#sabaton — Public Fediverse posts

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #CA #Canada #Entertainment #FallenDimension #Fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #reviews #Rexoria #Sabaton #SwedishMetal #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/ca/653915/

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #Entertainment #FallenDimension #Fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #Reviews #Rexoria #Sabaton #SwedishMetal #UK #UnitedKingdom #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/uk/571095/

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #Entertainment #FallenDimension #fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #reviews #Rexoria #Sabaton #SwedishMetal #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/us/628926/

Rexoria – Fallen Dimension Review

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AngusMcSix #AxelRudiPell #BlackLodgeRecords #Entertainment #FallenDimension #fellowship #FrozenCrown #JoanJett #May26 #Mystfall #PowerMetal #PowerPaladin #review #reviews #Rexoria #Sabaton #SwedishMetal #UnleashtheArchers #Vanderlust #Victorius
https://www.newsbeep.com/us/628926/

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Typically, you can judge a cheesy power metal album just from its cover art. Look at the laser-powered sharks/dinos from Victorius, the D&D fantasy elements of Power Paladin, or the stuffed assembly of characters on Angus McSix, and you know you’re getting yourself a heap of cheddar. The covers are busy, bombastic, and as brightly-colored as Frida Ohlin’s hair (see band photo below). Sweden’s Rexoria bucks that trend. The cover art for Fallen Dimension looks like it belongs on a work of dystopian prog like Vanderlust. They deliver something far more light-hearted, though—symphonic power metal. Rexoria deem themselves the birth of a genre called “Royal Metal”—it’s in their name. Rex means king, and Oria means gold. Royal metal. Get it? So just what is this new tag? More importantly, would you like your royale with cheese?

Fallen Dimension blends old school heavy metal with modern power metal and a dash of keyboard synths. While they boast of symphonics in their promo sheet, Rexoria have more in common with Unleash the Archers than Mystfall. They combine the joyful energy of Frozen Crown with the straightforward approach of Sabaton. With honed pop structures, Rexoria set aside the wankery of many power metal bands and dive quickly into their anthemic choruses. Blink, and you might miss the music that happens between the opening spoken word segment and hooky chorus on opener “Metallic Rain.” If you like the bop and energy of power metal without its often masturbatory shredding, then this is for you. Rexoria has solos, but they’re in and out in a flash, all to ensure songs end in a (mostly) tidy 3-4 minutes. The downside is that where bands like Frozen Crown and Unleash the Archers do some really cool stuff with their guitars, the guitars on Fallen Dimension sound generic and bland.

Frontwoman Frida Ohlin gives Rexoria a more distinctive sound relative to more recent power metal bands. She has a gritty voice akin to Joan Jett rather than the smooth and joyful tone of Frozen Crown’s Giada Etro. She delivers some really good choruses, bringing to life the likes of “Break the Wave” and “Running with the Stars” with her energetic delivery. She even shows a more tender side on the rock ballad, “Heart of Sorrow,” a duet with Johnny Gioeli (Axel Rudi Pell). Her grit keeps the bouncy, formulaic songs from going too far down the road of pop music. It’s not that the other players are incompetent—they just don’t have much to work with. The drums are standard, galloping blast beats, and the guitar riffs are competent if uninspired. Rexoria brought in a new bassist (Adam Nordquist) for Fallen Dimension, but I rarely heard him. Usually a record like this benefits from outside hooks, and the synths tend to be hit or miss. There are some good ones, such as those on “Metallic Rain,” but on follow-up “Awakening,” I couldn’t help but wonder if they started recycling synth lines.

In general, Fallen Dimension is a pleasant listen that’s also forgettable due to its jack-of-all-trades nature. Rexoria’s plug-and-chug approach allows for an enjoyable energy and choruses that hit the right notes. Yet there’s very little to distinguish them from the power metal pack. The opening riff on “Wasted Land” sounds a lot like something from a Fellowship record, while a majority of their other riffs are hardly more creative than your run-of-the-mill radio rock music. I didn’t dislike any of the songs, yet nothing really grabbed me either. Some of the choruses stuck in my head for a little while, but without any real emotional impact. Rexoria has all the pieces in place—they’re just missing that extra something to make them shine.

