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Turbo’s Tribunal – Mills of Tribunal Review

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire…
#NewsBeep #News #Music #2026 #3.0 #DanishMetal #Entertainment #HeavyMetal #IronMaiden #Jan26 #JawbreakerRecords #JudasPriest #KingDiamond #MelodicHeavyMetal #MillsofTribunal #review #Reviews #RunningWild #rush #TraditionalMetal #Turbo'sTribunal #UK #UnitedKingdom
https://www.newsbeep.com/uk/400230/

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Revenge – Night Danger Review

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash.…
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Revenge – Night Danger Review

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash.…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2025 #century #ColumbianMetal #DyingVictimsProductions #Entertainment #HeavyMetal #Helloween #JudasPriest #NightDanger #Oct25 #Razor #Revenge #review #reviews #RunningWild #SpeedMetal
https://www.newsbeep.com/us/251235/

Revenge – Night Danger Review

By Creeping Ivy

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash. Whether a band leans towards a classic or thrashy version of the sound becomes the primary distinguisher. Night Danger, the latest LP from longstanding Colombian band Revenge, is a speed metal record in the vein of Running Wild and Razor. But Revenge leans in a classic direction, claiming Judas Priest and Helloween as inspirations. Indeed, that Helloween-inspired artwork, coupled with the band’s longevity, should be enough to convince speed freaks to give Night Danger a spin. Those who observe the speed limit, however, will probably need more than the orange glow of a horse’s face to be convinced.1

Speed metal fans will be happy to hear that Night Danger consistently fulfills the promise of the genre’s adjective, with quality performances across the board. All but one of its songs gallop at the pace of the steed adorning its cover. To the list of Revenge’s self-professed classic influences, I would add the contemporary heavy metal band Century as a sonic touchstone, insofar as Night Danger tends to keep things up-tempo and, production-wise, traditional. The first half of the album races through songs that veer more in the classic direction, offering harmonized guitar melodies (“Black Sight”), fist-pumping choruses from Esteban ‘Hellfire’ Mejía (“Night Danger”), and impressive solos from lead guitarist Night Crawler (“Soldier’s Heart”). On the back half, Revenge delves into thrashier terrain, building songs around more menacing riffs (“Desire from Pain”) and stompier bridges (“The Devil Race”) that allow drummer Hell Avenger to show off his double bass skills. Despite really having only one speed, Night Danger doesn’t overstay its welcome; no song feels overlong, and the album sensibly clocks in at just under 40 minutes.

Even for speed metal aficionados, though, Night Danger will read less like a holistic album and more like a collection of similar songs. The title track, for example, follows up opener “Black Sight” with a similar kind of introduction: a riff punctuated by drum accents before blastoff. From there, “Night Danger” also mirrors the opener’s pre-solo, half-time bridge. By the time the intro riff to “Soldier’s Heart” rolls around at the midpoint, the listener feels as if they’ve already heard a version of it as the intro to “Night Danger.” Closer “Crushing Death” is one of the stronger cuts on the album, morphing its righteously thrashin’ riff into a jaunty verse and a chorus with uber melodic guitar tags. Nothing about it, however, makes it feel like a closer; it could just as easily live somewhere in the middle of Night Danger.

This is not to say, however, that there’s no songwriting variation to be found here. As the only mid-tempo track on Night Danger, “Misty Night” first comes to mind. Beyond its tempo, the song’s solo also contains a minute variation, picking up on the melody of the main riff before shredding the listener’s face off. Speaking of solos, “The Devil Race” refreshingly opens with one (and, yes, has one during the bridge). On the low end, bassist Camilo Hernandez is periodically noticeable, adding countermelodies that would make Steve Harris proud (“Night Danger,” “Desire from Pain”). Switching from strings to voices: Hellfire is a solid vocalist, but the gang vocals on “The Hammers Fall” add a refreshing flavor to the mix. All of these variations, however, are infrequent and virtually imperceptible.

Speed metal is gonna speed metal, but the lack of variety on Night Danger will likely pose issues for devotees and neophytes alike. Fans of the genre should dig this, but they’ll also crave a few more mid-tempo tracks to keep things interesting. Those less familiar with Revenge’s influences won’t easily forgive the album’s mono-temporality. Night Danger probably won’t turn you into a speed freak, but if you already are one, it’ll satisfy your need.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: revenge666.bandcamp.com/album/night-danger | facebook.com/revengespeed
Releases Worldwide: October 17th, 2025

#25 #2025 #Century #ColumbianMetal #DyingVictimsProductions #HeavyMetal #Helloween #JudasPriest #NightDanger #Oct25 #Razor #Revenge #Review #Reviews #RunningWild #SpeedMetal

Revenge – Night Danger Review

By Creeping Ivy

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash. Whether a band leans towards a classic or thrashy version of the sound becomes the primary distinguisher. Night Danger, the latest LP from longstanding Colombian band Revenge, is a speed metal record in the vein of Running Wild and Razor. But Revenge leans in a classic direction, claiming Judas Priest and Helloween as inspirations. Indeed, that Helloween-inspired artwork, coupled with the band’s longevity, should be enough to convince speed freaks to give Night Danger a spin. Those who observe the speed limit, however, will probably need more than the orange glow of a horse’s face to be convinced.1

Speed metal fans will be happy to hear that Night Danger consistently fulfills the promise of the genre’s adjective, with quality performances across the board. All but one of its songs gallop at the pace of the steed adorning its cover. To the list of Revenge’s self-professed classic influences, I would add the contemporary heavy metal band Century as a sonic touchstone, insofar as Night Danger tends to keep things up-tempo and, production-wise, traditional. The first half of the album races through songs that veer more in the classic direction, offering harmonized guitar melodies (“Black Sight”), fist-pumping choruses from Esteban ‘Hellfire’ Mejía (“Night Danger”), and impressive solos from lead guitarist Night Crawler (“Soldier’s Heart”). On the back half, Revenge delves into thrashier terrain, building songs around more menacing riffs (“Desire from Pain”) and stompier bridges (“The Devil Race”) that allow drummer Hell Avenger to show off his double bass skills. Despite really having only one speed, Night Danger doesn’t overstay its welcome; no song feels overlong, and the album sensibly clocks in at just under 40 minutes.

Even for speed metal aficionados, though, Night Danger will read less like a holistic album and more like a collection of similar songs. The title track, for example, follows up opener “Black Sight” with a similar kind of introduction: a riff punctuated by drum accents before blastoff. From there, “Night Danger” also mirrors the opener’s pre-solo, half-time bridge. By the time the intro riff to “Soldier’s Heart” rolls around at the midpoint, the listener feels as if they’ve already heard a version of it as the intro to “Night Danger.” Closer “Crushing Death” is one of the stronger cuts on the album, morphing its righteously thrashin’ riff into a jaunty verse and a chorus with uber melodic guitar tags. Nothing about it, however, makes it feel like a closer; it could just as easily live somewhere in the middle of Night Danger.

This is not to say, however, that there’s no songwriting variation to be found here. As the only mid-tempo track on Night Danger, “Misty Night” first comes to mind. Beyond its tempo, the song’s solo also contains a minute variation, picking up on the melody of the main riff before shredding the listener’s face off. Speaking of solos, “The Devil Race” refreshingly opens with one (and, yes, has one during the bridge). On the low end, bassist Camilo Hernandez is periodically noticeable, adding countermelodies that would make Steve Harris proud (“Night Danger,” “Desire from Pain”). Switching from strings to voices: Hellfire is a solid vocalist, but the gang vocals on “The Hammers Fall” add a refreshing flavor to the mix. All of these variations, however, are infrequent and virtually imperceptible.

Speed metal is gonna speed metal, but the lack of variety on Night Danger will likely pose issues for devotees and neophytes alike. Fans of the genre should dig this, but they’ll also crave a few more mid-tempo tracks to keep things interesting. Those less familiar with Revenge’s influences won’t easily forgive the album’s mono-temporality. Night Danger probably won’t turn you into a speed freak, but if you already are one, it’ll satisfy your need.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: revenge666.bandcamp.com/album/night-danger | facebook.com/revengespeed
Releases Worldwide: October 17th, 2025

#25 #2025 #Century #ColumbianMetal #DyingVictimsProductions #HeavyMetal #Helloween #JudasPriest #NightDanger #Oct25 #Razor #Revenge #Review #Reviews #RunningWild #SpeedMetal

Revenge – Night Danger Review

By Creeping Ivy

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash. Whether a band leans towards a classic or thrashy version of the sound becomes the primary distinguisher. Night Danger, the latest LP from longstanding Colombian band Revenge, is a speed metal record in the vein of Running Wild and Razor. But Revenge leans in a classic direction, claiming Judas Priest and Helloween as inspirations. Indeed, that Helloween-inspired artwork, coupled with the band’s longevity, should be enough to convince speed freaks to give Night Danger a spin. Those who observe the speed limit, however, will probably need more than the orange glow of a horse’s face to be convinced.1

Speed metal fans will be happy to hear that Night Danger consistently fulfills the promise of the genre’s adjective, with quality performances across the board. All but one of its songs gallop at the pace of the steed adorning its cover. To the list of Revenge’s self-professed classic influences, I would add the contemporary heavy metal band Century as a sonic touchstone, insofar as Night Danger tends to keep things up-tempo and, production-wise, traditional. The first half of the album races through songs that veer more in the classic direction, offering harmonized guitar melodies (“Black Sight”), fist-pumping choruses from Esteban ‘Hellfire’ Mejía (“Night Danger”), and impressive solos from lead guitarist Night Crawler (“Soldier’s Heart”). On the back half, Revenge delves into thrashier terrain, building songs around more menacing riffs (“Desire from Pain”) and stompier bridges (“The Devil Race”) that allow drummer Hell Avenger to show off his double bass skills. Despite really having only one speed, Night Danger doesn’t overstay its welcome; no song feels overlong, and the album sensibly clocks in at just under 40 minutes.

Even for speed metal aficionados, though, Night Danger will read less like a holistic album and more like a collection of similar songs. The title track, for example, follows up opener “Black Sight” with a similar kind of introduction: a riff punctuated by drum accents before blastoff. From there, “Night Danger” also mirrors the opener’s pre-solo, half-time bridge. By the time the intro riff to “Soldier’s Heart” rolls around at the midpoint, the listener feels as if they’ve already heard a version of it as the intro to “Night Danger.” Closer “Crushing Death” is one of the stronger cuts on the album, morphing its righteously thrashin’ riff into a jaunty verse and a chorus with uber melodic guitar tags. Nothing about it, however, makes it feel like a closer; it could just as easily live somewhere in the middle of Night Danger.

