#powermetal — Public Fediverse posts

DragonForce {and power metal in general) is pretty dumb, but man it's hard not to get hooked on the noodling and general guitar wankery that they create.

I may or may not have added 3 albums to my collection 😅

#music #powermetal #DragonForce

DragonForce {and power metal in general) is pretty dumb, but man it's hard not to get hooked on the noodling and general guitar wankery that they create.

I may or may not have added 3 albums to my collection 😅

#music #powermetal #DragonForce

DragonForce {and power metal in general) is pretty dumb, but man it's hard not to get hooked on the noodling and general guitar wankery that they create.

I may or may not have added 3 albums to my collection 😅

#music #powermetal #DragonForce

DragonForce {and power metal in general) is pretty dumb, but man it's hard not to get hooked on the noodling and general guitar wankery that they create.

I may or may not have added 3 albums to my collection 😅

#music #powermetal #DragonForce

DragonForce {and power metal in general) is pretty dumb, but man it's hard not to get hooked on the noodling and general guitar wankery that they create.

I may or may not have added 3 albums to my collection 😅

#music #powermetal #DragonForce

MESSIAH OF THE DEAD (Estats Units) presenta nou EP: "Jawbone" #MessiahOfTheDead #MelodicDeath #PowerMetal #Setembre2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

MESSIAH OF THE DEAD (Estats Units) presenta nou EP: "Jawbone" #MessiahOfTheDead #MelodicDeath #PowerMetal #Setembre2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

Anyone else having the same nightmares? #BeastInBlack #alien #heavymetal

https://www.youtube.com/shorts/nt2ehvpZR4g

#Music #BeastInBlack #PowerMetal

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

EXILE OF HEAVEN (Grècia) presenta nou àlbum: "Tides of Destiny" #ExileOfHeaven #HeavyMetal #PowerMetal #Setembre2026 #Grècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

EXILE OF HEAVEN (Grècia) presenta nou àlbum: "Tides of Destiny" #ExileOfHeaven #HeavyMetal #PowerMetal #Setembre2026 #Grècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/es/741948/ Conciertos de Heavy Metal y Hard Rock en septiembre en España: INDUCTION, HAVOK y dos festivales temáticos en Barcelona #eclipse #Entertainment #Entretenimiento #ES #España #HardRock #HAVOK #HeavyMetal #Music #Música #PARADISELOST #PowerMetal #Spain #XANDRIA

https://www.europesays.com/ie/630560/ Xandria – Eclipse Review | Angry Metal Guy #2026 #30 #Aug26 #Eclipse #Éire #Entertainment #GermanMetal #IE #Ireland #Music #NapalmRecords #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal #WithinTemptation #Xandria

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

Mystfall – Embers of a Dying World Review

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Dialith #Elvellon #EmbersofaDyingWorld #Entertainment #Epica #GreekMetal #Leaves'Eyes #Mar26 #Mystfall #Nightwish #PowerMetal #review #reviews #ScarletRecords #SymphonicMetal #SymphonicPowerMetal #Xandria
https://www.newsbeep.com/us/535011/

Mystfall – Embers of a Dying World Review

Once again, I return to my roots. That opulent, gem-encrusted egg from which my metalhead nascency spawned, symphonic…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Dialith #Elvellon #EmbersofaDyingWorld #Entertainment #Epica #GreekMetal #Leaves'Eyes #Mar26 #Mystfall #Nightwish #PowerMetal #review #reviews #ScarletRecords #SymphonicMetal #SymphonicPowerMetal #Xandria
https://www.newsbeep.com/us/535011/

https://www.europesays.com/uk/838573/ Mystfall – Embers of a Dying World Review #2026 #30 #Dialith #Elvellon #EmbersOfADyingWorld #Entertainment #epica #GreekMetal #Leaves'Eyes #Mar26 #music #Mystfall #Nightwish #PowerMetal #Review #Reviews #ScarletRecords #SymphonicMetal #SymphonicPowerMetal #UK #UnitedKingdom #Xandria

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

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

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

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

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

#NowPlaying the recent album "In the Templer of the Tyrant" by the band #Behölder from the #USA

#EpicDoomMetal #Dark #PowerMetal #HeavyMetal #AlbumsOf2025

Personal Rating: 8 / 10

Recommended Tracks: "Draconian (Slave or Master)", "I Magus", "Into the Underdark", "A Pale Blood Sky", "Eyes of the Deep", "For those who Fell", "Summoned & Bound"

https://beholderblacklion.bandcamp.com/album/in-the-temple-of-the-tyrant

#NowPlaying the recent album "In the Templer of the Tyrant" by the band #Behölder from the #USA

#EpicDoomMetal #Dark #PowerMetal #HeavyMetal #AlbumsOf2025

Personal Rating: 8 / 10

Recommended Tracks: "Draconian (Slave or Master)", "I Magus", "Into the Underdark", "A Pale Blood Sky", "Eyes of the Deep", "For those who Fell", "Summoned & Bound"

https://beholderblacklion.bandcamp.com/album/in-the-temple-of-the-tyrant

#NowPlaying the recent album "In the Templer of the Tyrant" by the band #Behölder from the #USA

#EpicDoomMetal #Dark #PowerMetal #HeavyMetal #AlbumsOf2025

Personal Rating: 8 / 10

Recommended Tracks: "Draconian (Slave or Master)", "I Magus", "Into the Underdark", "A Pale Blood Sky", "Eyes of the Deep", "For those who Fell", "Summoned & Bound"

https://beholderblacklion.bandcamp.com/album/in-the-temple-of-the-tyrant

#NowPlaying the recent album "In the Templer of the Tyrant" by the band #Behölder from the #USA

#EpicDoomMetal #Dark #PowerMetal #HeavyMetal #AlbumsOf2025

Personal Rating: 8 / 10

Recommended Tracks: "Draconian (Slave or Master)", "I Magus", "Into the Underdark", "A Pale Blood Sky", "Eyes of the Deep", "For those who Fell", "Summoned & Bound"

https://beholderblacklion.bandcamp.com/album/in-the-temple-of-the-tyrant

Where to Start with Symphonic Metal

Symphonic metal emerged in the late 1990s, mostly by way of Europe. Integrating orchestral arrangements, operatic vocals, and heavy riffing, the music incorporates cinematic narrative rather than being focused on showy displays of technical virtuosity or raw aggression.

