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Power Paladin – Beyond the Reach of Enchantment Review

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no…
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Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent.

If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable.

Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going.

Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end.

If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Music
Websites: powerpaladin.is | facebook.com/powerpaladinice
Releases Worldwide: March 27th, 2026

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

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

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

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

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

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

Song: The last winged unicorn
Band: #RhapsodyOfFire
Album: Dawn of victory
Year: 2000
Genre: #HeavyMetal

"From the holy sea of golden flames
Flies the last winged unicorn
With its magic breath of innocence
Rising to the crystal throne"

https://www.youtube.com/watch?v=WLpYvG5GkuE

Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG

Equilibrium – Equinox Review

By Samguineous Maximus

More than almost any other metal niche, folk metal has to walk a treacherously thin line between “actually good music” and “full-body cringe.” For every band that can fuse arena-sized melodies with genuine folk charm, there are three more tumbling headfirst into the Neckbeard Abyss™, condemned to soundtrack the Nordic-themed house parties of Reddit mods everywhere. Equilibrium has stood proudly on both sides of that divide. Their early triumphs of Turis Frayter and Sagas were mead-soaked romps packed with syrupy pagan hooks and enough triumphant Bjoriffs to level a longhouse, but ever since, the spark has dimmed, and each new release has brought diminishing returns. Armageddon (2016) was passable, and Renegades (2019) marked a true low point, trading their Viking swagger for a baffling electro-trance-metal makeover that landed with all the grace of a drunken troll. Now, six years later, Equilibrium returns with Equinox, a tightened lineup and a new vocalist in tow, promising a glorious reclamation of their folk-metal throne. Have they forged another worthy slab of epic, mead-raising metal? Or are they destined to spend eternity staring wistfully at the echoes of their own past conquests?

Equinox marks a clear return to form for Equilibrium after the detour of Renegades. The electronic and metalcore elements from their last record still linger, occasionally poking their neon-tinted heads out, but the heart of the band’s sound is back in full force: that boisterous blend of Finntroll and Ensiferum filtered through the Europower cheese of Rhapsody of Fire, now with a touch of Avatar added. The songs are built on a familiar mix of traditional woodwinds, thick distorted guitars, and gaudy synth lines, with newcomer Fabi’s fearsome growl leading the charge through straightforward verses and repeated choruses. When these ingredients click, and the newer sonic flourishes collide with the band’s classic, folk-driven sense of epic grandeur, the result can be exhilarating. Tracks like “Gnosis,” “Awakening” and “Bloodwood” move easily between core-tinged riffs and massive, sing-along Viking choruses, delivered with the bombast Equilibrium is known for. Unfortunately, the rest of the album doesn’t reach the same heights.

According to the band, Equinox was originally intended as an EP rather than a full-length release, and the pacing issues and filler make that easy to believe. Large sections of several songs feel like padding before the actual track begins. Both “Borrowed Waters” and “Legends” open with long, drawn-out “atmospheric” intros that sap the impact of what follows, and the album includes no fewer than three interludes (“Archivist,” “Rituals of Sun and Moon” and “Tides of Time”). These moments don’t do the record any favors. They’re often delivered through a jarring mix of electronic trap drums, over-the-top synth lines and the band’s more traditional woodwind flourishes, creating a stylistic mishmash that feels pulled straight from a fantasy-themed Fortnite event. At times, these elements collide with simplistic, “tribal,” repetition-heavy vocals (“Earth Tongue”), resulting in something that sounds closer to a hyper-dramatic Nordaboo YouTube montage than classic Equilibrium. Even though the album does contain plenty of fully formed songs, these detours make the overall experience feel uneven and lopsided.

There are moments on Equinox where Equilibrium’s updated approach works despite its flaws. “I’ll Be Thunder” is a concise, effective track that blends electronic and orchestral elements into a tightly written folk-metal package. Even the seemingly toxic trance-metal/rap/metalcore hybrid verse in “One Hundred Hands” is intriguing, though the autotuned chorus and generic breakdown drag the song down. To the band’s credit, the mixing is solid across the album. It’s polished without being crushed by excessive loudness for a Nuclear Blast release, and producer Daniel McCook does an admirable job balancing the electronic, orchestral, and metal components. The result is a surprisingly even production that rewards multiple listens. I just wish there were more aspects of Equinox I could praise without reservations.

