#primalfear — Public Fediverse posts

Dark, scorching, and so powerful it seems to devour the light while leaving the listener burning with riffs and steel. 🤘🏽🤘🏽🤘🏽🎸

Oscuro, abrasador y tan potente que parece devorar la luz mientras deja al oyente ardiendo en riffs y acero. 🤘🏽🤘🏽🎸
#heavymetal #primalfear #music #metal #vinyl

Dark, scorching, and so powerful it seems to devour the light while leaving the listener burning with riffs and steel. 🤘🏽🤘🏽🤘🏽🎸

Oscuro, abrasador y tan potente que parece devorar la luz mientras deja al oyente ardiendo en riffs y acero. 🤘🏽🤘🏽🎸
#heavymetal #primalfear #music #metal #vinyl

Dark, scorching, and so powerful it seems to devour the light while leaving the listener burning with riffs and steel. 🤘🏽🤘🏽🤘🏽🎸

Oscuro, abrasador y tan potente que parece devorar la luz mientras deja al oyente ardiendo en riffs y acero. 🤘🏽🤘🏽🎸
#heavymetal #primalfear #music #metal #vinyl

Dark, scorching, and so powerful it seems to devour the light while leaving the listener burning with riffs and steel. 🤘🏽🤘🏽🤘🏽🎸

Oscuro, abrasador y tan potente que parece devorar la luz mientras deja al oyente ardiendo en riffs y acero. 🤘🏽🤘🏽🎸
#heavymetal #primalfear #music #metal #vinyl

Dark, scorching, and so powerful it seems to devour the light while leaving the listener burning with riffs and steel. 🤘🏽🤘🏽🤘🏽🎸

Oscuro, abrasador y tan potente que parece devorar la luz mientras deja al oyente ardiendo en riffs y acero. 🤘🏽🤘🏽🎸
#heavymetal #primalfear #music #metal #vinyl

Movie TV Tech Geeks #MovieNews #PrimalFear #RichardGere One of the ’90s’ Most Shocking Legal Thrillers Is Leaving Streaming http://dlvr.it/TSDB5r

Movie TV Tech Geeks #MovieNews #PrimalFear #RichardGere One of the ’90s’ Most Shocking Legal Thrillers Is Leaving Streaming http://dlvr.it/TSDB5r

Movie TV Tech Geeks #MovieNews #PrimalFear #RichardGere One of the ’90s’ Most Shocking Legal Thrillers Is Leaving Streaming http://dlvr.it/TSDB5r

Movie TV Tech Geeks #MovieNews #PrimalFear #RichardGere One of the ’90s’ Most Shocking Legal Thrillers Is Leaving Streaming http://dlvr.it/TSDB5r

Movie TV Tech Geeks #MovieNews #PrimalFear #RichardGere One of the ’90s’ Most Shocking Legal Thrillers Is Leaving Streaming http://dlvr.it/TSDB5r

https://www.europesays.com/es/499542/ Mat Sinner de PRIMAL FEAR habla de su estado de salud. Vídeo de Duff McKagan. OMISSION con Silver en directo haciendo “Mutant Hunter”. #DUFFMCKAGAN #Entertainment #Entretenimiento #ES #España #Music #Música #OMISSION #PRIMALFEAR #Spain

https://www.europesays.com/es/494460/ Dirk Schlächter de GAMMA RAY es su sustituto #Entertainment #Entretenimiento #ES #España #HeavyMetal #MatSinner #Music #Música #PRIMALFEAR #Spain

https://www.europesays.com/at/95388/ Bassist Mat Sinner muss pausieren, Bein aufgeschlitzt #AT #Austria #Bassist #Bein #DirkSchlächter #Entertainment #GammaRay #MatSinner #Music #Musik #Österreich #Pause #PrimalFear #Unterhaltung

https://www.europesays.com/es/490492/ PRIMAL FEAR sin Matt Sinner. Más fechas de TANKARD en nuestro país. Disco de rarezas de MOB RULES. #Entertainment #Entretenimiento #ES #España #MOBRULES #Music #Música #PRIMALFEAR #Spain #TANKARD

Movie TV Tech Geeks #MovieFeatures #PrimalFear #EdwardNorton 30 Years Later, Edward Norton's Forgotten Crime Mystery Surges on Streaming http://dlvr.it/TRt0nR

Movie TV Tech Geeks #MovieNews #PrimalFear #EdwardNorton Edward Norton's 30-Year-Old Prison Thriller Finds the Perfect New Streaming Home http://dlvr.it/TRmGm1

Movie TV Tech Geeks #MovieNews #PrimalFear #EdwardNorton Edward Norton's 30-Year-Old Prison Thriller Finds the Perfect New Streaming Home http://dlvr.it/TRmGm1

Movie TV Tech Geeks #MovieNews #PrimalFear #EdwardNorton Edward Norton's 30-Year-Old Prison Thriller Finds the Perfect New Streaming Home http://dlvr.it/TRmGm1

Movie TV Tech Geeks #MovieNews #PrimalFear #EdwardNorton Edward Norton's 30-Year-Old Prison Thriller Finds the Perfect New Streaming Home http://dlvr.it/TRmGm1

Movie TV Tech Geeks #MovieNews #PrimalFear #EdwardNorton Edward Norton's 30-Year-Old Prison Thriller Finds the Perfect New Streaming Home http://dlvr.it/TRmGm1

Legal Thriller ‘Primal Fear’ Getting First Stage Adaptation With Bill Kenwright Ltd Show Eyeing West End & Broadway
#News #PrimalFear

https://deadline.com/2026/03/primal-fear-first-theater-adaptation-bill-kenwright-ltd-1236766566/

