#reviews — Public Fediverse posts

#Watching THE LAIR OF THE WHITE WORM

One of the best movies from the 80s with the words "white worm" in the title.

https://letterboxd.com/noeljpenaflor/film/the-lair-of-the-white-worm/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching THE LAIR OF THE WHITE WORM

One of the best movies from the 80s with the words "white worm" in the title.

https://letterboxd.com/noeljpenaflor/film/the-lair-of-the-white-worm/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching THE LAIR OF THE WHITE WORM

One of the best movies from the 80s with the words "white worm" in the title.

https://letterboxd.com/noeljpenaflor/film/the-lair-of-the-white-worm/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching THE LAIR OF THE WHITE WORM

One of the best movies from the 80s with the words "white worm" in the title.

https://letterboxd.com/noeljpenaflor/film/the-lair-of-the-white-worm/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching THE LAIR OF THE WHITE WORM

One of the best movies from the 80s with the words "white worm" in the title.

https://letterboxd.com/noeljpenaflor/film/the-lair-of-the-white-worm/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

https://www.europesays.com/ie/707516/ Chelsea Wolfe – The Dark Review #2026 #35 #AlternativeRock #AmericanMetal #ChelseaWolfe #Doom #Éire #Entertainment #Folk #IE #Ireland #LornaVistaRecordings #Music #NineInchNails #QueensOfTheStoneAge #Review #Reviews #TheDark

https://www.europesays.com/uk/1223261/ Chelsea Wolfe – The Dark Review #2026 #35 #AlternativeRock #AmericanMetal #ChelseaWolfe #DOOM #Entertainment #folk #LornaVistaRecordings #music #NineInchNails #QueensOfTheStoneAge #Review #Reviews #TheDark #UK #UnitedKingdom

Long sharing an affiliation with the broader metal community, Chelsea Wolfe has carved out an eclectic, compelling career arc. From minimalist drone, folk, and experimental leanings of her early work to her blockbuster doom and metal-tinged explosions on top-shelf albums like Abyss and Hiss Spun. Wolfe has traversed interesting pathways across a career which has elevated the gifted songstress from cult status to a deservedly higher profile. Wolfe continues challenging her songwriting by examining the darkest corners within the goth, folk, and metal-verses. Aided by a host of collaborators, including Ben Chisolm, Jennifer Declveo, prolific drummer Matt Chamberlain, Queens of the Stone Age’s Troy Van Leeuwen, and Robin Finck (Nine Inch Nails), Wolfe revisits the goth-folk stylings and ominous, melancholic atmospheres forming the cornerstone of her career. Ninth LP The Dark signals the latest Wolfe offering, an addictive gem worth exploring for listeners new and old.

Firstly, The Dark largely strips away the doomy and industrial layers that coat her heavier material, including 2024’s solid if uneven, She Reaches Out to She Reaches Out to She, returning to the more subdued, folk and acoustic-driven work featured on albums such as 2019’s Birth of Violence. Borrowing pieces from Wolfe’s versatile career, including the synth-driven electronic thrums of 2013’s breakthrough album, Pain is Beauty, The Dark showcases an artist with ambitions to continue pushing her boundaries. Though listeners who prefer her more challenging, heavier experimental works (Abyss and Hiss Spun), may be disappointed in the album’s mellower, sedate flow.

While not one of Wolfe’s heaviest or most experimental albums, The Dark excels through a tighter, more straightforward songwriting approach, without falling into formulaic traps or repetition. Lush and stormy opener “Cold” and stripped acoustic gems ‘The Dark” and “Death is not the End” stir the emotions and straddle Wolfe’s masterful balance between frosted beauty and brooding melancholy, featuring strong hooks to boot and tearjerking melodies. A succinct and breezy listen, The Dark delivers infectious hooks and impactful melodies and is possibly Wolfe’s most accessible work to date. However, Wolfe’s songwriting is anything but one-dimensional, highlighted by the album’s shifting shades and more energetic, upbeat moments. Electro pulses and darkly sparkling hooks glitter on brooding rock-centric tracks (“Seethe,” “Swallower”), while the seductive earworms on “Halo” get easily lodged in the noggin’, enriched by Wolfe’s strikingly emotive vocals. “Turn the Key” ups the ante, cleverly demonstrating Wolfe’s tension-building and soft-loud dynamics through a brooding, industrial rock and synth-pop lens.

Vocally, Wolfe sounds as confident and comfortable as ever in her skin, her haunting, longing and ghostly tones a slice of liquid gold at the forefront of the album. Driving delicate yet powerful vocal melodies carrying lushly produced and arranged songs, like all her works, you can really feel the pain, sorrow, hint of hope, and scarred emotion bleeding from Wolfe’s voice, the raw emotional depth leaving a lasting impact, such as the solemn beauty and orchestral flair of closer “Dancer in the Sky.” Although less sonically dense and heavy than past efforts, the compositions are meticulously detailed and layered with numerous elements, from stripped-back acoustic forays and traditional rock instrumentation to the prominent use of synths and piano, creating a deceptively rich foundation for the listener to unpack. Occasional dips in album flow, lack of heavier, challenging fare, and a polished though disappointingly compressed master are the main drawbacks to an otherwise consistently solid and catchy front-to-back listen.

Wolfe rarely misses, and The Dark is no exception. Bolstered by tighter, more cohesive songwriting compared to her predecessor, The Dark maintains Wolfe’s stellar track record without resting on her laurels, though mileage will vary depending on listeners’ preference towards Wolfe’s songwriting styles and those enamored with Wolfe’s more sonically and musically daring career twists. A neatly crafted, addictive platter of goth, synth, and folk-tinged alternative rock, The Dark’s addictive, accessible streak demands repeat listens and often teeters on the edge of greatness. And I get the feeling this album will be a grower over time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Lorna Vista Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: August 21st, 2026

Long sharing an affiliation with the broader metal community, Chelsea Wolfe has carved out an eclectic, compelling career arc. From minimalist drone, folk, and experimental leanings of her early work to her blockbuster doom and metal-tinged explosions on top-shelf albums like Abyss and Hiss Spun. Wolfe has traversed interesting pathways across a career which has elevated the gifted songstress from cult status to a deservedly higher profile. Wolfe continues challenging her songwriting by examining the darkest corners within the goth, folk, and metal-verses. Aided by a host of collaborators, including Ben Chisolm, Jennifer Declveo, prolific drummer Matt Chamberlain, Queens of the Stone Age’s Troy Van Leeuwen, and Robin Finck (Nine Inch Nails), Wolfe revisits the goth-folk stylings and ominous, melancholic atmospheres forming the cornerstone of her career. Ninth LP The Dark signals the latest Wolfe offering, an addictive gem worth exploring for listeners new and old.