Equinox is a difficult album to recommend despite its strengths. Equilibrium have mostly abandoned the divisive sound of their previous record, while adapting its electronic elements in a return to form. The singles here do capture the bombast of their earlier work and are fun enough on their own, but the record around them is inconsistent and, at time,s baffling in its execution. Equilibrium could certainly do a lot worse, but this is far from the re-conquest of the folk metal throne it could’ve been.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Nuclear Blast Records
Websites: equilibrium-metal.net | facebook.com/equilibrium
Releases Worldwide: November 28th, 2025

#20 #2025 #avatar #electronicMetal #ensiferum #equilibrium #equinox #finntroll #folkMetal #germanM #melodicDeathMetal #metalcore #nov25 #nuclearBlast #orchestralMetal #review #reviews #rhapsodyOfFire

Christiano Filippini’s Flames of Heaven – Symphony of the Universe Review

By Twelve

Choosing new music to review is an interesting process. Once you pick a thing, you’re pretty much locked into it. So I try to forecast: what will I be okay with listening to over and over again for the next week or two? Having just reviewed Lykke, I was very much in the mood for something more upbeat, and I didn’t have to read far past the band name Christiano Filippini’s Flames of Heaven to know Symphony of the Universe fit the bill. Indeed, when I requested the files for review, Dolphin Whisperer, overheard the request. “Is that Italian power metal?” he asked. “It sounds like Italian power metal.” “I didn’t check,” I answered. “But yes.” We were right. Symphony of the Universe is Flames of Heaven’s sophomore full-length, and it is as Italian, power-y, and cheesy as you’re thinking. In that way, you and D.W. are very much alike.

On that note, I’m having trouble getting this review going because Flames of Heaven really does sound exactly like you might expect given its name, origin, and album photo. Their hallmark: fast, bombastic power metal in the Rhapsody of Fire vein, augmented with keys and arrangements (from Filippini himself), but largely focusing on symphonic/power riffs (Michele Vioni) and high-tenor vocals (Marco Pastorino, Fallen Sanctuary). After a brief orchestral intro track, “On the Wings of Phoenix” sets the stage expertly: the main melody carried by lead guitars in perfect emulation of the impressively catchy chorus, the whole a dedication to adventure, rebirth, and hope. “The Archangel’s Warcry” puts keys at the forefront, creating an epic feel while also boasting one of the most impressive guitar solos on the album. Again, we hear it: a catchy chorus, an upbeat style, a sense of venturing that gets the head nodding even hours later. This is Flames of Heaven’s style, and they’re comfortable in it.

Not that there’s no variety on Symphony of the Universe, though it is a bit sparser than I’d personally prefer. There are straightforward European-style power metal tracks like “Midnight Riders” and “On the Wings of Phoenix,” epics like “The Archangels’ Warcry” and “Symphony of the Universe,” and then traditionally-inspired songs like “Don’t Leave Me Tonight”—the requisite power ballad—and “Tears of Love and Hate.” These songs dial back on the epic fantasy imagery and tread even more familiar roads—love, heartbreak, relationships. The music style similarly changes, dialing back the speed and “power” for a more trad-metal sound (though they do give bassist Giorgio Terenziani a somewhat-rare chance to shine, which is welcome). “When Love Burns” even reminds me of Brother Firetribe, which is not something I say often.

That means there’s a lot going on in Symphony of the Universe. The whole album runs sixty-nine minutes over thirteen tracks, two of which are instrumental bookends. It shifts styles often, though the base formula stays firmly in the “cheesy” Euro-power style. This means it’s a lot to listen to all at once, and I would even suggest that every song could have at least one minute trimmed from it without negatively impacting its quality, and no song over seven minutes needs to be longer than five, especially in “Darkside of Gemini” and “On the Wings of Phoenix.” The number of false stops, “one last chorus” instances, and lengthy interludes add up; I honestly think Symphony of the Universe could be twenty to thirty minutes shorter and better for it, because there wouldn’t be time for ear fatigue to build up. Whether by removing stylistically-clashing songs like “Tears of Love and Hate” (especially jarring, as it follows the monumental “The Archangel’s Warcry”), or cutting down on excess choruses and add-ons at the end of long songs, it seems Flames of Heaven could have edited a lot more of this project than they have.

My feelings for Symphony of the Universe are conflicted: it’s a genuinely fun, catchy album and a reliable, if predictable, sample of modern European power metal. I got the power metal pick-me-up I was hunting for, but there’s simply too much of it—and so much relies on an industry-standard formula. As a whole, Symphony of the Universe splinters under its enormous weight. There’s a great album in here, but the whole feels less than the sum of its parts.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Limb Music
Websites: flamesofheaven.bandcamp.com | facebook.com/cristianofilippinisflamesofheaven
Releases Worldwide: November 14th, 2025

#25 #2025 #brotherFiretribe #christianoFilippinisFlamesOfHeaven #fallenSanctuary #italianMetal #limbMusic #nov25 #powerMetal #review #reviews #rhapsodyOfFire #symphonicMetal #symphonyOfTheUniverse

Elettra Storm – Evertale Review

Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown.…
#NewsBeep #News #Music #2.5 #2025 #BattleBeast #CelineDion #ElettraStorm #Entertainment #Evertale #FrozenCrown #Hardrock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #review #Reviews #RhapsodyofFire #ScarletRecords #UK #UnitedKingdom #UnleashtheArchers #Wilderun
https://www.newsbeep.com/uk/227662/

Elettra Storm – Evertale Review

By ClarkKent

Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown. Looking to make a foothold in this scene is Elettra Storm with the release of their sophomore album, Evertale. While it may look like a strange word for those not fluent in Italian, Elettra comes from the Greek mythological figure, Electra/Elektra. It also serves as a root word for electricity, which helps explain both the odd-sounding band name and the storm surrounding the head of the woman on the cover. This quintet isn’t looking to reinvent the cheese wheel; they just want to write some catchy songs and give their lead singer, Crystal Emiliani, a chance to show off her pipes. Do they have that spark to set the power metal world on fire?

