#sorcerer — Public Fediverse posts

Illwind – The Unfolding at the End of Light Review

Sometimes a new band starts up and chooses a godawful n…
#NewsBeep #News #Music #2026 #3.0 #Arcada #Argul #BlackSabbath #BloodIncantation #Cobra #DoomMetal #Entertainment #EpicMetal #IllWind #Illwind #Jul26 #LynyrdSkynyrd #PersonalRecords #PeruvianMetal #PinkFloyd #Radiohead #review #Reviews #Sorcerer #StonerDoom #StonerMetal #theStooges #TheUnfoldingattheEndofLight #UK #UnitedKingdom #Visigoth #Windhand #YOB
https://www.newsbeep.com/uk/705448/

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

Attack for my friend @tecsiederp who's partaking for the first time this year 🔥

#art #digitalart #human #sorcerer #dnd #artfight #giftart #bust

Attack for my friend @tecsiederp who's partaking for the first time this year 🔥

#art #digitalart #human #sorcerer #dnd #artfight #giftart #bust

Attack for my friend @tecsiederp who's partaking for the first time this year 🔥

#art #digitalart #human #sorcerer #dnd #artfight #giftart #bust

Mercredi. #milesdavis #sorcerer #transatrecordshop #confortmoderne #poitiers

Mercredi. #milesdavis #sorcerer #transatrecordshop #confortmoderne #poitiers

Mercredi. #milesdavis #sorcerer #transatrecordshop #confortmoderne #poitiers

Sony Pictures invests $100 million in virtual reality venue Cosm

Sony Pictures will invest $100 million and take a minority stake in virtual reality venue operator Cosm, as…
#NewsBeep #News #Virtualreality #25thanniversary #Atlanta #AU #Australia #communalexperience #Company #cosm #Dallas #Detroit #Entertainment #investment #minoritystake #other #SonyPictures #Sorcerer #studio #Technology #virtualrealityvenuecosm #VirtualReality #VR
https://www.newsbeep.com/au/758791/

Sony Pictures invests $100 million in virtual reality venue Cosm

Sony Pictures will invest $100 million and take a minority stake in virtual reality venue operator Cosm, as…
#NewsBeep #News #Virtualreality #25thanniversary #Atlanta #AU #Australia #communalexperience #Company #cosm #Dallas #Detroit #Entertainment #investment #minoritystake #other #SonyPictures #Sorcerer #studio #Technology #virtualrealityvenuecosm #VirtualReality #VR
https://www.newsbeep.com/au/758791/

Scratch board style half body of an undead sorcerer for a client's DnD campaign.

vgen.co/DoomweaselArt

#art #darkart #horrorart #horror #creepy #spooky #sorcerer #undead #TTRPG #DnD

Updated DnD 5.5 Sorcerer Class Guide

Our Sorcerer class guide is now updated to include new character options published in 2025 in Heroes of the Forgotten Realms, Astarion's Book of Hungers, and Lorwyn.

https://rpgbot.net/2024-dnd/classes/sorcerer/

#DnD #2024DnD #Sorcerer

Updated DnD 5.5 Sorcerer Class Guide

Our Sorcerer class guide is now updated to include new character options published in 2025 in Heroes of the Forgotten Realms, Astarion's Book of Hungers, and Lorwyn.

https://rpgbot.net/2024-dnd/classes/sorcerer/

#DnD #2024DnD #Sorcerer

Updated DnD 5.5 Sorcerer Class Guide

Our Sorcerer class guide is now updated to include new character options published in 2025 in Heroes of the Forgotten Realms, Astarion's Book of Hungers, and Lorwyn.

https://rpgbot.net/2024-dnd/classes/sorcerer/

#DnD #2024DnD #Sorcerer

Updated DnD 5.5 Sorcerer Class Guide

Our Sorcerer class guide is now updated to include new character options published in 2025 in Heroes of the Forgotten Realms, Astarion's Book of Hungers, and Lorwyn.

https://rpgbot.net/2024-dnd/classes/sorcerer/

#DnD #2024DnD #Sorcerer

Updated DnD 5.5 Sorcerer Class Guide

Our Sorcerer class guide is now updated to include new character options published in 2025 in Heroes of the Forgotten Realms, Astarion's Book of Hungers, and Lorwyn.

