#saxon — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #saxon, aggregated by home.social.
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https://www.europesays.com/at/339616/ Saxon: Biff Byford ist „wieder ganz der Alte“, sagt Brian Tatler #2027 #AT #Austria #BiffByford #BrianTatler #DiamondHead #Entertainment #Gesundheitszustand #Music #Musik #NeuesAlbum #Österreich #Saxon #Tour #Tournee #Unterhaltung
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https://www.europesays.com/ch-fr/263152/ Réduit à 10 dès la 13e, le FC Saxon Sports a été abandonné par la magie de la Coupe face à Thoune – Le Nouvelliste #Actualités #CeQu’ilS’estPassé #Football #InfoBrute #News #Saxon #Suisse
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look at his thousers
#guitar #rock #saxon
Saxon: 747 (Strangers in the Night) Original Master Promo HD Remaster https://youtube.com/watch?v=Bw1k2xaDGGE&is=yR6JGXUTSNQKeXAz -
look at his thousers
#guitar #rock #saxon
Saxon: 747 (Strangers in the Night) Original Master Promo HD Remaster https://youtube.com/watch?v=Bw1k2xaDGGE&is=yR6JGXUTSNQKeXAz -
look at his thousers
#guitar #rock #saxon
Saxon: 747 (Strangers in the Night) Original Master Promo HD Remaster https://youtube.com/watch?v=Bw1k2xaDGGE&is=yR6JGXUTSNQKeXAz -
look at his thousers
#guitar #rock #saxon
Saxon: 747 (Strangers in the Night) Original Master Promo HD Remaster https://youtube.com/watch?v=Bw1k2xaDGGE&is=yR6JGXUTSNQKeXAz -
look at his thousers
#guitar #rock #saxon
Saxon: 747 (Strangers in the Night) Original Master Promo HD Remaster https://youtube.com/watch?v=Bw1k2xaDGGE&is=yR6JGXUTSNQKeXAz -
Gesehen habe ich #Motörhead nur einmal, das müsste 2008 gewesen sein. Mit #Saxon als Vorgruppe. Der Musik kann ich heute mehr abgewinnen als damals. Das überrascht mich immer wieder.
Dieses Stück könnte ich gerade auf Repeat hören.
https://song.link/s/4oxS9mNh1GideHUkcEWFYC -
Gesehen habe ich #Motörhead nur einmal, das müsste 2008 gewesen sein. Mit #Saxon als Vorgruppe. Der Musik kann ich heute mehr abgewinnen als damals. Das überrascht mich immer wieder.
Dieses Stück könnte ich gerade auf Repeat hören.
https://song.link/s/4oxS9mNh1GideHUkcEWFYC -
Gesehen habe ich #Motörhead nur einmal, das müsste 2008 gewesen sein. Mit #Saxon als Vorgruppe. Der Musik kann ich heute mehr abgewinnen als damals. Das überrascht mich immer wieder.
Dieses Stück könnte ich gerade auf Repeat hören.
https://song.link/s/4oxS9mNh1GideHUkcEWFYC -
Gesehen habe ich #Motörhead nur einmal, das müsste 2008 gewesen sein. Mit #Saxon als Vorgruppe. Der Musik kann ich heute mehr abgewinnen als damals. Das überrascht mich immer wieder.
Dieses Stück könnte ich gerade auf Repeat hören.
https://song.link/s/4oxS9mNh1GideHUkcEWFYC -
https://www.europesays.com/nl/282207/ Alcatraz 2026 (Festivaldag 4): Laatste dag rifftentie #Alcatraz #Alcatraz2026 #AlcatrazOpenAir #AlcatrazOpenAir2026 #Amusement #AnimalsAsLeaders #Dutch #Entertainment #FitForAnAutopsy #Gutalax #LambOfGod #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PalefaceSwiss #Powerwolf #sanguisugabogg #Saxon
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https://www.europesays.com/be-nl/119140/ Alcatraz 2026 (Festivaldag 4): Laatste dag rifftentie #alcatraz #Alcatraz2026 #AlcatrazOpenAir #AlcatrazOpenAir2026 #Amusement #AnimalsAsLeaders #BE #België #Belgium #Entertainment #FitForAnAutopsy #Gutalax #LambOfGod #Music #Muziek #PalefaceSwiss #Powerwolf #Sanguisugabogg #Saxon
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The 'Saxon' church, Bradford-on-Avon, Wiltshire
#photography #BradfordOnAvon #Saxon #church #Wiltshire -
The 'Saxon' church, Bradford-on-Avon, Wiltshire
#photography #BradfordOnAvon #Saxon #church #Wiltshire -
The 'Saxon' church, Bradford-on-Avon, Wiltshire
#photography #BradfordOnAvon #Saxon #church #Wiltshire -
The 'Saxon' church, Bradford-on-Avon, Wiltshire
#photography #BradfordOnAvon #Saxon #church #Wiltshire -
The 'Saxon' church, Bradford-on-Avon, Wiltshire
#photography #BradfordOnAvon #Saxon #church #Wiltshire -
A Diamond Quantum Computer for the Server Rack: 128 Qubits, Room Temperature, and a Skeptical Field
Repost to help others discover this.
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A Diamond Quantum Computer for the Server Rack: 128 Qubits, Room Temperature, and a Skeptical Field
Repost to help others discover this.
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A Diamond Quantum Computer for the Server Rack: 128 Qubits, Room Temperature, and a Skeptical Field
Repost to help others discover this.
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A Diamond Quantum Computer for the Server Rack: 128 Qubits, Room Temperature, and a Skeptical Field
Repost to help others discover this.
-
A Diamond Quantum Computer for the Server Rack: 128 Qubits, Room Temperature, and a Skeptical Field
Repost to help others discover this.
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Saxon-Sion. Le ciel et le Soleil se dévoilent lors de la Nuit des Étoiles
La Nuit des Étoiles, événement incontournable du début du mois d’août, a été organisée ce samedi 1ᵉʳ août…
#Nancy #FR #France #Actu #News #Europe #EU #actu #Actualités #CCduPaysduSaintois54B #Culture-Loisirs #ÉditionNancyetagglomération #europe #GrandEst #Républiquefrançaise #Saxon-Sion
https://www.europesays.com/fr/1105852/ -
Spirituality & Religious Studies @spiritualityreligiousstudies.wordpress.com@spiritualityreligiousstudies.wordpress.com ·Cliodhna
Also known as Clidna, Clionadh, Cliona, & transliterated to English as Cleena.