This is not to say, however, that there’s no songwriting variation to be found here. As the only mid-tempo track on Night Danger, “Misty Night” first comes to mind. Beyond its tempo, the song’s solo also contains a minute variation, picking up on the melody of the main riff before shredding the listener’s face off. Speaking of solos, “The Devil Race” refreshingly opens with one (and, yes, has one during the bridge). On the low end, bassist Camilo Hernandez is periodically noticeable, adding countermelodies that would make Steve Harris proud (“Night Danger,” “Desire from Pain”). Switching from strings to voices: Hellfire is a solid vocalist, but the gang vocals on “The Hammers Fall” add a refreshing flavor to the mix. All of these variations, however, are infrequent and virtually imperceptible.

Speed metal is gonna speed metal, but the lack of variety on Night Danger will likely pose issues for devotees and neophytes alike. Fans of the genre should dig this, but they’ll also crave a few more mid-tempo tracks to keep things interesting. Those less familiar with Revenge’s influences won’t easily forgive the album’s mono-temporality. Night Danger probably won’t turn you into a speed freak, but if you already are one, it’ll satisfy your need.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: revenge666.bandcamp.com/album/night-danger | facebook.com/revengespeed
Releases Worldwide: October 17th, 2025

#25 #2025 #Century #ColumbianMetal #DyingVictimsProductions #HeavyMetal #Helloween #JudasPriest #NightDanger #Oct25 #Razor #Revenge #Review #Reviews #RunningWild #SpeedMetal

Revenge – Night Danger Review

By Creeping Ivy

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash. Whether a band leans towards a classic or thrashy version of the sound becomes the primary distinguisher. Night Danger, the latest LP from longstanding Colombian band Revenge, is a speed metal record in the vein of Running Wild and Razor. But Revenge leans in a classic direction, claiming Judas Priest and Helloween as inspirations. Indeed, that Helloween-inspired artwork, coupled with the band’s longevity, should be enough to convince speed freaks to give Night Danger a spin. Those who observe the speed limit, however, will probably need more than the orange glow of a horse’s face to be convinced.1

Speed metal fans will be happy to hear that Night Danger consistently fulfills the promise of the genre’s adjective, with quality performances across the board. All but one of its songs gallop at the pace of the steed adorning its cover. To the list of Revenge’s self-professed classic influences, I would add the contemporary heavy metal band Century as a sonic touchstone, insofar as Night Danger tends to keep things up-tempo and, production-wise, traditional. The first half of the album races through songs that veer more in the classic direction, offering harmonized guitar melodies (“Black Sight”), fist-pumping choruses from Esteban ‘Hellfire’ Mejía (“Night Danger”), and impressive solos from lead guitarist Night Crawler (“Soldier’s Heart”). On the back half, Revenge delves into thrashier terrain, building songs around more menacing riffs (“Desire from Pain”) and stompier bridges (“The Devil Race”) that allow drummer Hell Avenger to show off his double bass skills. Despite really having only one speed, Night Danger doesn’t overstay its welcome; no song feels overlong, and the album sensibly clocks in at just under 40 minutes.

Even for speed metal aficionados, though, Night Danger will read less like a holistic album and more like a collection of similar songs. The title track, for example, follows up opener “Black Sight” with a similar kind of introduction: a riff punctuated by drum accents before blastoff. From there, “Night Danger” also mirrors the opener’s pre-solo, half-time bridge. By the time the intro riff to “Soldier’s Heart” rolls around at the midpoint, the listener feels as if they’ve already heard a version of it as the intro to “Night Danger.” Closer “Crushing Death” is one of the stronger cuts on the album, morphing its righteously thrashin’ riff into a jaunty verse and a chorus with uber melodic guitar tags. Nothing about it, however, makes it feel like a closer; it could just as easily live somewhere in the middle of Night Danger.

This is not to say, however, that there’s no songwriting variation to be found here. As the only mid-tempo track on Night Danger, “Misty Night” first comes to mind. Beyond its tempo, the song’s solo also contains a minute variation, picking up on the melody of the main riff before shredding the listener’s face off. Speaking of solos, “The Devil Race” refreshingly opens with one (and, yes, has one during the bridge). On the low end, bassist Camilo Hernandez is periodically noticeable, adding countermelodies that would make Steve Harris proud (“Night Danger,” “Desire from Pain”). Switching from strings to voices: Hellfire is a solid vocalist, but the gang vocals on “The Hammers Fall” add a refreshing flavor to the mix. All of these variations, however, are infrequent and virtually imperceptible.

Speed metal is gonna speed metal, but the lack of variety on Night Danger will likely pose issues for devotees and neophytes alike. Fans of the genre should dig this, but they’ll also crave a few more mid-tempo tracks to keep things interesting. Those less familiar with Revenge’s influences won’t easily forgive the album’s mono-temporality. Night Danger probably won’t turn you into a speed freak, but if you already are one, it’ll satisfy your need.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: revenge666.bandcamp.com/album/night-danger | facebook.com/revengespeed
Releases Worldwide: October 17th, 2025

#25 #2025 #Century #ColumbianMetal #DyingVictimsProductions #HeavyMetal #Helloween #JudasPriest #NightDanger #Oct25 #Razor #Revenge #Review #Reviews #RunningWild #SpeedMetal

Revenge – Night Danger Review

By Creeping Ivy

Like all subgenres, speed metal exists at the nexus of other genres: namely, classic heavy metal and thrash. Whether a band leans towards a classic or thrashy version of the sound becomes the primary distinguisher. Night Danger, the latest LP from longstanding Colombian band Revenge, is a speed metal record in the vein of Running Wild and Razor. But Revenge leans in a classic direction, claiming Judas Priest and Helloween as inspirations. Indeed, that Helloween-inspired artwork, coupled with the band’s longevity, should be enough to convince speed freaks to give Night Danger a spin. Those who observe the speed limit, however, will probably need more than the orange glow of a horse’s face to be convinced.1

Speed metal fans will be happy to hear that Night Danger consistently fulfills the promise of the genre’s adjective, with quality performances across the board. All but one of its songs gallop at the pace of the steed adorning its cover. To the list of Revenge’s self-professed classic influences, I would add the contemporary heavy metal band Century as a sonic touchstone, insofar as Night Danger tends to keep things up-tempo and, production-wise, traditional. The first half of the album races through songs that veer more in the classic direction, offering harmonized guitar melodies (“Black Sight”), fist-pumping choruses from Esteban ‘Hellfire’ Mejía (“Night Danger”), and impressive solos from lead guitarist Night Crawler (“Soldier’s Heart”). On the back half, Revenge delves into thrashier terrain, building songs around more menacing riffs (“Desire from Pain”) and stompier bridges (“The Devil Race”) that allow drummer Hell Avenger to show off his double bass skills. Despite really having only one speed, Night Danger doesn’t overstay its welcome; no song feels overlong, and the album sensibly clocks in at just under 40 minutes.

Even for speed metal aficionados, though, Night Danger will read less like a holistic album and more like a collection of similar songs. The title track, for example, follows up opener “Black Sight” with a similar kind of introduction: a riff punctuated by drum accents before blastoff. From there, “Night Danger” also mirrors the opener’s pre-solo, half-time bridge. By the time the intro riff to “Soldier’s Heart” rolls around at the midpoint, the listener feels as if they’ve already heard a version of it as the intro to “Night Danger.” Closer “Crushing Death” is one of the stronger cuts on the album, morphing its righteously thrashin’ riff into a jaunty verse and a chorus with uber melodic guitar tags. Nothing about it, however, makes it feel like a closer; it could just as easily live somewhere in the middle of Night Danger.

This is not to say, however, that there’s no songwriting variation to be found here. As the only mid-tempo track on Night Danger, “Misty Night” first comes to mind. Beyond its tempo, the song’s solo also contains a minute variation, picking up on the melody of the main riff before shredding the listener’s face off. Speaking of solos, “The Devil Race” refreshingly opens with one (and, yes, has one during the bridge). On the low end, bassist Camilo Hernandez is periodically noticeable, adding countermelodies that would make Steve Harris proud (“Night Danger,” “Desire from Pain”). Switching from strings to voices: Hellfire is a solid vocalist, but the gang vocals on “The Hammers Fall” add a refreshing flavor to the mix. All of these variations, however, are infrequent and virtually imperceptible.

Speed metal is gonna speed metal, but the lack of variety on Night Danger will likely pose issues for devotees and neophytes alike. Fans of the genre should dig this, but they’ll also crave a few more mid-tempo tracks to keep things interesting. Those less familiar with Revenge’s influences won’t easily forgive the album’s mono-temporality. Night Danger probably won’t turn you into a speed freak, but if you already are one, it’ll satisfy your need.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: revenge666.bandcamp.com/album/night-danger | facebook.com/revengespeed
Releases Worldwide: October 17th, 2025

#25 #2025 #Century #ColumbianMetal #DyingVictimsProductions #HeavyMetal #Helloween #JudasPriest #NightDanger #Oct25 #Razor #Revenge #Review #Reviews #RunningWild #SpeedMetal

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

Show 1 footnote

1. Belted in your best implacable Euro accent. ↩

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Feanor – Hellhammer Review

By Samguineous Maximus

Within the sprawling cosmos of heavy metal, there are those who shy away from “cheese.” The self-serious arbiters of credibility who cannot fathom the spectacle of a Jørnlike figure, clad in frills, golden mane cascading, arms outstretched as soliloquies of passion pour forth in gloriously ESL-stained accents. Yet for those of us who have dared sail the seas of cheese, who have cast aside the brittle armor of irony, such bombast is not an embarrassment but a revelation, a childlike ecstasy born from grown men shrieking about dragons or Tolkien over galloping power chords as though their lives depended on it. It is precisely for this rapturous abandon, this embrace of the sublime absurd, that we turn to a band like Feanor. These Argentinians have been cultivating their own brand of curd since the ‘90s, and across 5 albums, have basked in the glorious light of Teutonic heavy metal. Their last album, Power of the Chosen One, fermented for perhaps just a tad too long. Still, with some lineup changes, a new label, and an impressive cast of guest musicians, Hellhammer seems poised to deliver them into the gilded halls of heavy metal greatness. Will Feanor at last unveil a wheel aged with patience and depth, or will these hapless cheesemongers find themselves choking on the very aroma they hoped would entice?