While people like to tease that Wilderun is Disney metal, if Disney were to actually sign a metal artist, they would likely sound like Elettra Storm. They straddle the line between power metal and hard rock mixed with some pop. They don’t quite bring the dance vibes like Battle Beast, but their power metal also isn’t as aggressive or hard-hitting as Frozen Crown. Guitar riffs and drum beats are relatively muted, though not without a lively energy, as Elettra Storm largely plays it safe instrumentally. Instead, they rely on the strength of their frontwoman, and Emiliani delivers. She channels a mix of Disney-friendly pop artists from Idina Menzel to Celine Dion. On “Blue Phoenix,” I half-expected Emiliani to break out into “Let it go” when she buoyantly sings the refrain “And rise again,” while “Secrets of the Universe” has a moment where her voice briefly brought me back to that titanic hit from decades ago.

For power metal of this caliber to work, the choruses need to be catchy, but on this score, Evertale is a mixed bag. It’s not that the choruses are a miss, but that they’re often forgettable. It doesn’t help that the lyrics tend to be convoluted. On “Hero Among Heroes,” Emiliani sings “Hero among heroes / Rise the sword up in the sky / Strong of arm and mind”—this ESL tendency hampers catchiness. Evertale also suffers a general lack of hooks. For the most part, riffs are bland, standard rock fare, and melodies are nil. Opener “Endgame” has some hooky synths, but Elettra Storm rarely returns to them on the rest of the record. “Master of Fairytales” also shows potential when it opens with energetic blast beats and a decent chorus, but the song drops that energy the rest of the way. “Blue Phoenix,” on the other hand, is proof they have the capability of writing really good power metal. It has Evertale’s most creative riffs, a consistent level of energy, and a chorus that soars in a dazzling display like the mythological bird. In the end, Elettra Storm could learn a lot from studying stalwarts of catchy power metal like Unleash the Archers.

Elettra Storm actually feels most at home on the lone track that’s geared more towards pop than metal: “One Last Ray of Light.” This tune eschews the usual power metal trappings of noodly riffs and high energy. It features a piano and what sounds like a mandolin playing a lovely melody.1 Then the chorus hits and the real magic happens. Emiliani’s voice rises to a beautiful lilt as she belts out the catchiest chorus on Evertale. The song is a certifiable banger, and it is also where Elettra Storm sounds most comfortable. Between this and “Blue Phoenix,” Elettra Storm have it in them to write some great power metal—if only they could apply these successes to the rest of Evertale.

The end result is an album that is pleasantly bland, with tracks ranging from forgettable to slightly above average, as well as a couple that are quite good. I won’t deny that I sometimes find myself whistling a random tune like “Judgment Time” while I’m out and about. Evertale hits that sweet spot between power metal and adult pop/rock where it could find an audience in either genre. Elettra Storm provides an electric vocalist, a little bit of guitar noodling, and radio rock song structures that make it a pleasant in-the-moment listen. But the record fails to take many risks or hit many of the highs the genre is capable of. Instead, it plays things a little too safe and doesn’t quite live up to its elettra-fying name.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#25 #2025 #BattleBeast #CelineDion #ElettraStorm #Evertale #FrozenCrown #HardRock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #UnleashTheArchers #Wilderun

Elettra Storm – Evertale Review

By ClarkKent

Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown. Looking to make a foothold in this scene is Elettra Storm with the release of their sophomore album, Evertale. While it may look like a strange word for those not fluent in Italian, Elettra comes from the Greek mythological figure, Electra/Elektra. It also serves as a root word for electricity, which helps explain both the odd-sounding band name and the storm surrounding the head of the woman on the cover. This quintet isn’t looking to reinvent the cheese wheel; they just want to write some catchy songs and give their lead singer, Crystal Emiliani, a chance to show off her pipes. Do they have that spark to set the power metal world on fire?