#SymphonicMetal #MetalMusic #OrchestralMetal #GothicMetal #PowerMetal #CinematicMetal #OperaticMetal #Nightwish #Epica #Xandria #MetalAndPhilosophy #HeavyMetal

http://avantmusicnews.com/2025/08/31/where-to-start-with-symphonic-metal/

Where to Start with Symphonic Metal

Symphonic metal emerged in the late 1990s, mostly by way of Europe. Integrating orchestral arrangements, operatic vocals, and heavy riffing, the music incorporates cinematic narrative rather than being focused on showy displays of technical virtuosity or raw aggression.

#SymphonicMetal #MetalMusic #OrchestralMetal #GothicMetal #PowerMetal #CinematicMetal #OperaticMetal #Nightwish #Epica #Xandria #MetalAndPhilosophy #HeavyMetal

http://avantmusicnews.com/2025/08/31/where-to-start-with-symphonic-metal/

Where to Start with Symphonic Metal

Symphonic metal emerged in the late 1990s, mostly by way of Europe. Integrating orchestral arrangements, operatic vocals, and heavy riffing, the music incorporates cinematic narrative rather than being focused on showy displays of technical virtuosity or raw aggression.

#SymphonicMetal #MetalMusic #OrchestralMetal #GothicMetal #PowerMetal #CinematicMetal #OperaticMetal #Nightwish #Epica #Xandria #MetalAndPhilosophy #HeavyMetal

http://avantmusicnews.com/2025/08/31/where-to-start-with-symphonic-metal/

Where to Start with Symphonic Metal

Symphonic metal emerged in the late 1990s, mostly by way of Europe. Integrating orchestral arrangements, operatic vocals, and heavy riffing, the music incorporates cinematic narrative rather than being focused on showy displays of technical virtuosity or raw aggression.

#SymphonicMetal #MetalMusic #OrchestralMetal #GothicMetal #PowerMetal #CinematicMetal #OperaticMetal #Nightwish #Epica #Xandria #MetalAndPhilosophy #HeavyMetal

http://avantmusicnews.com/2025/08/31/where-to-start-with-symphonic-metal/

Stuck in the Filter: January’s Angry Misses

By Kenstrosity

March is but a few days away (at the time of writing), so, naturally, we at AMG and Sons feel it’s finally time to leave 2023 behind. Entering 2024 with a fresh vat of anger juice to fuel our findings, we trudge through the thin metal walls of our ever-taxed filtration system. And boy howdy did we get lucky this month!

January’s Filter is stuffed to the gills with great options, sure to find a home in the arms of one of you despicable rascals lovely readers. If there was ever a Filter stocked enough to feed an entire readership in one fell swoop, it’s this one. Now, go! Feast!

Kenstrosity’s Scuzzy Slags

Dark Oath // Ages of Man [January 18th, 2024 – Self Release]

Portuguese symphonic, melodic death metal five-piece1 Dark Oath quietly dropped its sophomore effort Ages of Man to an unsuspecting public midway through January. After a whopping eight years since their debut When Fire Engulfs the Earth released, surely expectations for fans run high. As for me, this is my first foray, and this follow-up is nothing short of striking. Immediately recalling Aephanemer’s excellent Prokopton and Aether’s In Embers, riffs aren’t Ages of Man’s focus. Rather, epic guitar licks and leads command the charge with a cavalcade of orchestral layers forming an army of triumphant melodies and counterpoint just behind (“Gold I” and “Gold II”). Prominently featured and wonderfully effective, acoustic plucking from what sounds like a bouzouki evokes the magnificence and reverent tones of Gorgon’s Elegy, creating another core character for this epic journey that deepens the experience further (“Silver I,” “Bronze I,” “Bronze II”). While I occasionally pine for more engaging, groovy riffs to provide greater dynamics than the chugging gallops utilized instead, there’s no denying that Dark Oath’s infectious melodies and danceable rhythms punch far above the weight of forty-two minutes of lush, epic material (“Silver II,” “Heroic I,” “Iron”). At the end of the day, if you wanna go on cinematic adventures in the near future, queue up Ages of Man. It will be your guide.

Rhûn // Conveyance in Death [January 26th, 2024 – I.K. Productions]

Falls of Rauros’ founding member Aaron Charles, known for his emotive and vicious howls and creative guitar work, established solo act Rhûn back in 2021. Over the past year, a set of singles hinted at what debut full-length Conveyance in Death might hold for the Portland, Maine multi-instrumentalist. Now that it’s unleashed upon the world, this record proves to be a compelling amalgam of atmospheric black metal, post-black, and death metal. Opener “Morningstar” showcases all of these facets with aplomb, shifting from crushing riffs to a gorgeous trem-based ascension in the final third. Further down the line, Song o’ the Year contender “Bone Ornament” suitably shatters my bones with its awesome main riff, swaggering groove, and vicarious pacing. Other interesting forays into multifaceted modality and doom-laden marches help define the darker “Tomb of Andesite” and “Citadels in Ruins.” At a tight thirty-seven minutes of quality material, there’s little here that needs editing, although some lengthier passages in “Howl of Gleaming Swords” and closer “Night’s Glacial Passing” could stand a thirty-second trim here or there. Nonetheless, this is a strong launch for the fledgling project, and I can’t wait to hear how Aaron develops it in the future.

