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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

Today, a solar eclipse will cross parts of the world #BeastInBlack #berserk #powermetal #eclipse

https://www.youtube.com/shorts/so2aYMjU61c

#Music #BeastInBlack #PowerMetal

#IronEcho aufm #MetalStorm #festival - wie geil is das denn, i freu mi scho wie Bolle drauf, das wird FEEEEEEETTTT 🤘🤘🤘🤘 seid dabei und lasst mit uns die Halle wackeln 😄
https://www.metalstormfestival.de #metal #powermetal #heavymetal #konzert #live #livemusic #livemusik #rock #hardrock #rocknroll #oldschool #party #music #music

#ironecho "darf" gerne auch gefolgt werden, es wird Zeit das unsägliche Meta-"Universum" zu verlassen-auch wenn es immer noch die stärkste Platform für Promotion ohne Geld

#IronEcho aufm #MetalStorm #festival - wie geil is das denn, i freu mi scho wie Bolle drauf, das wird FEEEEEEETTTT 🤘🤘🤘🤘 seid dabei und lasst mit uns die Halle wackeln 😄
https://www.metalstormfestival.de #metal #powermetal #heavymetal #konzert #live #livemusic #livemusik #rock #hardrock #rocknroll #oldschool #party #music #music

#ironecho "darf" gerne auch gefolgt werden, es wird Zeit das unsägliche Meta-"Universum" zu verlassen-auch wenn es immer noch die stärkste Platform für Promotion ohne Geld

#IronEcho aufm #MetalStorm #festival - wie geil is das denn, i freu mi scho wie Bolle drauf, das wird FEEEEEEETTTT 🤘🤘🤘🤘 seid dabei und lasst mit uns die Halle wackeln 😄
https://www.metalstormfestival.de #metal #powermetal #heavymetal #konzert #live #livemusic #livemusik #rock #hardrock #rocknroll #oldschool #party #music #music

#ironecho "darf" gerne auch gefolgt werden, es wird Zeit das unsägliche Meta-"Universum" zu verlassen-auch wenn es immer noch die stärkste Platform für Promotion ohne Geld

Weiter geht's-es Läuft 😄😄🤘🤘#metal #rock #festival #underground #live #livemusic #dalmstock #stuttgart #heavymetal #hardrock #party #ironecho #metalstorm #metalstormfestival #frankfurt #stage #onstage #liveonstage #powermetal

Weiter geht's-es Läuft 😄😄🤘🤘#metal #rock #festival #underground #live #livemusic #dalmstock #stuttgart #heavymetal #hardrock #party #ironecho #metalstorm #metalstormfestival #frankfurt #stage #onstage #liveonstage #powermetal

Weiter geht's-es Läuft 😄😄🤘🤘#metal #rock #festival #underground #live #livemusic #dalmstock #stuttgart #heavymetal #hardrock #party #ironecho #metalstorm #metalstormfestival #frankfurt #stage #onstage #liveonstage #powermetal

CRYSTAL VIPER (Polònia) presenta nou àlbum en directe: "The Live Quest" #CrystalViper #HeavyMetal #PowerMetal #Juny2025 #Polònia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou àlbum en directe: "The Live Quest" #CrystalViper #HeavyMetal #PowerMetal #Juny2025 #Polònia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou àlbum en directe: "The Live Quest" #CrystalViper #HeavyMetal #PowerMetal #Juny2025 #Polònia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou àlbum en directe: "The Live Quest" #CrystalViper #HeavyMetal #PowerMetal #Juny2025 #Polònia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou àlbum en directe: "The Live Quest" #CrystalViper #HeavyMetal #PowerMetal #Juny2025 #Polònia #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou single: "The Cult (Live)" #CrystalViper #HeavyMetal #PowerMetal #Maig2025 #Polònia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou single: "The Cult (Live)" #CrystalViper #HeavyMetal #PowerMetal #Maig2025 #Polònia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou single: "The Cult (Live)" #CrystalViper #HeavyMetal #PowerMetal #Maig2025 #Polònia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou single: "The Cult (Live)" #CrystalViper #HeavyMetal #PowerMetal #Maig2025 #Polònia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

CRYSTAL VIPER (Polònia) presenta nou single: "The Cult (Live)" #CrystalViper #HeavyMetal #PowerMetal #Maig2025 #Polònia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Imperia – Dark Paradise Review

By GardensTale

You all know this is corsetcore. You saw the computer-generated snake and apple, read the album title. The only thing that could make it more obvious would be the heavily airbrushed and photoshopped vocalist in Victorian dress. Alas, you’ll have to make do with a woman who’s been turned into a tree instead. Imperia is not a household name like Nightwish, but don’t count them out just yet. Helena Iren Michaelsen helped found both Epica and Trail of Tears, and has been hammering at the road with this particular outfit for 2 decades, with Dark Paradise the 7th attempt to claim the spotlight. Dear Doom in his probationary period did not approve of their prior output,1 so does the new one fair better?