https://rpgbot.net/2024-dnd/classes/sorcerer/

#DnD #2024DnD #Sorcerer

Koschei the Deathless is a powerful, malevolent sorcerer in East Slavic folklore who achieved immortality by separating his soul and hiding it inside a nested, "matryoshka-style" container: a needle within an egg, inside a duck, inside a hare, inside a chest, buried under a green oak on the mythical island of Buyan. His original recipe (with some obvious substitutions) would later be known as the "turducken". #folklore #cooking #slavic #wizard #deathless #lich #turducken #sorcerer

Koschei the Deathless is a powerful, malevolent sorcerer in East Slavic folklore who achieved immortality by separating his soul and hiding it inside a nested, "matryoshka-style" container: a needle within an egg, inside a duck, inside a hare, inside a chest, buried under a green oak on the mythical island of Buyan. His original recipe (with some obvious substitutions) would later be known as the "turducken". #folklore #cooking #slavic #wizard #deathless #lich #turducken #sorcerer

Koschei the Deathless is a powerful, malevolent sorcerer in East Slavic folklore who achieved immortality by separating his soul and hiding it inside a nested, "matryoshka-style" container: a needle within an egg, inside a duck, inside a hare, inside a chest, buried under a green oak on the mythical island of Buyan. His original recipe (with some obvious substitutions) would later be known as the "turducken". #folklore #cooking #slavic #wizard #deathless #lich #turducken #sorcerer

Koschei the Deathless is a powerful, malevolent sorcerer in East Slavic folklore who achieved immortality by separating his soul and hiding it inside a nested, "matryoshka-style" container: a needle within an egg, inside a duck, inside a hare, inside a chest, buried under a green oak on the mythical island of Buyan. His original recipe (with some obvious substitutions) would later be known as the "turducken". #folklore #cooking #slavic #wizard #deathless #lich #turducken #sorcerer

Koschei the Deathless is a powerful, malevolent sorcerer in East Slavic folklore who achieved immortality by separating his soul and hiding it inside a nested, "matryoshka-style" container: a needle within an egg, inside a duck, inside a hare, inside a chest, buried under a green oak on the mythical island of Buyan. His original recipe (with some obvious substitutions) would later be known as the "turducken". #folklore #cooking #slavic #wizard #deathless #lich #turducken #sorcerer

Movie TV Tech Geeks #Movie #Action #Sorcerer #Thief 10 Most Underrated Action Movies of the Last 100 Years, Ranked http://dlvr.it/TRyth0

Meet Zagrea Afxbis.

Six generations ago, a young Tiefling named Urxikas Afxbis was playing dice in a loud bar and caught another player cheating. He called it out. There was a scuffle. The scuffle became a brawl. The brawl became a full-room catastrophe -- everyone involved, furniture flying, chaos wall to wall.

Everyone except the Green Hag sitting alone in the far corner.

Urxikas got thrown across the room and landed near her. Scrambling up, he stepped on her pack. Something inside shattered. She screamed. The whole bar went quiet.

She walked up to him slowly. Got close. And in a voice barely above a whisper, she told him exactly what she thought of him and every red-blooded, tail-dragging devilspawn that would come after him. Then she blew a handful of sand in his eyes and walked out.

That was six Afxbisses ago. The curse has been passed down faithfully through every generation. Uncontrollable magic. Skin that changes color every time a spell fires -- bright green after poison, bright red after fire, eight colors counted so far, possibly more to come. The Afxbis line has learned, generation to generation, how to ride the magic, how to keep it from swallowing them whole. The skin, they never figured out.

Somehow, Zagrea is a happy guy. Charismatic, warm, a little prone to exaggeration when he's telling stories. He finds joy in most things. Most people like him immediately.

But spend enough time with him and you'll see it -- something behind the eyes. Something that doesn't quite rest. He keeps moving because standing still was never really an option. He wasn't welcome most places, growing up. So he kept walking, kept adventuring, and somewhere along the way started looking for something that resembles peace.

He hasn't found it yet. His powers are getting stronger by the day.

---

Zagrea Afxbis is a tall Tiefling Sorcerer with almost no muscle to speak of, wearing colorful striped overalls and a cape long enough to wrap himself in -- both striped vertically in white, red, vermillion, orange, amber, yellow, chartreuse, green, teal, blue, violet, purple, magenta, and black. He attacks from range and relies on his arcane knowledge when his spells don't cooperate. He can will his bare hands to strike like a club, dagger, or handaxe, and can summon a vibrant shield of light from his own arms when pressed. He is a lifelong adventurer, a walking folk legend, and arguably the most colorful person in the room -- sometimes literally.