Niemaracz // The Tales of the Dense Forest [January 31st, 2024 – Self Release]

Hailing from Almaty, Kazakhstan, uber-obscure stoner doom black metal band Niemaracz doesn’t even have a date of establishment listed on Metallum. Pulling from fuzzy doom metal, languid stoner rock, folk-tinged heavy metal, and witchy black metal, debut record The Tales of the Dense Forest ushers in a sound I can’t say I’ve ever heard before. Icy and warm, rich and sharp, relaxed and blistering, these sprawling soundscapes challenge every preconception I held for not one, but four distinct styles. Yet, coming in at just under thirty minutes, this record marries them all as fluidly as a babbling brook glides over stone. With the immersive opener, “The Experiment,” Niemaracz’s high-fantasy fueled melodies and classic riffs impress with their uncanny synchronicity, while the fuzzy and warm production deepens the music’s cohesion. Album highlight, “The Faithful Horse,” manages to blend classic Iron Maiden gallops with the sort of furious black metal I’d sooner expect from Emperor, all wrapped up in stoned fuzz, and it’s fascinating. Sometimes, the clean baritones are far too forward in the mix, throwing that delicate balance of tones and textures way off. Thankfully, the consistently entertaining and novel songwriting makes it all worthwhile (“The Secret of Longevity”). Go check them out, and give their lone Bandcamp supporter a new friend!

Tales From the Garden

Slift // Ilion [January 19th, 2024 – Sub Pop Records]

I am going to preface this glowing recommendation by saying that this fucking behemoth is far too long. It’s nigh-on 80 minutes of dense, twisting, and very French psychedelic madness, and the brain can only contain so much of that for so long. The reason I am posting it here anyway is that it is really good dense twisting French psychedelic madness. Slift became an underground darling after 2020’s Ummon, which got them enough acclaim to be Artist in Residence at the 2022 edition of Roadburn, where I first became acquainted with the Toulouse formation. Ilion is a feverish album, a chase through winding soundscapes that always change but never end, layers of vocals and synths passing in and out of view, the hefty riffs hammering your back and Frenchmen hollering at you from behind. Slift has been getting heavier with each release and now firmly finds itself in sludge territory. The phenomenal drums are the tone, the pace, and the foundation here, a colossal presence even if their sound isn’t massive per se. They remind most of the climactic sequences Dvne so excels at, a bludgeoning dynamic shuffle that feels like getting caught in an avalanche, but retaining their old-school jam-band roots. Thankfully there’s enough variation to mitigate the bloat a bit, from left-field saxophone intermissions to more mid-paced material like the excellent atmospheric doom of “Weavers’ Weft.” Ilion is a deep, deep well, but a richly rewarding one for fans of heavy psych.

Carcharodon’s Fanged Fancies

Ὁπλίτης // Παραμαινομένη [January 12th, 2024 – Self-released]

At this point, I am almost relieved that the Chinese black metal-making machine known as Ὁπλίτης (Hoplites, for those of us not well versed in Ancient Greek) resolutely continues to not send us promo. Such is his level of productivity and, crucially, consistency, that I fear I would spend a fair chunk of my time just writing >3.0 reviews for his various projects (Vitriolic Sage being another good one). A case in point, his latest offering, Ὁπλίτης, is another absolute banger. Π​α​ρ​α​μ​α​ι​ν​ο​μ​έ​ν​η actually offers something slightly different from previous outings. While still very much playing in the almost clinically harsh black metal space, there is a more present and more vicious bass groove to this (fifth track “Συμμιαινόμεναι Διονύσῳ Ἐλευθέριῳ”), as well as, more surprisingly, a lot of freeform jazz elements. Screaming sax and trumpets are a big component, particularly in the first half of the record, giving the whole a feeling of White Ward and John Zorn having a particularly raucous threesome with Vredehammer. There is nothing tender about what’s happening though; it’s furious, pummelling, experimental… at least one of which is a thing that a threesome should be. A punishing, relentless listen, with unexpected twists, Ὁπλίτης has once again cranked out a fascinating record, and in record time.

Infant Island // Obsidian Wreath [January 12th, 2024 – Secret Voice]

Infant Island is new to me but, apparently, not to all—I’ve seen a fair bit of buzz around these guys—and Obsidian Wreath is the Virginians’ third record. Probably best tagged as blackened screamo, this record has contradictory feelings of warmth and utterly despairing rage. The band themselves cite Panopticon and Deafheaven as influences. I can hear both in their sound, the melodic complexity of the former, and the atmospheric wall-of-sound style of the latter. However, there are a few other things going on in the mix, with something of the frantic, chaotic precision of Pupil Slicer (“Fulfilled”), as well as the haunted and melodic deathgaze of Kardashev (“Amaranthine” and “Kindling”). Guitarists Alexander Rudenshiold and Winston Givler create such a dense morass of sound, that it often feels like there are more than two guitar lines in play, while Kyle Guerra’s bass adds something faintly grindcore-esque to the mix. All five members are credited with the vocals, which are throat-shredding and packed with pain, mourning, and frustration. Obsidian Wreath is a brutal, percussive listen, that feels like it’s tearing open your ears so that it can scream directly into your brain. At the same time, dark and unsettling electronica and arrangements (“Found Hand”) play a part in lulling the battered listener, preparing you for the next assault, as does the mix, which is surprisingly rich for all the pummelling. Although Infant Island is a screamo band, they reach with confidence into other genres for inspiration, making for a much more interesting proposition.

Thus Spoke’s Reviled Ramblings

Cognizance // Phantazein [January 26th, 2024 – Willowtip]

As most of them are from Leeds, I would have expected Cognizance to know that the objectively correct, British spelling is Cognisance, actually.2 But what the Loiners3 might lack in grammatical precision, they more than makeup for in musical style. Finessing their brand of tech-death, which falls somewhere between The Faceless and Allegaeon, Phantazein realizes the convergence of grooviness, melodic catchiness, and technicality with panache. Stomping, neck-snapping, and irresistibly foot-tapping rhythms tumble over one another with precise eagerness (“Ceremonial Vigour,” “Futureless Horizon,” “The Towering Monument”). Punchy, satisfyingly urgent melodies lead the way in chunky, groovy guitar dances (“A Brain Dead Memoir,” “Shock Heuristics,” “Shadowgraph”). With the exception of the (unnecessary) echoing interlude “Alferov,” this thing wrestles and roils its way into and around your general head area. It’s snappy, slick, and smooth. Phantazein (I think) comes from the Greek meaning “to appear,” as in, to seem a certain way. It seems to me, at least, that Phantazein is a banger.