Power metal serves as a bridge between extreme and popular music. It often contains pop structures that appeal to a wider audience, yet can still stretch the limits with exciting musical prose that can appeal to thrill-seeking extremists. The pitfall of flirting with more commercial styles is that it often leads to formulaic and watered-down music. Rexoria boasts in their promo sheet of millions of Spotify streams and half a million YouTube views, so clearly they are finding success. It would just be nice to see them take some risks. Too often, success gets in the way of art. I hope Rexoria can continue to find success while also developing the art of their music.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Black Lodge Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: May 8th, 2026

Not only does it fire off riffs like heavy artillery, it also turns history into a battlefield where every song leaves its mark 🤘🏽🤘🏽🤘🏽😈🎸

No solo dispara riffs como artillería pesada, también convierte la historia en un campo de batalla donde cada canción deja huella 🤘🏽🤘🏽🤘🏽🎸😈
#heavymetal #sabaton #metal #metal #music #vinyl

Not only does it fire off riffs like heavy artillery, it also turns history into a battlefield where every song leaves its mark 🤘🏽🤘🏽🤘🏽😈🎸

No solo dispara riffs como artillería pesada, también convierte la historia en un campo de batalla donde cada canción deja huella 🤘🏽🤘🏽🤘🏽🎸😈
#heavymetal #sabaton #metal #metal #music #vinyl

Not only does it fire off riffs like heavy artillery, it also turns history into a battlefield where every song leaves its mark 🤘🏽🤘🏽🤘🏽😈🎸

No solo dispara riffs como artillería pesada, también convierte la historia en un campo de batalla donde cada canción deja huella 🤘🏽🤘🏽🤘🏽🎸😈
#heavymetal #sabaton #metal #metal #music #vinyl

Not only does it fire off riffs like heavy artillery, it also turns history into a battlefield where every song leaves its mark 🤘🏽🤘🏽🤘🏽😈🎸

No solo dispara riffs como artillería pesada, también convierte la historia en un campo de batalla donde cada canción deja huella 🤘🏽🤘🏽🤘🏽🎸😈
#heavymetal #sabaton #metal #metal #music #vinyl

The echo of an empire that rides between glory and fall, where every riff sounds like a march towards immortality. 🤘🏽🤘🏽🎸😈

El eco de un imperio que cabalga entre la gloria y la caída, donde cada riff suena como una marcha hacia la inmortalidad. 🤘🏽🤘🏽😈🎸
#heavymetal #sabaton #metal #music #vinyl

The echo of an empire that rides between glory and fall, where every riff sounds like a march towards immortality. 🤘🏽🤘🏽🎸😈

El eco de un imperio que cabalga entre la gloria y la caída, donde cada riff suena como una marcha hacia la inmortalidad. 🤘🏽🤘🏽😈🎸
#heavymetal #sabaton #metal #music #vinyl

The echo of an empire that rides between glory and fall, where every riff sounds like a march towards immortality. 🤘🏽🤘🏽🎸😈

El eco de un imperio que cabalga entre la gloria y la caída, donde cada riff suena como una marcha hacia la inmortalidad. 🤘🏽🤘🏽😈🎸
#heavymetal #sabaton #metal #music #vinyl

The echo of an empire that rides between glory and fall, where every riff sounds like a march towards immortality. 🤘🏽🤘🏽🎸😈

El eco de un imperio que cabalga entre la gloria y la caída, donde cada riff suena como una marcha hacia la inmortalidad. 🤘🏽🤘🏽😈🎸
#heavymetal #sabaton #metal #music #vinyl

https://www.europesays.com/fi/228598/ Sabaton innostui fiilistelemään sotahistorian suurnimiä – arviossa yhtyeen ”Legends” #BetterNoiseMusic #Entertainment #FI #Finland #Finnish #Music #Musiikki #sabaton #Suomi #viihde

It sounds as if history decided to put on armor, turn the volume up to the max, and march straight into eternity. 🤘🏽🤘🏽🎸

Suena como si la historia hubiera decidido ponerse armadura, subir el volumen al máximo y marchar directo a la eternidad. 🤘🏽🤘🏽🎸
#heavymetal #sabaton #metal #music #vinyl

It sounds as if history decided to put on armor, turn the volume up to the max, and march straight into eternity. 🤘🏽🤘🏽🎸

Suena como si la historia hubiera decidido ponerse armadura, subir el volumen al máximo y marchar directo a la eternidad. 🤘🏽🤘🏽🎸
#heavymetal #sabaton #metal #music #vinyl

