#slipknot — Public Fediverse posts

https://www.europesays.com/at/152143/ Slipknot: Shawn „Clown“ Crahan braucht Herzoperation #AT #Austria #Clown #Entertainment #herz #MShawnCrahan #Music #Musik #OP #Operation #Österreich #RickRubin #ShawnCrahan #slipknot #Unterhaltung

I was always fascinated by how artists and musicians use masks, e.g. #Slipknot #Buckethead #TheResidents.

Here's the Guardian on #metal with #masks: https://www.theguardian.com/music/2026/apr/07/i-couldnt-see-breathe-or-sing-i-blacked-out-twice-why-are-so-many-metal-bands-wearing-masks

Yours truly is in a #podcast about all things #metal ! This week's topic is debut albums, and we also discuss some news and new album releases. Feel free to tune in

#metalheads #metalhead #metaltalk #metalmusic #IronMaiden #Slipknot #Apocalyptica #DimmuBorgir #Moonspell #Hellripper #Myrath

https://www.youtube.com/watch?v=8Wtm-jvu0lw

Yours truly is in a #podcast about all things #metal ! This week's topic is debut albums, and we also discuss some news and new album releases. Feel free to tune in

#metalheads #metalhead #metaltalk #metalmusic #IronMaiden #Slipknot #Apocalyptica #DimmuBorgir #Moonspell #Hellripper #Myrath

https://www.youtube.com/watch?v=8Wtm-jvu0lw

Check out the lyrics for the song “(Sic)” by Slipknot
#Slipknot #Sic
https://daletra.com/slipknot/lyrics/sic.html

SLIPKNOT
Slipknot
suédée par Thomas Brochard Castex
.
.
.

Thomas exhume ses copies cd gravées il y a plus de 20 ans.

#pochettededisque #slipknot #copiecd #enattendantdavoirlalbum #putaincestcherunvinyle

Against I are neither a one-sided I Against I nor a Rastafarian Against Me!, but a Swedish blackened death metal trio of vocalist Fredrik Keith Croona (Cynical Existence, ex-Menschdefekt), guitarist Mathias Back, and drummer Anders Ström. Founded in 2022, Against I have been busy preaching disillusionment towards man’s better angels across two LPs and and two EPs. Into their third year, Against I are back with their third full-length album Anti Life, an anthem for everyone bitter against the world, religion and, probably, their parents. This kind of intense workload in such a short time could mean a variety of things. It could mean Against I are an exceptionally driven bunch. It could also mean they’re on a fast track to burning out on Anti Life. What could it be?

I won’t faff about: Anti Life embodies the worst qualities of both black and death metal. Across nearly an hour of music, Against I slop out grooveless grooves (“Darkness Within,” “Where We Lay to Rest”) and flat tremolos (“In Death’s Grip,” “Descend”) at an unhurried mid-pace under tepid rasps and admittedly hefty gutturals (“Empire of Bones”). Against I occasionally crack out a slick drum groove (“Sacrifice,” “Empire of Bones”) but mostly stick to punky d-beats (“Built to Destroy”) or double-kick plods (“Symphony for the End”). Anti Life is heavy on gain, light on bass, and borderline bereft of dynamics or variety. Faux choirs and synths play chords to enforce its blackened aesthetics. Rinse and repeat, and you’ve got Anti Life in a nutshell. With such a limited toolbox stretched out over such a long runtime, Against I shaped a blackened death album with none of the majesty or atmosphere of black metal’s greatest hits nor the depraved brutality of death’s best.

Anti Life by Against I

Anti Life is made worse by simply clueless songwriting. Against I stick to an overly limited scope regarding song structure, with almost every track ambling between segments with little urgency or patience to let passages evolve. Nearly every chorus is just a two-to-four-bar phrase repeated twice, usually exactly the same way each time. Despite the rigid formatting, these songs feel haphazard. “Darkness Within” has one of the most aimless riffs I’ve ever heard, dicking around a handful of low notes without an apparent goal, while “In Death’s Grip” features completely random pitch-shifted vocal blips, and “All Hope Is Gone” opens and closes with electronics tacked on with little regard to the song in between.1 And then there’s the lyricism, unfortunately apparent due to Anti Life’s discernible rasps. Amidst the incessant wave of banal metal, the constant diatribes of surface-level social commentary (“Throne of Tyranny,” “War Never Ends”), tiresome nihilism (“Anti Life,” “Symphony for the End”) and premium edgelord lines like “In the land of rape and honey, only the stupid survive” (“Tempel of Greed”)2 turn Anti Life from a rough listen to a near insufferable one.