Resin Tomb // Cerebral Purgatory [January 19th, 2024 – Transcending Obscurity Records]

Having stolen this from Ferox‘s rightful hands due to his punishing work schedule, I find myself, not for the first, or the last time this year I’m sure, singing the praises of a Transcending Obscurity release. But Cerebral Purgatory deserves praise in its own right. Punishingly heavy, yet remarkably listenable, it sees Resin Tomb filter grindy percussive assaults and dissonant death metal through a hard/grind-core medium. Barking screams breaking across ringing, tremolo-ing descending scales and tempos from charge to crushing, headbanging groove. Clanging, twanging guitar beats aggressive and menacing patterns (“Flesh Brick,” “Scalded,” “Putrescence”). Sometimes, this makes for pleasingly slick, melancholic melodies, that play out with stalking grace (title track, “Human Confetti,” “Concrete Crypt”). Other times, relentless blastbeating or chonky bass chugging provides the background for the axe’s more dissonant angularity (“Dysphoria,” “Purge Fluid,” “Flesh Brick”). Like “a more hardcore-y Nightmarer,”4 or perhaps even an extreme metal Knocked Loose mixed with Nothingness. Seriously, just listen to it.

Mystikus Hugebeards’s Stupendous Scrolls

Albion // Lakesongs of Elbid [January 27th, 2024 – Self-Release]

I’ve been on a folk metal streak of late, yet I’ve struggled to find something that really gripped me the way I wanted. Thus did fate decree that some watery tart hangin’ about in ponds would lob a sword at me in the form of Lakesongs of Elbid, the debut album by the British folk band Albion. This album transposes Celtic folklore into lush, lightly proggy folk metal in the vein of Big Big Train, and is written like the music you hear in your head when you picture a grand quest to Camelot or the Isles of Avalon. “Arthurian Overture” begins the journey in earnest, the music cresting triumphant, orchestral hills and striding through valleys of flute passages, all to the rhythmic footsteps of the guitars. From there, Lakesongs of Elbid explores a wide array of musical locales that can range from direct, determined metal riffs (“Finding Avalon”), traces of British tavern rock (“Barret’s Privateers,” “Silvaplana Rock”), or somber, acoustic folk (“Camlann”). The quest is spearheaded by Joe Parrish-James, whose vocals effortlessly merge the buttery smooth cadence of a seasoned storyteller with a youthful yearning for adventure. That idea of adventure is the beating heart of Lakesongs of Elbid; I can think of a few bands that so easily transport the listener to a new world of vibrant color and sound. Adventurous, enchanting, tons of fun, and extraordinarily British.

Dolphin Whisperer’s Slippery Sermon

Cancer Christ // God Is Violence [January 5th, 2024 – Seeing Red Records]

HAIL CHRIST! HAIL CHRIST!! DO YOU SEE THE LIGHT? DO YOU SEE IT?? IT’S AT THE END OF A TUNNEL FILLED WITH RAPISTS, SATANISTS, PEOPLE WHO DON’T BELIEVE IN GOD’S LOVE. “SATAN IS A BITCH.” SEE THE LIGHT. SEE JESUS CHRIST. JESUS KNOWS THE WORLD CAN BE A BETTER PLACE. JESUS KNOWS THE WORLD NEEDS RIFFS. JESUS KNOWS THE WORLD DOESN’T NEED COPS. “GOD HATES COPS.” THEY STAND IN THE WAY OF GOD’S POWER. HUBRIS! JESUS KNOWS THAT WE’RE ALL BETTER DEAD THAN ALIVE. JESUS CAN KILL US ALL JUST FINE HE DOESN’T NEED COPS. DID YOU HEAR? DID YOU HEAR JESUS’ WORD?? WE NEED TO “BRING BACK THE GUILLOTINE” — WE NEED TO CIRCLE PIT AROUND THE SINNERS AND CHOP THEIR HEADS OFF. CHOP THEIR HEADS OFF!! THE ONLY WAY THEY’LL SEE GOD’S LOVE IS IF THEY’RE DEAD. DO YOU HEAR THE SCREECHING? THAT HIGH-PITCHED SQUIRMING? THAT THRASHY RHYTHMIC PULSE? THAT’S THE ONLY WAY WE’LL GET THESE SINNERS WHO HAVE BEEN “BAPTIZED IN PISS AND SHIT.” HAIL CHRIST! HAIL CHRIST!! WE HAVE SKANKS (BEATS)! WE HAVE MENTAL BREAKDOWNS! “JESUS GOT A BIG OL’ COCK” TOO! IF YOU DESIRE SALVATION YOU’LL WORSHIP CHRIST IF YOU KNOW WHAT’S GOOD FOR YOU. SPREAD JESUS’ LOVE LIKE HE’S SPREAD HIS SEED ACROSS THE WORLD. CANCER CHRIST HAS LAID THE PATH BEFORE YOU. DON’T LISTEN TO LESSER GOSPELS EVEN IF THEY SOUND SIMILAR. DEAD KENNEDYS ARE OLD BUT NOT AS OLD AS HIS WISDOM. CHILD BITE HAS NO CLUE OF THE PATH OF GOD. TRAP THEM DOESN’T EVEN KNOW HOW TO BUILD A CROSS LET ALONE HOW TO NAIL JESUS SINNERS TO ONE. COVER YOURSELF IN “THE BLOOD OF JESUS” TO PROTECT YOURSELF FROM THESE DIRECTIONLESS GOSPELS WHO KNOW NOTHING OF THE LOVE OF GOD. FILL YOUR LIFE WITH MEANING. FILL YOUR LIFE WITH JESUS’ CUM. “GOD BLESS THE RAPISTS.” GOD IS THRASH. GOD IS NOISE. GOD IS LOVE. GOD IS VIOLENCE. HAIL CHRIST!!! HAIL!!!! CHRIST!!!!!5

Dear Hollow’s Magnanimous Muddle

Her Last Sight // Picture Perfect [January 19th, 2024 – Liron Avital Productions / Self-Released]