It sounds as if history decided to put on armor, turn the volume up to the max, and march straight into eternity. 🤘🏽🤘🏽🎸

Suena como si la historia hubiera decidido ponerse armadura, subir el volumen al máximo y marchar directo a la eternidad. 🤘🏽🤘🏽🎸
#heavymetal #sabaton #metal #music #vinyl

It sounds as if history decided to put on armor, turn the volume up to the max, and march straight into eternity. 🤘🏽🤘🏽🎸

Suena como si la historia hubiera decidido ponerse armadura, subir el volumen al máximo y marchar directo a la eternidad. 🤘🏽🤘🏽🎸
#heavymetal #sabaton #metal #music #vinyl

Sabaton Will Be Additional Headliner On 35th W:O:A

https://metalphotos.org/2026/04/14/sabaton-will-be-additional-headliner-on-35th-woa/

https://www.europesays.com/fi/220703/ Wacken Open Air: Festivaalin päivittäinen ohjelma #Entertainment #FI #Finland #Finnish #Music #Musiikki #sabaton #Suomi #viihde #WackenOpenAir

https://www.europesays.com/at/77920/ Wargaming vs. Sabaton: Katastrophen und Größenwahn #AT #Austria #BrudeDickinson #Entertainment #IronMaiden #Megadeth #Music #Musik #Österreich #PrimoVictoria #Sabaton #Unterhaltung #wargaming #WorldOfWarships

What I love about #sabaton is that they are modern bards, continuing of telling the stories of what came before and the heroes, especially when they do all different countries. This comes about with the release of Yamato. lol #music

https://www.youtube.com/watch?v=Dfh1aSdxr9U&list=RDMMEeeBH294v6I&index=2

What I love about #sabaton is that they are modern bards, continuing of telling the stories of what came before and the heroes, especially when they do all different countries. This comes about with the release of Yamato. lol #music

https://www.youtube.com/watch?v=Dfh1aSdxr9U&list=RDMMEeeBH294v6I&index=2

What I love about #sabaton is that they are modern bards, continuing of telling the stories of what came before and the heroes, especially when they do all different countries. This comes about with the release of Yamato. lol #music

https://www.youtube.com/watch?v=Dfh1aSdxr9U&list=RDMMEeeBH294v6I&index=2

What I love about #sabaton is that they are modern bards, continuing of telling the stories of what came before and the heroes, especially when they do all different countries. This comes about with the release of Yamato. lol #music

https://www.youtube.com/watch?v=Dfh1aSdxr9U&list=RDMMEeeBH294v6I&index=2

I'm still sad that Tommy Johansson left Sabaton as a guitarist, but having him rocking with his own band “Majestica” and his cover song channel as a “counterbalance” - well, that's seriously awesome 🤘

This time he took on Sweden's ESC 2026 title, "My System", a damn great EDM banger originally by Felicia, and turned it into a power metal powerhouse. Is there any genre that this man can't adapt? 🎙️🎸

https://youtu.be/AvwI4PqeNTU?si=J5Zssbw3GzorWuoS

@hapi

#TommyJohansson #Sabaton #PowerMetal #Felicia #Sweden #ESC

I'm still sad that Tommy Johansson left Sabaton as a guitarist, but having him rocking with his own band “Majestica” and his cover song channel as a “counterbalance” - well, that's seriously awesome 🤘

This time he took on Sweden's ESC 2026 title, "My System", a damn great EDM banger originally by Felicia, and turned it into a power metal powerhouse. Is there any genre that this man can't adapt? 🎙️🎸

https://youtu.be/AvwI4PqeNTU?si=J5Zssbw3GzorWuoS

@hapi

#TommyJohansson #Sabaton #PowerMetal #Felicia #Sweden #ESC

I'm still sad that Tommy Johansson left Sabaton as a guitarist, but having him rocking with his own band “Majestica” and his cover song channel as a “counterbalance” - well, that's seriously awesome 🤘