#iTA #isThisAnything #DnD #TTRPG #Homebrew #CharacterIntro #Sorcerer #Tiefling

Meet Zagrea Afxbis.

Six generations ago, a young Tiefling named Urxikas Afxbis was playing dice in a loud bar and caught another player cheating. He called it out. There was a scuffle. The scuffle became a brawl. The brawl became a full-room catastrophe -- everyone involved, furniture flying, chaos wall to wall.

Everyone except the Green Hag sitting alone in the far corner.

Urxikas got thrown across the room and landed near her. Scrambling up, he stepped on her pack. Something inside shattered. She screamed. The whole bar went quiet.

She walked up to him slowly. Got close. And in a voice barely above a whisper, she told him exactly what she thought of him and every red-blooded, tail-dragging devilspawn that would come after him. Then she blew a handful of sand in his eyes and walked out.

That was six Afxbisses ago. The curse has been passed down faithfully through every generation. Uncontrollable magic. Skin that changes color every time a spell fires -- bright green after poison, bright red after fire, eight colors counted so far, possibly more to come. The Afxbis line has learned, generation to generation, how to ride the magic, how to keep it from swallowing them whole. The skin, they never figured out.

Somehow, Zagrea is a happy guy. Charismatic, warm, a little prone to exaggeration when he's telling stories. He finds joy in most things. Most people like him immediately.

But spend enough time with him and you'll see it -- something behind the eyes. Something that doesn't quite rest. He keeps moving because standing still was never really an option. He wasn't welcome most places, growing up. So he kept walking, kept adventuring, and somewhere along the way started looking for something that resembles peace.

He hasn't found it yet. His powers are getting stronger by the day.

---

Zagrea Afxbis is a tall Tiefling Sorcerer with almost no muscle to speak of, wearing colorful striped overalls and a cape long enough to wrap himself in -- both striped vertically in white, red, vermillion, orange, amber, yellow, chartreuse, green, teal, blue, violet, purple, magenta, and black. He attacks from range and relies on his arcane knowledge when his spells don't cooperate. He can will his bare hands to strike like a club, dagger, or handaxe, and can summon a vibrant shield of light from his own arms when pressed. He is a lifelong adventurer, a walking folk legend, and arguably the most colorful person in the room -- sometimes literally.

#iTA #isThisAnything #DnD #TTRPG #Homebrew #CharacterIntro #Sorcerer #Tiefling

Meet Zagrea Afxbis.

Six generations ago, a young Tiefling named Urxikas Afxbis was playing dice in a loud bar and caught another player cheating. He called it out. There was a scuffle. The scuffle became a brawl. The brawl became a full-room catastrophe -- everyone involved, furniture flying, chaos wall to wall.

Everyone except the Green Hag sitting alone in the far corner.

Urxikas got thrown across the room and landed near her. Scrambling up, he stepped on her pack. Something inside shattered. She screamed. The whole bar went quiet.

She walked up to him slowly. Got close. And in a voice barely above a whisper, she told him exactly what she thought of him and every red-blooded, tail-dragging devilspawn that would come after him. Then she blew a handful of sand in his eyes and walked out.

That was six Afxbisses ago. The curse has been passed down faithfully through every generation. Uncontrollable magic. Skin that changes color every time a spell fires -- bright green after poison, bright red after fire, eight colors counted so far, possibly more to come. The Afxbis line has learned, generation to generation, how to ride the magic, how to keep it from swallowing them whole. The skin, they never figured out.

Somehow, Zagrea is a happy guy. Charismatic, warm, a little prone to exaggeration when he's telling stories. He finds joy in most things. Most people like him immediately.

But spend enough time with him and you'll see it -- something behind the eyes. Something that doesn't quite rest. He keeps moving because standing still was never really an option. He wasn't welcome most places, growing up. So he kept walking, kept adventuring, and somewhere along the way started looking for something that resembles peace.

He hasn't found it yet. His powers are getting stronger by the day.

---

Zagrea Afxbis is a tall Tiefling Sorcerer with almost no muscle to speak of, wearing colorful striped overalls and a cape long enough to wrap himself in -- both striped vertically in white, red, vermillion, orange, amber, yellow, chartreuse, green, teal, blue, violet, purple, magenta, and black. He attacks from range and relies on his arcane knowledge when his spells don't cooperate. He can will his bare hands to strike like a club, dagger, or handaxe, and can summon a vibrant shield of light from his own arms when pressed. He is a lifelong adventurer, a walking folk legend, and arguably the most colorful person in the room -- sometimes literally.