You see metalcore, you run? Well run, bitch, run. Cuz Her Last Sight is bringing back the 2000s metalcore that made Hot Topic-obsessed millennials go absolutely bananas. Being that this was my well-trod path to the harsher realities of metal’s more textured offerings, I was all for giving Picture Perfect after seeing the Israelis’ incredibly accomplished guitarist Ofek Asulin’s insane licks on TikTok. While completely acknowledging that this bad boy is not going to change your mind on metalcore, Picture Perfect is core nostalgia through and through. Parkway Drive’s fist-pumping brutality collides with As I Lay Dying’s wild technicality, fed through the riff-happy arpeggio machines of Killswitch Engage or Trivium with clean choruses and heart-wrenching melodies straight outta In Hearts Wake or The Amity Affliction. Breakdowns and wild riffs dominate tracks like “In Dying Light,” “Horizons,” and “R.I.P.”, while the soaring choruses of “Paralyzed,” “Careless,” and “Heart // Mind” remain seared in the mind. While the too-loud and frail clean vocals are too often a weak link, the album is overlong, and the sparse electronic trip-hop influence feels largely unnecessary, the formidable technicality and solid songwriting grant Her Last Sight a relatively guilt-free nostalgia trip with Picture Perfect.

Hyloxalus // Make Me the Heart of the Black Hole [January 26th, 2024 – Self-Release]

For those of you who have read my reviews before, you know how much I am not a power metal guy. I reviewed Moonlight Haze twice to make myself more marketable when I first joined these halls, but it is far and away not my cup of tea. Thus, I was cautiously intrigued by the “dark power metal” tag of the Edmonton trio Hyloxalus. How this translates is that we are graced with the powerful operatic vocals of Nina Laderoute while instrumentalists Danial “AniMal” Devost and Mike Bell offer a noisy and relentless thrash riff-forwardness that feels both kickass and cold. Channeling Nightwish’s weirder and heavier moments, the trio rockets its sound to the cosmos, where we’re granted sounds expansive, exploratory, and epic (“Undead in Ward 6,” “Sailors Underneath the Waves”), while unforgiving coldness and isolation are constant reminders of the darkness (“He Dies in the Swamp,” “Severed from the Reborn Sun”). Don’t get me wrong, Hyloxalus is far from perfect in a tinny production and wonky mixing, while slower tracks like “Dream Chasm” and “Beyond the Soil” get bogged down by sluggish tempos. However, Make Me the Heart of the Black Hole is a ton of fun from a young band with a unique and weirdass sound that may just capture your heart.

#Aephanemer #Aether #AgesOfMan #Albion #AmericanMetal #AsILayDying #AustralianMetal #BigBigTrain #CancerChrist #CerebralPurgatory #ChildBite #ChineseMetal #Cognizance #ConveyanceInDeath #DarkOath #DeadKennedys #Deafheaven #DeathMetal #DissonantBlackMetal #DoomMetal #Dvne #Emperor #FallsOfRauros #FolkMetal #FrenchMetal #GodIsViolence #Gorgon #Grindcore #Hardcore #HeavyMetal #HerLastSight #Hoplites #Hyolaxus #IKProductions #Ilion #InHeartsWake #InfantIsland #IronMaiden #JohnZorn #Kardashev #KazakhstaniMetal #KillswitchEngage #KnockedLoose #LakesongsOfElbid #LironAvitalProductions #MakeMeTheHeartOfTheBlackHole #MelodicBlackMetal #MelodicDeathMetal #Metalcore #MoonlightHaze #Niemaracz #Nightmarer #Nightwish #Nothingness #ObsidianWreath #Panopticon #ParkwayDrive #Phantazein #PicturePerfect #PortugueseMetal #PowerMetal #ProgressiveBlackMetal #ProgressiveMetal #PsychedelicMetal #PupilSlicer #ResinTomb #Review #Reviews #Rhûn #Screamo #SecretVoids #SeeingRedRecords #SelfRelease #Slift #Sludge #StonerDoom #StonerMetal #StuckInTheFilter #SubPopRecords #SymphonicMetal #SymphonicPowerMetal #TechnicalDeathMetal #TheAmityAffliction #TheTalesOfTheDeepForest #TranscendingObscurityRecords #TrapThem #Trivium #UKMetal #VitriolicSage #Vredehammer #WhiteWard #WillowtipRecords #Ὁπλίτης #Παραμαινομένη

Stuck in the Filter: January’s Angry Misses

By Kenstrosity

March is but a few days away (at the time of writing), so, naturally, we at AMG and Sons feel it’s finally time to leave 2023 behind. Entering 2024 with a fresh vat of anger juice to fuel our findings, we trudge through the thin metal walls of our ever-taxed filtration system. And boy howdy did we get lucky this month!

January’s Filter is stuffed to the gills with great options, sure to find a home in the arms of one of you despicable rascals lovely readers. If there was ever a Filter stocked enough to feed an entire readership in one fell swoop, it’s this one. Now, go! Feast!

Kenstrosity’s Scuzzy Slags

Dark Oath // Ages of Man [January 18th, 2024 – Self Release]

Portuguese symphonic, melodic death metal five-piece1 Dark Oath quietly dropped its sophomore effort Ages of Man to an unsuspecting public midway through January. After a whopping eight years since their debut When Fire Engulfs the Earth released, surely expectations for fans run high. As for me, this is my first foray, and this follow-up is nothing short of striking. Immediately recalling Aephanemer’s excellent Prokopton and Aether’s In Embers, riffs aren’t Ages of Man’s focus. Rather, epic guitar licks and leads command the charge with a cavalcade of orchestral layers forming an army of triumphant melodies and counterpoint just behind (“Gold I” and “Gold II”). Prominently featured and wonderfully effective, acoustic plucking from what sounds like a bouzouki evokes the magnificence and reverent tones of Gorgon’s Elegy, creating another core character for this epic journey that deepens the experience further (“Silver I,” “Bronze I,” “Bronze II”). While I occasionally pine for more engaging, groovy riffs to provide greater dynamics than the chugging gallops utilized instead, there’s no denying that Dark Oath’s infectious melodies and danceable rhythms punch far above the weight of forty-two minutes of lush, epic material (“Silver II,” “Heroic I,” “Iron”). At the end of the day, if you wanna go on cinematic adventures in the near future, queue up Ages of Man. It will be your guide.