Well… Somewhat. In my experience with corsetcore, the genre itself is not usually the problem. A nu-metal band would have to actively skirt the archetypes of the genre to be any good. Corsetcore, on the other hand, could easily take a similar position as power metal, a lighthearted, grand, and fun experience with a lot of room for variety and identity. Its purveyors just seem to stumble on a wide variety of obvious obstacles, over and over and over again. Grating electronics awkwardly crammed into the composition? “Better Place” starts the album with them and “Reflection” kills its verses with them. Mawkish balladry? The album finishes with not one but two, of which “Lost Souls” is the grandstanding variety and “The Demons’ Fireplace” the small and melancholic. The lead vocals suddenly adopting the voice of Snow White’s evil stepmother in her old crone disguise while still singing opera? I must admit, that one was new, but “Void of Emptiness” takes a hard right into unintentional comedy with it.

But amongst everything embarrassing, there’s a lot of decent material. When Michaelsen eschews the opera, her voice is strong, warm and clear, and the songwriting has plenty of solid hooks, both vocal and instrumental. “Better Place” has a rousing chorus that makes it easier to forget the misplaced synth beep-boops, and “Soldiers of Hell” uses MENA scales and actual growls to paint an effective picture of an army marching through the desert. “Reach My Tears” is probably the strongest track here though, with an infectious tin whistle melody that recalls the better works of Eluveitie. Whereas Doom complained about Imperia’s lack of restraint with its orchestrations, Dark Paradise is a more balanced affair, where the guitars get to do more than dull background chuggery and the canned symphonics don’t blow everything else out of the water.

And yet, the overall impression I walk away with is ‘messy.’ Variety is the spice of life, but Imperia doesn’t seem to know when to use which spice. When Michaelsen does employ her operatic vocals, it feels arbitrary more often than not. From awkward mismatches between phrasing and meter to perfunctory instrumentation that distracts and detracts from the flow, Imperia leaves few opportunities to throw a wrench in its own works. Even the better tracks aren’t free from this over-embellishment; enjoying “Reach My Tears” to its fullest requires ignoring a hard tonal clash in the pre-chorus when the vocals go from melodious build-up to a poorly contrasted yell before slipping back into harmonization.

It’s frustrating because all the elements are here for Imperia to make a really solid symphonic power metal album. Michaelsen has an excellent voice, the stronger compositions have some solid, banging choruses, and there’s plenty of variation and imaginative songwriting. Even the production is a step up from the average of its contemporaries, who frequently crush the orchestra to glue. When this band’s on fire, it has the potential to join the top of the genre. But with 100 toys at their disposal, Imperia feels the need to use at least 99 of them, whether well-advised or not. Dark Paradise is a lurching journey with many bumps along the road, and by the end, my stomach feels more shaken than my heart does stirred. But if you have a soft spot for this stuff, do give it a whirl, because you’re sure to pick up a few tracks for your NightWithinEpiDelAranthe playlist.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Massacre Records
Websites: imperiaband.com | facebook.com/imperiaband
Releases Worldwide: July 26th, 2024

#20 #2024 #DarkParadise #Eluveitie #Epica #Imperia #InternationalMetal #Jul24 #MassacreRecords #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal #TrailOfTears

Imperia – Dark Paradise Review

By GardensTale

You all know this is corsetcore. You saw the computer-generated snake and apple, read the album title. The only thing that could make it more obvious would be the heavily airbrushed and photoshopped vocalist in Victorian dress. Alas, you’ll have to make do with a woman who’s been turned into a tree instead. Imperia is not a household name like Nightwish, but don’t count them out just yet. Helena Iren Michaelsen helped found both Epica and Trail of Tears, and has been hammering at the road with this particular outfit for 2 decades, with Dark Paradise the 7th attempt to claim the spotlight. Dear Doom in his probationary period did not approve of their prior output,1 so does the new one fair better?