Firstly, The Dark largely strips away the doomy and industrial layers that coat her heavier material, including 2024’s solid if uneven, She Reaches Out to She Reaches Out to She, returning to the more subdued, folk and acoustic-driven work featured on albums such as 2019’s Birth of Violence. Borrowing pieces from Wolfe’s versatile career, including the synth-driven electronic thrums of 2013’s breakthrough album, Pain is Beauty, The Dark showcases an artist with ambitions to continue pushing her boundaries. Though listeners who prefer her more challenging, heavier experimental works (Abyss and Hiss Spun), may be disappointed in the album’s mellower, sedate flow.

While not one of Wolfe’s heaviest or most experimental albums, The Dark excels through a tighter, more straightforward songwriting approach, without falling into formulaic traps or repetition. Lush and stormy opener “Cold” and stripped acoustic gems ‘The Dark” and “Death is not the End” stir the emotions and straddle Wolfe’s masterful balance between frosted beauty and brooding melancholy, featuring strong hooks to boot and tearjerking melodies. A succinct and breezy listen, The Dark delivers infectious hooks and impactful melodies and is possibly Wolfe’s most accessible work to date. However, Wolfe’s songwriting is anything but one-dimensional, highlighted by the album’s shifting shades and more energetic, upbeat moments. Electro pulses and darkly sparkling hooks glitter on brooding rock-centric tracks (“Seethe,” “Swallower”), while the seductive earworms on “Halo” get easily lodged in the noggin’, enriched by Wolfe’s strikingly emotive vocals. “Turn the Key” ups the ante, cleverly demonstrating Wolfe’s tension-building and soft-loud dynamics through a brooding, industrial rock and synth-pop lens.

Vocally, Wolfe sounds as confident and comfortable as ever in her skin, her haunting, longing and ghostly tones a slice of liquid gold at the forefront of the album. Driving delicate yet powerful vocal melodies carrying lushly produced and arranged songs, like all her works, you can really feel the pain, sorrow, hint of hope, and scarred emotion bleeding from Wolfe’s voice, the raw emotional depth leaving a lasting impact, such as the solemn beauty and orchestral flair of closer “Dancer in the Sky.” Although less sonically dense and heavy than past efforts, the compositions are meticulously detailed and layered with numerous elements, from stripped-back acoustic forays and traditional rock instrumentation to the prominent use of synths and piano, creating a deceptively rich foundation for the listener to unpack. Occasional dips in album flow, lack of heavier, challenging fare, and a polished though disappointingly compressed master are the main drawbacks to an otherwise consistently solid and catchy front-to-back listen.

Wolfe rarely misses, and The Dark is no exception. Bolstered by tighter, more cohesive songwriting compared to her predecessor, The Dark maintains Wolfe’s stellar track record without resting on her laurels, though mileage will vary depending on listeners’ preference towards Wolfe’s songwriting styles and those enamored with Wolfe’s more sonically and musically daring career twists. A neatly crafted, addictive platter of goth, synth, and folk-tinged alternative rock, The Dark’s addictive, accessible streak demands repeat listens and often teeters on the edge of greatness. And I get the feeling this album will be a grower over time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Lorna Vista Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: August 21st, 2026

Long sharing an affiliation with the broader metal community, Chelsea Wolfe has carved out an eclectic, compelling career arc. From minimalist drone, folk, and experimental leanings of her early work to her blockbuster doom and metal-tinged explosions on top-shelf albums like Abyss and Hiss Spun. Wolfe has traversed interesting pathways across a career which has elevated the gifted songstress from cult status to a deservedly higher profile. Wolfe continues challenging her songwriting by examining the darkest corners within the goth, folk, and metal-verses. Aided by a host of collaborators, including Ben Chisolm, Jennifer Declveo, prolific drummer Matt Chamberlain, Queens of the Stone Age’s Troy Van Leeuwen, and Robin Finck (Nine Inch Nails), Wolfe revisits the goth-folk stylings and ominous, melancholic atmospheres forming the cornerstone of her career. Ninth LP The Dark signals the latest Wolfe offering, an addictive gem worth exploring for listeners new and old.

Firstly, The Dark largely strips away the doomy and industrial layers that coat her heavier material, including 2024’s solid if uneven, She Reaches Out to She Reaches Out to She, returning to the more subdued, folk and acoustic-driven work featured on albums such as 2019’s Birth of Violence. Borrowing pieces from Wolfe’s versatile career, including the synth-driven electronic thrums of 2013’s breakthrough album, Pain is Beauty, The Dark showcases an artist with ambitions to continue pushing her boundaries. Though listeners who prefer her more challenging, heavier experimental works (Abyss and Hiss Spun), may be disappointed in the album’s mellower, sedate flow.

While not one of Wolfe’s heaviest or most experimental albums, The Dark excels through a tighter, more straightforward songwriting approach, without falling into formulaic traps or repetition. Lush and stormy opener “Cold” and stripped acoustic gems ‘The Dark” and “Death is not the End” stir the emotions and straddle Wolfe’s masterful balance between frosted beauty and brooding melancholy, featuring strong hooks to boot and tearjerking melodies. A succinct and breezy listen, The Dark delivers infectious hooks and impactful melodies and is possibly Wolfe’s most accessible work to date. However, Wolfe’s songwriting is anything but one-dimensional, highlighted by the album’s shifting shades and more energetic, upbeat moments. Electro pulses and darkly sparkling hooks glitter on brooding rock-centric tracks (“Seethe,” “Swallower”), while the seductive earworms on “Halo” get easily lodged in the noggin’, enriched by Wolfe’s strikingly emotive vocals. “Turn the Key” ups the ante, cleverly demonstrating Wolfe’s tension-building and soft-loud dynamics through a brooding, industrial rock and synth-pop lens.