The most immediate difference between Hellhammer and Feanor’s previous efforts is the sheer Euro-chad aura emanating from new vocalist Micke Stark. This is a man forged in the fjords, his Swedish accent as thick as a tankard of mead, his tenor piercing the heavens like Odin’s own warhorn. Stark doesn’t just sing; he commands the ship, steering us through Feanor’s cocktail of Manowar’s loincloth bravado, Running Wild’s salt-crusted bombast, and enough ‘90s power metal clichés to fill a longship. He makes even Thomas Winkler sound reserved, and every syllable he chews becomes a weapon in the band’s arsenal. Whether belting absurd tales of brotherly love (“The Epic of Gilgamesh Pt2 (The Quest For Immortality)”), forbidden Elvish/human romance (“The Ballad of Beren and Luthien”) or vague Scandinavian mythology (“Flight of the Valkyries”), Stark sells every line with enough charm where you can almost feel the pyrotechnics. Nowhere is the ESL charm more apparent, though, than “H.M.J,” a folk metal-flavored ripper about miscellaneous pirate stuff, where in between shredtastic solos and cannonball sound effects synched to gang vocals of “Fire! Guns! Cannons!,” its chorus boldly intones: “Heavy metal Jesus, heavy metal is the law” before ending with a tongue-in-cheek reference to “Stay forever Running Wild.” Stark elevates ridiculous moments like this to memorable highs that feel built for drunken sing-alongs at European festivals and almost make row pits seem like a good idea.

None of this vocal cheese would work without a proper boarding party, and Hellhammer boasts an impressive cast of scallywags for maximum HEAVY METAL POWER. 1 Axemen E.V. Martel and Thilio Hermann (appropriately ex-Manowar and ex-Running Wild, respectively) deliver exactly what one would expect of this style, nailing the distinct blend of galloping verse riffs, tasty lead melodies, and acrobatic solos. Their work is bolstered by newcomer Diana Boncheva on violin, injecting an orchestral feel to Feanor’s core sound by harmonizing with guitar lines, augmenting choruses, and rounding out ballads with some dynamic contrast. Of course, Hellhammer also features no fewer than 9 guest musicians, ranging from more ex-Manowar guitarists Ross the Boss and David Shankle, who throw even more lead guitar layers in the pot, to Piet Sielck of Iron Savior, embellishing arrangements with keyboards and choirs, to Camilla Star,k who delivers female vocals on several cuts. The added cast members lends the album an epic heft, like a band of grizzled adventurers converging for one last quest. When everything comes together, like on adrenaline-filled opener “Sirens of Death” or mid-tempo singalong “Remember the Fallen,” Feanor reach the majestic heights that only cheese this pungent can produce. Unfortunately, not every track is equally alluring.The problem is, Hellhammer just doesn’t know when to quit. At nearly 70 minutes, even the most heroic momentum falters. Feanor try to mix things up with interludes and slower songs, and while some work, they can’t prevent fatigue from setting in. With most tracks running 5–7 minutes, songs start to blur, and by the time track eight (“Maglor the Singer”) rolls around, the weight of the remaining 20+ minutes feels daunting. The album’s final stretch doesn’t help, ending with a ballad (“The Ballad of Beren and Luthien”) and a slower number (“This One’s for You”) that fizzle out instead of finishing strong. The length doesn’t erase the album’s brightest moments, but it does make front-to-back listens a heavy lift.

With Hellhammer, Feanor have produced an impressive collection of fist-pumping tunes that are destined to make seasoned cheese heads grin. Despite its intimidating size, I still find myself reaching for another serving of the band’s exquisite platter. The best songs here are going right into my cheese-maxing playlist alongside Dream Evil and ANGUS McSIX, destined to cheer me up on the darkest of days. This record isn’t perfect, but sometimes it’s nice to rock out alongside metal that’s so unabashedly fun. Even bloated and overstuffed, this album is a banquet worth raiding, a wheel of cheese worth gnawing until your stomach protests, a voyage you’ll happily set sail on again and again.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: facebook.com/feanorband
Releases Worldwide: September 19th, 2025

Show 1 footnote

1. Belted in your best implacable Euro accent. ↩

#2025 #30 #AngusMcSix #ArgentinianMetal #DreamEvil #Feanor #GraveDigger #HeavyMetal #Hellhammer #IronSavior #Manowar #NoRemorseRecords #PowerMetal #Review #Reviews #RunningWild #Sep25 #Stormburner

Entraînement mixte en forêt et domaine avec petites côtes sympas pour Préparer l'urban trail de mai ! Des marches de la boue tout ce qu'on aime 😅 #running #run #12km #12k #strava #runnersofmastodon #runningwild #trail #trailrunning #prepa #runninggirl #hello #goodmorning #monday #motivation #sport et en musique ? C'était un mix de la BO de rocky (le 1er) system of a down , Ghost , Amaranthe #music #rock #metal

Warming up before going to see Xiu Xiu with... Running Wild - Branded and Exiled.

Such a cool, classic heavy metal record! I especially love the mid-tempo tracks and the grainy, laid-back vocals.

Why am I only drinking water? Crazy.

#RunningWild #metal #heavyMetal #vinyl

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Spotted Irish Mountain Cardio taking their Christmas photo this morning. #RunningWild

Awwww ... this is all the feels. Well done ARMYs. :blobcatgiggle: :blobhaj_heart:

진 (Jin) 'Running Wild (Holiday Remix)' TikTok Compilation Video
https://www.youtube.com/watch?v=uDUinneP2jI

#Jin #BTSArmy #RunningWild #DanceChallenge

I love that Jin's dance challenge is basically don't laugh with slowmo running. :blobcatgiggle:

#Jin #Happy #RunningWild #Running #Tiktok

Squeee! I found one of the pupper's in Jin's MV.

His name is Tango and he's a Nova Scotia Duck Tolling Retriever. Talk about World Wide Handsome Dogs! Still trying to track down his co-star Cash.

https://gooddoganimals.com/project/tango/

#CrazyDogLady #Jin #RunningWild

His little premiere countdown face! :ablobcatcry: :blobmeow_heart:

#Jin #Happy #RunningWild #BTS #FediArmy

Squeeeee! Did he just do feel good vocals, squishy pupper feels and army love and some social commentary all at once? I love him so much!

https://www.youtube.com/watch?v=uoHol5Dr_go

#Jin #RunningWIld #Happy #BTS #FediArmy #NewMusic #Squee

Weee .. it's nearly time! I'm so excited!

https://youtu.be/uoHol5Dr_go?si=PwZdQ5rRuwRVc5z

#Jin #Happy #RunningWild #NewMusic #BTS #FediArmy #KPop

Awww he brought the puppy! There will be mischief. #Jin #RunningWild

#TheMetalDogArticleList
#BLABBERMOUTH
CLÉMENTINE DELAUNEY Talks How 'Pirate Metal' Has Changed Course Of VISIONS OF ATLANTIS's Career

https://blabbermouth.net/features/clementine-delauney-talks-how-pirate-metal-has-changed-course-of-visions-of-atlantiss-career

#PirateMetal #VisionsOfAtlantis #ClémentineDelauney #RunningWild #ALESTORM #SWASHBUCKLE

#TheMetalDogArticleList
#BLABBERMOUTH
CLÉMENTINE DELAUNEY Talks How 'Pirate Metal' Has Changed Course Of VISIONS OF ATLANTIS's Career

https://blabbermouth.net/features/clementine-delauney-talks-how-pirate-metal-has-changed-course-of-visions-of-atlantiss-career

#PirateMetal #VisionsOfAtlantis #ClémentineDelauney #RunningWild #ALESTORM #SWASHBUCKLE

#TheMetalDogArticleList
#BLABBERMOUTH
CLÉMENTINE DELAUNEY Talks How 'Pirate Metal' Has Changed Course Of VISIONS OF ATLANTIS's Career

https://blabbermouth.net/features/clementine-delauney-talks-how-pirate-metal-has-changed-course-of-visions-of-atlantiss-career

#PirateMetal #VisionsOfAtlantis #ClémentineDelauney #RunningWild #ALESTORM #SWASHBUCKLE

#TheMetalDogArticleList
#BLABBERMOUTH
CLÉMENTINE DELAUNEY Talks How 'Pirate Metal' Has Changed Course Of VISIONS OF ATLANTIS's Career

https://blabbermouth.net/features/clementine-delauney-talks-how-pirate-metal-has-changed-course-of-visions-of-atlantiss-career

#PirateMetal #VisionsOfAtlantis #ClémentineDelauney #RunningWild #ALESTORM #SWASHBUCKLE

#TheMetalDogArticleList
#BLABBERMOUTH
CLÉMENTINE DELAUNEY Talks How 'Pirate Metal' Has Changed Course Of VISIONS OF ATLANTIS's Career

https://blabbermouth.net/features/clementine-delauney-talks-how-pirate-metal-has-changed-course-of-visions-of-atlantiss-career

#PirateMetal #VisionsOfAtlantis #ClémentineDelauney #RunningWild #ALESTORM #SWASHBUCKLE

#TheMetalDogArticleList
#Loudwire
The Five Best Albums to Introduce You to Pirate Metal, Chosen by Visions of Atlantis
Set sail and conquer!

https://loudwire.com/albums-introduction-pirate-metal-visions-of-atlantis/

#PirateMetal #VisionsOfAtlantis #RunningWild #YeBanishedPrivateers #Swashbuckle #TheDreadCrewOfOddwood #MicheleGuaitoli #PirateQueen

#TheMetalDogArticleList
#Loudwire
The Five Best Albums to Introduce You to Pirate Metal, Chosen by Visions of Atlantis
Set sail and conquer!

https://loudwire.com/albums-introduction-pirate-metal-visions-of-atlantis/

#PirateMetal #VisionsOfAtlantis #RunningWild #YeBanishedPrivateers #Swashbuckle #TheDreadCrewOfOddwood #MicheleGuaitoli #PirateQueen

#TheMetalDogArticleList
#Loudwire
The Five Best Albums to Introduce You to Pirate Metal, Chosen by Visions of Atlantis
Set sail and conquer!