In Irish mythology, she’s a queen of the Banshees of the Tuatha De Danann. Cliodhna of Carrigcleena is the potent banshee that rules as queen over the sioga (fairies) of South Munster, or Desmond.
In some Irish myths, Cliodhna is a goddess of love & beauty, & the patron of County Cork. She’s said to have 3 brightly colored birds who eat apples from an otherworldly tree & whose sweet song heals sickness. She had her palace in the heart of a pile of rocks, 5 miles (8 km) from Mallow, which is still commonly known by the name of Carrig-Cleena. Numerous legends about her are told among the Munster peasantry, who considered her their benefactor.
In general, it’s been observed that Cliodhna is especially associated with old Irish families of Munster. Cliodhna has long been associated with the lands that had been the territory of the Ui-FIdgheinte (O’Donovans & O’Collins) during their period of influence (circa 373-977). Or were later associated with what had been the Ui-FIdgheinte territory (MacCarthy’s & FitzGeralds).
Cliodhna is also associated with the MacCarthy dynasty of Desmond, who adopted her as their fairy woman, & the O’Keeffes & FitzGerald dynasty, with whom she had amorous affairs.
Surviving traditions of Cliodhna in narrative & poetry associate her with the O’Keeffes & O’Donovans. The latter, originally from Ui Fidgenti in North Munster with its own traditions, where their original goddess was Mongfind, later moved south to Carbery on Cuan Dor Harbor. Cliodhna’s traditional abode was on the South Munster coast, & she then features in poetry associated with them. The O’Keeffe narrative tradition is more extensive & Cliodhna has other Desmond associations too.
This legend is recorded in Acallam no Senorach (“Colloquy of the Ancients”), the longest-surviving work of medieval Irish literature. During the time of the Fianna, Ciabham of the Curling Hair, son of the King of Ulster. Fianna were small warrior-hunter bands in Gaelic Ireland during the Iron Age & early Middle Ages.
Ciabham decided to leave Ireland by currach (boat). But encounter great white waves as big as mountains. He was saved from the sea by a rider on a dark grey horse with a golden bridle. They then reached Tir Tairgire (“the land of promise”), an otherworldly land ruled by Manannan, their king.
Ciabham is entertained at a feast within Manannan’s city. The chief druid, Gebann, had a daughter named Cleena of the Fair Hair. When she fell in love with him & agreed to leave with him the next day. Together they sailed to Teite’s Strand in Ireland. Ciabhan went on shore to hunt & left Cleena in the boat. The people of Manannan pursued them in ships.
1 of them treacherously played music, which caused Cleena to fall asleep. Then a great wave came & swept her away. The place was then Tonn Chliodha (“Cliodna’s Wave”), which is near Glandore Harbor. Whether or not she drowned depends on the version being told.
The Book of Lismore tells that Tiegue was the son & heir of Cain, the king of West Munster. During a raid by an enemy from a faraway land, many people were abducted & enslaved. Tiegue & his warriors set out to rescue them. After rowing for 9 weeks (that’s 2 months & 1 week), they arrived in a strange land called Inis Derglocha (Red Ioch Island).
There, Tiegue meets several luminaries from Ireland’s mythical past. The final person they encounter introduces herself as “Cleena Fairhead, daughter of Genann Mac Treon of the Tuatha de Denann, sweetheart of Eochaid Redweapon’s son Ciabhan the curling locks; for now some time I am in this island, & from me ‘Cleena’s Wave’ in the borders of Munster is denominated.”
She gives them 3 birds to guide them & provide music, as well as an emerald cup that transforms water into wine. She warns that if Tiegue is parted from the cup, he’ll die soon after. Tiegue & his warriors depart the island,& after rescuing their kinsmen, they return home victorious.
In the early 8th century, in Feur-magh-Feine (now Fermoy), there lived Draoi Fuadh, the last of the Druids. He assisted the King of Munster by summoning a great storm to drive back their enemies. As a reward for his service, the king granted the Druid the title of Prince of Fermoy.
The Druid had 2 accomplished & beautiful daughters: Cleena (the oldest), who could transform creatures into any form she pleased & was titled “the queen of the fairies.” The younger daughter was called Aoivil (Aibel) & was her inseparable companion.
Caiov (O’Keefe) was a prince accomplished in mind & body, who inherited a neighboring territory. He was in the Druid’s palace & liked to join in, in which he was often victorious. This attracted the admiration of the Druid & his daughters.
Both sisters fell in love with O’Keeffe. Cleena expressed her love openly & discussions began with her dad about their marriage. Aoivil secretly fell in love & worked to gain his affection with her innocent arts. Caiov fell deeply in love with Aoivil. But Cleena quickly discovered this.
Because of her jealousy, Cleena called on the oldest of her nurses to curse her innocent sister. Aoivil was stricken with sickness & loss of her beauty. Cleena pretended to help her with a powerful sleep mixture, which caused Aoivil’s apparent death. Aoivil was laid in a coffin & displayed before the Druid & his wife, who were filled with profound sorrow.
She was then laid to rest in a tomb under the palace. Cleena & the nurse entered the tomb by a secret entrance & moved the still unconscious Aoivil to the cave at Castlecor (5 miles/8 km northeast of Kanturk). When revived, Aoivil was told she would be imprisoned there until she forgot about Caiov. Cleena, seeing it may be impossible to make Aoivil forget, & in a fit of jealousy, she transformed Aoivil into a beautiful white cat.
Cleena magically changed the cave into a palace. So her sister may bear her suffering more easily. The cave at Castlecor was said to be filled with treasures of gold & silver, watched over by a white cat that sat on a throne. Cleena told Aoivi that fallen in battle with the Danes. But Aoivil remained in love with him. For the space of 1 week a year at midsummer, Aoivil transformed back to her true form.
Visitors to the cave sometimes saw the cast residing in the Palace surrounded by treasure. But were forced out by a mighty wind or invisible force. When Caiov heard of her supposed death, he was filled with sorrow. The Druid & his wife were overcome with grief & brought to an untimely grave.
After due time, Caiov & Cleena were married with much rejoicing. Together, they had 3 kids & lived in happiness. However, the old nurse fell dangerously ill & her conscience forced her to confess everything to Caiov. The prince went to Cleena, but she refused to release her sister.
Cleena admitted she was unable to return her sister to her true form as she had lost her precious wand. (Total Harry Potter vibes!) This caused an irreconcilable division between Caiov & Cleena & after some time she retired to her fairy palace at Carrigcleena.
Caiov would often come to ask forgiveness & for the release of Aoivil. Cleena remained unable to lift the enchantment. But it’s said that if 1 were to come who truly loved Aoivil more than her treasures, the enchantment would be lifted. Cleena still visits Aoivil & while Aoivil briefly resumes her human form, the sisters are happy together.