Vocally, Wolfe sounds as confident and comfortable as ever in her skin, her haunting, longing and ghostly tones a slice of liquid gold at the forefront of the album. Driving delicate yet powerful vocal melodies carrying lushly produced and arranged songs, like all her works, you can really feel the pain, sorrow, hint of hope, and scarred emotion bleeding from Wolfe’s voice, the raw emotional depth leaving a lasting impact, such as the solemn beauty and orchestral flair of closer “Dancer in the Sky.” Although less sonically dense and heavy than past efforts, the compositions are meticulously detailed and layered with numerous elements, from stripped-back acoustic forays and traditional rock instrumentation to the prominent use of synths and piano, creating a deceptively rich foundation for the listener to unpack. Occasional dips in album flow, lack of heavier, challenging fare, and a polished though disappointingly compressed master are the main drawbacks to an otherwise consistently solid and catchy front-to-back listen.

Wolfe rarely misses, and The Dark is no exception. Bolstered by tighter, more cohesive songwriting compared to her predecessor, The Dark maintains Wolfe’s stellar track record without resting on her laurels, though mileage will vary depending on listeners’ preference towards Wolfe’s songwriting styles and those enamored with Wolfe’s more sonically and musically daring career twists. A neatly crafted, addictive platter of goth, synth, and folk-tinged alternative rock, The Dark’s addictive, accessible streak demands repeat listens and often teeters on the edge of greatness. And I get the feeling this album will be a grower over time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Lorna Vista Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: August 21st, 2026

Long sharing an affiliation with the broader metal community, Chelsea Wolfe has carved out an eclectic, compelling career arc. From minimalist drone, folk, and experimental leanings of her early work to her blockbuster doom and metal-tinged explosions on top-shelf albums like Abyss and Hiss Spun. Wolfe has traversed interesting pathways across a career which has elevated the gifted songstress from cult status to a deservedly higher profile. Wolfe continues challenging her songwriting by examining the darkest corners within the goth, folk, and metal-verses. Aided by a host of collaborators, including Ben Chisolm, Jennifer Declveo, prolific drummer Matt Chamberlain, Queens of the Stone Age’s Troy Van Leeuwen, and Robin Finck (Nine Inch Nails), Wolfe revisits the goth-folk stylings and ominous, melancholic atmospheres forming the cornerstone of her career. Ninth LP The Dark signals the latest Wolfe offering, an addictive gem worth exploring for listeners new and old.

Firstly, The Dark largely strips away the doomy and industrial layers that coat her heavier material, including 2024’s solid if uneven, She Reaches Out to She Reaches Out to She, returning to the more subdued, folk and acoustic-driven work featured on albums such as 2019’s Birth of Violence. Borrowing pieces from Wolfe’s versatile career, including the synth-driven electronic thrums of 2013’s breakthrough album, Pain is Beauty, The Dark showcases an artist with ambitions to continue pushing her boundaries. Though listeners who prefer her more challenging, heavier experimental works (Abyss and Hiss Spun), may be disappointed in the album’s mellower, sedate flow.

While not one of Wolfe’s heaviest or most experimental albums, The Dark excels through a tighter, more straightforward songwriting approach, without falling into formulaic traps or repetition. Lush and stormy opener “Cold” and stripped acoustic gems ‘The Dark” and “Death is not the End” stir the emotions and straddle Wolfe’s masterful balance between frosted beauty and brooding melancholy, featuring strong hooks to boot and tearjerking melodies. A succinct and breezy listen, The Dark delivers infectious hooks and impactful melodies and is possibly Wolfe’s most accessible work to date. However, Wolfe’s songwriting is anything but one-dimensional, highlighted by the album’s shifting shades and more energetic, upbeat moments. Electro pulses and darkly sparkling hooks glitter on brooding rock-centric tracks (“Seethe,” “Swallower”), while the seductive earworms on “Halo” get easily lodged in the noggin’, enriched by Wolfe’s strikingly emotive vocals. “Turn the Key” ups the ante, cleverly demonstrating Wolfe’s tension-building and soft-loud dynamics through a brooding, industrial rock and synth-pop lens.

Vocally, Wolfe sounds as confident and comfortable as ever in her skin, her haunting, longing and ghostly tones a slice of liquid gold at the forefront of the album. Driving delicate yet powerful vocal melodies carrying lushly produced and arranged songs, like all her works, you can really feel the pain, sorrow, hint of hope, and scarred emotion bleeding from Wolfe’s voice, the raw emotional depth leaving a lasting impact, such as the solemn beauty and orchestral flair of closer “Dancer in the Sky.” Although less sonically dense and heavy than past efforts, the compositions are meticulously detailed and layered with numerous elements, from stripped-back acoustic forays and traditional rock instrumentation to the prominent use of synths and piano, creating a deceptively rich foundation for the listener to unpack. Occasional dips in album flow, lack of heavier, challenging fare, and a polished though disappointingly compressed master are the main drawbacks to an otherwise consistently solid and catchy front-to-back listen.

Wolfe rarely misses, and The Dark is no exception. Bolstered by tighter, more cohesive songwriting compared to her predecessor, The Dark maintains Wolfe’s stellar track record without resting on her laurels, though mileage will vary depending on listeners’ preference towards Wolfe’s songwriting styles and those enamored with Wolfe’s more sonically and musically daring career twists. A neatly crafted, addictive platter of goth, synth, and folk-tinged alternative rock, The Dark’s addictive, accessible streak demands repeat listens and often teeters on the edge of greatness. And I get the feeling this album will be a grower over time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Lorna Vista Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: August 21st, 2026

Long sharing an affiliation with the broader metal community, Chelsea Wolfe has carved out an eclectic, compelling career arc. From minimalist drone, folk, and experimental leanings of her early work to her blockbuster doom and metal-tinged explosions on top-shelf albums like Abyss and Hiss Spun. Wolfe has traversed interesting pathways across a career which has elevated the gifted songstress from cult status to a deservedly higher profile. Wolfe continues challenging her songwriting by examining the darkest corners within the goth, folk, and metal-verses. Aided by a host of collaborators, including Ben Chisolm, Jennifer Declveo, prolific drummer Matt Chamberlain, Queens of the Stone Age’s Troy Van Leeuwen, and Robin Finck (Nine Inch Nails), Wolfe revisits the goth-folk stylings and ominous, melancholic atmospheres forming the cornerstone of her career. Ninth LP The Dark signals the latest Wolfe offering, an addictive gem worth exploring for listeners new and old.