https://loudwire.com/albums-introduction-pirate-metal-visions-of-atlantis/

#PirateMetal #VisionsOfAtlantis #RunningWild #YeBanishedPrivateers #Swashbuckle #TheDreadCrewOfOddwood #MicheleGuaitoli #PirateQueen

#TheMetalDogArticleList
#Loudwire
The Five Best Albums to Introduce You to Pirate Metal, Chosen by Visions of Atlantis
Set sail and conquer!

https://loudwire.com/albums-introduction-pirate-metal-visions-of-atlantis/

#PirateMetal #VisionsOfAtlantis #RunningWild #YeBanishedPrivateers #Swashbuckle #TheDreadCrewOfOddwood #MicheleGuaitoli #PirateQueen

#TheMetalDogArticleList
#Loudwire
The Five Best Albums to Introduce You to Pirate Metal, Chosen by Visions of Atlantis
Set sail and conquer!

https://loudwire.com/albums-introduction-pirate-metal-visions-of-atlantis/

#PirateMetal #VisionsOfAtlantis #RunningWild #YeBanishedPrivateers #Swashbuckle #TheDreadCrewOfOddwood #MicheleGuaitoli #PirateQueen

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 March 24th, 2024 🤘EXODUS, VAN HALEN, MOTÖRHEAD, RUNNING WILD, BLUE ÖYSTER CULT
TALENT WE LOST R.I.P. Scott Clendenin (DEATH, CONTROL DENIED) – January 17th, 1968 – March 24, 2015 (aged 47) R.I.P. Steve Lang (APRIL WINE): March 24, 1949 – February 4, 2017 (aged 67) HEAVY BIRTHDAYS 60th Steve ‘Zetro’ Souza (EXODUS) – 1964 HEAVY RELEASES 49th LYNYRD...

https://bravewords.com/news/today-in-metal-history-march-24th-2024-exodus-van-halen-motorhead-running-wild-blue-oyster-cult

#Exodus #VanHalen #Motorhead #RunningWild #BlueOysterCult

AMG Goes Ranking – DragonForce

By Eldritch Elitist

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

If you’re a regular around these parts, you might have seen this article’s title and thought to yourself: how the hell could something like this come from the fortress of snobbery that is AMG? You might have then seen the author of said article and thought to yourself: Oh, THAT’S how. My involvement in this endeavor might be a given for those who know my musical diet, but should there really be any surprise that I managed to wrangle two extra participants through mild coercion and weaponized nostalgia? For a certain generation of metal fans, whether they loved or hated them, DragonForce was a big deal. Thanks to the popularity of “Through the Fire and Flames” in the then-phenomenon that was Guitar Hero, guitarists Herman Li and Sam Totman were practically household names. For me, DragonForce was so much more than a one-hit-wonder. Inhuman Rampage (which I discovered months before “Through the Fire and Flames” debuted in Guitar Hero 3, thank you very much) marked my very first exposure to power metal, an instant obsession that blew open the gates to the underground in pursuit of more music that could make me feel like that. It is by no means hyperbolic to state that without DragonForce, I might have never had enough interest to write about metal music at all.

My initial obsession waned, along with my interest in metal in general, as I moved on to college life. When I emerged four years later, I found myself with a revitalized passion for metal, which led me to apply at my favorite metal blog, but it took a while for that ol’ love for DragonForce to re-emerge. The band had long since parted ways with original singer ZP Theart, and their new material with Marc Hudson on mic duties lacked that undiluted rush of sugar bomb pyromania. It wasn’t until a couple of years ago that I delved into the Hudson era in earnest. Blame it on many of my musical pretenses falling away with age, but by god, DragonForce can still kill it when they really set their minds to it. They never have (and likely never will) recapture the thrills of their “glory” days, but a desire to highlight that disparity was not what prompted this ranking. Rather, it’s to shine a light on how the majority of DragonForce’s modern material is still really, truly good, and deserving of wider discussion than most fans and critics have afforded them in the last decade.

In short: With the impending landfall of their ninth LP Warp Speed Warriors, I’m here to report that rumors of DragonForce’s death have been greatly exaggerated. The fire still burns, proud and so glorious. Their soul and their spirit will go on, for all of eternity.

– Eldritch Elitist

Eldritch Elitist

#8. Extreme Power Metal (2019). I was more optimistic for Extreme Power Metal than I’d been for any DragonForce album since The Power Within. “Highway to Oblivion” was an excellent lead single that heralded the return of the dynamic songwriting and production panache that defined records like Ultra Beatdown. Turns out, this was just the result of DragonForce putting their best foot forward. “Troopers of the Stars” is a blast as a one-off novelty, and “Strangers” is a neat little slice of glam-power metal in the vein of Power Quest, but for me, the fun stops there. “In a Skyforged Dream” is DragonForce at their most phoned-in, “The Last Dragonborn” aims for bombast yet ultimately bores, and “Razorblade Meltdown” kills its momentum with a shockingly weak chorus melody. Extreme Power Metal’s choruses are disappointing in general, really, a chronic condition of their Marc Hudson era that comes to a head with this record. I’ll give credit where it’s due to DragonForce’s other albums, but for me, this one is strictly fodder for playlist harvesting.

#7. Maximum Overload (2014). The first half of Maximum Overload is the best A-side of DragonForce’s Marc Hudson era. “The Game” in particular is an experiment in modern melodeath that I’ve always felt worked brilliantly for the band, but “Tomorrow’s Kings” thrills as a driving force of no-frills power metal, and “Symphony of the Night” excels through a blistering, neo-baroque homage to Castlevania. Yet aside from the thrash-coded fun of “Defenders,” Maximum Overload’s back half disappoints. “The Sun is Dead” and “Extraction Zone” have great instrumentals yet totally uninspired vocal execution, “City of Gold” is a thoroughly lame closer, and the cover of Johnny Cash’s “Ring of Fire” is a half-baked realization of its full potential. At final tabulation, Maximum Overload is still a record of mostly great material, but its whiffs signposted the end of DragonForce albums featuring wall-to-wall quality.

#6. Reaching Into Infinity (2017). I was pretty harsh on Reaching Into Infinity upon release. I immediately felt that it failed to match the peaks of Maximum Overload, and for me, DragonForce just didn’t sound much like DragonForce anymore. Seven years on, I’ve come to the revelation that the distinct non-DragonForce-ness of Reaching Into Infinity makes it fresh. It’s still fast, furious fun, without overtly trying to ape the band’s fan-favorite material, the sole exception being the fantastic “Midnight Madness” in all its Sonic Firestorming goodness. The record’s sporadic experimental swings don’t always hit paydirt, as both “Silence” and “The Edge of the World” are divisive momentum killers, but the pure thrash thrills of “War!” and the Running Wild-on-stimulants rush of “Hatred and Revenge” proves that DragonForce can still find great success through large departures. Out of the band’s post The Power Within material, this is the album I’ve returned to the most, and I’d bump my review score up by a full point if I were to review it today.

#5. The Power Within (2012). “It is with great regret that DragonForce announce a parting of the ways with singer ZP Theart […] due to insurmountable differences of musical opinion.” These words hit seventeen-year-old Eldritch like a freight train. A foundational pillar of my musical tastes was now down one of power metal’s greatest vocalists, their musical direction uncertain. Enter Marc Hudson and The Power Within, something of a departure for DragonForce that lacks none of their signature spirit. The fantastic “Wings of Liberty” is the only cut that retains the lengthy structures of DragonForce’s earlier works; the remaining tracks are lean cuts of pure power metal, forming what is easily the band’s most riff-centric album. For all the gripes I have with Marc Hudson and his nowadays paper-thin delivery, he sounded pretty great on his first go around, with his intense delivery on tracks like “Heart of the Storm” being such a great fit that I can’t imagine ZP ever having sung it. The Power Within doesn’t quite live up to the records that preceded it in terms of sheer catchiness, but it’s very nearly as good and is easily recommendable to non-fans who just want a great slab of power metal.

#4. Inhuman Rampage (2006). If you’re one of those people who think DragonForce only knows how to write one song, Inhuman Rampage is probably the reason why. You would be correct to think so based on this album alone, which is exactly what makes it essential in power metal canon. Nothing else on Earth sounds like Inhuman Rampage, and it sounds like that for its entire runtime (closing ballad notwithstanding). Inhuman Rampage’s near-constant tempo of 200 bpm, layered with countless solos and electronic flourishes, is absolutely fucking bonkers. It’s the sound of the world ending via a joyous sugar bomb of metallic hellfire, and DragonForce is laughing their asses off the whole way through. The band clearly had the time of their lives coming up with this insanity, never once considering that they might have to play “Through the Fire and Flames” every night for the rest of their lives. It’s an entirely exhausting listening experience that borders on monotony, but Inhuman Rampage is so singular that I truly believe every metal fan should hear it at least once. If it clicks with you, good luck ever putting it down.

#3. Valley of the Damned (2003). If Inhuman Rampage is your sole exposure to DragonForce, and if you have even a casual appreciation for power metal, then you should be aware that their debut is mandatory listening. Valley of the Damned’s title track is as classic of a power metal song as has ever graced the genre, and between “Valley of the Damned,” “Revelations,” and “Heart of a Dragon,” the album sports three of my all-time favorite power metal tracks. Its standing in this ranking is only dragged down by a handful of relative weak points, namely “Evening Star,” and yet there are plenty of people out there who will swear that it is one of the best DragonForce songs. The magic of Valley of the Damned is that, as a debut, it’s less streamlined than other records from the ZP Theart era, meaning there are loveable oddities like “Evening Star” or “Disciples of Babylon” that could only feel at home on this album. But make no mistake; DragonForce still sounds righteously confident with their sound on this record, coming shockingly close to realizing their full potential at the starting line.

#2. Sonic Firestorm (2004). “Fury of the Storm” is probably the second DragonForce song people know if they know anything beyond “Through the Fire and Flames,” and for good reason, as it has one of the most iconic intros and choruses in all of power metal. And yet Sonic Firestorm is so incredible that I couldn’t justify ranking it in my top five tracks from the album. In a way, this sophomore offering represents DragonForce at their purest, an early career crystallization of their signature sound that isn’t distorted by the glossy production of their later efforts. As such, its songs feel straightforward, yet brilliant. “My Spirit Will Go On” and “Soldiers of the Wasteland” deserve extra special commendations, with the former acting as one of the best album openings in its genre and also my favorite DragonForce song, period. “Prepare for War” is the only weak link here (why this song didn’t swap places with the phenomenal bonus track “Cry of the Brave” will forever elude me), but otherwise, Sonic Firestorm is a virtually untouchable power metal powerhouse.