But worse than Against I having lots of bad ideas, Anti Life just doesn’t have much of anything at all. So little happens across so much time that recalling any particular moment from Anti Life is laborious. It’s telling when “Throne of Tyranny”‘s milquetoast melodeath riffing or “Greed”‘s3 guitar harmonics in its bridge—standard features in most any generic metal album—are standout highlights on Anti Life. Just constant knuckle-dragging chugs and spiceless tremolo riffs. There aren’t even any guitar solos. Or anything solos. Nothing to break up the monotonous patterns Against I are totally hellbent on maintaining. Typically, musicians strip back their sound to highlight certain aspects of their sound, but Against I don’t have anything to highlight on Anti Life. This is the most frustrating thing to write about: not the disaster album that swings and misses horrendously but doesn’t swing at all.

I don’t think Against I are inept—an inept group wouldn’t have gotten this far—but Anti Life is just terrible. Against I are spared from the dreaded AMG Unlistenable/0.5 Hall of Shame by the virtue that Anti Life at least executes the basic mechanics of metal music proficiently, if not exceptionally. This is a joyless, deeply tedious listen, and fans of both death and black metal can find anything on Anti Life on any number of other, better records in far more interesting iterations. I’m glad Against I released Anti Life close to the start of spring because this record’s uninspired negativity has got me seeking out fresh air and sunshine out of pure spite against it. I’m anti-this.

Rating: Embarrassing
DR: 3 | Format Reviewed: 320 kbps MP3
Label: Twisted Flesh Recordings
Website: facebook.com/againstIband
Releases Worldwide: March 13th, 2026

Testo della canzone “(Sic)” di Slipknot
#Slipknot #Sic
https://daletra.online/slipknot/testi/sic.html

Consulta la letra de la canción “(Sic)” de Slipknot
#Slipknot #Sic
https://daletra.net/slipknot/letras/sic.html

Veja a letra da música “(Sic)” de Slipknot
#Slipknot #Sic
https://daletra.com.br/slipknot/letra/sic.html

Découvrez les paroles de la chanson “(Sic)” de Slipknot
#Slipknot #Sic
https://daletra.art/slipknot/paroles/sic.html

Scopri il testo della canzone “(Sic)” di Slipknot
#Slipknot #Sic
https://daletra.online/slipknot/testi/sic.html

Actionaries / Constantine Sankathi / Bleak / Slipknot / Wound / Bastard Cats

https://grpunkflyers.notopia.dev/flyers/1545/

Button’s #1

https://sideshowhost.wordpress.com/2026/01/31/band-buttons-1/

Button’s #1

https://sideshowhost.wordpress.com/2026/01/31/band-buttons-1/

#slipknot #custer #music #LoveMusicHateFascism #video #youtube

https://youtu.be/3pdVtlBYtrc

Dorothy rocking out to #Slipknot

#WizardOfOz

#funny #metal #lol #amazing #dance #headbanger #heavymetal

🤘🤘🤣🤣🤣

https://m.youtube.com/shorts/0Sfwql9FLw4

Orbit Culture – Death Above Life Review

By Dear Hollow

Orbit Culture is a stellar band, so 2023’s Descent should have been an AOTY contender. An all-killer, no-filler blend of melodeath and thrash with a dark industrial edge sounds like a hodge-podge in the worst ways, but the Swedes have made it their brand with a fluidity that has defined them from the beginning. In this way, the quartet showed their songwriting prowess, with tracks like “Black Mountain” and “The Aisle of Fire” leading the charge in the death/thrash riffage that we’ve all come to know and love. But while the claustrophobic mix provided 2020’s Nija a bloodthirsty darkness, it made Descent impenetrable in its compressed muck – sinking it from formidable to forgettable. It was too much doing too much, with no breathing room to do it. Death Above Life offers a bit of a different feel, although it is undeniably Orbit Culture.