Firstly, The Dark largely strips away the doomy and industrial layers that coat her heavier material, including 2024’s solid if uneven, She Reaches Out to She Reaches Out to She, returning to the more subdued, folk and acoustic-driven work featured on albums such as 2019’s Birth of Violence. Borrowing pieces from Wolfe’s versatile career, including the synth-driven electronic thrums of 2013’s breakthrough album, Pain is Beauty, The Dark showcases an artist with ambitions to continue pushing her boundaries. Though listeners who prefer her more challenging, heavier experimental works (Abyss and Hiss Spun), may be disappointed in the album’s mellower, sedate flow.

While not one of Wolfe’s heaviest or most experimental albums, The Dark excels through a tighter, more straightforward songwriting approach, without falling into formulaic traps or repetition. Lush and stormy opener “Cold” and stripped acoustic gems ‘The Dark” and “Death is not the End” stir the emotions and straddle Wolfe’s masterful balance between frosted beauty and brooding melancholy, featuring strong hooks to boot and tearjerking melodies. A succinct and breezy listen, The Dark delivers infectious hooks and impactful melodies and is possibly Wolfe’s most accessible work to date. However, Wolfe’s songwriting is anything but one-dimensional, highlighted by the album’s shifting shades and more energetic, upbeat moments. Electro pulses and darkly sparkling hooks glitter on brooding rock-centric tracks (“Seethe,” “Swallower”), while the seductive earworms on “Halo” get easily lodged in the noggin’, enriched by Wolfe’s strikingly emotive vocals. “Turn the Key” ups the ante, cleverly demonstrating Wolfe’s tension-building and soft-loud dynamics through a brooding, industrial rock and synth-pop lens.

Vocally, Wolfe sounds as confident and comfortable as ever in her skin, her haunting, longing and ghostly tones a slice of liquid gold at the forefront of the album. Driving delicate yet powerful vocal melodies carrying lushly produced and arranged songs, like all her works, you can really feel the pain, sorrow, hint of hope, and scarred emotion bleeding from Wolfe’s voice, the raw emotional depth leaving a lasting impact, such as the solemn beauty and orchestral flair of closer “Dancer in the Sky.” Although less sonically dense and heavy than past efforts, the compositions are meticulously detailed and layered with numerous elements, from stripped-back acoustic forays and traditional rock instrumentation to the prominent use of synths and piano, creating a deceptively rich foundation for the listener to unpack. Occasional dips in album flow, lack of heavier, challenging fare, and a polished though disappointingly compressed master are the main drawbacks to an otherwise consistently solid and catchy front-to-back listen.

Wolfe rarely misses, and The Dark is no exception. Bolstered by tighter, more cohesive songwriting compared to her predecessor, The Dark maintains Wolfe’s stellar track record without resting on her laurels, though mileage will vary depending on listeners’ preference towards Wolfe’s songwriting styles and those enamored with Wolfe’s more sonically and musically daring career twists. A neatly crafted, addictive platter of goth, synth, and folk-tinged alternative rock, The Dark’s addictive, accessible streak demands repeat listens and often teeters on the edge of greatness. And I get the feeling this album will be a grower over time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Lorna Vista Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: August 21st, 2026

Game Two daddelt mal wieder auf YouTube:

Ace Combat 8, Control Resonant & Silent Hill: Townfall | ⛳ CHECKPOINT #21

https://www.youtube.com/watch?v=kK7V6M5sQAQ

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #AceCombat #WingsofTheve #Control #Resonant #SilentHill #Townfall #PlayStation #Steam #Microsoft #Xbox #Sony

Game Two daddelt mal wieder auf YouTube:

Ace Combat 8, Control Resonant & Silent Hill: Townfall | ⛳ CHECKPOINT #21

https://www.youtube.com/watch?v=kK7V6M5sQAQ

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #AceCombat #WingsofTheve #Control #Resonant #SilentHill #Townfall #PlayStation #Steam #Microsoft #Xbox #Sony

Game Two daddelt mal wieder auf YouTube:

Ace Combat 8, Control Resonant & Silent Hill: Townfall | ⛳ CHECKPOINT #21

https://www.youtube.com/watch?v=kK7V6M5sQAQ

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #AceCombat #WingsofTheve #Control #Resonant #SilentHill #Townfall #PlayStation #Steam #Microsoft #Xbox #Sony

Game Two daddelt mal wieder auf YouTube:

Ace Combat 8, Control Resonant & Silent Hill: Townfall | ⛳ CHECKPOINT #21

https://www.youtube.com/watch?v=kK7V6M5sQAQ

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #AceCombat #WingsofTheve #Control #Resonant #SilentHill #Townfall #PlayStation #Steam #Microsoft #Xbox #Sony

https://www.laviezine.com/1647624/persona-live-tour-seoul-ticket-sales-open-july-24/ Persona Live Tour Seoul: Ticket Sales Open July 24 #discussions #Entertainments #esports #guides #Interview #LeagueOfLegends #lol #mobile #News #overwatch #pc #PREVIEWS #PS4 #Reviews #seoul #Strategies #trailers #videos #Walkthroughs #XboxOne

Cloven Hoof – Never a Prophet in Your Own Land Review

Cloven Hoof was one of the myriad bands that launched during the NWoBHM alongside Iron Maiden, Saxon, Raven…
#NewsBeep #News #Music #2026 #3.5 #ClovenHoof #DeepPurple #Entertainment #HeavyMetal #HighRollerRecords #InternationalMetal #IronMaiden #JagPanzer #NeveraProphetinYourOwnLand #NWOBHM #review #Reviews #Saxon #Sep26 #UK #UnitedKingdom
https://www.newsbeep.com/uk/782444/

#Watching BATTLE ROYALE

This is what happens when you make kids wear those dippy school uniforms.

https://letterboxd.com/noeljpenaflor/film/battle-royale/

#movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon #reviews #filmreviews #moviereviews

#Watching BATTLE ROYALE

This is what happens when you make kids wear those dippy school uniforms.

https://letterboxd.com/noeljpenaflor/film/battle-royale/

#movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon #reviews #filmreviews #moviereviews

#Watching BATTLE ROYALE

This is what happens when you make kids wear those dippy school uniforms.

https://letterboxd.com/noeljpenaflor/film/battle-royale/

#movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon #reviews #filmreviews #moviereviews