While people like to tease that Wilderun is Disney metal, if Disney were to actually sign a metal artist, they would likely sound like Elettra Storm. They straddle the line between power metal and hard rock mixed with some pop. They don’t quite bring the dance vibes like Battle Beast, but their power metal also isn’t as aggressive or hard-hitting as Frozen Crown. Guitar riffs and drum beats are relatively muted, though not without a lively energy, as Elettra Storm largely plays it safe instrumentally. Instead, they rely on the strength of their frontwoman, and Emiliani delivers. She channels a mix of Disney-friendly pop artists from Idina Menzel to Celine Dion. On “Blue Phoenix,” I half-expected Emiliani to break out into “Let it go” when she buoyantly sings the refrain “And rise again,” while “Secrets of the Universe” has a moment where her voice briefly brought me back to that titanic hit from decades ago.

For power metal of this caliber to work, the choruses need to be catchy, but on this score, Evertale is a mixed bag. It’s not that the choruses are a miss, but that they’re often forgettable. It doesn’t help that the lyrics tend to be convoluted. On “Hero Among Heroes,” Emiliani sings “Hero among heroes / Rise the sword up in the sky / Strong of arm and mind”—this ESL tendency hampers catchiness. Evertale also suffers a general lack of hooks. For the most part, riffs are bland, standard rock fare, and melodies are nil. Opener “Endgame” has some hooky synths, but Elettra Storm rarely returns to them on the rest of the record. “Master of Fairytales” also shows potential when it opens with energetic blast beats and a decent chorus, but the song drops that energy the rest of the way. “Blue Phoenix,” on the other hand, is proof they have the capability of writing really good power metal. It has Evertale’s most creative riffs, a consistent level of energy, and a chorus that soars in a dazzling display like the mythological bird. In the end, Elettra Storm could learn a lot from studying stalwarts of catchy power metal like Unleash the Archers.

Elettra Storm actually feels most at home on the lone track that’s geared more towards pop than metal: “One Last Ray of Light.” This tune eschews the usual power metal trappings of noodly riffs and high energy. It features a piano and what sounds like a mandolin playing a lovely melody.1 Then the chorus hits and the real magic happens. Emiliani’s voice rises to a beautiful lilt as she belts out the catchiest chorus on Evertale. The song is a certifiable banger, and it is also where Elettra Storm sounds most comfortable. Between this and “Blue Phoenix,” Elettra Storm have it in them to write some great power metal—if only they could apply these successes to the rest of Evertale.

The end result is an album that is pleasantly bland, with tracks ranging from forgettable to slightly above average, as well as a couple that are quite good. I won’t deny that I sometimes find myself whistling a random tune like “Judgment Time” while I’m out and about. Evertale hits that sweet spot between power metal and adult pop/rock where it could find an audience in either genre. Elettra Storm provides an electric vocalist, a little bit of guitar noodling, and radio rock song structures that make it a pleasant in-the-moment listen. But the record fails to take many risks or hit many of the highs the genre is capable of. Instead, it plays things a little too safe and doesn’t quite live up to its elettra-fying name.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#25 #2025 #BattleBeast #CelineDion #ElettraStorm #Evertale #FrozenCrown #HardRock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #UnleashTheArchers #Wilderun

Elettra Storm – Evertale Review

By ClarkKent

Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown. Looking to make a foothold in this scene is Elettra Storm with the release of their sophomore album, Evertale. While it may look like a strange word for those not fluent in Italian, Elettra comes from the Greek mythological figure, Electra/Elektra. It also serves as a root word for electricity, which helps explain both the odd-sounding band name and the storm surrounding the head of the woman on the cover. This quintet isn’t looking to reinvent the cheese wheel; they just want to write some catchy songs and give their lead singer, Crystal Emiliani, a chance to show off her pipes. Do they have that spark to set the power metal world on fire?

While people like to tease that Wilderun is Disney metal, if Disney were to actually sign a metal artist, they would likely sound like Elettra Storm. They straddle the line between power metal and hard rock mixed with some pop. They don’t quite bring the dance vibes like Battle Beast, but their power metal also isn’t as aggressive or hard-hitting as Frozen Crown. Guitar riffs and drum beats are relatively muted, though not without a lively energy, as Elettra Storm largely plays it safe instrumentally. Instead, they rely on the strength of their frontwoman, and Emiliani delivers. She channels a mix of Disney-friendly pop artists from Idina Menzel to Celine Dion. On “Blue Phoenix,” I half-expected Emiliani to break out into “Let it go” when she buoyantly sings the refrain “And rise again,” while “Secrets of the Universe” has a moment where her voice briefly brought me back to that titanic hit from decades ago.