#iTA #isThisAnything #DnD #TTRPG #Homebrew #CharacterIntro #Sorcerer #Tiefling

Meet Voss

He doesn't remember what ordinary thing he was doing when it happened.

He remembers before; a quiet and unremarkable life, sure, but it was *his*. And he remembers the after; which is Pip, already perched, already watching him with the patience of a thing that has been waiting a long time and is relieved the wait is finally over. Voss didn't go looking for this. He is still not quite sure what *this* is.

Voss is neat about everything. His coat, his words, the careful way he stands in a room as though he's already located the exits and decided which one he prefers. He watches people the some people watch fires, waiting for it to inevitably get out of hand but already knowing when that will happen. He's not unfriendly. He just seems that way because of his carefulness.

Ask him what Pip is and he will pause for a long time before responding: "I'm still working on that".

---

Meet Pip

Small. Fast. Certain, in an unearned way.

He arrived without invitation nor explanation.

He finishes sentences. Not out of impatience, but because he already knows where the sentence will end, and waiting for it to come seems like a dreadful formality. He is always right about that direction, and knows that this is not entirely endearing. He has not adjusted.

Voss noticed early on that Pip has never said anything provably false. Voss has spent considerable time deciding whether this is reassuring. It is not. Something that has never been wrong is either very wise or has never been tested.

What Pip is, exactly, is a question he deflects with the efficiency of something who has heard it many times and found the asking much more interesting that the answering. Voss asks sometimes, late at night when the camp is quiet. Pip often responds that he is still working on that. Voss suspects this is true, and he is not eased by it.

---

Meet Voss and Pip

If asked, they'll tell you they're not a team. Voss will tell you as much, very carefully, with a pause before the word team like he is checking whether it fits. Pip will tell you much quicker and with more confidence and with zero elaboration. They will then immediately function as a team, and nobody will bring it up, becuase obviously they're a team.

---

Voss is an Aberrant Mind Sorcerer who doesn't so much *cast* as *indicate*, neat and deliberate in everything including violence, built around reading the room before acting and acting *precisely* when he does act. Pip is a familiar by ruling, and something harder to pin down by name in every other measure. Small, construct-adjacent, forward-leaning, eager, with eyes that are slightly too steady and a certainty that has never once wavered in Voss's presence.

In combat, Voss stands at the edge and tilts the table quietly while Pip handles what needs handling. They are the most efficient two voices in the party, and the least forthcoming. And the question of which one of them is actually doing the magic is, as Voss might say, still being worked on.

#iTA #isThisAnything #DnD #TTRPG #CharacterIntro #Homebrew #Sorcerer #Familiar #Construct #DynamicDuo

Meet Voss

He doesn't remember what ordinary thing he was doing when it happened.

He remembers before; a quiet and unremarkable life, sure, but it was *his*. And he remembers the after; which is Pip, already perched, already watching him with the patience of a thing that has been waiting a long time and is relieved the wait is finally over. Voss didn't go looking for this. He is still not quite sure what *this* is.

Voss is neat about everything. His coat, his words, the careful way he stands in a room as though he's already located the exits and decided which one he prefers. He watches people the some people watch fires, waiting for it to inevitably get out of hand but already knowing when that will happen. He's not unfriendly. He just seems that way because of his carefulness.

Ask him what Pip is and he will pause for a long time before responding: "I'm still working on that".

---

Meet Pip

Small. Fast. Certain, in an unearned way.

He arrived without invitation nor explanation.

He finishes sentences. Not out of impatience, but because he already knows where the sentence will end, and waiting for it to come seems like a dreadful formality. He is always right about that direction, and knows that this is not entirely endearing. He has not adjusted.

Voss noticed early on that Pip has never said anything provably false. Voss has spent considerable time deciding whether this is reassuring. It is not. Something that has never been wrong is either very wise or has never been tested.

What Pip is, exactly, is a question he deflects with the efficiency of something who has heard it many times and found the asking much more interesting that the answering. Voss asks sometimes, late at night when the camp is quiet. Pip often responds that he is still working on that. Voss suspects this is true, and he is not eased by it.

---

Meet Voss and Pip

If asked, they'll tell you they're not a team. Voss will tell you as much, very carefully, with a pause before the word team like he is checking whether it fits. Pip will tell you much quicker and with more confidence and with zero elaboration. They will then immediately function as a team, and nobody will bring it up, becuase obviously they're a team.