In the legend of Ellen O’Brien & Fitz-Gerald, Fitz-Gerald was a youthful chieftain who lived by the banks of the Shannon, County Limerick. He was widely known to be brave, hospitable, & generous. As well as an accomplished harp player.
Ellen O’Brien was the only daughter of a chief whose power had crumbled under the Saxon invasion. Fitz-Gerald loved her & stole her heart with his harp playing. Cleena also desired Fitz-Gerald & resolved to bring him to her unseen hall. On a festival day, a dark cloud came down, enveloped Fitz-Gerald & carried him away.
For months, no trace of him could be found & it was generally believed he was taken by enchantment. None felt greater sorrow than Ellen O’Brien, who sought the help of a wizard who lived in Kerry, who communed with beings from the other world.
The wizard told her that Fitz-Gerald had been taken to Cleena’s favorite residence at Carrigcleena. Ellen travelled to that place & pleaded to die at the foot of the rock if she was denied. Cleena was moved & afterward had many happy kids.
In 1736, the wedding of John Fitzjames (Fitzgerald) & Isabel Butler was held. As the wedding was nearing the end, John dropped dead at Isabel’s feet. All in attendance were shocked. It was believed he’d been transported in spirit to Fairyland.
Friends & associates of the couple attempted to make contact with fairies to try to bring him back. Caitileen Dubh Keating & her daughter Caitileen Oge went to Carrigcleena to contact Cleena. They covered their clothes in tar & rolled themselves in feathers of different colors.
They saw Cleena face-to-face & they demanded the return of John. But Cleena firmly refused, saying she would keep him for herself. While there are several versions of the story, Robert D. Joyce’s poem has a happy ending with Cleena releasing the groom named Gerald Fitzgerald, Earl of Desmond. In 1 version, Caitileen Oge was the bride.
The most traditional story of the Blarney Stone involves Cliodhna. Cormac Laidir MacCarthy, the builder of Blarney Castle, being involved in a lawsuit, appealed to Cliodhna for her assistance. She told him to kiss the 1st stone he found in the morning on his way to court, & he did so, with the result that he pleaded his case with great eloquence & won.
Thus the Blarney Stone is said to impart “the ability to deceive without offending.” He then incorporated it into the parapet of the castle. To be fair, Cliodhna doesn’t get credit for all the blarney of the MacCarthys. Queen Elizabeth I noted in frustration that she couldn’t effect a negotiation with Cormac MacCarthy, whose seat was Blarney Castle, as everything he said was ‘Blarney, as he says he doesn’t mean.”
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#1736 #373 #977 #AcallamNaSenorach #Aibel #Banshees #BlarneyCastle #BlarneyStone #BookOfLismore #Caiov #CaitileenDubhKeating #Carbery #CarrigCleena #Carrigcleena #Castlecor #CIabham #CiabhamOfTheCurlingHair #Cleena #CleenaOfTheFairHair #Cliodhna #ColloquyOfTheAncients #CormacLaidirMacCarthy #CormacMacCarthy #CountyLimerick #CuanDorHarbor #Danes #Desmond #DraoiRuadh #Druid #Druids #EarlOfDesmond #Early8thCentury #EarlyMiddleAges #EllenOBrien #EochaidRedweapon #Fairies #Fairyland #Fermoy #Fianna #FitzGerald #Fitzgerald #FitzGeralds #GarlicIreland #Gebann #GeraldFitzgerald #GlandoreHarbor #HarryPotter #InisDerglocha #Ireland #IrishMythology #IronAge #IsabelButler #JohnFitzjames #Kanturk #MacCarthys #Manannan #Mongfind #NorthMunster #OCollins #ODonovans #OKeefe #OKeeffes #QueenElizabethI #RedIochIsland #RobertDJoyce #Saxon #Shannon #Sioga #TeiteSStrand #TirTairngire #TonnChliodha #TuathaDéDanann #UiFidgheinte #Ulster #WestMunster -
Spirituality & Religious Studies @spiritualityreligiousstudies.wordpress.com@spiritualityreligiousstudies.wordpress.com ·Cliodhna
Also known as Clidna, Clionadh, Cliona, & transliterated to English as Cleena.
In Irish mythology, she’s a queen of the Banshees of the Tuatha De Danann. Cliodhna of Carrigcleena is the potent banshee that rules as queen over the sioga (fairies) of South Munster, or Desmond.
In some Irish myths, Cliodhna is a goddess of love & beauty, & the patron of County Cork. She’s said to have 3 brightly colored birds who eat apples from an otherworldly tree & whose sweet song heals sickness. She had her palace in the heart of a pile of rocks, 5 miles (8 km) from Mallow, which is still commonly known by the name of Carrig-Cleena. Numerous legends about her are told among the Munster peasantry, who considered her their benefactor.
In general, it’s been observed that Cliodhna is especially associated with old Irish families of Munster. Cliodhna has long been associated with the lands that had been the territory of the Ui-FIdgheinte (O’Donovans & O’Collins) during their period of influence (circa 373-977). Or were later associated with what had been the Ui-FIdgheinte territory (MacCarthy’s & FitzGeralds).
Cliodhna is also associated with the MacCarthy dynasty of Desmond, who adopted her as their fairy woman, & the O’Keeffes & FitzGerald dynasty, with whom she had amorous affairs.
Surviving traditions of Cliodhna in narrative & poetry associate her with the O’Keeffes & O’Donovans. The latter, originally from Ui Fidgenti in North Munster with its own traditions, where their original goddess was Mongfind, later moved south to Carbery on Cuan Dor Harbor. Cliodhna’s traditional abode was on the South Munster coast, & she then features in poetry associated with them. The O’Keeffe narrative tradition is more extensive & Cliodhna has other Desmond associations too.
This legend is recorded in Acallam no Senorach (“Colloquy of the Ancients”), the longest-surviving work of medieval Irish literature. During the time of the Fianna, Ciabham of the Curling Hair, son of the King of Ulster. Fianna were small warrior-hunter bands in Gaelic Ireland during the Iron Age & early Middle Ages.
Ciabham decided to leave Ireland by currach (boat). But encounter great white waves as big as mountains. He was saved from the sea by a rider on a dark grey horse with a golden bridle. They then reached Tir Tairgire (“the land of promise”), an otherworldly land ruled by Manannan, their king.