Well… Somewhat. In my experience with corsetcore, the genre itself is not usually the problem. A nu-metal band would have to actively skirt the archetypes of the genre to be any good. Corsetcore, on the other hand, could easily take a similar position as power metal, a lighthearted, grand, and fun experience with a lot of room for variety and identity. Its purveyors just seem to stumble on a wide variety of obvious obstacles, over and over and over again. Grating electronics awkwardly crammed into the composition? “Better Place” starts the album with them and “Reflection” kills its verses with them. Mawkish balladry? The album finishes with not one but two, of which “Lost Souls” is the grandstanding variety and “The Demons’ Fireplace” the small and melancholic. The lead vocals suddenly adopting the voice of Snow White’s evil stepmother in her old crone disguise while still singing opera? I must admit, that one was new, but “Void of Emptiness” takes a hard right into unintentional comedy with it.

But amongst everything embarrassing, there’s a lot of decent material. When Michaelsen eschews the opera, her voice is strong, warm and clear, and the songwriting has plenty of solid hooks, both vocal and instrumental. “Better Place” has a rousing chorus that makes it easier to forget the misplaced synth beep-boops, and “Soldiers of Hell” uses MENA scales and actual growls to paint an effective picture of an army marching through the desert. “Reach My Tears” is probably the strongest track here though, with an infectious tin whistle melody that recalls the better works of Eluveitie. Whereas Doom complained about Imperia’s lack of restraint with its orchestrations, Dark Paradise is a more balanced affair, where the guitars get to do more than dull background chuggery and the canned symphonics don’t blow everything else out of the water.

And yet, the overall impression I walk away with is ‘messy.’ Variety is the spice of life, but Imperia doesn’t seem to know when to use which spice. When Michaelsen does employ her operatic vocals, it feels arbitrary more often than not. From awkward mismatches between phrasing and meter to perfunctory instrumentation that distracts and detracts from the flow, Imperia leaves few opportunities to throw a wrench in its own works. Even the better tracks aren’t free from this over-embellishment; enjoying “Reach My Tears” to its fullest requires ignoring a hard tonal clash in the pre-chorus when the vocals go from melodious build-up to a poorly contrasted yell before slipping back into harmonization.

It’s frustrating because all the elements are here for Imperia to make a really solid symphonic power metal album. Michaelsen has an excellent voice, the stronger compositions have some solid, banging choruses, and there’s plenty of variation and imaginative songwriting. Even the production is a step up from the average of its contemporaries, who frequently crush the orchestra to glue. When this band’s on fire, it has the potential to join the top of the genre. But with 100 toys at their disposal, Imperia feels the need to use at least 99 of them, whether well-advised or not. Dark Paradise is a lurching journey with many bumps along the road, and by the end, my stomach feels more shaken than my heart does stirred. But if you have a soft spot for this stuff, do give it a whirl, because you’re sure to pick up a few tracks for your NightWithinEpiDelAranthe playlist.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Massacre Records
Websites: imperiaband.com | facebook.com/imperiaband
Releases Worldwide: July 26th, 2024

#20 #2024 #DarkParadise #Eluveitie #Epica #Imperia #InternationalMetal #Jul24 #MassacreRecords #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal #TrailOfTears

Crystal Viper – The Silver Key Review

By Dr. A.N. Grier

I’ve been with Marta Gabriel and her heavy/power metal outfit, Crystal Viper, since their stellar 2012 release, Crimen Excepta. Not only is Gabriel an axe master, but her riffs and voice undoubtedly inspired similar power metal acts, like Unleash the Archers. But, Crystal Viper hasn’t been as consistent as they once were. The last few albums I’ve reviewed have ranged from disappointing to very good, including a Disappointment o’ the Year for 2019’s Tales of Fire and Ice. But, being a fan of her riffs, solos, and voice, I’m always looking to be surprised by a Crystal Viper record. Since its conception, the constant members of Crystal Viper have been Gabriel (previously Leather Wych) and guitarist, Andy Wave. Through the years, we’ve seen bassists and drummers come and go. This time, Gabriel has taken up the bass, skipping the middleman and getting right to it. But, being that our lead figure is now working with vocals, guitars, bass, keyboards, piano, and sharing songwriting duties, is this too much to hope for on The Silver Key?