---

Voss is an Aberrant Mind Sorcerer who doesn't so much *cast* as *indicate*, neat and deliberate in everything including violence, built around reading the room before acting and acting *precisely* when he does act. Pip is a familiar by ruling, and something harder to pin down by name in every other measure. Small, construct-adjacent, forward-leaning, eager, with eyes that are slightly too steady and a certainty that has never once wavered in Voss's presence.

In combat, Voss stands at the edge and tilts the table quietly while Pip handles what needs handling. They are the most efficient two voices in the party, and the least forthcoming. And the question of which one of them is actually doing the magic is, as Voss might say, still being worked on.

#iTA #isThisAnything #DnD #TTRPG #CharacterIntro #Homebrew #Sorcerer #Familiar #Construct #DynamicDuo

Meet Voss

He doesn't remember what ordinary thing he was doing when it happened.

He remembers before; a quiet and unremarkable life, sure, but it was *his*. And he remembers the after; which is Pip, already perched, already watching him with the patience of a thing that has been waiting a long time and is relieved the wait is finally over. Voss didn't go looking for this. He is still not quite sure what *this* is.

Voss is neat about everything. His coat, his words, the careful way he stands in a room as though he's already located the exits and decided which one he prefers. He watches people the some people watch fires, waiting for it to inevitably get out of hand but already knowing when that will happen. He's not unfriendly. He just seems that way because of his carefulness.

Ask him what Pip is and he will pause for a long time before responding: "I'm still working on that".

---

Meet Pip

Small. Fast. Certain, in an unearned way.

He arrived without invitation nor explanation.

He finishes sentences. Not out of impatience, but because he already knows where the sentence will end, and waiting for it to come seems like a dreadful formality. He is always right about that direction, and knows that this is not entirely endearing. He has not adjusted.

Voss noticed early on that Pip has never said anything provably false. Voss has spent considerable time deciding whether this is reassuring. It is not. Something that has never been wrong is either very wise or has never been tested.

What Pip is, exactly, is a question he deflects with the efficiency of something who has heard it many times and found the asking much more interesting that the answering. Voss asks sometimes, late at night when the camp is quiet. Pip often responds that he is still working on that. Voss suspects this is true, and he is not eased by it.

---

Meet Voss and Pip

If asked, they'll tell you they're not a team. Voss will tell you as much, very carefully, with a pause before the word team like he is checking whether it fits. Pip will tell you much quicker and with more confidence and with zero elaboration. They will then immediately function as a team, and nobody will bring it up, becuase obviously they're a team.

---

Voss is an Aberrant Mind Sorcerer who doesn't so much *cast* as *indicate*, neat and deliberate in everything including violence, built around reading the room before acting and acting *precisely* when he does act. Pip is a familiar by ruling, and something harder to pin down by name in every other measure. Small, construct-adjacent, forward-leaning, eager, with eyes that are slightly too steady and a certainty that has never once wavered in Voss's presence.

In combat, Voss stands at the edge and tilts the table quietly while Pip handles what needs handling. They are the most efficient two voices in the party, and the least forthcoming. And the question of which one of them is actually doing the magic is, as Voss might say, still being worked on.

#iTA #isThisAnything #DnD #TTRPG #CharacterIntro #Homebrew #Sorcerer #Familiar #Construct #DynamicDuo

Meet Voss

He doesn't remember what ordinary thing he was doing when it happened.

He remembers before; a quiet and unremarkable life, sure, but it was *his*. And he remembers the after; which is Pip, already perched, already watching him with the patience of a thing that has been waiting a long time and is relieved the wait is finally over. Voss didn't go looking for this. He is still not quite sure what *this* is.

Voss is neat about everything. His coat, his words, the careful way he stands in a room as though he's already located the exits and decided which one he prefers. He watches people the some people watch fires, waiting for it to inevitably get out of hand but already knowing when that will happen. He's not unfriendly. He just seems that way because of his carefulness.

Ask him what Pip is and he will pause for a long time before responding: "I'm still working on that".

---

Meet Pip

Small. Fast. Certain, in an unearned way.

He arrived without invitation nor explanation.

He finishes sentences. Not out of impatience, but because he already knows where the sentence will end, and waiting for it to come seems like a dreadful formality. He is always right about that direction, and knows that this is not entirely endearing. He has not adjusted.

Voss noticed early on that Pip has never said anything provably false. Voss has spent considerable time deciding whether this is reassuring. It is not. Something that has never been wrong is either very wise or has never been tested.