#1. Ultra Beatdown (2008). Valley of the Damned and Sonic Firestorm may have higher peaks than the band’s final album with ZP Theart on the mic, but in terms of consistency and sheer melodic quality, nothing beats Ultra Beatdown. This record offers uplifting major key excellence from its first second to its last, so much so that even its most predictable songs (“The Fire Still Burns,” “Heartbreak Armageddon”) feel downright monumental. But what really makes Ultra Beatdown DragonForce’s finest showing is that it’s an idealized version of their sound, combining the harmonic bliss of Sonic Firestorm with a tastefully reserved take on Inhuman Rampage’s massively bombastic production. It accomplishes this while also delving into the proggiest material of the ZP Theart era (“Reasons to Live,” “The Last Journey Home”), spawning DragonForce’s best and most underrated ballad (“A Flame for Freedom”), and still finding time to deliver the two best examples of the “stereotypical” DragonForce formula (“Heroes of Our Time”, “Inside the Winter Storm”). In short, this is the DragonForce album that truly feels like the best of all worlds, a collection of universally great songs that represent everything I have ever loved about the band and then some.

Kenstrosity

DragonForce was a force to be reckoned with for young Ken. As you’d expect for young teens like me who were just getting into metal, “Through the Fire and Flames” had my jaw on the floor faster than Herman Li could complete a full chromatic scale. Needless to say, I had to hear more, and one thing led to another and suddenly I was listening to all manner of fast, shreddy, cheesy stuff. To my great surprise, much of DragonForce’s discography held up quite nicely over the years. With greater knowledge of metal at large, both historical and current, I found only a deeper appreciation of what DragonForce do and how they do it. You might expect the opposite to be true, as I did when I embarked on ranking close to nine hours of supersonic wankery. Yet, here I am, ready as ever to sing the praises of one band who helped shape my music tastes and who still informs it to this day.

THROUGH THE FIRE AND THE FLAMES WE CARRY ON!!!

The Ranking:

#8: Extreme Power Metal (2019). No album on Earth makes me miss ZP Theart’s vocals as much as Extreme Power Metal. Admirable though his efforts are, Marc Hudson just doesn’t fit this material, and somehow his voice just continues to degrade with time. On this, his falsetto sounds reedy, and his midrange nasal beyond belief. This only exacerbates my issues with an album chock full of lackluster tunes and gutless guitar showmanship (with the exceptions of the awesome “Heart Demolition” and “Razorblade Meltdown”), the two things that make DragonForce albums so much fun. Without those two core characteristics, Extreme Power Metal brings nothing to the table.

#7: Reaching into Infinity (2017). Despite the fact that I strongly dislike the way Hudson sounds on this late-stage DragonForce record, Reaching into Infinity still charms me. Unlike Extreme Power Metal, the immense hooks and the striking musicianship here more closely align with what I expect and enjoy most from the band. Killer tunes like “Ashes of the Dawn,” “Midnight Madness,” and “The Edge of the World” ensure that I do, indeed, enjoy this record back to front in the moment. Sadly, uneven songwriting (“Silence,” oof) and Hudson’s irritatingly nasal delivery don’t entice me to return down the line.

#6: Maximum Overload (2014). Maximum Overload is an interesting album. Hudson’s voice isn’t quite as buttoned down or powerful as on The Power Within, and I quickly realize that he’s no replacement for the awesome ZP Theart. Musically, Maximum Overload finds a happy medium between the straightforward power metal of The Power Within and the breakneck velocity of Inhuman Rampage. However, something’s missing here. There’s a lack of soul and passion in some of these tracks (“Tomorrow’s Kings,” “Three Hammers”) that undermine its highlights (“The Game,” “Symphony of the Night,” “The Sun is Dead,” “Extraction Zone”) such that the whole fails to live up to expectations. A band going through the motions.

#5: Ultra Beatdown (2008). DragonForce’s most explorative and experimental record, Ultra Beatdown quite simply rocks my socks, for the most part. Exploring various non-metal genres while also featuring more metallic extremity outside of the usual hyperspeed technicality, standouts like “Reasons to Live,” “Heartbreak Armageddon,” “Inside the Winter Storm,” and “Scars of Yesterday” inject a rather impressive variety of approaches to break up the band’s trademark style. An unfortunate consequence of that adventurous songwriting, for every awesome moment, there’s another that just doesn’t quite fit (“A Flame for Freedom,” “Strike of the Ninja”). Truly, that’s the only thing keeping it from a higher rank.

#4: The Power Within (2012). The first record to feature Marc Hudson instead of ZP Theart, The Power Within is immediately recognizable as an outlier in DragonForce’s discography. Still fast as fuck and rife with ample wankery, these tunes are much more direct fare. With only one song surpassing six minutes, this is also among the band’s tightest outings. Massively hooky and immensely fun, killer tunes like “Fallen World,” “Cry Thunder,” “Wings of Liberty,” “Heart of the Storm,” and “Die By the Sword” perfectly suit Hudson’s voice while still offering tons of album variety. More importantly, I keep coming back to it. It’s got its claws in me and simply won’t let go.

#3: Valley of the Damned (2003). Possessor of one of the most useless intro tracks of all time (fifteen seconds of atmospheric crescendo does not deserve its own track), DragonForce’s debut is one of those records that sounds like something a far more established, seasoned band crafts. Hyperspeed rippers like “Valley of the Damned,” “Black Winter Night,” “Black Fire,” “Disciples of Babylon” and “Heart of a Dragon” launch a project of great passion, insanely catchy lines, and a million WHOOAAHs. A wide array of tones and textures built into that supersonic wank blueprint allow these fifty-eight minutes of extreme wank to feel justified and immensely satisfying. And yet, it was only the beginning for the fledgling band!

#2: Sonic Firestorm (2004). The three-album streak between the debut and Inhuman Rampage constitutes an unstoppable hot streak of triumphant, epic, shreddy power metal. Arguably the thrashiest record of the bunch, Sonic Firestorm deftly balances the riff/solo quotient, with an obvious but largely justified bias towards solos, and brings in a tasteful amount of blasts and keys to round out the palette. With massive hits like “Fury of the Storm,” “Fields of Despair,” “Above the Winter Moonlight,” “Soldiers of the Wastelands,” and “Once in a Lifetime,” I find it hard not to be totally enamored and enraptured. And of course, ZP Theart is in fine form, soaring above everything else to deliver only the catchiest, most infectious lines and choruses. Sonic Firestorm is the classic DragonForce formula, stripped down to its purest form and delivered straight to the cranium with a meteor impact.

#1: Inhuman Rampage (2006) – Okay, I know I probably spoiled this result in my intro, but even after an exhaustive run through their discography, Inhuman Rampage still stands proudly as my favorite DragonForce record. Side-by-side comparisons to equally strong albums like Sonic Firestorm cannot dull the sharp memories I have of whiplashing my neck to “Storming the Burning Fields,” belting my little heart out to “Cry for Eternity,” and stomping my feet to “Operation Ground and Pound.” Nostalgia only holds so much sway over this result, however. Much more power belongs to the strength of this record’s immense songwriting successes, its ridiculous technicality balanced by uncanny memorability, and ZP Theart’s uniquely passionate voice. Inhuman Rampage is an unstoppable record that not only formed core memories for me as a budding metalhead who loved so much more than just the still awesome “Through the Fire and Flames,” but also remains a regular standby for my power metal fix. Lambast this decision if you must, but it matters not. I will always love this record above the rest, and nobody else can do a damn thing about it!

Dragon Whisperer

Did you expect to see me here too? Yes, I know, you don’t necessarily associate your guy Dolph with the likes of these full-lactose weenies. But you may not know that a young Dolph broke his metal concert cherry by seeing DragonForce on their first US tour for their breakout album Inhuman Rampage. And that DragonForce, along with many 00s wanky power metal acts like Galneryus, At Vance, and Rhapsody—yes, before all the name change bullshit—made up a huge chunk of my teenage musical development. I used to be cool, and I hope that through my eyes you can relive the glory days of when DragonForce was cool. You know, before Herman Li got big on Twitch1 and then subsequently banned from there for supposedly stupid reasons. Or maybe DragonForce is still cool? Who knows. All their albums are too long, too full of solos, and histrionic as all get out. I wouldn’t have it any other way.

The Ranking:

#8. Reaching into Infinity (2017). Dragonforce was never not a Europower band at heart, but increasingly so in the Hudson universe, Europower presented as the default expression for chorus builds and general song flow. Tracks like “Judgement Day” and the ballad “Silence” feel like they could be any chipmunk-speed flower-power band with a little extra chirp in the extended solo runs. Only for the run from “War!” to the powerful eleven-minute opus “The Edge of the World” does DragonForce put any real effort into being their epic selves while showcasing some of the melodeath influence that makes their later era interesting. Oh, and this one has an absolutely pointless intro—no need to tack extra time onto an album that’s already too long.

#7. The Power Within (2012). As a guy who grew up with ZP being the voice of DragonForce, this first outing with Hudson was destined to present a challenge to my younger self. In the modern day, that feeling persists in the thought that many of the better tunes on this album feel like off-cuts from Ultra Beatdown with an increased 80s montage feel to many synth lines. The biggest issue with these choices is that the songs don’t feel entirely constructed around some of Hudson’s strengths, which he displays better on most later albums. For his first outing, he feels plain and safe save for the kick-in-the-teeth of “Give Me the Night” and “Seasons” and, well, the tail-end of the album… again. At least until the whiff of a closer that “Last Man Stands” offers. Such a shame that this fairly trim album lacks in impact.

#6. Extreme Power Metal (2019). This is the first album without longtime keys and weird noise maestro Vadim Pruzhanov, with Coen Janssen (Epica) providing guest arrangements, backings, and other keys sounds. In the present day, I can say this reminds me of the twinklecore that Fellowship presents on many occasions, but still DragonForce has a little more weight in tone. Please, understand, though, that this album is pretty much anything but the extreme in its own name, with a hefty, anthemic, Europe pounce striking through the sticky-sweet cuts “Heart Demolition” and “Strangers.” DragonForce plays with true restraint, and Hudson sounds great on these kinds of tracks—for better or worse—and it’s no surprise to hear that his solo work leans even into this kind of high glycemic power pop with guitar noises, frighteningly similar to Japanese Idol rock. Whatever the case, it works here, even if I don’t want to admit it out loud all the time. “My Heart Will Go On” is a good cover too.