Ciabham is entertained at a feast within Manannan’s city. The chief druid, Gebann, had a daughter named Cleena of the Fair Hair. When she fell in love with him & agreed to leave with him the next day. Together they sailed to Teite’s Strand in Ireland. Ciabhan went on shore to hunt & left Cleena in the boat. The people of Manannan pursued them in ships.
1 of them treacherously played music, which caused Cleena to fall asleep. Then a great wave came & swept her away. The place was then Tonn Chliodha (“Cliodna’s Wave”), which is near Glandore Harbor. Whether or not she drowned depends on the version being told.
The Book of Lismore tells that Tiegue was the son & heir of Cain, the king of West Munster. During a raid by an enemy from a faraway land, many people were abducted & enslaved. Tiegue & his warriors set out to rescue them. After rowing for 9 weeks (that’s 2 months & 1 week), they arrived in a strange land called Inis Derglocha (Red Ioch Island).
There, Tiegue meets several luminaries from Ireland’s mythical past. The final person they encounter introduces herself as “Cleena Fairhead, daughter of Genann Mac Treon of the Tuatha de Denann, sweetheart of Eochaid Redweapon’s son Ciabhan the curling locks; for now some time I am in this island, & from me ‘Cleena’s Wave’ in the borders of Munster is denominated.”
She gives them 3 birds to guide them & provide music, as well as an emerald cup that transforms water into wine. She warns that if Tiegue is parted from the cup, he’ll die soon after. Tiegue & his warriors depart the island,& after rescuing their kinsmen, they return home victorious.
In the early 8th century, in Feur-magh-Feine (now Fermoy), there lived Draoi Fuadh, the last of the Druids. He assisted the King of Munster by summoning a great storm to drive back their enemies. As a reward for his service, the king granted the Druid the title of Prince of Fermoy.
The Druid had 2 accomplished & beautiful daughters: Cleena (the oldest), who could transform creatures into any form she pleased & was titled “the queen of the fairies.” The younger daughter was called Aoivil (Aibel) & was her inseparable companion.
Caiov (O’Keefe) was a prince accomplished in mind & body, who inherited a neighboring territory. He was in the Druid’s palace & liked to join in, in which he was often victorious. This attracted the admiration of the Druid & his daughters.
Both sisters fell in love with O’Keeffe. Cleena expressed her love openly & discussions began with her dad about their marriage. Aoivil secretly fell in love & worked to gain his affection with her innocent arts. Caiov fell deeply in love with Aoivil. But Cleena quickly discovered this.
Because of her jealousy, Cleena called on the oldest of her nurses to curse her innocent sister. Aoivil was stricken with sickness & loss of her beauty. Cleena pretended to help her with a powerful sleep mixture, which caused Aoivil’s apparent death. Aoivil was laid in a coffin & displayed before the Druid & his wife, who were filled with profound sorrow.
She was then laid to rest in a tomb under the palace. Cleena & the nurse entered the tomb by a secret entrance & moved the still unconscious Aoivil to the cave at Castlecor (5 miles/8 km northeast of Kanturk). When revived, Aoivil was told she would be imprisoned there until she forgot about Caiov. Cleena, seeing it may be impossible to make Aoivil forget, & in a fit of jealousy, she transformed Aoivil into a beautiful white cat.
Cleena magically changed the cave into a palace. So her sister may bear her suffering more easily. The cave at Castlecor was said to be filled with treasures of gold & silver, watched over by a white cat that sat on a throne. Cleena told Aoivi that fallen in battle with the Danes. But Aoivil remained in love with him. For the space of 1 week a year at midsummer, Aoivil transformed back to her true form.
Visitors to the cave sometimes saw the cast residing in the Palace surrounded by treasure. But were forced out by a mighty wind or invisible force. When Caiov heard of her supposed death, he was filled with sorrow. The Druid & his wife were overcome with grief & brought to an untimely grave.
After due time, Caiov & Cleena were married with much rejoicing. Together, they had 3 kids & lived in happiness. However, the old nurse fell dangerously ill & her conscience forced her to confess everything to Caiov. The prince went to Cleena, but she refused to release her sister.
Cleena admitted she was unable to return her sister to her true form as she had lost her precious wand. (Total Harry Potter vibes!) This caused an irreconcilable division between Caiov & Cleena & after some time she retired to her fairy palace at Carrigcleena.
Caiov would often come to ask forgiveness & for the release of Aoivil. Cleena remained unable to lift the enchantment. But it’s said that if 1 were to come who truly loved Aoivil more than her treasures, the enchantment would be lifted. Cleena still visits Aoivil & while Aoivil briefly resumes her human form, the sisters are happy together.
In the legend of Ellen O’Brien & Fitz-Gerald, Fitz-Gerald was a youthful chieftain who lived by the banks of the Shannon, County Limerick. He was widely known to be brave, hospitable, & generous. As well as an accomplished harp player.
Ellen O’Brien was the only daughter of a chief whose power had crumbled under the Saxon invasion. Fitz-Gerald loved her & stole her heart with his harp playing. Cleena also desired Fitz-Gerald & resolved to bring him to her unseen hall. On a festival day, a dark cloud came down, enveloped Fitz-Gerald & carried him away.
For months, no trace of him could be found & it was generally believed he was taken by enchantment. None felt greater sorrow than Ellen O’Brien, who sought the help of a wizard who lived in Kerry, who communed with beings from the other world.
The wizard told her that Fitz-Gerald had been taken to Cleena’s favorite residence at Carrigcleena. Ellen travelled to that place & pleaded to die at the foot of the rock if she was denied. Cleena was moved & afterward had many happy kids.
In 1736, the wedding of John Fitzjames (Fitzgerald) & Isabel Butler was held. As the wedding was nearing the end, John dropped dead at Isabel’s feet. All in attendance were shocked. It was believed he’d been transported in spirit to Fairyland.
Friends & associates of the couple attempted to make contact with fairies to try to bring him back. Caitileen Dubh Keating & her daughter Caitileen Oge went to Carrigcleena to contact Cleena. They covered their clothes in tar & rolled themselves in feathers of different colors.
They saw Cleena face-to-face & they demanded the return of John. But Cleena firmly refused, saying she would keep him for herself. While there are several versions of the story, Robert D. Joyce’s poem has a happy ending with Cleena releasing the groom named Gerald Fitzgerald, Earl of Desmond. In 1 version, Caitileen Oge was the bride.
The most traditional story of the Blarney Stone involves Cliodhna. Cormac Laidir MacCarthy, the builder of Blarney Castle, being involved in a lawsuit, appealed to Cliodhna for her assistance. She told him to kiss the 1st stone he found in the morning on his way to court, & he did so, with the result that he pleaded his case with great eloquence & won.