On the surface, fans of the band will be pleased to know that nothing has changed between previous releases and The Silver Key. For the rest of you, continue to be posers. Gabriel doesn’t slow down and, with the help of her husband’s production skills, we continue to get dynamic releases that let the guitar harmonizations rise to the surface, allow the bass to make a presence, and smoothe the drums into the mix so they are their most-effective rhythm piece. You can also expect a tight, 40-minute record with ten, high-energy pieces that combine bangers, ballads, and soaring choruses. While you can’t expect much diversity in how the band crafts their albums, The Silver Key has a lot of surprises that completely floored me—not only on the first listen, but each one after.

After a soothing, spacey instrumental, the band wastes no time grabbing you by the balls and dragging you down the pavement with “Fever of the Gods.” This thing is a banger, suggesting a band having a Hell of a fun time pounding this one out. The riffs are killer, the vocals are powerful, and the melodic leads on the back half are a nice addition. Other heavy tracks into the blistering-fast riff and drum work on “Book of the Dead” and “Escape from Yaddith.” Both have the rolling riff style that brings to mind the relentless picking styles of Iced Earth and Blind Guardian, driving the songs with unforgiving speed. The first has a marching quality, much like “The Key Is Lost,” but without the fun, old-school qualities of NWoBHM. Instead, “Book of the Dead” has some nifty sinisterness in the vocal performance with a massive chorus, slick guitar harmonization, and solo work. “Escape from Yaddith” is a unique track for its speed and the shocking harmonizing guitars that sound like something from the first two Dissection records. Yeah, you read that right. And it continues into the closing track, “Cosmic Forces Overtake.”

On the power metal side, “Heading Kadath” and the title track are some of the best. The former opens with heavy-metal harmonizations before it dives into the power style of Unleash the Archers. The harmonizing guitars are the focus of this song, moving it along with great energy and a huge chorus. That said, the best chorus on the album comes in “The Silver Key.” After opening with a power metal intro, the band wastes no time delving into this massive, singalong chorus that repeats multiple times toward the end for maximum effort. Between the builds and climbs, it centers around a mid-paced groove and some gorgeous, passionate soloing after the song’s midpoint. Even the heavily sappy, piano-based follow-up transitions the album beautifully between this song and “Escape from Yaddith.” The only ballad on the album, “Wayfaring Dreamer” is a two-person show of piano and vocals that lets Gabriel explore every range of her voice without completely drenching it in cheese.

After years of absorbing the best and worst Crystal Viper has offered, I didn’t think they had it in them to create something as great as The Silver Key. For the first time in years, I haven’t felt this excited by Gabriel and co. since the good ole days. But, the performances are tight, Gabriel’s vocals are stellar, and the flow of the record works well. For the first time in a while, songs even carry themes and riffs from one track to another, building on the momentum and moods from previous tracks—specifically in the last three songs. The band also sounds as if they enjoyed writing and performing this material. That said, I wish there was as much bass as guitar because, from what you can hear, Gabriel does a fantastic job on the instrument. Doing so would, undoubtedly, make it a bit more powerful in the mix. Regardless, The Silver Key is a powerful album with plenty of fun moments, a good mix of moods, and great performances. I’m not gonna lie, I’m happy for them, and I’m happy for myself because I’m going to be listing this baby.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records | Bandcamp
Websites: linktr.ee/crystalviper | facebook.com/crystalviperofficial
Releases Worldwide: June 28th, 2024

#2024 #40 #BlindGuardian #CrystalViper #Dissection #HeavyMetal #IcedEarth #IronMaiden #Jun24 #ListenableRecords #PolishMetal #PowerMetal #Review #Reviews #TheSilverKey #UnleashTheArchers

Crystal Viper – The Silver Key Review

By Dr. A.N. Grier

I’ve been with Marta Gabriel and her heavy/power metal outfit, Crystal Viper, since their stellar 2012 release, Crimen Excepta. Not only is Gabriel an axe master, but her riffs and voice undoubtedly inspired similar power metal acts, like Unleash the Archers. But, Crystal Viper hasn’t been as consistent as they once were. The last few albums I’ve reviewed have ranged from disappointing to very good, including a Disappointment o’ the Year for 2019’s Tales of Fire and Ice. But, being a fan of her riffs, solos, and voice, I’m always looking to be surprised by a Crystal Viper record. Since its conception, the constant members of Crystal Viper have been Gabriel (previously Leather Wych) and guitarist, Andy Wave. Through the years, we’ve seen bassists and drummers come and go. This time, Gabriel has taken up the bass, skipping the middleman and getting right to it. But, being that our lead figure is now working with vocals, guitars, bass, keyboards, piano, and sharing songwriting duties, is this too much to hope for on The Silver Key?