Rhûn // Conveyance in Death [January 26th, 2024 – I.K. Productions]

Falls of Rauros’ founding member Aaron Charles, known for his emotive and vicious howls and creative guitar work, established solo act Rhûn back in 2021. Over the past year, a set of singles hinted at what debut full-length Conveyance in Death might hold for the Portland, Maine multi-instrumentalist. Now that it’s unleashed upon the world, this record proves to be a compelling amalgam of atmospheric black metal, post-black, and death metal. Opener “Morningstar” showcases all of these facets with aplomb, shifting from crushing riffs to a gorgeous trem-based ascension in the final third. Further down the line, Song o’ the Year contender “Bone Ornament” suitably shatters my bones with its awesome main riff, swaggering groove, and vicarious pacing. Other interesting forays into multifaceted modality and doom-laden marches help define the darker “Tomb of Andesite” and “Citadels in Ruins.” At a tight thirty-seven minutes of quality material, there’s little here that needs editing, although some lengthier passages in “Howl of Gleaming Swords” and closer “Night’s Glacial Passing” could stand a thirty-second trim here or there. Nonetheless, this is a strong launch for the fledgling project, and I can’t wait to hear how Aaron develops it in the future.

Niemaracz // The Tales of the Dense Forest [January 31st, 2024 – Self Release]

Hailing from Almaty, Kazakhstan, uber-obscure stoner doom black metal band Niemaracz doesn’t even have a date of establishment listed on Metallum. Pulling from fuzzy doom metal, languid stoner rock, folk-tinged heavy metal, and witchy black metal, debut record The Tales of the Dense Forest ushers in a sound I can’t say I’ve ever heard before. Icy and warm, rich and sharp, relaxed and blistering, these sprawling soundscapes challenge every preconception I held for not one, but four distinct styles. Yet, coming in at just under thirty minutes, this record marries them all as fluidly as a babbling brook glides over stone. With the immersive opener, “The Experiment,” Niemaracz’s high-fantasy fueled melodies and classic riffs impress with their uncanny synchronicity, while the fuzzy and warm production deepens the music’s cohesion. Album highlight, “The Faithful Horse,” manages to blend classic Iron Maiden gallops with the sort of furious black metal I’d sooner expect from Emperor, all wrapped up in stoned fuzz, and it’s fascinating. Sometimes, the clean baritones are far too forward in the mix, throwing that delicate balance of tones and textures way off. Thankfully, the consistently entertaining and novel songwriting makes it all worthwhile (“The Secret of Longevity”). Go check them out, and give their lone Bandcamp supporter a new friend!

Tales From the Garden

Slift // Ilion [January 19th, 2024 – Sub Pop Records]

I am going to preface this glowing recommendation by saying that this fucking behemoth is far too long. It’s nigh-on 80 minutes of dense, twisting, and very French psychedelic madness, and the brain can only contain so much of that for so long. The reason I am posting it here anyway is that it is really good dense twisting French psychedelic madness. Slift became an underground darling after 2020’s Ummon, which got them enough acclaim to be Artist in Residence at the 2022 edition of Roadburn, where I first became acquainted with the Toulouse formation. Ilion is a feverish album, a chase through winding soundscapes that always change but never end, layers of vocals and synths passing in and out of view, the hefty riffs hammering your back and Frenchmen hollering at you from behind. Slift has been getting heavier with each release and now firmly finds itself in sludge territory. The phenomenal drums are the tone, the pace, and the foundation here, a colossal presence even if their sound isn’t massive per se. They remind most of the climactic sequences Dvne so excels at, a bludgeoning dynamic shuffle that feels like getting caught in an avalanche, but retaining their old-school jam-band roots. Thankfully there’s enough variation to mitigate the bloat a bit, from left-field saxophone intermissions to more mid-paced material like the excellent atmospheric doom of “Weavers’ Weft.” Ilion is a deep, deep well, but a richly rewarding one for fans of heavy psych.

Carcharodon’s Fanged Fancies

Ὁπλίτης // Παραμαινομένη [January 12th, 2024 – Self-released]

At this point, I am almost relieved that the Chinese black metal-making machine known as Ὁπλίτης (Hoplites, for those of us not well versed in Ancient Greek) resolutely continues to not send us promo. Such is his level of productivity and, crucially, consistency, that I fear I would spend a fair chunk of my time just writing >3.0 reviews for his various projects (Vitriolic Sage being another good one). A case in point, his latest offering, Ὁπλίτης, is another absolute banger. Π​α​ρ​α​μ​α​ι​ν​ο​μ​έ​ν​η actually offers something slightly different from previous outings. While still very much playing in the almost clinically harsh black metal space, there is a more present and more vicious bass groove to this (fifth track “Συμμιαινόμεναι Διονύσῳ Ἐλευθέριῳ”), as well as, more surprisingly, a lot of freeform jazz elements. Screaming sax and trumpets are a big component, particularly in the first half of the record, giving the whole a feeling of White Ward and John Zorn having a particularly raucous threesome with Vredehammer. There is nothing tender about what’s happening though; it’s furious, pummelling, experimental… at least one of which is a thing that a threesome should be. A punishing, relentless listen, with unexpected twists, Ὁπλίτης has once again cranked out a fascinating record, and in record time.

Infant Island // Obsidian Wreath [January 12th, 2024 – Secret Voice]

Infant Island is new to me but, apparently, not to all—I’ve seen a fair bit of buzz around these guys—and Obsidian Wreath is the Virginians’ third record. Probably best tagged as blackened screamo, this record has contradictory feelings of warmth and utterly despairing rage. The band themselves cite Panopticon and Deafheaven as influences. I can hear both in their sound, the melodic complexity of the former, and the atmospheric wall-of-sound style of the latter. However, there are a few other things going on in the mix, with something of the frantic, chaotic precision of Pupil Slicer (“Fulfilled”), as well as the haunted and melodic deathgaze of Kardashev (“Amaranthine” and “Kindling”). Guitarists Alexander Rudenshiold and Winston Givler create such a dense morass of sound, that it often feels like there are more than two guitar lines in play, while Kyle Guerra’s bass adds something faintly grindcore-esque to the mix. All five members are credited with the vocals, which are throat-shredding and packed with pain, mourning, and frustration. Obsidian Wreath is a brutal, percussive listen, that feels like it’s tearing open your ears so that it can scream directly into your brain. At the same time, dark and unsettling electronica and arrangements (“Found Hand”) play a part in lulling the battered listener, preparing you for the next assault, as does the mix, which is surprisingly rich for all the pummelling. Although Infant Island is a screamo band, they reach with confidence into other genres for inspiration, making for a much more interesting proposition.