For power metal of this caliber to work, the choruses need to be catchy, but on this score, Evertale is a mixed bag. It’s not that the choruses are a miss, but that they’re often forgettable. It doesn’t help that the lyrics tend to be convoluted. On “Hero Among Heroes,” Emiliani sings “Hero among heroes / Rise the sword up in the sky / Strong of arm and mind”—this ESL tendency hampers catchiness. Evertale also suffers a general lack of hooks. For the most part, riffs are bland, standard rock fare, and melodies are nil. Opener “Endgame” has some hooky synths, but Elettra Storm rarely returns to them on the rest of the record. “Master of Fairytales” also shows potential when it opens with energetic blast beats and a decent chorus, but the song drops that energy the rest of the way. “Blue Phoenix,” on the other hand, is proof they have the capability of writing really good power metal. It has Evertale’s most creative riffs, a consistent level of energy, and a chorus that soars in a dazzling display like the mythological bird. In the end, Elettra Storm could learn a lot from studying stalwarts of catchy power metal like Unleash the Archers.

Elettra Storm actually feels most at home on the lone track that’s geared more towards pop than metal: “One Last Ray of Light.” This tune eschews the usual power metal trappings of noodly riffs and high energy. It features a piano and what sounds like a mandolin playing a lovely melody.1 Then the chorus hits and the real magic happens. Emiliani’s voice rises to a beautiful lilt as she belts out the catchiest chorus on Evertale. The song is a certifiable banger, and it is also where Elettra Storm sounds most comfortable. Between this and “Blue Phoenix,” Elettra Storm have it in them to write some great power metal—if only they could apply these successes to the rest of Evertale.

The end result is an album that is pleasantly bland, with tracks ranging from forgettable to slightly above average, as well as a couple that are quite good. I won’t deny that I sometimes find myself whistling a random tune like “Judgment Time” while I’m out and about. Evertale hits that sweet spot between power metal and adult pop/rock where it could find an audience in either genre. Elettra Storm provides an electric vocalist, a little bit of guitar noodling, and radio rock song structures that make it a pleasant in-the-moment listen. But the record fails to take many risks or hit many of the highs the genre is capable of. Instead, it plays things a little too safe and doesn’t quite live up to its elettra-fying name.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#25 #2025 #BattleBeast #CelineDion #ElettraStorm #Evertale #FrozenCrown #HardRock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #UnleashTheArchers #Wilderun

Elettra Storm – Evertale Review

By ClarkKent

Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown. Looking to make a foothold in this scene is Elettra Storm with the release of their sophomore album, Evertale. While it may look like a strange word for those not fluent in Italian, Elettra comes from the Greek mythological figure, Electra/Elektra. It also serves as a root word for electricity, which helps explain both the odd-sounding band name and the storm surrounding the head of the woman on the cover. This quintet isn’t looking to reinvent the cheese wheel; they just want to write some catchy songs and give their lead singer, Crystal Emiliani, a chance to show off her pipes. Do they have that spark to set the power metal world on fire?

While people like to tease that Wilderun is Disney metal, if Disney were to actually sign a metal artist, they would likely sound like Elettra Storm. They straddle the line between power metal and hard rock mixed with some pop. They don’t quite bring the dance vibes like Battle Beast, but their power metal also isn’t as aggressive or hard-hitting as Frozen Crown. Guitar riffs and drum beats are relatively muted, though not without a lively energy, as Elettra Storm largely plays it safe instrumentally. Instead, they rely on the strength of their frontwoman, and Emiliani delivers. She channels a mix of Disney-friendly pop artists from Idina Menzel to Celine Dion. On “Blue Phoenix,” I half-expected Emiliani to break out into “Let it go” when she buoyantly sings the refrain “And rise again,” while “Secrets of the Universe” has a moment where her voice briefly brought me back to that titanic hit from decades ago.

For power metal of this caliber to work, the choruses need to be catchy, but on this score, Evertale is a mixed bag. It’s not that the choruses are a miss, but that they’re often forgettable. It doesn’t help that the lyrics tend to be convoluted. On “Hero Among Heroes,” Emiliani sings “Hero among heroes / Rise the sword up in the sky / Strong of arm and mind”—this ESL tendency hampers catchiness. Evertale also suffers a general lack of hooks. For the most part, riffs are bland, standard rock fare, and melodies are nil. Opener “Endgame” has some hooky synths, but Elettra Storm rarely returns to them on the rest of the record. “Master of Fairytales” also shows potential when it opens with energetic blast beats and a decent chorus, but the song drops that energy the rest of the way. “Blue Phoenix,” on the other hand, is proof they have the capability of writing really good power metal. It has Evertale’s most creative riffs, a consistent level of energy, and a chorus that soars in a dazzling display like the mythological bird. In the end, Elettra Storm could learn a lot from studying stalwarts of catchy power metal like Unleash the Archers.

Elettra Storm actually feels most at home on the lone track that’s geared more towards pop than metal: “One Last Ray of Light.” This tune eschews the usual power metal trappings of noodly riffs and high energy. It features a piano and what sounds like a mandolin playing a lovely melody.1 Then the chorus hits and the real magic happens. Emiliani’s voice rises to a beautiful lilt as she belts out the catchiest chorus on Evertale. The song is a certifiable banger, and it is also where Elettra Storm sounds most comfortable. Between this and “Blue Phoenix,” Elettra Storm have it in them to write some great power metal—if only they could apply these successes to the rest of Evertale.