#5. Inhuman Rampage (2006). I went through a ten-year period or so where I never wanted to hear “Through the Fire and the Flames” again, and anytime I revisited this album after its first year or so of existence, I just started at “Revolution Deathsquad,” which is a monster banger anyway. Witnessing DragonForce, of all the dorky bands I loved at the time, blow up because of Guitar Hero blew me away—still does. But with DragonForce dipping their toes into weirder guitar sounds (“Body Breakdown” in particular), more aggressive rhythm structures, and even a growl or two in the background from old friend of the band Lindsay Dawson (Demoniac), it’s hard to put Inhuman Rampage down once it gets going, especially since ZP is just about at the top of his game.

#4. Valley of the Damned (2003). For the most authentic experience in this discog run experience and ranking, I pulled up some old shitty mp3s I had of this debut outing rather than hit the remastered version on stream. You see, my first experience with DragonForce came from a seedy copy of “Black Fire” and a corrupted version of “Disciples of Babylon” from LimeWire. And wouldn’t you know, when I finally heard the full, unclipped, unsqueaking version of the latter, it grew to be one of my favorite songs from this early incarnation of hyper-speed power metal. And though those two cuts leaned a little more on the sound of Blind Guardian at the time—you could even envision ZP as a budget Hansi Kürsch with extra warbling character—the prance and play inherent in the DragonForce sound still lived free in the spirit of “Valley of the Damned,” “Black Winter Night,” and “Heart of a Dragon.” The ballad isn’t particularly enjoyable, but Valley of the Damned remains a rollicking good time in all its youth and flaws.

#3. Maximum Overload (2014). It’s very simple: Maximum Overload wears Hudson better than any of his other outings with DragonForce. True to the album’s namesake, Hudson pushes his ventures into falsetto more recklessly, and DragonForce as a band finds that smart balance of fun, video game inspires noises and forward-moving riff-work. The heft of the Gothenberg-ripped guitar tone plays well against the smattering of video game noises and resplendent choruses, and many of the song choices ring true to a more classic and warm power metal sound than this band had ever displayed before. “The Sun Is Dead” reminds me of the gritty swagger of a band like Thunderstone more than DragonForce. Couple that with bassist Fredric Leclerq’s extreme metal influences that sharpen the steel of “The Game” and “Three Hammers,” a scorching cover of “Ring of Fire,” and NO BALLADS, Maximum Overload tears front to back all in under fifty minutes.

#2. Sonic Firestorm (2004) – Both a major step up in recording quality from the debut and a further diversification of attack, Sonic Firestorm hosts some of the best cuts that this discography has to offer. Yes, the continuing trend of DragonForce having overwrought ballads—very pretty piano on this one though—remains true on this piece, but its placement between the unyielding “Fields of Despair” and iconic synth warble of “Above the Winter Moonlight” ensures that this album never loses its course. Every track has bombastic intros, brain-staining choruses, dopamine-spiking solos, and sugar rush power that even twenty years removed from my first encounter still causes the flow. Yes, all of these songs are too long and have solo sections that extend well beyond what one might consider good taste, but that’s kind of the point isn’t it? And though this track has no bearing on this record’s standing, “Cry of the Brave” should have been on the album proper, damnit.

#1. Ultra Beatdown (2008). Around when Ultra Beatdown landed in the world, my love affair with DragonForce and frolicking power metal was waning in favor of things equally noodly but more progressive—I am a refined individual, after all. However, despite my own musical journey, this massive album just couldn’t let me go. No song is less than five minutes. Most are over seven. In these very halls, recently even, I’ve rallied against the over-soloization of music to diminishing effects. But every tone-exploring keys break, every hot-handed guitar squeal, every ZP led anthem, fills me with joy, with the urge to scream and air guitar and smash a keytar that I wouldn’t even know how to turn on. Context matters, and the story here is that no matter what level of excess this band poured into the making of Ultra Beatdown, it seared a near hour-long corridor in my mind built specifically for this album. “Reasons to Live,” “Heartbreak Armageddon,” “The Last Journey Home”—I could really just name all the songs including the bonus tracks “Strike of the Ninja” and “Scars of Yesterday”—represent the fullest vision of the first era of DragonForce and to this day remains their best work. And most importantly, Ultra Beatdown is one of my favorite power metal albums of all time.2

Official Ranking

The writers’ votes have been cast and counted. As the contributors to this ranking were also the only ones to have any strong feelings about DragonForce one way or the other, a poll was not conducted to obtain a tally from AMG staff. The below is an aggregate of the Rankings above. Here, to be scrawled on the sparkliest of unicorn hide with a can of Cheez Whiz, is the definitive AMG Ranking for DragonForce:

#7. Extreme Power Metal (2019), with 5 points out of a possible 24.

#6. Reaching Into Infinity (2017), with 6 points out of a possible 24.

#5. (tied) Maximum Overload (2014), with 11 points out of a possible 24.

#5. (tied) The Power Within (2012), with 11 points out of a possible 24.

#4. Valley of the Damned (2003), with 14 points out of a possible 24.

#3. Inhuman Rampage (2006), with 17 points out of a possible 24.

#2. Ultra Beatdown (2008), with 20 points out of a possible 24.

#1. Sonic Firestorm (2004), with 21 points out of a possible 24.

If you don’t know DragonForce, you’ve probably saved yourself from a considerable heap of shame and embarrassment, but it’s never too late to shamelessly indulge with this playlist assembled by Eldritch Elitist, Kenstrosity, and Dolphin Whisperer:

#AtVance #BlindGuardian #BritishMetal #DragonForce #EarMusic #Epica #Europe #ExtremePowerMetal #Fellowship #Galneryus #InhumanRampage #JohnnyCash #MaximumOverload #PowerMetal #PowerQuest #ReachingIntoInfinity #Rhapsody #RoadrunnerRecords #RunningWild #SanctuaryRecords #SonicFirestorm #ThePowerWithin #Thunderstone #UltraBeatdown #ValleyOfTheDamned

AMG Goes Ranking – DragonForce

By Eldritch Elitist

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

If you’re a regular around these parts, you might have seen this article’s title and thought to yourself: how the hell could something like this come from the fortress of snobbery that is AMG? You might have then seen the author of said article and thought to yourself: Oh, THAT’S how. My involvement in this endeavor might be a given for those who know my musical diet, but should there really be any surprise that I managed to wrangle two extra participants through mild coercion and weaponized nostalgia? For a certain generation of metal fans, whether they loved or hated them, DragonForce was a big deal. Thanks to the popularity of “Through the Fire and Flames” in the then-phenomenon that was Guitar Hero, guitarists Herman Li and Sam Totman were practically household names. For me, DragonForce was so much more than a one-hit-wonder. Inhuman Rampage (which I discovered months before “Through the Fire and Flames” debuted in Guitar Hero 3, thank you very much) marked my very first exposure to power metal, an instant obsession that blew open the gates to the underground in pursuit of more music that could make me feel like that. It is by no means hyperbolic to state that without DragonForce, I might have never had enough interest to write about metal music at all.

My initial obsession waned, along with my interest in metal in general, as I moved on to college life. When I emerged four years later, I found myself with a revitalized passion for metal, which led me to apply at my favorite metal blog, but it took a while for that ol’ love for DragonForce to re-emerge. The band had long since parted ways with original singer ZP Theart, and their new material with Marc Hudson on mic duties lacked that undiluted rush of sugar bomb pyromania. It wasn’t until a couple of years ago that I delved into the Hudson era in earnest. Blame it on many of my musical pretenses falling away with age, but by god, DragonForce can still kill it when they really set their minds to it. They never have (and likely never will) recapture the thrills of their “glory” days, but a desire to highlight that disparity was not what prompted this ranking. Rather, it’s to shine a light on how the majority of DragonForce’s modern material is still really, truly good, and deserving of wider discussion than most fans and critics have afforded them in the last decade.

In short: With the impending landfall of their ninth LP Warp Speed Warriors, I’m here to report that rumors of DragonForce’s death have been greatly exaggerated. The fire still burns, proud and so glorious. Their soul and their spirit will go on, for all of eternity.

– Eldritch Elitist

Eldritch Elitist

#8. Extreme Power Metal (2019). I was more optimistic for Extreme Power Metal than I’d been for any DragonForce album since The Power Within. “Highway to Oblivion” was an excellent lead single that heralded the return of the dynamic songwriting and production panache that defined records like Ultra Beatdown. Turns out, this was just the result of DragonForce putting their best foot forward. “Troopers of the Stars” is a blast as a one-off novelty, and “Strangers” is a neat little slice of glam-power metal in the vein of Power Quest, but for me, the fun stops there. “In a Skyforged Dream” is DragonForce at their most phoned-in, “The Last Dragonborn” aims for bombast yet ultimately bores, and “Razorblade Meltdown” kills its momentum with a shockingly weak chorus melody. Extreme Power Metal’s choruses are disappointing in general, really, a chronic condition of their Marc Hudson era that comes to a head with this record. I’ll give credit where it’s due to DragonForce’s other albums, but for me, this one is strictly fodder for playlist harvesting.

#7. Maximum Overload (2014). The first half of Maximum Overload is the best A-side of DragonForce’s Marc Hudson era. “The Game” in particular is an experiment in modern melodeath that I’ve always felt worked brilliantly for the band, but “Tomorrow’s Kings” thrills as a driving force of no-frills power metal, and “Symphony of the Night” excels through a blistering, neo-baroque homage to Castlevania. Yet aside from the thrash-coded fun of “Defenders,” Maximum Overload’s back half disappoints. “The Sun is Dead” and “Extraction Zone” have great instrumentals yet totally uninspired vocal execution, “City of Gold” is a thoroughly lame closer, and the cover of Johnny Cash’s “Ring of Fire” is a half-baked realization of its full potential. At final tabulation, Maximum Overload is still a record of mostly great material, but its whiffs signposted the end of DragonForce albums featuring wall-to-wall quality.