On the surface, fans of the band will be pleased to know that nothing has changed between previous releases and The Silver Key. For the rest of you, continue to be posers. Gabriel doesn’t slow down and, with the help of her husband’s production skills, we continue to get dynamic releases that let the guitar harmonizations rise to the surface, allow the bass to make a presence, and smoothe the drums into the mix so they are their most-effective rhythm piece. You can also expect a tight, 40-minute record with ten, high-energy pieces that combine bangers, ballads, and soaring choruses. While you can’t expect much diversity in how the band crafts their albums, The Silver Key has a lot of surprises that completely floored me—not only on the first listen, but each one after.

After a soothing, spacey instrumental, the band wastes no time grabbing you by the balls and dragging you down the pavement with “Fever of the Gods.” This thing is a banger, suggesting a band having a Hell of a fun time pounding this one out. The riffs are killer, the vocals are powerful, and the melodic leads on the back half are a nice addition. Other heavy tracks into the blistering-fast riff and drum work on “Book of the Dead” and “Escape from Yaddith.” Both have the rolling riff style that brings to mind the relentless picking styles of Iced Earth and Blind Guardian, driving the songs with unforgiving speed. The first has a marching quality, much like “The Key Is Lost,” but without the fun, old-school qualities of NWoBHM. Instead, “Book of the Dead” has some nifty sinisterness in the vocal performance with a massive chorus, slick guitar harmonization, and solo work. “Escape from Yaddith” is a unique track for its speed and the shocking harmonizing guitars that sound like something from the first two Dissection records. Yeah, you read that right. And it continues into the closing track, “Cosmic Forces Overtake.”

On the power metal side, “Heading Kadath” and the title track are some of the best. The former opens with heavy-metal harmonizations before it dives into the power style of Unleash the Archers. The harmonizing guitars are the focus of this song, moving it along with great energy and a huge chorus. That said, the best chorus on the album comes in “The Silver Key.” After opening with a power metal intro, the band wastes no time delving into this massive, singalong chorus that repeats multiple times toward the end for maximum effort. Between the builds and climbs, it centers around a mid-paced groove and some gorgeous, passionate soloing after the song’s midpoint. Even the heavily sappy, piano-based follow-up transitions the album beautifully between this song and “Escape from Yaddith.” The only ballad on the album, “Wayfaring Dreamer” is a two-person show of piano and vocals that lets Gabriel explore every range of her voice without completely drenching it in cheese.

After years of absorbing the best and worst Crystal Viper has offered, I didn’t think they had it in them to create something as great as The Silver Key. For the first time in years, I haven’t felt this excited by Gabriel and co. since the good ole days. But, the performances are tight, Gabriel’s vocals are stellar, and the flow of the record works well. For the first time in a while, songs even carry themes and riffs from one track to another, building on the momentum and moods from previous tracks—specifically in the last three songs. The band also sounds as if they enjoyed writing and performing this material. That said, I wish there was as much bass as guitar because, from what you can hear, Gabriel does a fantastic job on the instrument. Doing so would, undoubtedly, make it a bit more powerful in the mix. Regardless, The Silver Key is a powerful album with plenty of fun moments, a good mix of moods, and great performances. I’m not gonna lie, I’m happy for them, and I’m happy for myself because I’m going to be listing this baby.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records | Bandcamp
Websites: linktr.ee/crystalviper | facebook.com/crystalviperofficial
Releases Worldwide: June 28th, 2024

#2024 #40 #BlindGuardian #CrystalViper #Dissection #HeavyMetal #IcedEarth #IronMaiden #Jun24 #ListenableRecords #PolishMetal #PowerMetal #Review #Reviews #TheSilverKey #UnleashTheArchers

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第317 🖤🐉🌙

＼✨Metal Storm Best of 2023👑／

Isiliel’s 1st full album Moonbow Genesis has been selected as one of Metal Storms Top 10 Best Power Metal Albums of 2023!