The end result is an album that is pleasantly bland, with tracks ranging from forgettable to slightly above average, as well as a couple that are quite good. I won’t deny that I sometimes find myself whistling a random tune like “Judgment Time” while I’m out and about. Evertale hits that sweet spot between power metal and adult pop/rock where it could find an audience in either genre. Elettra Storm provides an electric vocalist, a little bit of guitar noodling, and radio rock song structures that make it a pleasant in-the-moment listen. But the record fails to take many risks or hit many of the highs the genre is capable of. Instead, it plays things a little too safe and doesn’t quite live up to its elettra-fying name.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#25 #2025 #BattleBeast #CelineDion #ElettraStorm #Evertale #FrozenCrown #HardRock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #UnleashTheArchers #Wilderun

Elettra Storm – Evertale Review

By ClarkKent

Italy has a well-established power metal scene, particularly the ostentatious Rhapsody of Fire and the dazzling Frozen Crown. Looking to make a foothold in this scene is Elettra Storm with the release of their sophomore album, Evertale. While it may look like a strange word for those not fluent in Italian, Elettra comes from the Greek mythological figure, Electra/Elektra. It also serves as a root word for electricity, which helps explain both the odd-sounding band name and the storm surrounding the head of the woman on the cover. This quintet isn’t looking to reinvent the cheese wheel; they just want to write some catchy songs and give their lead singer, Crystal Emiliani, a chance to show off her pipes. Do they have that spark to set the power metal world on fire?

While people like to tease that Wilderun is Disney metal, if Disney were to actually sign a metal artist, they would likely sound like Elettra Storm. They straddle the line between power metal and hard rock mixed with some pop. They don’t quite bring the dance vibes like Battle Beast, but their power metal also isn’t as aggressive or hard-hitting as Frozen Crown. Guitar riffs and drum beats are relatively muted, though not without a lively energy, as Elettra Storm largely plays it safe instrumentally. Instead, they rely on the strength of their frontwoman, and Emiliani delivers. She channels a mix of Disney-friendly pop artists from Idina Menzel to Celine Dion. On “Blue Phoenix,” I half-expected Emiliani to break out into “Let it go” when she buoyantly sings the refrain “And rise again,” while “Secrets of the Universe” has a moment where her voice briefly brought me back to that titanic hit from decades ago.

For power metal of this caliber to work, the choruses need to be catchy, but on this score, Evertale is a mixed bag. It’s not that the choruses are a miss, but that they’re often forgettable. It doesn’t help that the lyrics tend to be convoluted. On “Hero Among Heroes,” Emiliani sings “Hero among heroes / Rise the sword up in the sky / Strong of arm and mind”—this ESL tendency hampers catchiness. Evertale also suffers a general lack of hooks. For the most part, riffs are bland, standard rock fare, and melodies are nil. Opener “Endgame” has some hooky synths, but Elettra Storm rarely returns to them on the rest of the record. “Master of Fairytales” also shows potential when it opens with energetic blast beats and a decent chorus, but the song drops that energy the rest of the way. “Blue Phoenix,” on the other hand, is proof they have the capability of writing really good power metal. It has Evertale’s most creative riffs, a consistent level of energy, and a chorus that soars in a dazzling display like the mythological bird. In the end, Elettra Storm could learn a lot from studying stalwarts of catchy power metal like Unleash the Archers.

Elettra Storm actually feels most at home on the lone track that’s geared more towards pop than metal: “One Last Ray of Light.” This tune eschews the usual power metal trappings of noodly riffs and high energy. It features a piano and what sounds like a mandolin playing a lovely melody.1 Then the chorus hits and the real magic happens. Emiliani’s voice rises to a beautiful lilt as she belts out the catchiest chorus on Evertale. The song is a certifiable banger, and it is also where Elettra Storm sounds most comfortable. Between this and “Blue Phoenix,” Elettra Storm have it in them to write some great power metal—if only they could apply these successes to the rest of Evertale.

The end result is an album that is pleasantly bland, with tracks ranging from forgettable to slightly above average, as well as a couple that are quite good. I won’t deny that I sometimes find myself whistling a random tune like “Judgment Time” while I’m out and about. Evertale hits that sweet spot between power metal and adult pop/rock where it could find an audience in either genre. Elettra Storm provides an electric vocalist, a little bit of guitar noodling, and radio rock song structures that make it a pleasant in-the-moment listen. But the record fails to take many risks or hit many of the highs the genre is capable of. Instead, it plays things a little too safe and doesn’t quite live up to its elettra-fying name.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#25 #2025 #BattleBeast #CelineDion #ElettraStorm #Evertale #FrozenCrown #HardRock #IdinaMenzel #ItalianMetal #Oct25 #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #UnleashTheArchers #Wilderun