Legal Thriller ‘Primal Fear’ Getting First Stage Adaptation With Bill Kenwright Ltd Show Eyeing West End & Broadway
#News #PrimalFear

https://deadline.com/2026/03/primal-fear-first-theater-adaptation-bill-kenwright-ltd-1236766566/

Legal Thriller ‘Primal Fear’ Getting First Stage Adaptation With Bill Kenwright Ltd Show Eyeing West End & Broadway
#News #PrimalFear

https://deadline.com/2026/03/primal-fear-first-theater-adaptation-bill-kenwright-ltd-1236766566/

Legal Thriller ‘Primal Fear’ Getting First Stage Adaptation With Bill Kenwright Ltd Show Eyeing West End & Broadway
#News #PrimalFear

https://deadline.com/2026/03/primal-fear-first-theater-adaptation-bill-kenwright-ltd-1236766566/

Lion’s Share – Inferno Review

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #BruceDickinson #diamondhead #Dio #Entertainment #Exciter #HeavyMetal #Inferno #Lion'sShare #Mar26 #MetalvilleRecords #NilsPatrikJohansson #PowerMetal #PrimalFear #review #reviews #SwedishMetal
https://www.newsbeep.com/us/544478/

Lion’s Share – Inferno Review

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #BruceDickinson #diamondhead #Dio #Entertainment #Exciter #HeavyMetal #Inferno #Lion'sShare #Mar26 #MetalvilleRecords #NilsPatrikJohansson #PowerMetal #PrimalFear #review #reviews #SwedishMetal
https://www.newsbeep.com/us/544478/

https://www.europesays.com/uk/849402/ Lion’s Share – Inferno Review #2026 #30 #BruceDickinson #DiamondHead #Dio #Entertainment #Exciter #HeavyMetal #Inferno #Lion'sShare #Mar26 #MetalvilleRecords #music #NilsPatrikJohansson #PowerMetal #PrimalFear #Review #Reviews #SwedishMetal #UK #UnitedKingdom

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno?

Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically.

Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno.

Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness.

Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.



Rating: Good
DR: 7 | Format Reviewed: 320 kbps mps
Label: Metalville Records
Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband
Releases Worldwide: March 27th, 2026

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno?

Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically.

Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno.

Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness.

Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.



Rating: Good
DR: 7 | Format Reviewed: 320 kbps mps
Label: Metalville Records
Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband
Releases Worldwide: March 27th, 2026

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno?

Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically.

Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno.

Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness.

Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.



Rating: Good
DR: 7 | Format Reviewed: 320 kbps mps
Label: Metalville Records
Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband
Releases Worldwide: March 27th, 2026

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno?

Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically.

Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno.

Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness.

Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.



Rating: Good
DR: 7 | Format Reviewed: 320 kbps mps
Label: Metalville Records
Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband
Releases Worldwide: March 27th, 2026

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno?

Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically.

Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno.

Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness.

Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.



Rating: Good
DR: 7 | Format Reviewed: 320 kbps mps
Label: Metalville Records
Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband
Releases Worldwide: March 27th, 2026

Zwielicht (1996)

https://www.zdf.de/filme/zwielicht-movie-100

https://www.imdb.com/de/title/tt0117381

#Zwielicht #PrimalFear #film #JuristischerThriller #Kriminalität #GregoryHoblit #RichardGere #LauraLinney #EdwardNorton #zdf #zdfmediathek #mediathek

https://www.europesays.com/es/429065/ PRIMAL FEAR en Iberoamérica. Fecha para el disco con orquesta de VOIVOD. Nuevo libro dedicado al Black Metal “Born For Burning”. #“BornForBurning” #Entertainment #Entretenimiento #ES #España #Music #Música #PRIMALFEAR #Spain #VOIVOD

https://www.europesays.com/es/412263/ el grupo de Heavy Metal continúa «la atmósfera de Domination» #Entertainment #Entretenimiento #ES #España #HeavyMetal #Music #Música #PRIMALFEAR #Spain

https://www.europesays.com/es/407875/ Nuevo single y fechas de PRIMAL FEAR. SYLOSIS estrenan vídeo. Próximo disco y single de HARDLINE. #Entertainment #Entretenimiento #ES #España #HARDLINE #Music #Música #PRIMALFEAR #Spain #SYLOSIS

PRIMAL FEAR (Alemanya) presenta nou single: "One" #PrimalFear #SpeedMetal #PowerMetal #Febrer2026 #Alemanya #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

PRIMAL FEAR (Alemanya) presenta nou single: "One" #PrimalFear #SpeedMetal #PowerMetal #Febrer2026 #Alemanya #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/es/388199/ Próximo single de PRIMAL FEAR. Nuevos vídeos de CRASHDÏET y ANKOR. #ANKOR #CRASHDÏET #Entertainment #Entretenimiento #ES #España #Music #Música #PRIMALFEAR #Spain

https://www.europesays.com/uk/746492/ Tailgunner – Midnight Blitz Review #2026 #3.0 #Enforcer #EnglishMetal #Entertainment #Feb26 #GunsForHire #HeavyMetal #MidnightBlitz #music #NapalmRecords #PrimalFear #Review #Reviews #Tailgunner #UK #UnitedKingdom #wolf

https://www.europesays.com/ie/323509/ Tailgunner – Midnight Blitz Review #2026 #3.0 #Éire #Enforcer #EnglishMetal #Entertainment #Feb26 #GunsForHire #HeavyMetal #IE #Ireland #MidnightBlitz #Music #NapalmRecords #PrimalFear #Review #Reviews #Tailgunner #wolf

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026