Don’t get me wrong, Death Above Life is claustrophobic and overloud, but its pitch-black overflow feels channeled into a better outlet. At its core a melodeath band with a healthy love for thrash, Orbit Culture has long incorporated a slough of djent and metalcore influences, which Death Above Life utilizes for choppy start-stop riffs and climactic breakdowns – emphasized by Humanity’s Last Breath multi-instrumentalist Buster Odeholm on mixing. While it sounds like a sellout, they provide reprieve for a band amplified to the max with ideas. Alongside this, we get our usual range of thrashy early-Metallica numbers to punishing pitch-black death metal cuts. There is more range in softer ballads and punishing ragers, and it is a production improvement over Descent, but Karlsson’s overloud and often awkward clean vocals are suddenly a nagging issue.

As expected, the traditional thrash vibe is alive and well with Orbit Culture – even the more accessible cuts will rip you a new one. Mastermind vocalist/guitarist Niklas Karlsson continues to shift his Hetfield-inspired cleans more front and center, which adds a bit of gravelly (albeit imperfect) familiarity amid the breakneck riffs. Mostly, it’s easy to overlook, as speedy tempos and intense brutality grace the more traditional verse-chorus formats, in an early Soilwork-esque homage. This portion of Orbit Culture’s sound focuses on the range of emotion, as fury, melancholy, pride, and desperation collide in the mix of chord progressions, vocal varieties, and tasteful synth – highlighting their admiration for film composers Hans Zimmer and Howard Shore. Offer soaring chorus punctuated by djenty start-stop riffs (“Inferna,” “The Tales of War”), while more prominent clean vocals dominate thrashier and more subdued tracks alike (“Into the Waves,” “The Path I Walk”). There’s more metalcore influences as breakdowns add much-needed breathing room (“Inside the Waves,” “Hydra”) and more melodic fretboard wizardry and galloping riffs recall As I Lay Dying’s earlier material (“Nerve,” “The Storm”).1

The deathened intensity that pervades Death Above Life showcases the Orbit Culture’s newly capitalized fury. While many of the heavier tracks do feature clean vocals (“Hydra,” “Neural Collapse”), they are largely an afterthought to the beatdown – and are better for it. Ominous ambient textures and cinematic scope make the brutality all the more intense, with climactic solos and bloodthirsty roars focusing on establishing this misanthropy. The best tracks here are “Bloodhound” and “Death Above Life,” due to their absence of clean vocals and their cutthroat quality amplified by chunky Slipknot-esque rhythms, blazing tempos, and Karlsson’s most vicious performances to date. They put Karlsson’s clean vocals elsewhere to shame, existing as too blaring in the mix and damaging certain tracks with their jarring inclusions, worsened by protracted song-lengths and grating repetition (“Inside the Waves,” “Nerve,” “Neural Collapse,” “The Path I Walk”).

Death Above Life sounds better than Descent, but like any good game of Whack-a-Mole, the stuffy production value is quelled only for Karlsson’s overloud cleans to pop up as an issue, amplified by the album’s fifty-three-minute runtime. The riffs are first-rate, the harsh vocals are vicious, and the songwriting encompasses a range of emotion that reflects Orbit Culture’s respect for film composers – but the increasingly upfront vocal attack wears thin very quickly. It’s a solid release from a band who has earned their reputation as one of extreme metal’s best in a distinct blend of nostalgic thrash and modern melodeath – I just know they could do so much better.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Century Media Records
Websites: orbitculture.bandcamp.com | orbitculture.com | facebook.com/OrbitCulture
Releases Worldwide: October 3rd, 2025

#25 #2025 #AsILayDying #CenturyMediaRecords #DeathAboveLife #DeathMetal #HansZimmer #HowardShore #HumanitySLastBreath #Industrial #MelodicDeathMetal #Metallica #Oct25 #OrbitCulture #Review #Reviews #Slipknot #Soilwork #SwedishMetal #ThrashMetal

Lightchapter – Where All Hope Begins Review

By ClarkKent

Death metal generally dabbles in the dark, the grisly, the violent, and the brutal. With the aid of ’80s-style synths, Lightchapter plays a version with a lighter, more hopeful touch. The aptly-named Where All Hope Begins marks album number two for this quartet out of Denmark. The band’s mission is to merge “despair and hope” and also “pain and joy” through not only their sound but their lyrics. Even on a blog that celebrates the angry and still makes fun of the brief Happy Metal Guy stint, I imagine something that infuses joy and lightness would find a welcoming audience. After all, Countless Skies showed how a band could successfully write an uplifting progressive death metal record, and that one was well-liked around these parts. Do we dare get our hopes up for Lightchapter?