#Watching BATTLE ROYALE

This is what happens when you make kids wear those dippy school uniforms.

https://letterboxd.com/noeljpenaflor/film/battle-royale/

#movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon #reviews #filmreviews #moviereviews

#Watching BATTLE ROYALE

This is what happens when you make kids wear those dippy school uniforms.

https://letterboxd.com/noeljpenaflor/film/battle-royale/

#movies #movie
#letterboxd #letterboxdfriday #nowwatching #cinema #cinemastodon #Film #films #filmmastodon #reviews #filmreviews #moviereviews

https://www.europesays.com/uk/1221962/ Cloven Hoof – Never a Prophet in Your Own Land Review #2026 #35 #ClovenHoof #DeepPurple #Entertainment #HeavyMetal #HighRollerRecords #InternationalMetal #IronMaiden #JagPanzer #music #NeverAProphetInYourOwnLand #NWOBHM #Review #Reviews #Saxon #Sep26 #UK #UnitedKingdom

https://www.europesays.com/be/39461/ XInclusionX Look Beyond Belgium’s H8000 Hardcore Legacy on Debut Album | Features #aor #Belgium #death #doom #emo #Features #hardcore #Indie #industrial #Interviews #lists #metal #music #noise #pop #punk #rap #reviews #Rock #songs #thrash

Can Apple Home’s AI camera features outsmart Amazon’s and Google’s? I put them to the test

A few years back, I was at a beachside Easter egg hunt, watching my kids dash through sand…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Technology #AI #apple #reviews #SmartHome #SmartwatchReviews #Tech
https://www.newsbeep.com/us/860335/

Can Apple Home’s AI camera features outsmart Amazon’s and Google’s? I put them to the test

A few years back, I was at a beachside Easter egg hunt, watching my kids dash through sand…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Technology #AI #apple #reviews #SmartHome #SmartwatchReviews #Tech
https://www.newsbeep.com/us/860335/

Cloven Hoof was one of the myriad bands that launched during the NWoBHM alongside Iron Maiden, Saxon, Raven and Satan. They were late to get that crucial debut out during the heady years of 1979-1982, with it not seeing the light of day until 1984, by which time the thrash explosion was well underway. They missed their window, but they didn’t give up the ship, releasing 2 more albums in the 80s before calling it a day. They got the band back together in 2006, and since then they’ve released seven albums of classic 80s metal, the last of which was 2024s Heathen Cross, which featured the immortal Harry “The Tyrant” Conklin of Jag Panzer on vocals. That was a rousing opus with lots working in its favor, and it got me interested enough to do a deeper dive into their catalog. Now we get 10th platter, Never a Prophet in Your Own Land, and Tyrant is once again at the helm of this pirate ship, helping unleash an album’s worth of vintage 80s retro metal. Can a band that’s been running the race so long without much notoriety surprise the masses with a sucker punch to the chin?

The band definitely comes out swinging on opener “Terror from the Skies,” which is more like a classic Jag Panzer tune than what I would normally associate with NWoBHM acts. In fact, it sounds like a lost track from Jag Panzer’s legendary Ample Destruction debut, and that is very much okay by me. Harry sounds larger-than-life as always, using his big baritone wails to shake the rafters as the band supplies classic 80s metal riffs at a tempo that veers close to speed metal. It’s simple, traditional as hell, and tons of fun. “Conquistador” is more in the classic NWoBHM tradition, sounding a lot like a modern-day Saxon number. It has the mid-tempo gallop and an epic vibe as Tyrant regales us with tales of death and glory. The chorus is effectively hooky and very 80s-centric, and it takes me right back to beefbrained teens. A big high point is the title track, which brings in a big Iron Maiden vibe for a rousing, punchy piece of trad-metal. It reminds me a lot of something off A Matter of Life and Death, and it’s very easy to imagine Bruce wailing away here in place of Tyrant. The chorus has been swirling in my head all week, and I have this one on hot repeat. I especially love when Tyrant sings “The power and the glory!”. You know…because of Saxon?

Cloven Hoof keep their approach fluid, moving between NWoBHM and early US power metal idioms, and then on “Gypsy Roller” they go full Deep Purple for a rowdy rocker straight from the 70s, full of classic Hammond organ fills and swirls. It’s a hard-rocking, rough-living kind of song and so retro it hurts, but damn if it isn’t a ton of fun. Another standout is “Iron Mask,” which is just a killer heavy metal song that Tyrant elevates with his over-the-topness. The chorus is as simple as it gets, but it works and sticks like hot tar on shag carpeting (avoid this mistake if you can). Not every track hits with pure heavy metal thunder, though. “The Bigger They Are” is an earnest, blue collar rocker that isn’t bad, but it’s fairly clunky and goofy. Closer “Seven Sacred Wonders” tries to marry 70s epic prog rock with 80s metal, and it works, but it gets messy and chaotic at times along the way. That said, Never a Prophet is 40 minutes of high-quality retro metal in a 48-minute package, and I’ll take that ratio any day.

Cloven Hoof crafted a bunch of good-to-great ideas and some killer songs here, and the guitar work by Chris Coss and Luke Hatton is inspired and blends various 80s styles well. You get the NWoBHM vibe but also get bits and pieces of 80s US metal and even some 70s prog and hard rock. The way the tandem play off one another is impressive, and they bring a lot of skill and melodic sensibility to the material. When you bring in an iconic and infamously large-and-in-charge vocalist like Tyrant, it’s tough to avoid him becoming the big focus of whatever you do because his delivery is so big. However, he manages to mostly avoid trampling on the cool musical ideas and stays in his lane, though he does expand it to a superhighway at times. He’s the same Tyrant as always, but he does show off a few new wrinkles, like his subtle, almost fragile vocals at the start of “Flying Dutchman,” and his restrained rock vocals on “Prodigal Son.” He’s more boon than bane, regardless of his excess and overdrive, and he gives Cloven Hoof a whole new dimension of trveness.

Never a Prophet in Your Own Land is a punchy trad-metal album with some killer moments, an authentic 80s vibe, and an ear for skin-snagging hooks. Cloven Hoof didn’t get the attention they deserved back in the 80s, but they should get it for the material they’ve been releasing of late. Hear this and start working backward through their catalog. Good things await.1 Hoof it!