#6. Reaching Into Infinity (2017). I was pretty harsh on Reaching Into Infinity upon release. I immediately felt that it failed to match the peaks of Maximum Overload, and for me, DragonForce just didn’t sound much like DragonForce anymore. Seven years on, I’ve come to the revelation that the distinct non-DragonForce-ness of Reaching Into Infinity makes it fresh. It’s still fast, furious fun, without overtly trying to ape the band’s fan-favorite material, the sole exception being the fantastic “Midnight Madness” in all its Sonic Firestorming goodness. The record’s sporadic experimental swings don’t always hit paydirt, as both “Silence” and “The Edge of the World” are divisive momentum killers, but the pure thrash thrills of “War!” and the Running Wild-on-stimulants rush of “Hatred and Revenge” proves that DragonForce can still find great success through large departures. Out of the band’s post The Power Within material, this is the album I’ve returned to the most, and I’d bump my review score up by a full point if I were to review it today.

#5. The Power Within (2012). “It is with great regret that DragonForce announce a parting of the ways with singer ZP Theart […] due to insurmountable differences of musical opinion.” These words hit seventeen-year-old Eldritch like a freight train. A foundational pillar of my musical tastes was now down one of power metal’s greatest vocalists, their musical direction uncertain. Enter Marc Hudson and The Power Within, something of a departure for DragonForce that lacks none of their signature spirit. The fantastic “Wings of Liberty” is the only cut that retains the lengthy structures of DragonForce’s earlier works; the remaining tracks are lean cuts of pure power metal, forming what is easily the band’s most riff-centric album. For all the gripes I have with Marc Hudson and his nowadays paper-thin delivery, he sounded pretty great on his first go around, with his intense delivery on tracks like “Heart of the Storm” being such a great fit that I can’t imagine ZP ever having sung it. The Power Within doesn’t quite live up to the records that preceded it in terms of sheer catchiness, but it’s very nearly as good and is easily recommendable to non-fans who just want a great slab of power metal.

#4. Inhuman Rampage (2006). If you’re one of those people who think DragonForce only knows how to write one song, Inhuman Rampage is probably the reason why. You would be correct to think so based on this album alone, which is exactly what makes it essential in power metal canon. Nothing else on Earth sounds like Inhuman Rampage, and it sounds like that for its entire runtime (closing ballad notwithstanding). Inhuman Rampage’s near-constant tempo of 200 bpm, layered with countless solos and electronic flourishes, is absolutely fucking bonkers. It’s the sound of the world ending via a joyous sugar bomb of metallic hellfire, and DragonForce is laughing their asses off the whole way through. The band clearly had the time of their lives coming up with this insanity, never once considering that they might have to play “Through the Fire and Flames” every night for the rest of their lives. It’s an entirely exhausting listening experience that borders on monotony, but Inhuman Rampage is so singular that I truly believe every metal fan should hear it at least once. If it clicks with you, good luck ever putting it down.

#3. Valley of the Damned (2003). If Inhuman Rampage is your sole exposure to DragonForce, and if you have even a casual appreciation for power metal, then you should be aware that their debut is mandatory listening. Valley of the Damned’s title track is as classic of a power metal song as has ever graced the genre, and between “Valley of the Damned,” “Revelations,” and “Heart of a Dragon,” the album sports three of my all-time favorite power metal tracks. Its standing in this ranking is only dragged down by a handful of relative weak points, namely “Evening Star,” and yet there are plenty of people out there who will swear that it is one of the best DragonForce songs. The magic of Valley of the Damned is that, as a debut, it’s less streamlined than other records from the ZP Theart era, meaning there are loveable oddities like “Evening Star” or “Disciples of Babylon” that could only feel at home on this album. But make no mistake; DragonForce still sounds righteously confident with their sound on this record, coming shockingly close to realizing their full potential at the starting line.

#2. Sonic Firestorm (2004). “Fury of the Storm” is probably the second DragonForce song people know if they know anything beyond “Through the Fire and Flames,” and for good reason, as it has one of the most iconic intros and choruses in all of power metal. And yet Sonic Firestorm is so incredible that I couldn’t justify ranking it in my top five tracks from the album. In a way, this sophomore offering represents DragonForce at their purest, an early career crystallization of their signature sound that isn’t distorted by the glossy production of their later efforts. As such, its songs feel straightforward, yet brilliant. “My Spirit Will Go On” and “Soldiers of the Wasteland” deserve extra special commendations, with the former acting as one of the best album openings in its genre and also my favorite DragonForce song, period. “Prepare for War” is the only weak link here (why this song didn’t swap places with the phenomenal bonus track “Cry of the Brave” will forever elude me), but otherwise, Sonic Firestorm is a virtually untouchable power metal powerhouse.

#1. Ultra Beatdown (2008). Valley of the Damned and Sonic Firestorm may have higher peaks than the band’s final album with ZP Theart on the mic, but in terms of consistency and sheer melodic quality, nothing beats Ultra Beatdown. This record offers uplifting major key excellence from its first second to its last, so much so that even its most predictable songs (“The Fire Still Burns,” “Heartbreak Armageddon”) feel downright monumental. But what really makes Ultra Beatdown DragonForce’s finest showing is that it’s an idealized version of their sound, combining the harmonic bliss of Sonic Firestorm with a tastefully reserved take on Inhuman Rampage’s massively bombastic production. It accomplishes this while also delving into the proggiest material of the ZP Theart era (“Reasons to Live,” “The Last Journey Home”), spawning DragonForce’s best and most underrated ballad (“A Flame for Freedom”), and still finding time to deliver the two best examples of the “stereotypical” DragonForce formula (“Heroes of Our Time”, “Inside the Winter Storm”). In short, this is the DragonForce album that truly feels like the best of all worlds, a collection of universally great songs that represent everything I have ever loved about the band and then some.

Kenstrosity

DragonForce was a force to be reckoned with for young Ken. As you’d expect for young teens like me who were just getting into metal, “Through the Fire and Flames” had my jaw on the floor faster than Herman Li could complete a full chromatic scale. Needless to say, I had to hear more, and one thing led to another and suddenly I was listening to all manner of fast, shreddy, cheesy stuff. To my great surprise, much of DragonForce’s discography held up quite nicely over the years. With greater knowledge of metal at large, both historical and current, I found only a deeper appreciation of what DragonForce do and how they do it. You might expect the opposite to be true, as I did when I embarked on ranking close to nine hours of supersonic wankery. Yet, here I am, ready as ever to sing the praises of one band who helped shape my music tastes and who still informs it to this day.

THROUGH THE FIRE AND THE FLAMES WE CARRY ON!!!

The Ranking:

#8: Extreme Power Metal (2019). No album on Earth makes me miss ZP Theart’s vocals as much as Extreme Power Metal. Admirable though his efforts are, Marc Hudson just doesn’t fit this material, and somehow his voice just continues to degrade with time. On this, his falsetto sounds reedy, and his midrange nasal beyond belief. This only exacerbates my issues with an album chock full of lackluster tunes and gutless guitar showmanship (with the exceptions of the awesome “Heart Demolition” and “Razorblade Meltdown”), the two things that make DragonForce albums so much fun. Without those two core characteristics, Extreme Power Metal brings nothing to the table.

#7: Reaching into Infinity (2017). Despite the fact that I strongly dislike the way Hudson sounds on this late-stage DragonForce record, Reaching into Infinity still charms me. Unlike Extreme Power Metal, the immense hooks and the striking musicianship here more closely align with what I expect and enjoy most from the band. Killer tunes like “Ashes of the Dawn,” “Midnight Madness,” and “The Edge of the World” ensure that I do, indeed, enjoy this record back to front in the moment. Sadly, uneven songwriting (“Silence,” oof) and Hudson’s irritatingly nasal delivery don’t entice me to return down the line.

#6: Maximum Overload (2014). Maximum Overload is an interesting album. Hudson’s voice isn’t quite as buttoned down or powerful as on The Power Within, and I quickly realize that he’s no replacement for the awesome ZP Theart. Musically, Maximum Overload finds a happy medium between the straightforward power metal of The Power Within and the breakneck velocity of Inhuman Rampage. However, something’s missing here. There’s a lack of soul and passion in some of these tracks (“Tomorrow’s Kings,” “Three Hammers”) that undermine its highlights (“The Game,” “Symphony of the Night,” “The Sun is Dead,” “Extraction Zone”) such that the whole fails to live up to expectations. A band going through the motions.

#5: Ultra Beatdown (2008). DragonForce’s most explorative and experimental record, Ultra Beatdown quite simply rocks my socks, for the most part. Exploring various non-metal genres while also featuring more metallic extremity outside of the usual hyperspeed technicality, standouts like “Reasons to Live,” “Heartbreak Armageddon,” “Inside the Winter Storm,” and “Scars of Yesterday” inject a rather impressive variety of approaches to break up the band’s trademark style. An unfortunate consequence of that adventurous songwriting, for every awesome moment, there’s another that just doesn’t quite fit (“A Flame for Freedom,” “Strike of the Ninja”). Truly, that’s the only thing keeping it from a higher rank.

#4: The Power Within (2012). The first record to feature Marc Hudson instead of ZP Theart, The Power Within is immediately recognizable as an outlier in DragonForce’s discography. Still fast as fuck and rife with ample wankery, these tunes are much more direct fare. With only one song surpassing six minutes, this is also among the band’s tightest outings. Massively hooky and immensely fun, killer tunes like “Fallen World,” “Cry Thunder,” “Wings of Liberty,” “Heart of the Storm,” and “Die By the Sword” perfectly suit Hudson’s voice while still offering tons of album variety. More importantly, I keep coming back to it. It’s got its claws in me and simply won’t let go.

#3: Valley of the Damned (2003). Possessor of one of the most useless intro tracks of all time (fifteen seconds of atmospheric crescendo does not deserve its own track), DragonForce’s debut is one of those records that sounds like something a far more established, seasoned band crafts. Hyperspeed rippers like “Valley of the Damned,” “Black Winter Night,” “Black Fire,” “Disciples of Babylon” and “Heart of a Dragon” launch a project of great passion, insanely catchy lines, and a million WHOOAAHs. A wide array of tones and textures built into that supersonic wank blueprint allow these fifty-eight minutes of extreme wank to feel justified and immensely satisfying. And yet, it was only the beginning for the fledgling band!