Thus the Blarney Stone is said to impart “the ability to deceive without offending.” He then incorporated it into the parapet of the castle. To be fair, Cliodhna doesn’t get credit for all the blarney of the MacCarthys. Queen Elizabeth I noted in frustration that she couldn’t effect a negotiation with Cormac MacCarthy, whose seat was Blarney Castle, as everything he said was ‘Blarney, as he says he doesn’t mean.”
Make a one-time donation
Your contribution is appreciated.
DonateMake a monthly donation
Your contribution is appreciated.
Donate monthlyMake a yearly donation
Your contribution is appreciated.
Donate yearlyRate this:
#1736 #373 #977 #AcallamNaSenorach #Aibel #Banshees #BlarneyCastle #BlarneyStone #BookOfLismore #Caiov #CaitileenDubhKeating #Carbery #CarrigCleena #Carrigcleena #Castlecor #CIabham #CiabhamOfTheCurlingHair #Cleena #CleenaOfTheFairHair #Cliodhna #ColloquyOfTheAncients #CormacLaidirMacCarthy #CormacMacCarthy #CountyLimerick #CuanDorHarbor #Danes #Desmond #DraoiRuadh #Druid #Druids #EarlOfDesmond #Early8thCentury #EarlyMiddleAges #EllenOBrien #EochaidRedweapon #Fairies #Fairyland #Fermoy #Fianna #FitzGerald #Fitzgerald #FitzGeralds #GarlicIreland #Gebann #GeraldFitzgerald #GlandoreHarbor #HarryPotter #InisDerglocha #Ireland #IrishMythology #IronAge #IsabelButler #JohnFitzjames #Kanturk #MacCarthys #Manannan #Mongfind #NorthMunster #OCollins #ODonovans #OKeefe #OKeeffes #QueenElizabethI #RedIochIsland #RobertDJoyce #Saxon #Shannon #Sioga #TeiteSStrand #TirTairngire #TonnChliodha #TuathaDéDanann #UiFidgheinte #Ulster #WestMunster -
Anderi Rockstars ärnted Schlüpfer und BHs, de Biff Byford ärntet ei Chutte nach de andere 🤣🤘
#Saxon live @ #wackenopenair
#DenimAndLeather -
Anderi Rockstars ärnted Schlüpfer und BHs, de Biff Byford ärntet ei Chutte nach de andere 🤣🤘
#Saxon live @ #wackenopenair
#DenimAndLeather -
Anderi Rockstars ärnted Schlüpfer und BHs, de Biff Byford ärntet ei Chutte nach de andere 🤣🤘
#Saxon live @ #wackenopenair
#DenimAndLeather -
For about ten years now I’m not going to #Wacken anymore. Too massive, too crowdy. Been there for 19 years!
But now watching #saxon via de Magenta live stream. Lucky for everyone at Wacken no rain this year, only shine 🤘
#metal #heavymetal -
Coffin Hunters – Cosmic Dawn Review By Grin ReaperI love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?
While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.
Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.
Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.
In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.
Rating: Good
#2026 #30 #AmericanMetal #BitterEndRecords #Chalice #CoffinHunters #CosmicDawn #GreenDay #HardRock #HeavyMetal #IronMaiden #JagPanzer #Jul26 #Lynx #MollyHatchet #Owl #PinkFloyd #Review #Reviews #Saxon #TheDoors #UriahHeap
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026 -
Coffin Hunters – Cosmic Dawn Review By Grin ReaperI love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?
While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.
Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.
Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.
In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.
Rating: Good
#2026 #30 #AmericanMetal #BitterEndRecords #Chalice #CoffinHunters #CosmicDawn #GreenDay #HardRock #HeavyMetal #IronMaiden #JagPanzer #Jul26 #Lynx #MollyHatchet #Owl #PinkFloyd #Review #Reviews #Saxon #TheDoors #UriahHeap
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026 -
Coffin Hunters – Cosmic Dawn Review By Grin ReaperI love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?
While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.
Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.
Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.
In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.
Rating: Good
#2026 #30 #AmericanMetal #BitterEndRecords #Chalice #CoffinHunters #CosmicDawn #GreenDay #HardRock #HeavyMetal #IronMaiden #JagPanzer #Jul26 #Lynx #MollyHatchet #Owl #PinkFloyd #Review #Reviews #Saxon #TheDoors #UriahHeap
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026 -
Coffin Hunters – Cosmic Dawn Review By Grin ReaperI love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?
While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.
Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.
Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.
In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.
Rating: Good
#2026 #30 #AmericanMetal #BitterEndRecords #Chalice #CoffinHunters #CosmicDawn #GreenDay #HardRock #HeavyMetal #IronMaiden #JagPanzer #Jul26 #Lynx #MollyHatchet #Owl #PinkFloyd #Review #Reviews #Saxon #TheDoors #UriahHeap
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026 -
Coffin Hunters – Cosmic Dawn Review By Grin ReaperI love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?
While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.
Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.
Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.
In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.