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: clovenhoof.net | facebook.com/clovenhoof1979
Releases Worldwide: September 25th, 2026

Cloven Hoof was one of the myriad bands that launched during the NWoBHM alongside Iron Maiden, Saxon, Raven and Satan. They were late to get that crucial debut out during the heady years of 1979-1982, with it not seeing the light of day until 1984, by which time the thrash explosion was well underway. They missed their window, but they didn’t give up the ship, releasing 2 more albums in the 80s before calling it a day. They got the band back together in 2006, and since then they’ve released seven albums of classic 80s metal, the last of which was 2024s Heathen Cross, which featured the immortal Harry “The Tyrant” Conklin of Jag Panzer on vocals. That was a rousing opus with lots working in its favor, and it got me interested enough to do a deeper dive into their catalog. Now we get 10th platter, Never a Prophet in Your Own Land, and Tyrant is once again at the helm of this pirate ship, helping unleash an album’s worth of vintage 80s retro metal. Can a band that’s been running the race so long without much notoriety surprise the masses with a sucker punch to the chin?

The band definitely comes out swinging on opener “Terror from the Skies,” which is more like a classic Jag Panzer tune than what I would normally associate with NWoBHM acts. In fact, it sounds like a lost track from Jag Panzer’s legendary Ample Destruction debut, and that is very much okay by me. Harry sounds larger-than-life as always, using his big baritone wails to shake the rafters as the band supplies classic 80s metal riffs at a tempo that veers close to speed metal. It’s simple, traditional as hell, and tons of fun. “Conquistador” is more in the classic NWoBHM tradition, sounding a lot like a modern-day Saxon number. It has the mid-tempo gallop and an epic vibe as Tyrant regales us with tales of death and glory. The chorus is effectively hooky and very 80s-centric, and it takes me right back to beefbrained teens. A big high point is the title track, which brings in a big Iron Maiden vibe for a rousing, punchy piece of trad-metal. It reminds me a lot of something off A Matter of Life and Death, and it’s very easy to imagine Bruce wailing away here in place of Tyrant. The chorus has been swirling in my head all week, and I have this one on hot repeat. I especially love when Tyrant sings “The power and the glory!”. You know…because of Saxon?

Cloven Hoof keep their approach fluid, moving between NWoBHM and early US power metal idioms, and then on “Gypsy Roller” they go full Deep Purple for a rowdy rocker straight from the 70s, full of classic Hammond organ fills and swirls. It’s a hard-rocking, rough-living kind of song and so retro it hurts, but damn if it isn’t a ton of fun. Another standout is “Iron Mask,” which is just a killer heavy metal song that Tyrant elevates with his over-the-topness. The chorus is as simple as it gets, but it works and sticks like hot tar on shag carpeting (avoid this mistake if you can). Not every track hits with pure heavy metal thunder, though. “The Bigger They Are” is an earnest, blue collar rocker that isn’t bad, but it’s fairly clunky and goofy. Closer “Seven Sacred Wonders” tries to marry 70s epic prog rock with 80s metal, and it works, but it gets messy and chaotic at times along the way. That said, Never a Prophet is 40 minutes of high-quality retro metal in a 48-minute package, and I’ll take that ratio any day.

Cloven Hoof crafted a bunch of good-to-great ideas and some killer songs here, and the guitar work by Chris Coss and Luke Hatton is inspired and blends various 80s styles well. You get the NWoBHM vibe but also get bits and pieces of 80s US metal and even some 70s prog and hard rock. The way the tandem play off one another is impressive, and they bring a lot of skill and melodic sensibility to the material. When you bring in an iconic and infamously large-and-in-charge vocalist like Tyrant, it’s tough to avoid him becoming the big focus of whatever you do because his delivery is so big. However, he manages to mostly avoid trampling on the cool musical ideas and stays in his lane, though he does expand it to a superhighway at times. He’s the same Tyrant as always, but he does show off a few new wrinkles, like his subtle, almost fragile vocals at the start of “Flying Dutchman,” and his restrained rock vocals on “Prodigal Son.” He’s more boon than bane, regardless of his excess and overdrive, and he gives Cloven Hoof a whole new dimension of trveness.

Never a Prophet in Your Own Land is a punchy trad-metal album with some killer moments, an authentic 80s vibe, and an ear for skin-snagging hooks. Cloven Hoof didn’t get the attention they deserved back in the 80s, but they should get it for the material they’ve been releasing of late. Hear this and start working backward through their catalog. Good things await.1 Hoof it!

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: clovenhoof.net | facebook.com/clovenhoof1979
Releases Worldwide: September 25th, 2026

Cloven Hoof was one of the myriad bands that launched during the NWoBHM alongside Iron Maiden, Saxon, Raven and Satan. They were late to get that crucial debut out during the heady years of 1979-1982, with it not seeing the light of day until 1984, by which time the thrash explosion was well underway. They missed their window, but they didn’t give up the ship, releasing 2 more albums in the 80s before calling it a day. They got the band back together in 2006, and since then they’ve released seven albums of classic 80s metal, the last of which was 2024s Heathen Cross, which featured the immortal Harry “The Tyrant” Conklin of Jag Panzer on vocals. That was a rousing opus with lots working in its favor, and it got me interested enough to do a deeper dive into their catalog. Now we get 10th platter, Never a Prophet in Your Own Land, and Tyrant is once again at the helm of this pirate ship, helping unleash an album’s worth of vintage 80s retro metal. Can a band that’s been running the race so long without much notoriety surprise the masses with a sucker punch to the chin?

The band definitely comes out swinging on opener “Terror from the Skies,” which is more like a classic Jag Panzer tune than what I would normally associate with NWoBHM acts. In fact, it sounds like a lost track from Jag Panzer’s legendary Ample Destruction debut, and that is very much okay by me. Harry sounds larger-than-life as always, using his big baritone wails to shake the rafters as the band supplies classic 80s metal riffs at a tempo that veers close to speed metal. It’s simple, traditional as hell, and tons of fun. “Conquistador” is more in the classic NWoBHM tradition, sounding a lot like a modern-day Saxon number. It has the mid-tempo gallop and an epic vibe as Tyrant regales us with tales of death and glory. The chorus is effectively hooky and very 80s-centric, and it takes me right back to beefbrained teens. A big high point is the title track, which brings in a big Iron Maiden vibe for a rousing, punchy piece of trad-metal. It reminds me a lot of something off A Matter of Life and Death, and it’s very easy to imagine Bruce wailing away here in place of Tyrant. The chorus has been swirling in my head all week, and I have this one on hot repeat. I especially love when Tyrant sings “The power and the glory!”. You know…because of Saxon?