Thus Spoke’s Reviled Ramblings

Cognizance // Phantazein [January 26th, 2024 – Willowtip]

As most of them are from Leeds, I would have expected Cognizance to know that the objectively correct, British spelling is Cognisance, actually.2 But what the Loiners3 might lack in grammatical precision, they more than makeup for in musical style. Finessing their brand of tech-death, which falls somewhere between The Faceless and Allegaeon, Phantazein realizes the convergence of grooviness, melodic catchiness, and technicality with panache. Stomping, neck-snapping, and irresistibly foot-tapping rhythms tumble over one another with precise eagerness (“Ceremonial Vigour,” “Futureless Horizon,” “The Towering Monument”). Punchy, satisfyingly urgent melodies lead the way in chunky, groovy guitar dances (“A Brain Dead Memoir,” “Shock Heuristics,” “Shadowgraph”). With the exception of the (unnecessary) echoing interlude “Alferov,” this thing wrestles and roils its way into and around your general head area. It’s snappy, slick, and smooth. Phantazein (I think) comes from the Greek meaning “to appear,” as in, to seem a certain way. It seems to me, at least, that Phantazein is a banger.

Resin Tomb // Cerebral Purgatory [January 19th, 2024 – Transcending Obscurity Records]

Having stolen this from Ferox‘s rightful hands due to his punishing work schedule, I find myself, not for the first, or the last time this year I’m sure, singing the praises of a Transcending Obscurity release. But Cerebral Purgatory deserves praise in its own right. Punishingly heavy, yet remarkably listenable, it sees Resin Tomb filter grindy percussive assaults and dissonant death metal through a hard/grind-core medium. Barking screams breaking across ringing, tremolo-ing descending scales and tempos from charge to crushing, headbanging groove. Clanging, twanging guitar beats aggressive and menacing patterns (“Flesh Brick,” “Scalded,” “Putrescence”). Sometimes, this makes for pleasingly slick, melancholic melodies, that play out with stalking grace (title track, “Human Confetti,” “Concrete Crypt”). Other times, relentless blastbeating or chonky bass chugging provides the background for the axe’s more dissonant angularity (“Dysphoria,” “Purge Fluid,” “Flesh Brick”). Like “a more hardcore-y Nightmarer,”4 or perhaps even an extreme metal Knocked Loose mixed with Nothingness. Seriously, just listen to it.

Mystikus Hugebeards’s Stupendous Scrolls

Albion // Lakesongs of Elbid [January 27th, 2024 – Self-Release]

I’ve been on a folk metal streak of late, yet I’ve struggled to find something that really gripped me the way I wanted. Thus did fate decree that some watery tart hangin’ about in ponds would lob a sword at me in the form of Lakesongs of Elbid, the debut album by the British folk band Albion. This album transposes Celtic folklore into lush, lightly proggy folk metal in the vein of Big Big Train, and is written like the music you hear in your head when you picture a grand quest to Camelot or the Isles of Avalon. “Arthurian Overture” begins the journey in earnest, the music cresting triumphant, orchestral hills and striding through valleys of flute passages, all to the rhythmic footsteps of the guitars. From there, Lakesongs of Elbid explores a wide array of musical locales that can range from direct, determined metal riffs (“Finding Avalon”), traces of British tavern rock (“Barret’s Privateers,” “Silvaplana Rock”), or somber, acoustic folk (“Camlann”). The quest is spearheaded by Joe Parrish-James, whose vocals effortlessly merge the buttery smooth cadence of a seasoned storyteller with a youthful yearning for adventure. That idea of adventure is the beating heart of Lakesongs of Elbid; I can think of a few bands that so easily transport the listener to a new world of vibrant color and sound. Adventurous, enchanting, tons of fun, and extraordinarily British.

Dolphin Whisperer’s Slippery Sermon

Cancer Christ // God Is Violence [January 5th, 2024 – Seeing Red Records]