What Pip is, exactly, is a question he deflects with the efficiency of something who has heard it many times and found the asking much more interesting that the answering. Voss asks sometimes, late at night when the camp is quiet. Pip often responds that he is still working on that. Voss suspects this is true, and he is not eased by it.

---

Meet Voss and Pip

If asked, they'll tell you they're not a team. Voss will tell you as much, very carefully, with a pause before the word team like he is checking whether it fits. Pip will tell you much quicker and with more confidence and with zero elaboration. They will then immediately function as a team, and nobody will bring it up, becuase obviously they're a team.

---

Voss is an Aberrant Mind Sorcerer who doesn't so much *cast* as *indicate*, neat and deliberate in everything including violence, built around reading the room before acting and acting *precisely* when he does act. Pip is a familiar by ruling, and something harder to pin down by name in every other measure. Small, construct-adjacent, forward-leaning, eager, with eyes that are slightly too steady and a certainty that has never once wavered in Voss's presence.

In combat, Voss stands at the edge and tilts the table quietly while Pip handles what needs handling. They are the most efficient two voices in the party, and the least forthcoming. And the question of which one of them is actually doing the magic is, as Voss might say, still being worked on.

#iTA #isThisAnything #DnD #TTRPG #CharacterIntro #Homebrew #Sorcerer #Familiar #Construct #DynamicDuo

Meet Voss

He doesn't remember what ordinary thing he was doing when it happened.

He remembers before; a quiet and unremarkable life, sure, but it was *his*. And he remembers the after; which is Pip, already perched, already watching him with the patience of a thing that has been waiting a long time and is relieved the wait is finally over. Voss didn't go looking for this. He is still not quite sure what *this* is.

Voss is neat about everything. His coat, his words, the careful way he stands in a room as though he's already located the exits and decided which one he prefers. He watches people the some people watch fires, waiting for it to inevitably get out of hand but already knowing when that will happen. He's not unfriendly. He just seems that way because of his carefulness.

Ask him what Pip is and he will pause for a long time before responding: "I'm still working on that".

---

Meet Pip

Small. Fast. Certain, in an unearned way.

He arrived without invitation nor explanation.

He finishes sentences. Not out of impatience, but because he already knows where the sentence will end, and waiting for it to come seems like a dreadful formality. He is always right about that direction, and knows that this is not entirely endearing. He has not adjusted.

Voss noticed early on that Pip has never said anything provably false. Voss has spent considerable time deciding whether this is reassuring. It is not. Something that has never been wrong is either very wise or has never been tested.

What Pip is, exactly, is a question he deflects with the efficiency of something who has heard it many times and found the asking much more interesting that the answering. Voss asks sometimes, late at night when the camp is quiet. Pip often responds that he is still working on that. Voss suspects this is true, and he is not eased by it.

---

Meet Voss and Pip

If asked, they'll tell you they're not a team. Voss will tell you as much, very carefully, with a pause before the word team like he is checking whether it fits. Pip will tell you much quicker and with more confidence and with zero elaboration. They will then immediately function as a team, and nobody will bring it up, becuase obviously they're a team.

---

Voss is an Aberrant Mind Sorcerer who doesn't so much *cast* as *indicate*, neat and deliberate in everything including violence, built around reading the room before acting and acting *precisely* when he does act. Pip is a familiar by ruling, and something harder to pin down by name in every other measure. Small, construct-adjacent, forward-leaning, eager, with eyes that are slightly too steady and a certainty that has never once wavered in Voss's presence.

In combat, Voss stands at the edge and tilts the table quietly while Pip handles what needs handling. They are the most efficient two voices in the party, and the least forthcoming. And the question of which one of them is actually doing the magic is, as Voss might say, still being worked on.

#iTA #isThisAnything #DnD #TTRPG #CharacterIntro #Homebrew #Sorcerer #Familiar #Construct #DynamicDuo

Arcane University Chaos 🔥🔥🔥

#Oblivion #OblivionRemastered #ElderScrolls #Gaming #GamingLife #GamingCommunity #GamingClips #GamingVideos #GamingReels #Gamer #Gamers #GamerLife #GamerCommunity #FunnyReels #FunnyClips #FunnyVideos #FunnyGaming #FunnyGamingClips #NPC #Mods #LOL #Mage #Wizard #Sorcerer

Charm is a powerful drug. At the farthest extremes, charm can alter my perception at a fundamental level, warping what might otherwise be boring, unreliable, or even downright problematic things into something worth defending or even loving. But when it comes to music, charm—in measured doses, of course—allows me to fully enjoy the good in something flawed. This is what ultimately drew me to Greek doom startups Distorted Reflection in 2024, and now again in 2026.