Cloven Hoof keep their approach fluid, moving between NWoBHM and early US power metal idioms, and then on “Gypsy Roller” they go full Deep Purple for a rowdy rocker straight from the 70s, full of classic Hammond organ fills and swirls. It’s a hard-rocking, rough-living kind of song and so retro it hurts, but damn if it isn’t a ton of fun. Another standout is “Iron Mask,” which is just a killer heavy metal song that Tyrant elevates with his over-the-topness. The chorus is as simple as it gets, but it works and sticks like hot tar on shag carpeting (avoid this mistake if you can). Not every track hits with pure heavy metal thunder, though. “The Bigger They Are” is an earnest, blue collar rocker that isn’t bad, but it’s fairly clunky and goofy. Closer “Seven Sacred Wonders” tries to marry 70s epic prog rock with 80s metal, and it works, but it gets messy and chaotic at times along the way. That said, Never a Prophet is 40 minutes of high-quality retro metal in a 48-minute package, and I’ll take that ratio any day.

Cloven Hoof crafted a bunch of good-to-great ideas and some killer songs here, and the guitar work by Chris Coss and Luke Hatton is inspired and blends various 80s styles well. You get the NWoBHM vibe but also get bits and pieces of 80s US metal and even some 70s prog and hard rock. The way the tandem play off one another is impressive, and they bring a lot of skill and melodic sensibility to the material. When you bring in an iconic and infamously large-and-in-charge vocalist like Tyrant, it’s tough to avoid him becoming the big focus of whatever you do because his delivery is so big. However, he manages to mostly avoid trampling on the cool musical ideas and stays in his lane, though he does expand it to a superhighway at times. He’s the same Tyrant as always, but he does show off a few new wrinkles, like his subtle, almost fragile vocals at the start of “Flying Dutchman,” and his restrained rock vocals on “Prodigal Son.” He’s more boon than bane, regardless of his excess and overdrive, and he gives Cloven Hoof a whole new dimension of trveness.

Never a Prophet in Your Own Land is a punchy trad-metal album with some killer moments, an authentic 80s vibe, and an ear for skin-snagging hooks. Cloven Hoof didn’t get the attention they deserved back in the 80s, but they should get it for the material they’ve been releasing of late. Hear this and start working backward through their catalog. Good things await.1 Hoof it!

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: clovenhoof.net | facebook.com/clovenhoof1979
Releases Worldwide: September 25th, 2026

Cloven Hoof was one of the myriad bands that launched during the NWoBHM alongside Iron Maiden, Saxon, Raven and Satan. They were late to get that crucial debut out during the heady years of 1979-1982, with it not seeing the light of day until 1984, by which time the thrash explosion was well underway. They missed their window, but they didn’t give up the ship, releasing 2 more albums in the 80s before calling it a day. They got the band back together in 2006, and since then they’ve released seven albums of classic 80s metal, the last of which was 2024s Heathen Cross, which featured the immortal Harry “The Tyrant” Conklin of Jag Panzer on vocals. That was a rousing opus with lots working in its favor, and it got me interested enough to do a deeper dive into their catalog. Now we get 10th platter, Never a Prophet in Your Own Land, and Tyrant is once again at the helm of this pirate ship, helping unleash an album’s worth of vintage 80s retro metal. Can a band that’s been running the race so long without much notoriety surprise the masses with a sucker punch to the chin?

The band definitely comes out swinging on opener “Terror from the Skies,” which is more like a classic Jag Panzer tune than what I would normally associate with NWoBHM acts. In fact, it sounds like a lost track from Jag Panzer’s legendary Ample Destruction debut, and that is very much okay by me. Harry sounds larger-than-life as always, using his big baritone wails to shake the rafters as the band supplies classic 80s metal riffs at a tempo that veers close to speed metal. It’s simple, traditional as hell, and tons of fun. “Conquistador” is more in the classic NWoBHM tradition, sounding a lot like a modern-day Saxon number. It has the mid-tempo gallop and an epic vibe as Tyrant regales us with tales of death and glory. The chorus is effectively hooky and very 80s-centric, and it takes me right back to beefbrained teens. A big high point is the title track, which brings in a big Iron Maiden vibe for a rousing, punchy piece of trad-metal. It reminds me a lot of something off A Matter of Life and Death, and it’s very easy to imagine Bruce wailing away here in place of Tyrant. The chorus has been swirling in my head all week, and I have this one on hot repeat. I especially love when Tyrant sings “The power and the glory!”. You know…because of Saxon?

Cloven Hoof keep their approach fluid, moving between NWoBHM and early US power metal idioms, and then on “Gypsy Roller” they go full Deep Purple for a rowdy rocker straight from the 70s, full of classic Hammond organ fills and swirls. It’s a hard-rocking, rough-living kind of song and so retro it hurts, but damn if it isn’t a ton of fun. Another standout is “Iron Mask,” which is just a killer heavy metal song that Tyrant elevates with his over-the-topness. The chorus is as simple as it gets, but it works and sticks like hot tar on shag carpeting (avoid this mistake if you can). Not every track hits with pure heavy metal thunder, though. “The Bigger They Are” is an earnest, blue collar rocker that isn’t bad, but it’s fairly clunky and goofy. Closer “Seven Sacred Wonders” tries to marry 70s epic prog rock with 80s metal, and it works, but it gets messy and chaotic at times along the way. That said, Never a Prophet is 40 minutes of high-quality retro metal in a 48-minute package, and I’ll take that ratio any day.

Cloven Hoof crafted a bunch of good-to-great ideas and some killer songs here, and the guitar work by Chris Coss and Luke Hatton is inspired and blends various 80s styles well. You get the NWoBHM vibe but also get bits and pieces of 80s US metal and even some 70s prog and hard rock. The way the tandem play off one another is impressive, and they bring a lot of skill and melodic sensibility to the material. When you bring in an iconic and infamously large-and-in-charge vocalist like Tyrant, it’s tough to avoid him becoming the big focus of whatever you do because his delivery is so big. However, he manages to mostly avoid trampling on the cool musical ideas and stays in his lane, though he does expand it to a superhighway at times. He’s the same Tyrant as always, but he does show off a few new wrinkles, like his subtle, almost fragile vocals at the start of “Flying Dutchman,” and his restrained rock vocals on “Prodigal Son.” He’s more boon than bane, regardless of his excess and overdrive, and he gives Cloven Hoof a whole new dimension of trveness.