Serata incredibile! Rhapsody of Fire con l'Orchestra Sinfonica di Milano #livemusic #metal #symphony #music #symphonicmetal #orchestra #choir #rhapsodyoffire #italia #milano

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

The 7th Guild – Triumviro Review

By Kenstrosity

To compare your band to The Three Tenors is a bold move, to say the least. By making this connection, you inherently pit yourself against three of the greatest opera singers of their time (at the very least three of the most well-known). Yet, this is exactly how SkeleToon‘s Tomi Fooler describes his freshly minted supergroup, The 7th Guild, in anticipation of their debut full-length Triumviro. Boasting his own voice in tandem with Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (Vision Divine, Derdian), Tomi’s latest project attempts a symphonic power metal triple threat of the same legendary caliber as the aforementioned Tenors. It takes gumption to attempt that feat. Can The 7th Guild win over the Kendom?

The short answer is no. With nothing substantial to distinguish this project from the pool of power from which it draws deep, Triumviro proffers a particularly earnest and passionate form of overblown, hyper-melodic symphocheese. Positivity and bleeding heart melodramatics abound, surrounded by a blunderbuss of horns, keys, strings, and a too-thin layer of guitars hell-bent on proselytizing the virtues of the power chord. Unlike equally opulent acts like Twilight Force and Fellowship, The 7th Guild epitomizes the generic at every stage, so much so that at times, it is difficult even to distinguish any of the three vocalists from each other (save for one member who possesses an especially nasal, though not altogether unpleasant, tone). Nonetheless, it’s a formula that works and has worked for decades, which means that despite myself, Triumviro thrust a few of its best moments deep in my brain.

The 7th Guild are at their best when singing in their native Italian. Lush as the most richly layered Fleshgod Apocalypse magnum opus, “La Promessa Cremisi” revels in decadent vocal layers, a million heavily rolled ‘r’s, cinematic orchestrations, and a sky-high soaring chorus riding on the rippling back muscles of a classic power metal gallop. Insertions of Italian scattered throughout the excessive “Glorious” help offset its cringe-inducing, but sticky “YOU’RE MAKIN’ ME GLOOOOOOOOOORRRRIIOOOOUS” refrain. “In Nomine Patris” exudes regality in its fanfare, marching forth with an operatic pre-chorus followed immediately by a triumphant chorus that would be right at home on any Twilight Force epic. As if this wasn’t enough, a delightful high-octane guitar solo launches the final third in dramatic fashion, giving the final chorus the momentum it needed to justify its inclusion in the song’s six-plus-minute span. It is moments like these, among a few others spotting this forty-eight-minute runtime, that make Triumviro enjoyable and fun, at least for a moment.

Unfortunately, the overwhelming majority of Triumviro’s successes are ephemeral, too easily overshadowed by lackluster power metal sullied further by saccharine writing and unchecked vocal exhibitions. Ballad “Time” is delicate and fluffy, but having three singers of functionally identical tone and range wailing in concert with the soaring lead guitar flattens the entire piece to the point of collapse. A total lack of tonal and textural depth persists throughout the back half of the record, continually fumbling moves that could’ve made a lasting impression. “Guardians of Eternity” borders on annoying, its vocal layering creating cacophony as one singer chooses to hold notes longer than the rest at arbitrary points, while another comes in a fraction too late to line up properly in the arrangement. Later on, one of the vocalists makes an unhinged choice attempting an operatic run in the style of Tarja Turunen. Not only does this moment clash against already tepid songwriting with its poor execution, but it also illustrates the competitive, rather than cooperative, nature of The 7th Guild’s vocal performances. Furthermore, this egregious showboating behavior puts a spotlight on the oversimplified, underutilized metallic instrumentation in the background, as demonstrated by the overwrought “The Metal Charade.” Closer “Fairy Tale” doesn’t fare much better as the over-performed, nasal balladry dominates the soundscape with questionable choices and strained reaches, all in the name of bombast.

The most damning aspect of The 7th Guild’s troubled debut is the impression it leaves with this listener. After the dust settles and I lay Triumviro to rest, I breathe a heavy sigh of relief. Its first five songs aren’t that bad, and two of those are arguably good. But even those can’t escape the problems pervading the entire record. Moreover, its second half is a clinic on what not to do, from writing to performance, on a symphonic power metal record. In short, right now The 7th Guild are closer to The Three Tricksters than The Three Tenors.