While synth is a core part of their sound, this ain’t no dungeon synth. Lightchapter strikes a balance between old-school synth rock and more modern melodeath. Following an intro tune, “Leading the Way,” that evokes Stranger Things-style synths, “Where All Hope Begins” sets the album going on its marriage between industrial death metal acts like Orbit Culture and ’80s synth rock stalwarts like Depeche Mode. This isn’t a brutal version of death metal but a much softer approach. Guitars have more reverb than bite, cutting down on the heaviness, and the drums similarly don’t punch with the punishing heft of a Brodequin. The ’80s stuff also helps to soften the sound, with the synths providing a layer that lightens the already light guitar tone. Then there’s those familiar ’80s drum tones—the gated reverb and toms—that’ll warp you back to your carefree days listening to Duran Duran and the like. Lightchapter also features some deathcore breakdowns, though not obnoxiously (“The Unholy Mass,” “Revenge”). This blend of styles finds its most effective execution towards the end of Where All Hope Begins, particularly on the catchy “Little Death.”

Due to the lack of brutal guitars and thunderous blast beats, Where All Hope Begins turns out to be a rather chill album. This is true despite the harsh growls from Mikkel Ottosen. In fact, his vocals complement the instrumentals well. The combination of Anders Berg’s reverb guitar tone and melodic riffs and Tobias Høst’s restrained drumming makes this a surprisingly relaxing listening experience. It’s true that songs like “What I Have Become” start out fast and heavy, but the heart of the song is soft tones and chill tempos. The softer moments gave me whiffs of Slipknot’s ballads, but also the lighter tunes on Rivers of Nihil’s latest. Lightchapter doesn’t quite hit the soaring emotional highs that Andy Thomas often reached, but that’s all part of their mellow charm. The hopeful tone is a breath of fresh air in the usually dark world of death metal.

If anything lets Lightchapter down, it’s a lack of hooks. The melodic leads and synths aren’t particularly catchy for most songs, nor are the choruses all that memorable. Some exceptions show how much stronger Where All Hope Begins could have been. “Unholy Mass” features not only a great synth line, but a memorable chorus when Ottosen sings “Father, you have forsaken me.” The final three tracks unleash Lightchapter’s true potential. “Little Death” is the album highlight, utilizing a catchy riff and synth combo that emphasizes Lightchapter’s strengths. The best chorus belongs to “My Own Kind,” which is the only song that comes close to reaching those Andy Thomas-level highs, thanks to the guitar tone. Combine the hooks of the one with the cathartic emotional highs of the other, and these guys could have something great on their hands. The finished product is an enjoyable record that doesn’t quite stick—but it shows how Lightchapter can get to that point next time.

Unfortunately, Lightchapter is releasing Where All Hope Begins at the end of a hectic release month, and on perhaps the biggest release day, where it’s competing for attention with Amorphis, Mors Principium Est, and Revocation. If you’re feeling a bit overwhelmed and burned out from all of the must-listens this month, a spin or two of Where All Hope Begins could help ground you. Sometimes an album like this that tries something a little different without going off the rails is just what you need to settle your frayed nerves. Lightchapter has crafted an album that shows promise for this young band. If anything, it’ll at least give you some measure of hope.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: ~175 kbps VBR mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: September 26th, 2025

#2025 #30 #Amorphis #Brodequin #CountlessSkies #DanishMetal #DepecheMode #DuranDuran #ElectroDeathMetal #IndustrialMetal #Lightchapter #MelodicDeathMetal #Metalcore #MorsPrinicipumEst #OrbitCulture #Review #Reviews #Revocation #RiversOfNihil #selfRelea #SelfReleased #Sep25 #Slipknot #SynthMetal #WhereAllHopeBegins

Hey, #MusicMonday

Today is the birthday of #JayWeinberg, the first drummer of the band #Slipknot.

Let's play the super cute song Duality.

https://www.youtube.com/watch?v=6fVE8kSM43I

I've gotta say what I've gotta say.

