer,” Piercing launches with a ferocity that would intimidate the finest specimen of any apex predator family. The former song recalls the vampiric darkness that inked Storming the Walls, which is a welcome introduction, but fails in the most exhilarating way to prepare me for the sword-raising spirit of the latter. That, in turn, fails to prepare me for the epic beauty that is “The Mountain Throne.” The first of two Song o’ the Year contenders, this sub-seven-minute odyssey traverses a calming plucking melody to dive right into blackened speed and a thrashy gallop, all while Mars croons and wails atop a storm of double bass runs and blasts. Yet, the whole is smoother than chrome and sharper than scalpels, resulting in an utterly astounding listening experience. However, even it feels understated when faced with the late-album highlight “Erinyes.” Punky and thrashy in a way I never thought traditional heavy metal could be, but still possessed of that chest-thumping, fist-pumping flame that lights hearts and souls ablaze, “Erinyes” is an unqualified success of excess, exuberance, and excitement.

In the past, Triumpher’s greatest weakness was always that the highlights far outstripped the supporting cast. Not so with Piercing. Even the slow and metered “Ithaca (Return of the Eternal King),” ballad interlude “Vault of the Immortals,” and two-act closer “Naus Apidalia” find ways to make memories and stand with distinction in Triumpher’s catalog. In all cases, those memories are founded in storytelling, either by establishing new characters (as is the case with “Ithaca”), shifting the tone (“Vault”), or by resolving arcs and tying up loose ends (“Naus Apidalia”). This strategy, in turn, makes more traditional heavy metal crowd pleasers like “The Flaming Sword”—which boasts a sleeper chorus that will get stuck in your head—feel more impactful than they might’ve otherwise.

With this in mind, I found very little to complain about. If it weren’t for his sheer charisma, I would say that Mars’ vocal performance teases the “Too Much” button far more often than I prefer. Were it not for the presence of endless barnstormer solos and affecting melodies, I would bemoan the protracted runtime of the closer. The meaty bass presence foils my bubbling rant against the more aggressive compression and increased loudness of this master. The caveats persist, leaving behind a wake of hobbled criticisms that would conspire to chip away at Triumpher’s final score. The damage they perpetrated amounts to mere flesh wounds in the end. Put simply, Piercing the Heart of the World is Triumpher’s greatest triumph yet, and you’d do well to hear it!

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: No Remorse Records
Websites: triumpher.bandcamp.com | facebook.com/Triumpher.official
Releases Worldwide: March 6th, 2026

Steel Druhm

I was unaware of Greek mega-trve metal warriors Triumpher until Kenstrosity tackled their Storming the Walls debut back in 2023. I was immediately intrigued by the Manowar-meets-Megaton Sword-meets-Primordial sound they brought to the battlefield, and though there were some trials, tribulations, and rough spots to their presentation, the core of something bigger was there. Things improved on 2024s Spirit Invictus, as the Triumpher sound became more potent and consistently enthralling, and they seemed poised to usurp the throne of trve metal through sheer might and mayhem. Fast-forward to 2026, and their third crusade is set to kick off with Piercing the Heart of the World. I came into this hoping and expecting to be shocked and awed by sword, shield, and steroidal masculinity. Could Triumpher be the Manowar for this new age? That’s a mighty big loincloth to fill, but hope hung thickly in the air.

My anticipation of excessive glory overload was slaked by ginormous opener “Black Blood,” and woe to those who don’t bend the knee. It’s a volatile mash-up of Manowar, Primordial, and Doomsword, with a structure that starts out larger-than-life and tries to stack vainglorious and titanic moments upon one another like a grand memorial to the Elder Gods. Vocalist Mars Triumph channels Manowar’s legendary Eric Adams while also referencing Primordial’s A.A. Nemtheanga. This makes the song a total barn burner and exactly what I was hoping for. They follow this up with the uber-beefy, badass “Destroyer,” which reeks of Manowar’s The Triumph of Steel era. Grandiose choral segments and black metal influences elbow their way in, but this is a trve metal chariot ride through the Nine Worlds. Keeping the sword between the ribs, “The Mountain Throne” finds Triumpher pushing every lever to MAX GLORY as the false and weak flee for the safety of their fortifications. This one brings a lot of the same energy as the recent Fer De Lance, and there are touches of Lost Horizon, too. Mars stretches his vocals to the very edge of madness, and the chorus is as mighty as a barrel full of Wotans. Those who make it through this will be gifted a lifetime supply of wisdom, power, and back hair.

What could stop such a mighty and righteous host after such a rousing start? A soft and flabby middle, that’s what. “Ithaca (Return of the Eternal King)” is a slow-burning epical ballad that keeps building toward a massive release of rage and wiolence, but the release never arrives, and you’re kept on the edge of something for nearly 7 minutes with no somethings in sight. This results in the condition known as Blue Baldur. “Ithaca” is immediately followed by the 2-minute interlude “Vaults of Immortals,” which is equally restrained and subdued, making for 9 minutes stuck in emo-fied low-gear. This blunts the album’s momentum, taking you out of battle rage and into resource management. Steel cares not for resource herding when they are enemies left to be smottened! While things pick up with “The Flaming Sword,” and especially the trve-meets-semi-black-thrash of “Erinyes,” it feels like the album never fully regains its war footing, and 9-minute plus closer “Naus Apidalia” is merely good, not great, and suffers from some very Virgin Steele-esque compositional sinkholes and ego bloat. At a reasonable 44:44, Piercing the Heart of the World feels much longer than that, and though the first 16 or so minutes are massive, the rest of the album can’t sustain the prolonged siege.

I’m impressed with Mars Triumph’s performance. He’s gotten more proficient from album to album, and he has a crazy broad range. Anyone who can approximate Eric Adams is talented, and his black and death vocals are good as well. That said, he can and does overdo things at times, pushing his tonsils beyond human control. I can’t even suggest he dial things back, since that is not what Triumpher is all about. You just take the good with the weird and ride on. The guitar work from Christopher Tsakiropoulos and Mario Ñ Peters brings the thunder to the tundra, borrowing from a raft of trve and heavy influences while injecting enough blackened edges to make things extra deadly and dangerous. As the riffs roar and soar, Agis Tzoukopoulos delivers Scott Columbus-approved war drumming that embiggens the sword and spirit. This is a talented horde, and it’s the songwriting missteps that ultimately derail their relentless advance.

Triumpher have all the tools to forge a world-beating heavy metal monsterpiece, but Piercing the Heart of the World fails to penetrate my armor and score a critical hit. I heartily enjoy the opening trilogy, and there’s solid stuff later on, but this isn’t an album that captivates me from start to finish, despite my fervent wishes that it did. Piercing loses some of the ground won by Spirit Invictus, but I haven’t lost heart. The warrior spirit will endure and rise again if Crom wills it. Onward to great deeds!

Rating: 3.0/5.0