HAIL CHRIST! HAIL CHRIST!! DO YOU SEE THE LIGHT? DO YOU SEE IT?? IT’S AT THE END OF A TUNNEL FILLED WITH RAPISTS, SATANISTS, PEOPLE WHO DON’T BELIEVE IN GOD’S LOVE. “SATAN IS A BITCH.” SEE THE LIGHT. SEE JESUS CHRIST. JESUS KNOWS THE WORLD CAN BE A BETTER PLACE. JESUS KNOWS THE WORLD NEEDS RIFFS. JESUS KNOWS THE WORLD DOESN’T NEED COPS. “GOD HATES COPS.” THEY STAND IN THE WAY OF GOD’S POWER. HUBRIS! JESUS KNOWS THAT WE’RE ALL BETTER DEAD THAN ALIVE. JESUS CAN KILL US ALL JUST FINE HE DOESN’T NEED COPS. DID YOU HEAR? DID YOU HEAR JESUS’ WORD?? WE NEED TO “BRING BACK THE GUILLOTINE” — WE NEED TO CIRCLE PIT AROUND THE SINNERS AND CHOP THEIR HEADS OFF. CHOP THEIR HEADS OFF!! THE ONLY WAY THEY’LL SEE GOD’S LOVE IS IF THEY’RE DEAD. DO YOU HEAR THE SCREECHING? THAT HIGH-PITCHED SQUIRMING? THAT THRASHY RHYTHMIC PULSE? THAT’S THE ONLY WAY WE’LL GET THESE SINNERS WHO HAVE BEEN “BAPTIZED IN PISS AND SHIT.” HAIL CHRIST! HAIL CHRIST!! WE HAVE SKANKS (BEATS)! WE HAVE MENTAL BREAKDOWNS! “JESUS GOT A BIG OL’ COCK” TOO! IF YOU DESIRE SALVATION YOU’LL WORSHIP CHRIST IF YOU KNOW WHAT’S GOOD FOR YOU. SPREAD JESUS’ LOVE LIKE HE’S SPREAD HIS SEED ACROSS THE WORLD. CANCER CHRIST HAS LAID THE PATH BEFORE YOU. DON’T LISTEN TO LESSER GOSPELS EVEN IF THEY SOUND SIMILAR. DEAD KENNEDYS ARE OLD BUT NOT AS OLD AS HIS WISDOM. CHILD BITE HAS NO CLUE OF THE PATH OF GOD. TRAP THEM DOESN’T EVEN KNOW HOW TO BUILD A CROSS LET ALONE HOW TO NAIL JESUS SINNERS TO ONE. COVER YOURSELF IN “THE BLOOD OF JESUS” TO PROTECT YOURSELF FROM THESE DIRECTIONLESS GOSPELS WHO KNOW NOTHING OF THE LOVE OF GOD. FILL YOUR LIFE WITH MEANING. FILL YOUR LIFE WITH JESUS’ CUM. “GOD BLESS THE RAPISTS.” GOD IS THRASH. GOD IS NOISE. GOD IS LOVE. GOD IS VIOLENCE. HAIL CHRIST!!! HAIL!!!! CHRIST!!!!!5

Dear Hollow’s Magnanimous Muddle

Her Last Sight // Picture Perfect [January 19th, 2024 – Liron Avital Productions / Self-Released]

You see metalcore, you run? Well run, bitch, run. Cuz Her Last Sight is bringing back the 2000s metalcore that made Hot Topic-obsessed millennials go absolutely bananas. Being that this was my well-trod path to the harsher realities of metal’s more textured offerings, I was all for giving Picture Perfect after seeing the Israelis’ incredibly accomplished guitarist Ofek Asulin’s insane licks on TikTok. While completely acknowledging that this bad boy is not going to change your mind on metalcore, Picture Perfect is core nostalgia through and through. Parkway Drive’s fist-pumping brutality collides with As I Lay Dying’s wild technicality, fed through the riff-happy arpeggio machines of Killswitch Engage or Trivium with clean choruses and heart-wrenching melodies straight outta In Hearts Wake or The Amity Affliction. Breakdowns and wild riffs dominate tracks like “In Dying Light,” “Horizons,” and “R.I.P.”, while the soaring choruses of “Paralyzed,” “Careless,” and “Heart // Mind” remain seared in the mind. While the too-loud and frail clean vocals are too often a weak link, the album is overlong, and the sparse electronic trip-hop influence feels largely unnecessary, the formidable technicality and solid songwriting grant Her Last Sight a relatively guilt-free nostalgia trip with Picture Perfect.

Hyloxalus // Make Me the Heart of the Black Hole [January 26th, 2024 – Self-Release]

For those of you who have read my reviews before, you know how much I am not a power metal guy. I reviewed Moonlight Haze twice to make myself more marketable when I first joined these halls, but it is far and away not my cup of tea. Thus, I was cautiously intrigued by the “dark power metal” tag of the Edmonton trio Hyloxalus. How this translates is that we are graced with the powerful operatic vocals of Nina Laderoute while instrumentalists Danial “AniMal” Devost and Mike Bell offer a noisy and relentless thrash riff-forwardness that feels both kickass and cold. Channeling Nightwish’s weirder and heavier moments, the trio rockets its sound to the cosmos, where we’re granted sounds expansive, exploratory, and epic (“Undead in Ward 6,” “Sailors Underneath the Waves”), while unforgiving coldness and isolation are constant reminders of the darkness (“He Dies in the Swamp,” “Severed from the Reborn Sun”). Don’t get me wrong, Hyloxalus is far from perfect in a tinny production and wonky mixing, while slower tracks like “Dream Chasm” and “Beyond the Soil” get bogged down by sluggish tempos. However, Make Me the Heart of the Black Hole is a ton of fun from a young band with a unique and weirdass sound that may just capture your heart.

#Aephanemer #Aether #AgesOfMan #Albion #AmericanMetal #AsILayDying #AustralianMetal #BigBigTrain #CancerChrist #CerebralPurgatory #ChildBite #ChineseMetal #Cognizance #ConveyanceInDeath #DarkOath #DeadKennedys #Deafheaven #DeathMetal #DissonantBlackMetal #DoomMetal #Dvne #Emperor #FallsOfRauros #FolkMetal #FrenchMetal #GodIsViolence #Gorgon #Grindcore #Hardcore #HeavyMetal #HerLastSight #Hoplites #Hyolaxus #IKProductions #Ilion #InHeartsWake #InfantIsland #IronMaiden #JohnZorn #Kardashev #KazakhstaniMetal #KillswitchEngage #KnockedLoose #LakesongsOfElbid #LironAvitalProductions #MakeMeTheHeartOfTheBlackHole #MelodicBlackMetal #MelodicDeathMetal #Metalcore #MoonlightHaze #Niemaracz #Nightmarer #Nightwish #Nothingness #ObsidianWreath #Panopticon #ParkwayDrive #Phantazein #PicturePerfect #PortugueseMetal #PowerMetal #ProgressiveBlackMetal #ProgressiveMetal #PsychedelicMetal #PupilSlicer #ResinTomb #Review #Reviews #Rhûn #Screamo #SecretVoids #SeeingRedRecords #SelfRelease #Slift #Sludge #StonerDoom #StonerMetal #StuckInTheFilter #SubPopRecords #SymphonicMetal #SymphonicPowerMetal #TechnicalDeathMetal #TheAmityAffliction #TheTalesOfTheDeepForest #TranscendingObscurityRecords #TrapThem #Trivium #UKMetal #VitriolicSage #Vredehammer #WhiteWard #WillowtipRecords #Ὁπλίτης #Παραμαινομένη