#saxon — Public Fediverse posts

Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?

Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.

Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.

Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.

Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.

Rating: Mixed
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 4th, 2026

SAXON summon the “Gods of Thunder” on powerful new single

https://voiceofnoir.com/2026/09/11/saxon-summon-the-gods-of-thunder-on-powerful-new-single/

I 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
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

Beyond the Black play the sort of female-led symphonic metal that seems to get a bit of traction in Europe. Since Jennifer Haben formed the band in 2014, they have recorded five LPs that climbed the charts in her home country of Germany as well as those of neighboring countries. They’ve also gone on European tours in support of popular acts like Aerosmith, Scorpions, Korn, Saxon, and Within Temptation. Break the Silence, their sixth record, finds them at their peak. It’s a concept album revolving around themes of communication and connection. This concept materializes in the form of international guest collaborators— from Germany, Bulgaria, and Japan—and diverse languages—English, French, and German. Considering the poor reception symphonic bands like this have received on the blog (see Within Temptation), I can sense your skepticism. What Beyond the Black needs to break in order to win over this readership isn’t the silence but the mold.

Similar to Elettra Storm and Darkyra, Beyond the Black plays a form of symphonic metal that falls somewhere between hard rock and power metal, leaning a little more into the heavier stuff. Tracks follow a pretty standard formula with catchy choruses, above-average riffs, and plenty of solos. The symphonic portion is surprisingly muted, but it does add some emotional depth to songs like “The Art of Being Alone” or even distinctive hooks (“Let There Be Rain”). At the heart of the music is Haben’s vocal performance. Her voice has a poppy, clean character, and Beyond the Black forgo the beastly growls that typically balance out the beauty. This type of performance could easily become sterile, but she shows some range on tracks like “Ravens,” where her voice switches from somber to a soaring chorus that could find a home on the KPop Demon Hunters soundtrack. Her strength is most apparent on the finale, “Weltschmerz,” a gentler, symphonic-led tune that allows Haben to take charge with a moving performance.

Despite the mostly close adherence to the same formula from song to song, Beyond the Black add enough variety to keep things from growing stale. Collaborators help in this regard, and they have two really good ones. Chris Harms (Lord of the Lost) lends his charismatic baritone on “The Art of Being Alone,” an entertaining bit of gothic metal that includes rather dramatic symphonic instrumentals and keyboards. My favorite track, “Let There Be Rain,” gets a boost from its collaboration with The Mystery of the Bulgarian Voices, a cheerful all-female choral group, as well as a nifty symphonic hook that puts a smile on my face. Break the Silence has a consistently high energy throughout—reaching near-thrash levels on “The Flood”—but a few songs break up the pace to avoid monotony, such as the more sober, arpeggio-driven “Ravens,” and the melodic adult rock of “(La Vie Est Un) Cinéma.” The consistently catchy hooks that permeate this varied record highlight just how talented this group is.

Unfortunately, some nagging issues and a weak-ish back half keep this from reaching the heights of fellow symphonic/pop group, Lord of the Lost. “The Flood” is a terrific tune hampered by an unfortunate decision to include prominent robo vocals that are more grating than cool, or whatever they’re meant to be. The two songs that follow, however, sink the record even further, as they lack any hooks to raise them above the fray. One of these is an unfortunate waste of the talents of Asami (Love Bites) in a bit of synth-pop on “Can You Hear Me” that had me wondering if I was listening to a cover of a Pink tune. The last couple of tracks do end Break the Silence on a stronger note, with the catchy chorus of “Hologram” and the aforementioned showstopper of “Weltschmerz.” These keep the record safely in the solid territory despite a brief weak streak.

Admittedly, I had no prior history with Beyond the Black, but based on the time I spent with their previous two albums, Break the Silence is a marked improvement. This is yet another pleasant surprise in the realm of symphonic metal released by the larger metal labels, along with last year’s two Lord of the Lost records. If this genre is in your wheelhouse, or you’re a fan of Beyond the Black’s prior work, you’re in for a treat. Fortunately, Break the Silence proves to be better than the soulless dreck that often floods this genre. It has heart, a powerful message, and, best of all, good music.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: January 9th, 2026

Interestingly, it seems to be easier to find #sustainable and #fair-trade #fashion #boutiques in bigger #German cities with a population <= half a million than in cities with more than one million inhabitants. The #Saxon capital #Dresden is an example -- each time I am there I find a new friendly #clothes shop: https://www.organictraveller.de/organictraveller-dresden-shopping

#organictraveller #travelguide