Rating: Good
#2026 #30 #AmericanMetal #BitterEndRecords #Chalice #CoffinHunters #CosmicDawn #GreenDay #HardRock #HeavyMetal #IronMaiden #JagPanzer #Jul26 #Lynx #MollyHatchet #Owl #PinkFloyd #Review #Reviews #Saxon #TheDoors #UriahHeap
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026 -
https://www.europesays.com/at/294984/ Am „Schädel-Day“ dabei – 35 Jahre Wacken! Der Mythos vom „Heiligen Acker“ – Kronen Zeitung #AC/DC #Andrea #AT #Austria #britischen #Deutschland #Entertainment #Excel #Frankreich #Großbritannien #HolgerHübner #Jensen #LemmyKilmister #Metallica #Österreich #Saxon #SuperstructEntertainment #ThomasJensen #Unterhaltung
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https://www.europesays.com/at/293169/ Brian Tatler: „Diamond Head müssen eine kleine Pause einlegen.“ #AT #Austria #BiffByford #BrianTatler #DiamondHead #Entertainment #Music #Musik #NeuesAlbum #Österreich #Pause #Saxon #Tour #Tournee #Unterhaltung #Verpflichtung
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https://www.europesays.com/es/669889/ SAXON confirma que su próximo disco se llamará «Gods Of Thunder» #Entertainment #Entretenimiento #ES #España #HeavyMetal #Music #Música #SAXON #Spain
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https://www.europesays.com/es/668051/ Título para el disco de SAXON. Clip del rodaje de AMON AMARTH. SHADOWS FALL celebran su aniversario. #AmonAmarth #Entertainment #Entretenimiento #ES #España #Music #Música #SAXON #SHADOWSFALL #Spain
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Song: Rainbow theme
Band: #Saxon
Album: Saxon
Year: 1979
Genre: #HardRock"Far below the valleys, hidden deep beneath the snow
There you'll find the secret of the frozen rainbow
The first of all the ages, lies hidden 'neath the ice
The one who finds the secret holds the power to all life"https://www.youtube.com/watch?v=PDrg2kGucS0
Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=d21fc3d8b391486c
https://youtube.com/playlist?list=PLAFxPuhOACrVE1yZPBg-3twxbf-xNw012&si=oxgsTnZDgrUPa8K2 -
Crying Steel – Agent Steel Review By Steel Druhm
Crying Steel can arguably claim to be one of Italy’s first heavy metal bands, with roots running all the way back to 1982. They didn’t drop their first album until 1987, and it took them until 2007 to release a follow-up, but true steel never rusts. I became aware of them when I reviewed 2018s Stay Steel, and I was entertained by their 80s-centric metal sound. It’s taken them a lot of time to unleash the next beast, but fifth album, Agent Steel, is finally ready to rumble. Since their last outing, well-traveled vocalist Tony Mills (T.N.T., Siam) sadly passed away, and now Tiziano “Hammerhead” Sbaragli assumes mic duties. Guitarist JJ Frati is also absent, so there’s a lot of change in the air at Camp Steel. You know what hasn’t changed? Their love for the color purple and crap-tastical album art, and their commitment to creating hard-rocking 80s metal that sits somewhere between vintage Saxon and Krokus, with a splash of hair metal for bonus flair points. That should make for a spicy metal meatball, right?
The Crying Steel formula is a simple and time-honored one. Write a few burly riffs and base an anthemic 80s-style metal/hard rock tune around them with over-the-top vocals as the exclamation point. Opener “The Arrival” sets the stage nicely via meaty riffs with Hammerhead soaring over the top like a young Biff Byford with a slight Ripper Owens infection. The man has pipes and an enormous Italian accent, and luckily, he knows how to avoid chronically oversinging and stepping on every moment. It also helps that the band peppers the lyrics with steel this, steel that in true Manowar fashion. As Agent Steel unfolds, you get variations on this theme with a big dose of hard rock undergirding the writing, along with a decent ear for hooks. “You Got the Look”1 is rowdy and pretty silly, and I love how Hammerhead makes the chorus sound like “You got the LUKE!” “Under Cover” sounds like early 80s Saxon with a glossy makeover, “To Remember” is a balls-to-the-walls rocker with relentless Grave Digger-style riffs paired with a hair metal ethos, and “Coming Home” feels heavier and just cooler with added oomph in the riffs/vocals and a memorable chorus to boot.
The album wraps with Crying Steel trying their hand at a Primal Fear-style Euro-power burner on “No One’s Crying,” and to get the point across, they bring Ralph Scheepers himself in to do guest vocals. It’s the most aggressive song on the album, and Ralph completely steals the show. It makes you wish the band would dial things up like this more often. Not everything works so well, though. ESL mega-disaster “My Heart Steel Rocks” is a hugely awkward attempt at stadium metal that veers close to Manowar-levels of macho self-aggrandization. It’s entertaining but also awful. Another ESL faceplant hits with “Queen of Grinder,” and I don’t know what it’s really about, but it leaves lots of room for hilarious interpretations. The song itself is just okay. At a trim 41 minutes with all tracks in the 3-4 minute frame, the writing is tight, and hooks are plentiful across Agent Steel. It’s an easy listen, even if the overall style can feel very dated, and at times, corny.
Franco Nipoti and new axe Paolo Nocchi are the lifeblood of the Crying Steel sound, pumping out an endless string of 80s-centric riffs to anchor the songs and keep your head bobbing. I appreciate that they keep enough heft in the guitar sound to give things a decent edge, and they know how to write good leads and shred when needed. They paint with every color of the 80s and induce nostalgia at every turn. Tiziano “Hammerhead” Sbaragli does a fine job rocking a high-pitched nasally delivery that could become really annoying, yet he manages not to grate on the nerves much, and his performance adds an extra jolt of energy to the material. The biggest weapon in the band’s weapon kit is the ability to write memorable retro metal tunes that get by on excess when they can’t with mere nuance. This stuff is just too fun to resist, even when things get a bit too cheese-heavy.
Agent Steel is another successful journey into the past by a crew of metal lifers who keep going regardless of the scant recognition they receive. I hope Crying Steel are well-regarded back home, because they bring the cheddar surplus while defending the faith in all things olde and metallic. I admire that. Keep those iron tears falling like purple rain, boyos!
Rating: 3.0/5.0
#2026 #30 #AgentSteel #CryingSteel #HeavyMetal #ItalianMetal #Jun26 #Krokus #PrideAndJoyMusic #Review #Reviews #Saxon #TNT
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy
Websites: cryingsteel.com | facebook.com/cryingsteel | instagram.com/cryingsteelband
Releases Worldwide: June 26th, 2026 -
Crying Steel – Agent Steel Review By Steel Druhm
Crying Steel can arguably claim to be one of Italy’s first heavy metal bands, with roots running all the way back to 1982. They didn’t drop their first album until 1987, and it took them until 2007 to release a follow-up, but true steel never rusts. I became aware of them when I reviewed 2018s Stay Steel, and I was entertained by their 80s-centric metal sound. It’s taken them a lot of time to unleash the next beast, but fifth album, Agent Steel, is finally ready to rumble. Since their last outing, well-traveled vocalist Tony Mills (T.N.T., Siam) sadly passed away, and now Tiziano “Hammerhead” Sbaragli assumes mic duties. Guitarist JJ Frati is also absent, so there’s a lot of change in the air at Camp Steel. You know what hasn’t changed? Their love for the color purple and crap-tastical album art, and their commitment to creating hard-rocking 80s metal that sits somewhere between vintage Saxon and Krokus, with a splash of hair metal for bonus flair points. That should make for a spicy metal meatball, right?
