#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

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
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy
Websites: cryingsteel.com | facebook.com/cryingsteel | instagram.com/cryingsteelband
Releases Worldwide: June 26th, 2026

Ear to the Irminsul

https://vianegativa6.wordpress.com/2026/06/04/ear-to-the-irminsul/

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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

I took a trip to Deerhust a few weeks ago, visiting the Anglo-Saxon site of St Marys Church and Oddas Chapel.

While there I improvised some filming. It's taken a little while, and I wish I'd had my equipment, but the video of that visit is now live.

https://www.youtube.com/watch?v=uEVJ7VMahZw

#history #anglosaxon
#england #english #englishhistory
#video #getoutside #getoutdoors
#saxon #darkages #earlymedieval
#anglosaxonhistory #albion #youtube

Banshees

A banshee (Bean si in Modern Irish & ben side, in Old Irish, meaning “woman of the fairy mound,” or “fairy woman”) is a female spirit in Irish folklore who heralds the death of a family member. She usually does this by screaming, wailing, shrieking, or keening. Keening is a traditional form of vocal lament for the dead in the Gaelic Celtic tradition. This is known to have taken place in Ireland & Scotland.

Banshees are strongly associated with specific Irish families. The belief is that the banshee is a family spirit attached to a particular lineage. Her mournful wail/cry is heard only by family members as a warning of an imminent death.

Another of the banshee characteristics is their unwavering attachment to certain Gaelic families such as the O’Neills, O’Brians, O’Connors, O’Grady, & Kavanaghs, among others. Some traditions hold that the banshee is the ghost. This is perhaps a mother of a famous poet/singer from the family who died tragically. In this sense, she’s an ancestral spirit tied to the bloodline & the land.

She appears or is heard only to mourn & warn the family of an impending death. Often before anyone has received news of it. This direct, specific role makes her an inherently familiar guardian or omen for that clan/family.

They aren’t family pets, the banshees presence is a known, if terrifying, part of the family’s history & destiny, linking her fate to theirs across generations.

A banshee is an autonomous entity, a powerful fairy-woman (bean sidhe) or ghost, isn’t under the control of any living person.

Sometimes she has long streaming hair, which she may be seen combing, with some legends specifying she can only be keen while combing her hair. She wears a gray cloak over a green dress. Her eyes are red from continual weeping. She’s sometimes dressed in white with red hair & a ghastly complexion.

In Ireland & parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament. This keening woman may be a professional, in some cases. The best Keeners would be in high demand.

Irish legends talks about a lament being sung by a fairy woman, or banshee. She would sing it when a family member died or was about to die. Even if the person had died far away & news of their death hasn’t come yet. In those cases, her wailing would be the 1st warning the household had of the death.

The banshee is also a predictor of death. If someone is about to enter a situation where it’s unlikely they’ll come out alive, she’ll warn people by screaming/wailing. This gives rise to the banshee also being known as a wailing woman. The banshee was also linked with the death coach. The banshee is said to either summon the death coach with her keening or travel in tandem with it.

When several banshees show up at 1 time, it usually indicates the death of someone holy or great. The story sometimes tells that the woman (though called a fairy) was a ghost. She’s often a specific murdered woman, or a man who passed away in childbirth.

In some parts of Leinster, she’s referred to as the bean chaointe or ban nigheachain (“little washerwoman”) or nigheag na h-ath (“little washer at the ford”). She’s seen washing bloodstained clothes or armor of those who are about to die.

In Welsh folklore, there’s also a similar being known as the cyhyraeth. The cyhyraeth gives a disembodied moaning voice before the person’s passing.

Some sources suggest that the banshees Laments only the descendants of pure Milesian stock of Ireland. The Milesians were the final race to settle in Ireland. The original belief appears to be associated with a number of ancient Irish families. According to tradition, a banshee wouldn’t lament or visit someone of Saxon or Norman descent or those who came to Ireland later.

Most, not all, of the last names associated with banshees have the “O” or “Mc/Mac” prefix. That means people with the last names of Goidelic origin. This means a family native to the Insular Celtic lands. Rather than those of the Norse, Anglo-Saxon, or Norman.

There are some exceptions to the banshee lore. A banshee may lament a person who’s been gifted with music & song.

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#AngloSaxon #BanNigheachain #Banshees #BeanChaointe #BeanNighe #BeanSi #beanSidhe #BenSide #Celtic #Cyhyraeth #DeathCoach #Gaelic #Goidelic #InsularCeltic #Ireland #IrishFolklore #Kavanaghs #keening #KeeningWoman #Milesian #ModernIrish #Norman #Norse #OBrians #OConnors #OGrady #ONeills #OldIrish #Poet #Saxon #Scotland #ScottishFolklore #Singer #WelshFolklore

Mit dem Besuch auf Muskelrock in Schweden haben @Spitzbuebin und ich uns ein kleines Träumchen erfüllt.

Einziger Nachteil: Unsere Messlatte für Festivals hängt jetzt einen ganzen Meter höher.

Alle Eindrücke hier: https://andwil.de/weblog/muskelrock-2025

#metal #muskelrock #festival #electriceelshock #seax #helvetesport #templar #saxon #ambush #bronze #agusa #covenjapan #tonnerre #ridersofrohan #stallion #enforcer #castlerat #sabbat #midnatt #sanhedrin #airraid #smoulder #metalucifer #savagemaster

The Ridgeway: Hike the 5,000-year-old pathway that's Britain's oldest road

Link

#sleepingshaman

Yes, Dom Caccamo says all these things about us, and more!:
#psych
#experimental
#fuzz
#noise
#powertrio
#Nagoya
#bandcamp
#desertislanddisc
#theearthmoved
#dizzying
#magnetic
#heavypsych
#magicwand
#JamSessions
#60spsych
#13thfloorelevators
#BlueCheer
#Saxon
#improvised
#otherworldly
#AcidMothersTemple
#keijihaino
#minimalist
#jazzy
#caressing
#dosed
#killer
#poignant
#cathartic
#cosmic
#goodvibrations
#superb
#majestic
#stoner
#rocknroll
#spacemusic
#stratospheric
https://www.thesleepingshaman.com/reviews/blasting-rod-mojave-green/

2/2- #DynamoMetalfest with e.g. #Saxon , #Skindred
- Roosendaal Open Air with e.g. #Distant
- Tilburg Metal Fest with e.g. Mercenary
- Baroeg Open Air - with e.g. Gutalax, Primordial
- Draconian - Grounds
- Kreator, Testament, Anthrax

As a visitor: GMM😀☀️
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#concert #gmm2024 #gmm24 #graspopmetalmeeting #metalgirl #altgirl #metalhead #metalband #sethabrikoos #sethpicturesmusic

🤘✌️

#GottaRockToStayAlive

https://youtu.be/YiRqEV04JP8

#Lemmy #Saxon #BiffByford #AngryAnderson #AndiDeris #RockNRoll #HeavyMetal