#musinauta

Se você não tem se sentido bem ultimamente, fica aqui a mensagem do Corey Taylor, vocalista do Slipknot e Stone Sour.🤘

Este é um lembrete de que, mesmo nos dias mais difíceis, sempre existe luz no do túnel. 🎗️❤️‍🩹

#música #music #StoneSour #reflexão #coreytaylor #rock #rockandroll #metal #show #Slipknot #vida #mensagem #diaadia #cotidiano #SetembroAmarelo #amor #cuidado #vidareal #setembro #saudemental #psicologia #depress #frescura #ansiedade #autoestima

G-Nitro’s Daily Music Wrap-Up – 8/22/25

I pass on a Slipknot album, but I do check out the latest releases by UMI, and Perfume.

Favorite Videos include Rip Slyme on The First Take, EMNW Live at Tokyo Playground, and more!

I also showcase last week's LastFM stats.

https://g-nitro.com/g-nitros-daily-music-wrap-up-8-22-25

#Music #MusicVideo #1001Albums #Slipknot #Umi #Perfume #RipSlyme #TheFirstTake #EMNW #TokyoPlayground #LastFM

OMG! Music! https://youtube.com/shorts/Zo5LCqhF-9Y?si=CdBdLnycJj2P6Xje #jolene #slipknot

Mondays hit differently after a weekend of metal concerts with Slipknot's mosh pit included.

#moshpit #slipknot #metal

On this date in 1999, I saw the greatest concert festival of my life! This is around the time I stopped listening to new music 😂

#music #ozzfest #ozzfest99 #rock #metal #slipknot #deftones #detroit #slayer #blacksabath #staticX #fearfactory #systemofadown

https://youtu.be/kDXiZ2b2aaI?si=5HebYyvDRrveht4R

A good friend of mine told me he's been listening to a lot of #PS1 -era #DrumandBass so I was reminded of #starpowerdrummer's incredible live DnB covers.

Here's him playing both the Drum and Bass preface AND Joey's massive drum fill intro to #SlipKnot's "Eyeless"

#DrumCover #Metal #Drums

AAAAARE YOU READY?

#slipknot #photography #fotografia #rockimpark #rockimpark2025 #livemusic

*** NEWS *** - SINSAENUM verarbeiten ihre Verzweiflung
https://www.hooked-on-music.de/news/sinsaenum-verarbeiten-ihre-verzweiflung/2721
#news #dragonforce #kreator #sinsaenum #slipknot

#nowlistening un po' di slipknot per prepararmi al live di Giugno 🤟

https://alorenzi.eu/2025/05/04/slipknot-2025-setlist.html

#metal #slipknot #rockimpark #rockimpark2025 #live

Wargasm X Corey Taylor - 70% Dead

https://youtu.be/2L5VLTA9GCs?si=kU356NMP7qL-KQ-v

// #Metalcore #Numetal #Music #Metal #Slipknot
#Wargasm #CoreyTaylor

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

Dragonknight – Legions Review

By Eldritch Elitist

A not-insignificant number of my favorite power metal acts are “noun noun” bands. Power Quest. Twilight Force. Fellow Ship. There’s something about smashing two overwrought people, places, and/or things together that perfectly fits power metal’s prerequisite for excess, and Dragonknight is one of my favorite band names to come out of the genre in recent memory. I’m a little less enthused that their identities are hidden behind their confusingly uniform, copy-paste Slipknot masks1, but between their ludicrously opulent logo and Legions’ hilariously literal cover art, Dragonknight is one of the more immediately striking power metal acts to debut on Scarlet Records. Of course, with Frozen Crown and Fellowship being alums from the same label, the bar is set in the stratosphere; as Legions shows, that bar is not easily reached.

Explaining what DragonKnight sounds like would be markedly less expeditious than describing who they sound like, as Legions sees the band feasting upon a veritable buffet of inspirations. A bespoke influence seemingly accompanies each track; Gloryhammer (“Dead Kings in the Grave”), Beast in Black (“Sword of the Northern Lights”), and mercifully not Alestorm but rather Running Wild (“Pirates, Bloody Pirates!”) serve as some of Legions’ more obvious sources of inspiration. While DragonKnight’s aesthetic varies widely across this album, it’s all tied together with an overarching symphonic flair that keeps the proceedings from sounding overly disjointed. Moreover, Legions sounds technically competent and professional, traits which should be a given but are too often scarce in the genre. For many power metal fans, the level of execution alone may be satisfying.