The Crying Steel formula is a simple and time-honored one. Write a few burly riffs and base an anthemic 80s-style metal/hard rock tune around them with over-the-top vocals as the exclamation point. Opener “The Arrival” sets the stage nicely via meaty riffs with Hammerhead soaring over the top like a young Biff Byford with a slight Ripper Owens infection. The man has pipes and an enormous Italian accent, and luckily, he knows how to avoid chronically oversinging and stepping on every moment. It also helps that the band peppers the lyrics with steel this, steel that in true Manowar fashion. As Agent Steel unfolds, you get variations on this theme with a big dose of hard rock undergirding the writing, along with a decent ear for hooks. “You Got the Look”1 is rowdy and pretty silly, and I love how Hammerhead makes the chorus sound like “You got the LUKE!” “Under Cover” sounds like early 80s Saxon with a glossy makeover, “To Remember” is a balls-to-the-walls rocker with relentless Grave Digger-style riffs paired with a hair metal ethos, and “Coming Home” feels heavier and just cooler with added oomph in the riffs/vocals and a memorable chorus to boot.
The album wraps with Crying Steel trying their hand at a Primal Fear-style Euro-power burner on “No One’s Crying,” and to get the point across, they bring Ralph Scheepers himself in to do guest vocals. It’s the most aggressive song on the album, and Ralph completely steals the show. It makes you wish the band would dial things up like this more often. Not everything works so well, though. ESL mega-disaster “My Heart Steel Rocks” is a hugely awkward attempt at stadium metal that veers close to Manowar-levels of macho self-aggrandization. It’s entertaining but also awful. Another ESL faceplant hits with “Queen of Grinder,” and I don’t know what it’s really about, but it leaves lots of room for hilarious interpretations. The song itself is just okay. At a trim 41 minutes with all tracks in the 3-4 minute frame, the writing is tight, and hooks are plentiful across Agent Steel. It’s an easy listen, even if the overall style can feel very dated, and at times, corny.
Franco Nipoti and new axe Paolo Nocchi are the lifeblood of the Crying Steel sound, pumping out an endless string of 80s-centric riffs to anchor the songs and keep your head bobbing. I appreciate that they keep enough heft in the guitar sound to give things a decent edge, and they know how to write good leads and shred when needed. They paint with every color of the 80s and induce nostalgia at every turn. Tiziano “Hammerhead” Sbaragli does a fine job rocking a high-pitched nasally delivery that could become really annoying, yet he manages not to grate on the nerves much, and his performance adds an extra jolt of energy to the material. The biggest weapon in the band’s weapon kit is the ability to write memorable retro metal tunes that get by on excess when they can’t with mere nuance. This stuff is just too fun to resist, even when things get a bit too cheese-heavy.
Agent Steel is another successful journey into the past by a crew of metal lifers who keep going regardless of the scant recognition they receive. I hope Crying Steel are well-regarded back home, because they bring the cheddar surplus while defending the faith in all things olde and metallic. I admire that. Keep those iron tears falling like purple rain, boyos!
Rating: 3.0/5.0
#2026 #30 #AgentSteel #CryingSteel #HeavyMetal #ItalianMetal #Jun26 #Krokus #PrideAndJoyMusic #Review #Reviews #Saxon #TNT
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy
Websites: cryingsteel.com | facebook.com/cryingsteel | instagram.com/cryingsteelband
Releases Worldwide: June 26th, 2026 -
Crying Steel – Agent Steel Review By Steel Druhm
Crying Steel can arguably claim to be one of Italy’s first heavy metal bands, with roots running all the way back to 1982. They didn’t drop their first album until 1987, and it took them until 2007 to release a follow-up, but true steel never rusts. I became aware of them when I reviewed 2018s Stay Steel, and I was entertained by their 80s-centric metal sound. It’s taken them a lot of time to unleash the next beast, but fifth album, Agent Steel, is finally ready to rumble. Since their last outing, well-traveled vocalist Tony Mills (T.N.T., Siam) sadly passed away, and now Tiziano “Hammerhead” Sbaragli assumes mic duties. Guitarist JJ Frati is also absent, so there’s a lot of change in the air at Camp Steel. You know what hasn’t changed? Their love for the color purple and crap-tastical album art, and their commitment to creating hard-rocking 80s metal that sits somewhere between vintage Saxon and Krokus, with a splash of hair metal for bonus flair points. That should make for a spicy metal meatball, right?
The Crying Steel formula is a simple and time-honored one. Write a few burly riffs and base an anthemic 80s-style metal/hard rock tune around them with over-the-top vocals as the exclamation point. Opener “The Arrival” sets the stage nicely via meaty riffs with Hammerhead soaring over the top like a young Biff Byford with a slight Ripper Owens infection. The man has pipes and an enormous Italian accent, and luckily, he knows how to avoid chronically oversinging and stepping on every moment. It also helps that the band peppers the lyrics with steel this, steel that in true Manowar fashion. As Agent Steel unfolds, you get variations on this theme with a big dose of hard rock undergirding the writing, along with a decent ear for hooks. “You Got the Look”1 is rowdy and pretty silly, and I love how Hammerhead makes the chorus sound like “You got the LUKE!” “Under Cover” sounds like early 80s Saxon with a glossy makeover, “To Remember” is a balls-to-the-walls rocker with relentless Grave Digger-style riffs paired with a hair metal ethos, and “Coming Home” feels heavier and just cooler with added oomph in the riffs/vocals and a memorable chorus to boot.
The album wraps with Crying Steel trying their hand at a Primal Fear-style Euro-power burner on “No One’s Crying,” and to get the point across, they bring Ralph Scheepers himself in to do guest vocals. It’s the most aggressive song on the album, and Ralph completely steals the show. It makes you wish the band would dial things up like this more often. Not everything works so well, though. ESL mega-disaster “My Heart Steel Rocks” is a hugely awkward attempt at stadium metal that veers close to Manowar-levels of macho self-aggrandization. It’s entertaining but also awful. Another ESL faceplant hits with “Queen of Grinder,” and I don’t know what it’s really about, but it leaves lots of room for hilarious interpretations. The song itself is just okay. At a trim 41 minutes with all tracks in the 3-4 minute frame, the writing is tight, and hooks are plentiful across Agent Steel. It’s an easy listen, even if the overall style can feel very dated, and at times, corny.
Franco Nipoti and new axe Paolo Nocchi are the lifeblood of the Crying Steel sound, pumping out an endless string of 80s-centric riffs to anchor the songs and keep your head bobbing. I appreciate that they keep enough heft in the guitar sound to give things a decent edge, and they know how to write good leads and shred when needed. They paint with every color of the 80s and induce nostalgia at every turn. Tiziano “Hammerhead” Sbaragli does a fine job rocking a high-pitched nasally delivery that could become really annoying, yet he manages not to grate on the nerves much, and his performance adds an extra jolt of energy to the material. The biggest weapon in the band’s weapon kit is the ability to write memorable retro metal tunes that get by on excess when they can’t with mere nuance. This stuff is just too fun to resist, even when things get a bit too cheese-heavy.