2024’s Doom Rules Eternally introduced founding member Kostas Salodmidis’ new project to the world and established Distorted Reflection’s core of doom. Combining Candlemass riffs with Sorcerer drama and a touch of Sorrows Path shred, that core carries over unchanged into Doom Zone. Kostas’ beefy riffs and screaming solos remain as present as ever, and so does his shaky baritone croon. Vangelis gains greater presence with his bass here, which is a welcome improvement over the debut, burbling in lockstep with riffs and offering counterpoint during solo breaks. Filling out the lineup, Thomas Zen pounds the skins with a swinging stomp that suits this doom-laden material like a fitted suit, classy and reigned into the pocket at all times. It might not be the most exciting or unique formula, but it works.

Unfortunately, Doom Zone lacks the one thing that made Doom Rules Eternally worth covering: charm. Doom Zone isn’t completely soulless, but its flaws dominate my experience, leaving very little room for Distorted Reflection’s earnest delivery and competent riffcraft to shine. Evident from the onset of opener “3000 A.D.” and unrelenting throughout the runtime, Kostas’ vocals conspire to distract and detract at almost every opportunity. Unstable vibrato, strained upper range1, abysmal growls and repetitive melodic phrasing make tracks like “My Second Father,” “Gates of Paranoia,” “Tower of Dreams,” and “Morbid Reality” difficult to enjoy. Doom Zone’s songwriting is also noticeably weaker, suffering from a deeply repetitive structure and monotonous pacing that inevitably stalls any momentum individual elements (riffs, solos, choruses) initiate (“Asphyxiation,” “The Final Attempt”). It’s a good thing, then, that Doom Zone is short, clocking in at a responsible 39 minutes. Even so, it drags such that I routinely check my playback to see if I’m close to the end.

This is a shame, because Distorted Reflection are gifted musicians with great potential. Kostas filled Doom Zone with an arsenal of chunky riffs and high-octane solos (“3000 A.D.,” “Certain Death,” “Diminished,” “Morbid Reality”), many of which aptly reference the great works of the doom metal scene, though perhaps a bit too closely. Zen’s drumming is a perfect fit for this sound as well, and Vangelis’ bass noodling is a delight to hear with such clarity. More importantly, everybody understands their role and can play their instruments well enough to attract the spotlight without having to force it away from someone else. The overarching problem ultimately lies in the songwriting. With the exception of a few solid tracks at the album’s midpoint, like “Diminished,” Doom Zone wholly lacks the dynamics, the creativity, and the voice it needs to succeed.

Charm can go a long way to make me like something I would otherwise pass up. Distorted Reflection almost instantaneously lost the charm they once had after my time with Doom Zone. Unmemorable, uninspired, and at times downright irritating, Doom Zone fails to exhibit Distorted Reflection’s strengths in a way that overshadows their flaws. Instead, it accomplished the inverse. Flaws glare, making the process of picking out highlights a grind, and the experience of enjoying the good a chore. I still have hope that they can turn it around with album three, but as it stands, my recommendation is to leave Doom Zone behind while you traverse the doom zone.



Rating: Bad
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: distortedreflectiondoom.bandcamp.com | facebook.com/distortedreflectiondoom
Releases Worldwide: February 27th, 2026

Charm is a powerful drug. At the farthest extremes, charm can alter my perception at a fundamental level, warping what might otherwise be boring, unreliable, or even downright problematic things into something worth defending or even loving. But when it comes to music, charm—in measured doses, of course—allows me to fully enjoy the good in something flawed. This is what ultimately drew me to Greek doom startups Distorted Reflection in 2024, and now again in 2026.

2024’s Doom Rules Eternally introduced founding member Kostas Salodmidis’ new project to the world and established Distorted Reflection’s core of doom. Combining Candlemass riffs with Sorcerer drama and a touch of Sorrows Path shred, that core carries over unchanged into Doom Zone. Kostas’ beefy riffs and screaming solos remain as present as ever, and so does his shaky baritone croon. Vangelis gains greater presence with his bass here, which is a welcome improvement over the debut, burbling in lockstep with riffs and offering counterpoint during solo breaks. Filling out the lineup, Thomas Zen pounds the skins with a swinging stomp that suits this doom-laden material like a fitted suit, classy and reigned into the pocket at all times. It might not be the most exciting or unique formula, but it works.