Dragonknight may presently be more concerned with emulating the successes of modern power metal than innovating the game. Still, I also get the sense that the band had a ton of fun making Legions, so it manages not to tip my cynicism meter to the red. I do, however, find myself increasingly annoyed with this album for a potentially more damning reason: It’s just kinda bland. There are certainly highlights between “The Imperator”‘s Dream Evil-goes-symphonic march and “The Revelation2“‘s condensed galloping rush, but much of Legions lacks urgency and excitement. Instrumental flair is absent outside of the frequently excellent guitar solos, and while the melodies are generally pleasant, Dragonknight fails to capitalize on their solid foundation with the giant melodic swings that define the genre. Legions isn’t forgettable, per se, but it fails to make an impression where it matters most.

Legions hits me with all the force of a lukewarm bucket of water at least in part due to its production choices. The album sounds quite nice from a technical perspective, carrying a meatier low-end presence than most power metal records allow which effectively balances the symphonic bombast. The instruments themselves, however, lack tonal character, their generic metallic edge failing to cut through the swaths of synths. Singer and sole named member Lord Salo Khan (Mikael Salo, Everfrost3) also lacks power in many scenarios, with his voice failing to deliver a convincing presence of power in Legions’ most melodic tracks, namely “Storm Bringer.” At other times, however, he excels; the conviction with which he delivers the lyric “Sailing ships with great dexterity!” goes a long way in making “Pirates Bloody Pirates!” another early highlight of Dragonknight’s career.

I reference Dragonknight in context with a hypothetical future as it’s one that I hope comes to fruition. Their debut left me with a stronger first impression than this review and its score implies, but I ultimately found Legions lacking in staying power, my mind struggling not to wander towards the dozens of better records it reminds me of as I ventured past my first couple of spins. Dragonknight has the talent and songwriting chops to excel on future outings, but they need to work on identifying and honing their strengths rather than spreading themselves thin with an overly ambitious scope. If Dragonknight can succeed in this regard, they may well find themselves on equal footing with their peers. As it stands today, they are a decent imitation of their influences, but sincere flattery can only carry them so far.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com/album/legions | dragonknightband.com | facebook.com/dragonknightband
Releases Worldwide: January 17th, 2025

#25 #2025 #Alestorm #BeastInBlack #Dragonknight #DreamEvil #Everfrost #Fellowship #FinnishMetal #FrozenCrown #Galneryus #Gloryhammer #Jan25 #Legions #PowerMetal #PowerQuest #Review #Reviews #RunningWild #ScarletRecords #Slipknot #TwilightForce

𝗩𝗼𝗼𝗿𝗺𝗮𝗹𝗶𝗴 𝗦𝗹𝗶𝗽𝗸𝗻𝗼𝘁-𝗱𝗿𝘂𝗺𝗺𝗲𝗿 𝗝𝗮𝘆 𝗪𝗲𝗶𝗻𝗯𝗲𝗿𝗴 𝘄𝗲𝗿𝗸𝘁 𝗮𝗮𝗻 𝗲𝗶𝗴𝗲𝗻 𝗺𝘂𝘇𝗶𝗲𝗸

Jay Weinberg, voormalig drummer van de metalband Slipknot, werkt aan een soloproject. "Een van mijn ambities voor 2025 is om meer muziek in de studio op te nemen, eigen materiaal waar ik al tijden geleden mee begon", deelde de 34-jarige muzikant via Instagram.

https://www.rtl.nl/boulevard/artikel/5487585/voormalig-slipknot-drummer-jay-weinberg-werkt-aan-eigen-muziek

#JayWeinberg #Slipknot #EigenMuziek

#disturbed #slipknot #godsmack #daviddraiman #coreytaylor #stonesour #metal #hardrock #rockmusic #sullyerna #rockandroll #iloverock #radio #radiostation

.#Slipknot, Corey Taylor y su regreso a Chile esta vez más devastador que nunca. Con las constantes interacciones en español (aunque prometió mejorarlo en una siguiente venida).

Revisa acá la galería completa: https://www.instagram.com/p/DB6qDnnujq0/?img_index=1

#slipknot #knotfest #chile #2024

🐦🔗 https://farside.link/x.com/Nacion_Rock/status/1853123123064852865#m
RT: https://twitter.com/Nacion_Rock/status/1853123123064852865#m

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