Voting for the top albums is currently underway - check out the great album review and vote here💝

https://metalstorm.net/awards/categories.php?cat_id=15&cb=65be557f6473e

Image source: Tsukishiro Himari

#月城ひまり #TsukishiroHimari #Isiliel #Necronomidol #Necronama
#地下アイドル #アイドル #Idol #JRock #JMetal #Rock #Metal #JMusic #MetalStorm #PowerMetal

#JIdol: Daily Tsukishiro Himari
第317 🖤🐉🌙

＼✨Metal Storm Best of 2023👑／

Isiliel’s 1st full album Moonbow Genesis has been selected as one of Metal Storms Top 10 Best Power Metal Albums of 2023!

Voting for the top albums is currently underway - check out the great album review and vote here💝

https://metalstorm.net/awards/categories.php?cat_id=15&cb=65be557f6473e

Image source: Tsukishiro Himari

#月城ひまり #TsukishiroHimari #Isiliel #Necronomidol #Necronama
#地下アイドル #アイドル #Idol #JRock #JMetal #Rock #Metal #JMusic #MetalStorm #PowerMetal

#JIdol: Daily Tsukishiro Himari
第317 🖤🐉🌙

＼✨Metal Storm Best of 2023👑／

Isiliel’s 1st full album Moonbow Genesis has been selected as one of Metal Storms Top 10 Best Power Metal Albums of 2023!

Voting for the top albums is currently underway - check out the great album review and vote here💝

https://metalstorm.net/awards/categories.php?cat_id=15&cb=65be557f6473e

Image source: Tsukishiro Himari

#月城ひまり #TsukishiroHimari #Isiliel #Necronomidol #Necronama
#地下アイドル #アイドル #Idol #JRock #JMetal #Rock #Metal #JMusic #MetalStorm #PowerMetal

#JIdol: Daily Tsukishiro Himari
第317 🖤🐉🌙

＼✨Metal Storm Best of 2023👑／

Isiliel’s 1st full album Moonbow Genesis has been selected as one of Metal Storms Top 10 Best Power Metal Albums of 2023!

Voting for the top albums is currently underway - check out the great album review and vote here💝

https://metalstorm.net/awards/categories.php?cat_id=15&cb=65be557f6473e

Image source: Tsukishiro Himari

#月城ひまり #TsukishiroHimari #Isiliel #Necronomidol #Necronama
#地下アイドル #アイドル #Idol #JRock #JMetal #Rock #Metal #JMusic #MetalStorm #PowerMetal

#JIdol: Daily Tsukishiro Himari
第317 🖤🐉🌙

＼✨Metal Storm Best of 2023👑／

Isiliel’s 1st full album Moonbow Genesis has been selected as one of Metal Storms Top 10 Best Power Metal Albums of 2023!

Voting for the top albums is currently underway - check out the great album review and vote here💝

https://metalstorm.net/awards/categories.php?cat_id=15&cb=65be557f6473e

Image source: Tsukishiro Himari

#月城ひまり #TsukishiroHimari #Isiliel #Necronomidol #Necronama
#地下アイドル #アイドル #Idol #JRock #JMetal #Rock #Metal #JMusic #MetalStorm #PowerMetal

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Jag Panzer - The Hallowed Review | Angry Metal Guy
A review of The Hallowed by Jag Panzer, available June 23rd via Atomic Fire Records.

https://www.angrymetalguy.com/jag-panzer-the-hallowed-review/

#JagPanzer
#PowerMetal
#TheHallowed
#AngryMetalGuy
#AlbumReview
#HeavyMetal

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Jag Panzer - The Hallowed Review | Angry Metal Guy
A review of The Hallowed by Jag Panzer, available June 23rd via Atomic Fire Records.

https://www.angrymetalguy.com/jag-panzer-the-hallowed-review/

#JagPanzer
#PowerMetal
#TheHallowed
#AngryMetalGuy
#AlbumReview
#HeavyMetal

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Jag Panzer - The Hallowed Review | Angry Metal Guy
A review of The Hallowed by Jag Panzer, available June 23rd via Atomic Fire Records.

https://www.angrymetalguy.com/jag-panzer-the-hallowed-review/

#JagPanzer
#PowerMetal
#TheHallowed
#AngryMetalGuy
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#HeavyMetal

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Jag Panzer - The Hallowed Review | Angry Metal Guy
A review of The Hallowed by Jag Panzer, available June 23rd via Atomic Fire Records.

https://www.angrymetalguy.com/jag-panzer-the-hallowed-review/

#JagPanzer
#PowerMetal
#TheHallowed
#AngryMetalGuy
#AlbumReview
#HeavyMetal