Agent Steel is another successful journey into the past by a crew of metal lifers who keep going regardless of the scant recognition they receive. I hope Crying Steel are well-regarded back home, because they bring the cheddar surplus while defending the faith in all things olde and metallic. I admire that. Keep those iron tears falling like purple rain, boyos!
Rating: 3.0/5.0
#2026 #30 #AgentSteel #CryingSteel #HeavyMetal #ItalianMetal #Jun26 #Krokus #PrideAndJoyMusic #Review #Reviews #Saxon #TNT
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy
Websites: cryingsteel.com | facebook.com/cryingsteel | instagram.com/cryingsteelband
Releases Worldwide: June 26th, 2026 -
Crying Steel – Agent Steel Review By Steel Druhm
Crying Steel can arguably claim to be one of Italy’s first heavy metal bands, with roots running all the way back to 1982. They didn’t drop their first album until 1987, and it took them until 2007 to release a follow-up, but true steel never rusts. I became aware of them when I reviewed 2018s Stay Steel, and I was entertained by their 80s-centric metal sound. It’s taken them a lot of time to unleash the next beast, but fifth album, Agent Steel, is finally ready to rumble. Since their last outing, well-traveled vocalist Tony Mills (T.N.T., Siam) sadly passed away, and now Tiziano “Hammerhead” Sbaragli assumes mic duties. Guitarist JJ Frati is also absent, so there’s a lot of change in the air at Camp Steel. You know what hasn’t changed? Their love for the color purple and crap-tastical album art, and their commitment to creating hard-rocking 80s metal that sits somewhere between vintage Saxon and Krokus, with a splash of hair metal for bonus flair points. That should make for a spicy metal meatball, right?
The Crying Steel formula is a simple and time-honored one. Write a few burly riffs and base an anthemic 80s-style metal/hard rock tune around them with over-the-top vocals as the exclamation point. Opener “The Arrival” sets the stage nicely via meaty riffs with Hammerhead soaring over the top like a young Biff Byford with a slight Ripper Owens infection. The man has pipes and an enormous Italian accent, and luckily, he knows how to avoid chronically oversinging and stepping on every moment. It also helps that the band peppers the lyrics with steel this, steel that in true Manowar fashion. As Agent Steel unfolds, you get variations on this theme with a big dose of hard rock undergirding the writing, along with a decent ear for hooks. “You Got the Look”1 is rowdy and pretty silly, and I love how Hammerhead makes the chorus sound like “You got the LUKE!” “Under Cover” sounds like early 80s Saxon with a glossy makeover, “To Remember” is a balls-to-the-walls rocker with relentless Grave Digger-style riffs paired with a hair metal ethos, and “Coming Home” feels heavier and just cooler with added oomph in the riffs/vocals and a memorable chorus to boot.
The album wraps with Crying Steel trying their hand at a Primal Fear-style Euro-power burner on “No One’s Crying,” and to get the point across, they bring Ralph Scheepers himself in to do guest vocals. It’s the most aggressive song on the album, and Ralph completely steals the show. It makes you wish the band would dial things up like this more often. Not everything works so well, though. ESL mega-disaster “My Heart Steel Rocks” is a hugely awkward attempt at stadium metal that veers close to Manowar-levels of macho self-aggrandization. It’s entertaining but also awful. Another ESL faceplant hits with “Queen of Grinder,” and I don’t know what it’s really about, but it leaves lots of room for hilarious interpretations. The song itself is just okay. At a trim 41 minutes with all tracks in the 3-4 minute frame, the writing is tight, and hooks are plentiful across Agent Steel. It’s an easy listen, even if the overall style can feel very dated, and at times, corny.
Franco Nipoti and new axe Paolo Nocchi are the lifeblood of the Crying Steel sound, pumping out an endless string of 80s-centric riffs to anchor the songs and keep your head bobbing. I appreciate that they keep enough heft in the guitar sound to give things a decent edge, and they know how to write good leads and shred when needed. They paint with every color of the 80s and induce nostalgia at every turn. Tiziano “Hammerhead” Sbaragli does a fine job rocking a high-pitched nasally delivery that could become really annoying, yet he manages not to grate on the nerves much, and his performance adds an extra jolt of energy to the material. The biggest weapon in the band’s weapon kit is the ability to write memorable retro metal tunes that get by on excess when they can’t with mere nuance. This stuff is just too fun to resist, even when things get a bit too cheese-heavy.
Agent Steel is another successful journey into the past by a crew of metal lifers who keep going regardless of the scant recognition they receive. I hope Crying Steel are well-regarded back home, because they bring the cheddar surplus while defending the faith in all things olde and metallic. I admire that. Keep those iron tears falling like purple rain, boyos!
Rating: 3.0/5.0
#2026 #30 #AgentSteel #CryingSteel #HeavyMetal #ItalianMetal #Jun26 #Krokus #PrideAndJoyMusic #Review #Reviews #Saxon #TNT
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy
Websites: cryingsteel.com | facebook.com/cryingsteel | instagram.com/cryingsteelband
Releases Worldwide: June 26th, 2026 -
Iron Kobra – Eternal Dagger Review By Spicie Forrest
The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.
I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.
From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.
Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.
Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.
Rating: 3.5/5.0
#2026 #35 #AngelWitch #DyingVictimsProductions #EternalDagger #GermanMetal #HeavyMetal #IronKobra #IronMaiden #JudasPriest #Jun26 #NWOBHM #Review #Reviews #Saxon #SpeedMetal
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026 -
Iron Kobra – Eternal Dagger Review By Spicie Forrest
The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.
I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.
From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.
Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.
Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.
Rating: 3.5/5.0
#2026 #35 #AngelWitch #DyingVictimsProductions #EternalDagger #GermanMetal #HeavyMetal #IronKobra #IronMaiden #JudasPriest #Jun26 #NWOBHM #Review #Reviews #Saxon #SpeedMetal
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026 -
Iron Kobra – Eternal Dagger Review By Spicie Forrest
The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.
I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.
From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.
Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.
Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.
Rating: 3.5/5.0
#2026 #35 #AngelWitch #DyingVictimsProductions #EternalDagger #GermanMetal #HeavyMetal #IronKobra #IronMaiden #JudasPriest #Jun26 #NWOBHM #Review #Reviews #Saxon #SpeedMetal
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026 -
New post: British heavy metal giants Saxon announce UK and Ireland tour and return of the legendary Eagle https://moshville.co.uk/news/tours/2026/06/british-heavy-metal-giants-saxon-announce-uk-and-ireland-tour-and-return-of-the-legendary-eagle/ #Saxon