This time he took on Sweden's ESC 2026 title, "My System", a damn great EDM banger originally by Felicia, and turned it into a power metal powerhouse. Is there any genre that this man can't adapt? 🎙️🎸

https://youtu.be/AvwI4PqeNTU?si=J5Zssbw3GzorWuoS

@hapi

#TommyJohansson #Sabaton #PowerMetal #Felicia #Sweden #ESC

World of Warships celebrates the Yamato with the help of heavy metal band Sabaton
🔗 https://massivelyop.com/2026/03/14/world-of-warships-celebrates-the-yamato-with-the-help-of-heavy-metal-band-sabaton
#WorldofWarships #Sabaton

World of Warships celebrates the Yamato with the help of heavy metal band Sabaton
🔗 https://massivelyop.com/2026/03/14/world-of-warships-celebrates-the-yamato-with-the-help-of-heavy-metal-band-sabaton
#WorldofWarships #Sabaton

World of Warships celebrates the Yamato with the help of heavy metal band Sabaton
🔗 https://massivelyop.com/2026/03/14/world-of-warships-celebrates-the-yamato-with-the-help-of-heavy-metal-band-sabaton
#WorldofWarships #Sabaton

World of Warships celebrates the Yamato with the help of heavy metal band Sabaton
🔗 https://massivelyop.com/2026/03/14/world-of-warships-celebrates-the-yamato-with-the-help-of-heavy-metal-band-sabaton
#WorldofWarships #Sabaton

SABATON (Suècia) presenta nou single: "Yamato" #Sabaton #PowerMetal #Març2026 #Suècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

SABATON (Suècia) presenta nou single: "Yamato" #Sabaton #PowerMetal #Març2026 #Suècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/at/43405/ Neuer Song ‘Yamato’, weitere ‘World Of Warships‘-Koop #'WorldOfTanks' #AT #Austria #Bismarck #Entertainment #Music #Musik #Österreich #PärSundström #Sabaton #Unterhaltung #WorldOfWarships #Yamato

New post: Sabaton set sail with new single “Yamato” in collaboration with World of Warships https://moshville.co.uk/news/video/2026/03/sabaton-set-sail-with-new-single-yamato-in-collaboration-with-world-of-warships/ #Sabaton

New post: Sabaton set sail with new single “Yamato” in collaboration with World of Warships https://moshville.co.uk/news/video/2026/03/sabaton-set-sail-with-new-single-yamato-in-collaboration-with-world-of-warships/ #Sabaton

https://www.europesays.com/es/445240/ SABATON estrenan nuevo single y vídeo. Nuevo disco y single de THE PRETTY RECKLESS y fechas en España. Gira de TEKSUO y escucha de su nuevo disco. #Entertainment #Entretenimiento #ES #España #Music #Música #SABATON #Spain #TEKSUO #THEPRETTYRECKLESS

SabatonがWoWSとのコラボ期間中に新曲を公開するとのことだったが、遂に大和を題材とした楽曲をリリースしたか！（まあ半分予想が付いてたけど）
既にビルマルクを題材にした名曲があるから大和もいつか題材にすると思ってた。
https://www.youtube.com/watch?si=MizqtNGaRF_1rWL_&v=fQPlSoz_jSA&feature=youtu.be

#sabaton #wows

SabatonがWoWSとのコラボ期間中に新曲を公開するとのことだったが、遂に大和を題材とした楽曲をリリースしたか！（まあ半分予想が付いてたけど）
既にビルマルクを題材にした名曲があるから大和もいつか題材にすると思ってた。
https://www.youtube.com/watch?si=MizqtNGaRF_1rWL_&v=fQPlSoz_jSA&feature=youtu.be

#sabaton #wows

https://www.europesays.com/es/443637/ Adelanto del próximo single de SABATON. EXTREME ultimando su próxima obra. Nuevo disco de ANNACRUSA. #ANNACRUSA #Entertainment #Entretenimiento #ES #España #EXTREME #Music #Música #SABATON #Spain

Sabaton announce rescheduled 2026 North American Tour dates:

#Sabaton #TourAlert #RescheduledShows

Link: https://metalinsider.net/touring/sabaton-announce-rescheduled-2026-north-american-tour-dates

Finally managed to listen to "Legends" by #Sabaton. The album has some sick riffs and quit cool lyrics ☺️ Could be a bit harder for my taste, but hey, not all songs can be Nightwitches or Ghost Division.

Finally managed to listen to "Legends" by #Sabaton. The album has some sick riffs and quit cool lyrics ☺️ Could be a bit harder for my taste, but hey, not all songs can be Nightwitches or Ghost Division.

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026