Never a Prophet in Your Own Land is a punchy trad-metal album with some killer moments, an authentic 80s vibe, and an ear for skin-snagging hooks. Cloven Hoof didn’t get the attention they deserved back in the 80s, but they should get it for the material they’ve been releasing of late. Hear this and start working backward through their catalog. Good things await.1 Hoof it!

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: clovenhoof.net | facebook.com/clovenhoof1979
Releases Worldwide: September 25th, 2026

Cloven Hoof was one of the myriad bands that launched during the NWoBHM alongside Iron Maiden, Saxon, Raven and Satan. They were late to get that crucial debut out during the heady years of 1979-1982, with it not seeing the light of day until 1984, by which time the thrash explosion was well underway. They missed their window, but they didn’t give up the ship, releasing 2 more albums in the 80s before calling it a day. They got the band back together in 2006, and since then they’ve released seven albums of classic 80s metal, the last of which was 2024s Heathen Cross, which featured the immortal Harry “The Tyrant” Conklin of Jag Panzer on vocals. That was a rousing opus with lots working in its favor, and it got me interested enough to do a deeper dive into their catalog. Now we get 10th platter, Never a Prophet in Your Own Land, and Tyrant is once again at the helm of this pirate ship, helping unleash an album’s worth of vintage 80s retro metal. Can a band that’s been running the race so long without much notoriety surprise the masses with a sucker punch to the chin?

The band definitely comes out swinging on opener “Terror from the Skies,” which is more like a classic Jag Panzer tune than what I would normally associate with NWoBHM acts. In fact, it sounds like a lost track from Jag Panzer’s legendary Ample Destruction debut, and that is very much okay by me. Harry sounds larger-than-life as always, using his big baritone wails to shake the rafters as the band supplies classic 80s metal riffs at a tempo that veers close to speed metal. It’s simple, traditional as hell, and tons of fun. “Conquistador” is more in the classic NWoBHM tradition, sounding a lot like a modern-day Saxon number. It has the mid-tempo gallop and an epic vibe as Tyrant regales us with tales of death and glory. The chorus is effectively hooky and very 80s-centric, and it takes me right back to beefbrained teens. A big high point is the title track, which brings in a big Iron Maiden vibe for a rousing, punchy piece of trad-metal. It reminds me a lot of something off A Matter of Life and Death, and it’s very easy to imagine Bruce wailing away here in place of Tyrant. The chorus has been swirling in my head all week, and I have this one on hot repeat. I especially love when Tyrant sings “The power and the glory!”. You know…because of Saxon?

Cloven Hoof keep their approach fluid, moving between NWoBHM and early US power metal idioms, and then on “Gypsy Roller” they go full Deep Purple for a rowdy rocker straight from the 70s, full of classic Hammond organ fills and swirls. It’s a hard-rocking, rough-living kind of song and so retro it hurts, but damn if it isn’t a ton of fun. Another standout is “Iron Mask,” which is just a killer heavy metal song that Tyrant elevates with his over-the-topness. The chorus is as simple as it gets, but it works and sticks like hot tar on shag carpeting (avoid this mistake if you can). Not every track hits with pure heavy metal thunder, though. “The Bigger They Are” is an earnest, blue collar rocker that isn’t bad, but it’s fairly clunky and goofy. Closer “Seven Sacred Wonders” tries to marry 70s epic prog rock with 80s metal, and it works, but it gets messy and chaotic at times along the way. That said, Never a Prophet is 40 minutes of high-quality retro metal in a 48-minute package, and I’ll take that ratio any day.

Cloven Hoof crafted a bunch of good-to-great ideas and some killer songs here, and the guitar work by Chris Coss and Luke Hatton is inspired and blends various 80s styles well. You get the NWoBHM vibe but also get bits and pieces of 80s US metal and even some 70s prog and hard rock. The way the tandem play off one another is impressive, and they bring a lot of skill and melodic sensibility to the material. When you bring in an iconic and infamously large-and-in-charge vocalist like Tyrant, it’s tough to avoid him becoming the big focus of whatever you do because his delivery is so big. However, he manages to mostly avoid trampling on the cool musical ideas and stays in his lane, though he does expand it to a superhighway at times. He’s the same Tyrant as always, but he does show off a few new wrinkles, like his subtle, almost fragile vocals at the start of “Flying Dutchman,” and his restrained rock vocals on “Prodigal Son.” He’s more boon than bane, regardless of his excess and overdrive, and he gives Cloven Hoof a whole new dimension of trveness.

Never a Prophet in Your Own Land is a punchy trad-metal album with some killer moments, an authentic 80s vibe, and an ear for skin-snagging hooks. Cloven Hoof didn’t get the attention they deserved back in the 80s, but they should get it for the material they’ve been releasing of late. Hear this and start working backward through their catalog. Good things await.1 Hoof it!

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: clovenhoof.net | facebook.com/clovenhoof1979
Releases Worldwide: September 25th, 2026

https://www.europesays.com/uk/1221847/ Ace Combat 8: Wings of Theve Review (PS5) #AceCombat8:WingsOfTheve #BandaiNamco #PlayStation #PlayStation5 #PS5 #Reviews #Technology #UK #UnitedKingdom

Game Two daddelt mal wieder auf YouTube:

Kuro's Top 4 meistgespielte Spiele auf Steam #gametwo #gaming

https://www.youtube.com/watch?v=H5VlqMz6zrk

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews

Game Two daddelt mal wieder auf YouTube:

Kuro's Top 4 meistgespielte Spiele auf Steam #gametwo #gaming

https://www.youtube.com/watch?v=H5VlqMz6zrk

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews

Game Two daddelt mal wieder auf YouTube:

Kuro's Top 4 meistgespielte Spiele auf Steam #gametwo #gaming

https://www.youtube.com/watch?v=H5VlqMz6zrk

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews

Game Two daddelt mal wieder auf YouTube:

Kuro's Top 4 meistgespielte Spiele auf Steam #gametwo #gaming

https://www.youtube.com/watch?v=H5VlqMz6zrk

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers