#scarletrecords — Public Fediverse posts

I used to love poppy, ultra-processed power metal. Blind Guardian basically killed that whole scene for me when I discovered them and realized power metal could have riffs, but a part of me still remembers what I loved. A part of me won’t let it go. And like a shadow from the past, Sweden’s Shadowborne arrived with their debut Heaven’s Falling. Led by vocalist Eira Shadowborne and accompanied by keyboardist The Warden, guitarist The Oathbearer, bassist The Keeper, and drummer The Warbringer,1 Shadowborne seek to make their mark on the genre with fantasy storytelling, monumental hooks, and shiny, bloopy synthesizers. With groups like Twilight Force, Fellowship, and Brothers of Metal reminding me in recent years that there’s still room in my heart for things campy and glossy, and catching some nostalgia pangs to boot, I decided to give Shadowborne a fair shake. But does Heaven’s Falling spell a new rising star in power metal, or are Shadowborne just another curd in the cheese wheel?

Heaven’s Falling is an uncomplicated debut for Shadowborne: ten tracks,2 thirty-five minutes of dramatic, anthemic, and highly polished power metal. Shadowborne pivot between two modes on Heaven’s Falling: folky, Brothers of Metalesque jaunts like “Hold the Door” and “The Wall” and synthy, pop-hooked 80s LARP à la Battle Beast on songs like “Stranger to Myself” and “Wolf and the Queen.” Oathbearer does the Sabaton thing and riffs in sync with Warden’s synth stings on “High and Low” while Warbringer lays out mid-paced marches, barring one diversion into speed on “Custodians.” Production-wise, Heaven’s Falling is bright and loud, and nothing sounds particularly real, especially the wispy clean guitars (“End of the World”) and Warden’s toothless gang vocals (“Hold the Door”). It’s the kind of metal that Beast In Black can, and likely do, write in their sleep. Simply, anyone familiar with the Europower scene over the past fifteen(ish) years will know what to expect from Shadowborne.

And if you know Europower, then you know that Chorus Is King. Heaven’s Falling hits its stride with every chorus, accomplished by the phenomenal pipes of Eira Shadowborne. Evoking the likes of Ylva Eriksson (Brothers of Metal) and Noora Louhimo (ex-Battle Beast), Shadowborne belts and croons with power and charisma, sounding thoroughly in charge across Heaven’s Falling. Album highlights “Heaven’s Falling (Dragon’s Hymn)” and “Raven” demonstrate Shadowborne at her best, pouring copious heart into their strong melodies and itch-scratching layered harmonies. Beyond Shadowborne’s battle cries, there’s a commitment to bigness across Heaven’s Falling that contributes to its catchiness. Whether stomping away in “Wolf and the Queen” or waxing melodramatic balladry on “The End of the World,” Shadowborne fill as much sonic space and layer parts as hard as the music can take before bursting. Shadowborne the band is built around Shadowborne, the singer, and Heaven’s Falling is shaped around letting her shine in its biggest moments.

Heaven’s Falling’s greatest strength, however, comes with a price. Like much chorus-centric music, Heaven’s Falling suffers from a severe case of Boring Verse Syndrome (BVS).3 Most songs default to banal chugging and space-filling synths with little flair or variation. Even Shadowborne’s lines aren’t nearly as engaging in the verse, sounding somewhat thin on “Stranger to Myself” and “The End of the World.” As a result, Heaven’s Falling feels somewhat hollow. Where songs do feel fleshed out, like “Custodians” with its propulsive tempo and “Raven” with its darker verse contrasting its bright chorus, plus an Amon Amarth march in the intro, they stand out drastically. Oathbearer’s solos in particular could’ve cooked longer, as they’re slick, proficient, and wickedly fun across the board but also far, far too brief to leave a lasting impact. A great chorus is good to have, and Shadowborne can deliver them, but Heaven’s Falling needs great whole songs to be a great whole album.

What holds Shadowborne’s debut down is what holds much of the genre back: entrapment within genre tropes. Heaven’s Falling is loaded with talent and vim, and a lot of these hooks are going to be stuck in my head for a long time. But between the BVS, flaccid production, and played-out approach to power metal on Heaven’s Falling, Shadowborne have crafted a record that simply can’t stand out. Maybe Shadowborne just needed to prove to themselves they could write an album, and their sophomore will be more adventurous. Or maybe this is exactly what they wanted to write. Either way, fans of power metal may like what they’ll hear, but they’ll certainly have heard it already.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Scarlet Records
Websites: bandcamp.com/heavens-falling | facebook.com/Shadowborne
Releases Worldwide: June 19th, 2026

Brutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.

Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!

Kenstrosity’s Knightly Nightmare

AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]

I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.

This Used To Be Heaven by AngelMaker

ClarkKent’s Sonic Symphonics

Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]

A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.

COLOSSUS SUPREMA by BRAINBLAST

Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]

If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.

Escape the Wonderland by Gods of Gaia

Grin Reaper’s Frozen Feast

Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]

Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.

KEM by Hounds Of Bayanay

Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]

I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.

Siltskin by Blood Red Throne

Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]

I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.

Thus Spoke’s Random Revelations

The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]

I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.

Recursive Infinity by The Algorithm

Owlswald’s Holiday Scraps

Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]

Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.

Entanglement by Sun Of The Suns