Rating: Bad
DR: 8 | Format Reviewed: 160 kbps mp3
Label: Scarlet Records
Website: facebook.com/the7thguild
Releases Worldwide: February 21st, 2025

#15 #2025 #Derdian #Feb25 #Fellowship #ItalianMetalMetal #PowerMetal #Review #Reviews #RhapsodyOfFire #ScarletRecords #Skeletoon #SymphonicMetal #The7thGuild #TheThreeTenors #Triumviro #TwilightForce #VisionDivine

Concert de #RhapsodyOfFire ce soir, j'ai passé un très bon moment et j'ai des doutes sur l'état de ma voix demain.
En premières parties, Secret Sphere puis Freedom Call. Le premier a piqué ma curiosité, et le second était super gnan-gnan...

Festival Review: Hellfest 2024 – Day 3 (Hayley’s View)

We always thought that three of Hellfest was going to be a busy one and that certainly proved the case, for us, starting with Canada’s finest, Anv

https://www.moshville.co.uk/reviews/gig-review/2024/07/festival-review-hellfest-2024-day-3-hayleys-view/

#GigReviews #Accept #Anvil #BlackStoneCherry #BruceDickinson #Extreme #Hellfest #Hysteria #MammothWVH #Metallica #MrBungle #RhapsodyOfFire #SuicidalTendencies #YngwieMalmsteen

#TheMetalDogArticleList
#MetalInjection
The Weekly Injection: New Releases From BAD OMENS, FOUR STROKE BARON & More Out Today 5/31
Plus releases from Rhapsody of Fire, Thou, Wormwood, and Nightrage.

https://metalinjection.net/upcoming-releases/heavy-new-releases/the-weekly-injection-new-releases-from-bad-omens-four-stroke-baron-more-out-today-5-31

#BadOmens #FourStrokeBaron #Nightrage #RhapsodyOfFire #Thou #Wormwood #metal #heavymetal #progressivemetal #melodicdeathmetal #sludge #powermetal #symphonicmetal #melodicblackmetal #thrashmetal #groovemetal #postpunk #ambient #doom

J'ai écouté le dernier album de #RhapsodyOfFire qui est sorti aujourd'hui et j'aime toujours autant ce qu'ils font 👍

Rhapsody Of Fire - Kreel's Magic Staff

#FediRadio #PouetRadio #Music #RhapsodyOfFire

Oh my god he just favorably compared #RhapsodyOfFire to #IronMaiden.

I guess I win at concerts now.

I will enjoy it while it lasts.

A reminder that #ChristopherLee was a #SymphonicMetal singer: https://youtu.be/Z93SdirnzTw

His contributions to #RhapsodyOfFire weren't his only #metal #music tracks though.
Aside from some heavy metal Christmas records, he also released two symphonic metal albums based on #Charlemagne: https://en.m.wikipedia.org/wiki/Charlemagne:_By_the_Sword_and_the_Cross

Und #RhapsodyOfFire war einfach großartige Party. Wie erwartet. 😄 🤘

Verdammt...gut dass ich noch mal auf die Veranstalter-Website geschaut habe (und wir - eigentlich um vorher noch was zu essen - zeitig gefahren sind) - sonst hätten wir glatt verpasst, dass das Konzert von #rhapsodyoffire heute in #München 1,5h vorverlegt ist 😮

Ich lese zur Zeit #DCC und am Samstag sehen wir #rhapsodyoffire live (und ich habe daher in den letzten Tagen nach langer Zeit auch zum ersten mal wieder Musik von ihnen angehört) .

Und irgendwie finde ich, beides passt vom Gefühl perfekt zusammen (ohne DCC bisher gespielt zu haben).

#pnpde #ttrpg #metal #dccrpg

Only four days after Angus, it is Skaw!s time to celebrate his birthday 🥳 Give it up for our drummer Manu Lotter and his goblin-crushing masculinity! #manlyman #berserker " #naturalbodybuilding " #noanabolicaforgoblins ex-#RhapsodyOfFire #angusmcsix

Only four days after Angus, it is Skaw!s time to celebrate his birthday 🥳 Give it up for our drummer Manu Lotter and his goblin-crushing masculinity! #manlyman #berserker " #naturalbodybuilding " #noanabolicaforgoblins ex-#RhapsodyOfFire #angusmcsix

#RockTheCastleGreen has an interesting line-up for #2020 so far: https://www.rockthecastle.it/en/line-up/
Especially Saturday #June27 with #JudasPriest, #BeastInBlack and #Saxon, and Saturday #July4 with #TobiasSammet's #Avantasia, #Epica, #Stratovarius, #RhapsodyOfFire and #Alestorm, all performing in a #castle, sound awesome.

Very unlikely we'll be able to go there, but one can dream of winning a big prize. ;)

#musicFestival #event #metalFestival #metal #heavyMetal #concert #Rock #music

Still hard to imagine that a little over a year ago, when we visited this #Rhapsody (of Fire) 20th Anniversary Tour, our little one was still in his mother's belly, and now he's babbling on my lap, grabbing at the cloth banner.

https://mastodon.social/media/FbzvTLh7Cv5UwJMIf_Y

#RhapsodyOfFire #LucaTurilli