#2: Sonic Firestorm (2004). The three-album streak between the debut and Inhuman Rampage constitutes an unstoppable hot streak of triumphant, epic, shreddy power metal. Arguably the thrashiest record of the bunch, Sonic Firestorm deftly balances the riff/solo quotient, with an obvious but largely justified bias towards solos, and brings in a tasteful amount of blasts and keys to round out the palette. With massive hits like “Fury of the Storm,” “Fields of Despair,” “Above the Winter Moonlight,” “Soldiers of the Wastelands,” and “Once in a Lifetime,” I find it hard not to be totally enamored and enraptured. And of course, ZP Theart is in fine form, soaring above everything else to deliver only the catchiest, most infectious lines and choruses. Sonic Firestorm is the classic DragonForce formula, stripped down to its purest form and delivered straight to the cranium with a meteor impact.

#1: Inhuman Rampage (2006) – Okay, I know I probably spoiled this result in my intro, but even after an exhaustive run through their discography, Inhuman Rampage still stands proudly as my favorite DragonForce record. Side-by-side comparisons to equally strong albums like Sonic Firestorm cannot dull the sharp memories I have of whiplashing my neck to “Storming the Burning Fields,” belting my little heart out to “Cry for Eternity,” and stomping my feet to “Operation Ground and Pound.” Nostalgia only holds so much sway over this result, however. Much more power belongs to the strength of this record’s immense songwriting successes, its ridiculous technicality balanced by uncanny memorability, and ZP Theart’s uniquely passionate voice. Inhuman Rampage is an unstoppable record that not only formed core memories for me as a budding metalhead who loved so much more than just the still awesome “Through the Fire and Flames,” but also remains a regular standby for my power metal fix. Lambast this decision if you must, but it matters not. I will always love this record above the rest, and nobody else can do a damn thing about it!

Dragon Whisperer

Did you expect to see me here too? Yes, I know, you don’t necessarily associate your guy Dolph with the likes of these full-lactose weenies. But you may not know that a young Dolph broke his metal concert cherry by seeing DragonForce on their first US tour for their breakout album Inhuman Rampage. And that DragonForce, along with many 00s wanky power metal acts like Galneryus, At Vance, and Rhapsody—yes, before all the name change bullshit—made up a huge chunk of my teenage musical development. I used to be cool, and I hope that through my eyes you can relive the glory days of when DragonForce was cool. You know, before Herman Li got big on Twitch1 and then subsequently banned from there for supposedly stupid reasons. Or maybe DragonForce is still cool? Who knows. All their albums are too long, too full of solos, and histrionic as all get out. I wouldn’t have it any other way.

The Ranking:

#8. Reaching into Infinity (2017). Dragonforce was never not a Europower band at heart, but increasingly so in the Hudson universe, Europower presented as the default expression for chorus builds and general song flow. Tracks like “Judgement Day” and the ballad “Silence” feel like they could be any chipmunk-speed flower-power band with a little extra chirp in the extended solo runs. Only for the run from “War!” to the powerful eleven-minute opus “The Edge of the World” does DragonForce put any real effort into being their epic selves while showcasing some of the melodeath influence that makes their later era interesting. Oh, and this one has an absolutely pointless intro—no need to tack extra time onto an album that’s already too long.

#7. The Power Within (2012). As a guy who grew up with ZP being the voice of DragonForce, this first outing with Hudson was destined to present a challenge to my younger self. In the modern day, that feeling persists in the thought that many of the better tunes on this album feel like off-cuts from Ultra Beatdown with an increased 80s montage feel to many synth lines. The biggest issue with these choices is that the songs don’t feel entirely constructed around some of Hudson’s strengths, which he displays better on most later albums. For his first outing, he feels plain and safe save for the kick-in-the-teeth of “Give Me the Night” and “Seasons” and, well, the tail-end of the album… again. At least until the whiff of a closer that “Last Man Stands” offers. Such a shame that this fairly trim album lacks in impact.

#6. Extreme Power Metal (2019). This is the first album without longtime keys and weird noise maestro Vadim Pruzhanov, with Coen Janssen (Epica) providing guest arrangements, backings, and other keys sounds. In the present day, I can say this reminds me of the twinklecore that Fellowship presents on many occasions, but still DragonForce has a little more weight in tone. Please, understand, though, that this album is pretty much anything but the extreme in its own name, with a hefty, anthemic, Europe pounce striking through the sticky-sweet cuts “Heart Demolition” and “Strangers.” DragonForce plays with true restraint, and Hudson sounds great on these kinds of tracks—for better or worse—and it’s no surprise to hear that his solo work leans even into this kind of high glycemic power pop with guitar noises, frighteningly similar to Japanese Idol rock. Whatever the case, it works here, even if I don’t want to admit it out loud all the time. “My Heart Will Go On” is a good cover too.

#5. Inhuman Rampage (2006). I went through a ten-year period or so where I never wanted to hear “Through the Fire and the Flames” again, and anytime I revisited this album after its first year or so of existence, I just started at “Revolution Deathsquad,” which is a monster banger anyway. Witnessing DragonForce, of all the dorky bands I loved at the time, blow up because of Guitar Hero blew me away—still does. But with DragonForce dipping their toes into weirder guitar sounds (“Body Breakdown” in particular), more aggressive rhythm structures, and even a growl or two in the background from old friend of the band Lindsay Dawson (Demoniac), it’s hard to put Inhuman Rampage down once it gets going, especially since ZP is just about at the top of his game.

#4. Valley of the Damned (2003). For the most authentic experience in this discog run experience and ranking, I pulled up some old shitty mp3s I had of this debut outing rather than hit the remastered version on stream. You see, my first experience with DragonForce came from a seedy copy of “Black Fire” and a corrupted version of “Disciples of Babylon” from LimeWire. And wouldn’t you know, when I finally heard the full, unclipped, unsqueaking version of the latter, it grew to be one of my favorite songs from this early incarnation of hyper-speed power metal. And though those two cuts leaned a little more on the sound of Blind Guardian at the time—you could even envision ZP as a budget Hansi Kürsch with extra warbling character—the prance and play inherent in the DragonForce sound still lived free in the spirit of “Valley of the Damned,” “Black Winter Night,” and “Heart of a Dragon.” The ballad isn’t particularly enjoyable, but Valley of the Damned remains a rollicking good time in all its youth and flaws.

#3. Maximum Overload (2014). It’s very simple: Maximum Overload wears Hudson better than any of his other outings with DragonForce. True to the album’s namesake, Hudson pushes his ventures into falsetto more recklessly, and DragonForce as a band finds that smart balance of fun, video game inspires noises and forward-moving riff-work. The heft of the Gothenberg-ripped guitar tone plays well against the smattering of video game noises and resplendent choruses, and many of the song choices ring true to a more classic and warm power metal sound than this band had ever displayed before. “The Sun Is Dead” reminds me of the gritty swagger of a band like Thunderstone more than DragonForce. Couple that with bassist Fredric Leclerq’s extreme metal influences that sharpen the steel of “The Game” and “Three Hammers,” a scorching cover of “Ring of Fire,” and NO BALLADS, Maximum Overload tears front to back all in under fifty minutes.

#2. Sonic Firestorm (2004) – Both a major step up in recording quality from the debut and a further diversification of attack, Sonic Firestorm hosts some of the best cuts that this discography has to offer. Yes, the continuing trend of DragonForce having overwrought ballads—very pretty piano on this one though—remains true on this piece, but its placement between the unyielding “Fields of Despair” and iconic synth warble of “Above the Winter Moonlight” ensures that this album never loses its course. Every track has bombastic intros, brain-staining choruses, dopamine-spiking solos, and sugar rush power that even twenty years removed from my first encounter still causes the flow. Yes, all of these songs are too long and have solo sections that extend well beyond what one might consider good taste, but that’s kind of the point isn’t it? And though this track has no bearing on this record’s standing, “Cry of the Brave” should have been on the album proper, damnit.

#1. Ultra Beatdown (2008). Around when Ultra Beatdown landed in the world, my love affair with DragonForce and frolicking power metal was waning in favor of things equally noodly but more progressive—I am a refined individual, after all. However, despite my own musical journey, this massive album just couldn’t let me go. No song is less than five minutes. Most are over seven. In these very halls, recently even, I’ve rallied against the over-soloization of music to diminishing effects. But every tone-exploring keys break, every hot-handed guitar squeal, every ZP led anthem, fills me with joy, with the urge to scream and air guitar and smash a keytar that I wouldn’t even know how to turn on. Context matters, and the story here is that no matter what level of excess this band poured into the making of Ultra Beatdown, it seared a near hour-long corridor in my mind built specifically for this album. “Reasons to Live,” “Heartbreak Armageddon,” “The Last Journey Home”—I could really just name all the songs including the bonus tracks “Strike of the Ninja” and “Scars of Yesterday”—represent the fullest vision of the first era of DragonForce and to this day remains their best work. And most importantly, Ultra Beatdown is one of my favorite power metal albums of all time.2

Official Ranking

The writers’ votes have been cast and counted. As the contributors to this ranking were also the only ones to have any strong feelings about DragonForce one way or the other, a poll was not conducted to obtain a tally from AMG staff. The below is an aggregate of the Rankings above. Here, to be scrawled on the sparkliest of unicorn hide with a can of Cheez Whiz, is the definitive AMG Ranking for DragonForce:

#7. Extreme Power Metal (2019), with 5 points out of a possible 24.

#6. Reaching Into Infinity (2017), with 6 points out of a possible 24.

#5. (tied) Maximum Overload (2014), with 11 points out of a possible 24.

#5. (tied) The Power Within (2012), with 11 points out of a possible 24.

#4. Valley of the Damned (2003), with 14 points out of a possible 24.

#3. Inhuman Rampage (2006), with 17 points out of a possible 24.

#2. Ultra Beatdown (2008), with 20 points out of a possible 24.

#1. Sonic Firestorm (2004), with 21 points out of a possible 24.

If you don’t know DragonForce, you’ve probably saved yourself from a considerable heap of shame and embarrassment, but it’s never too late to shamelessly indulge with this playlist assembled by Eldritch Elitist, Kenstrosity, and Dolphin Whisperer:

#AtVance #BlindGuardian #BritishMetal #DragonForce #EarMusic #Epica #Europe #ExtremePowerMetal #Fellowship #Galneryus #InhumanRampage #JohnnyCash #MaximumOverload #PowerMetal #PowerQuest #ReachingIntoInfinity #Rhapsody #RoadrunnerRecords #RunningWild #SanctuaryRecords #SonicFirestorm #ThePowerWithin #Thunderstone #UltraBeatdown #ValleyOfTheDamned