Unfortunately, Doom Zone lacks the one thing that made Doom Rules Eternally worth covering: charm. Doom Zone isn’t completely soulless, but its flaws dominate my experience, leaving very little room for Distorted Reflection’s earnest delivery and competent riffcraft to shine. Evident from the onset of opener “3000 A.D.” and unrelenting throughout the runtime, Kostas’ vocals conspire to distract and detract at almost every opportunity. Unstable vibrato, strained upper range1, abysmal growls and repetitive melodic phrasing make tracks like “My Second Father,” “Gates of Paranoia,” “Tower of Dreams,” and “Morbid Reality” difficult to enjoy. Doom Zone’s songwriting is also noticeably weaker, suffering from a deeply repetitive structure and monotonous pacing that inevitably stalls any momentum individual elements (riffs, solos, choruses) initiate (“Asphyxiation,” “The Final Attempt”). It’s a good thing, then, that Doom Zone is short, clocking in at a responsible 39 minutes. Even so, it drags such that I routinely check my playback to see if I’m close to the end.

This is a shame, because Distorted Reflection are gifted musicians with great potential. Kostas filled Doom Zone with an arsenal of chunky riffs and high-octane solos (“3000 A.D.,” “Certain Death,” “Diminished,” “Morbid Reality”), many of which aptly reference the great works of the doom metal scene, though perhaps a bit too closely. Zen’s drumming is a perfect fit for this sound as well, and Vangelis’ bass noodling is a delight to hear with such clarity. More importantly, everybody understands their role and can play their instruments well enough to attract the spotlight without having to force it away from someone else. The overarching problem ultimately lies in the songwriting. With the exception of a few solid tracks at the album’s midpoint, like “Diminished,” Doom Zone wholly lacks the dynamics, the creativity, and the voice it needs to succeed.

Charm can go a long way to make me like something I would otherwise pass up. Distorted Reflection almost instantaneously lost the charm they once had after my time with Doom Zone. Unmemorable, uninspired, and at times downright irritating, Doom Zone fails to exhibit Distorted Reflection’s strengths in a way that overshadows their flaws. Instead, it accomplished the inverse. Flaws glare, making the process of picking out highlights a grind, and the experience of enjoying the good a chore. I still have hope that they can turn it around with album three, but as it stands, my recommendation is to leave Doom Zone behind while you traverse the doom zone.



Rating: Bad
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: distortedreflectiondoom.bandcamp.com | facebook.com/distortedreflectiondoom
Releases Worldwide: February 27th, 2026

Charm is a powerful drug. At the farthest extremes, charm can alter my perception at a fundamental level, warping what might otherwise be boring, unreliable, or even downright problematic things into something worth defending or even loving. But when it comes to music, charm—in measured doses, of course—allows me to fully enjoy the good in something flawed. This is what ultimately drew me to Greek doom startups Distorted Reflection in 2024, and now again in 2026.

2024’s Doom Rules Eternally introduced founding member Kostas Salodmidis’ new project to the world and established Distorted Reflection’s core of doom. Combining Candlemass riffs with Sorcerer drama and a touch of Sorrows Path shred, that core carries over unchanged into Doom Zone. Kostas’ beefy riffs and screaming solos remain as present as ever, and so does his shaky baritone croon. Vangelis gains greater presence with his bass here, which is a welcome improvement over the debut, burbling in lockstep with riffs and offering counterpoint during solo breaks. Filling out the lineup, Thomas Zen pounds the skins with a swinging stomp that suits this doom-laden material like a fitted suit, classy and reigned into the pocket at all times. It might not be the most exciting or unique formula, but it works.

Unfortunately, Doom Zone lacks the one thing that made Doom Rules Eternally worth covering: charm. Doom Zone isn’t completely soulless, but its flaws dominate my experience, leaving very little room for Distorted Reflection’s earnest delivery and competent riffcraft to shine. Evident from the onset of opener “3000 A.D.” and unrelenting throughout the runtime, Kostas’ vocals conspire to distract and detract at almost every opportunity. Unstable vibrato, strained upper range1, abysmal growls and repetitive melodic phrasing make tracks like “My Second Father,” “Gates of Paranoia,” “Tower of Dreams,” and “Morbid Reality” difficult to enjoy. Doom Zone’s songwriting is also noticeably weaker, suffering from a deeply repetitive structure and monotonous pacing that inevitably stalls any momentum individual elements (riffs, solos, choruses) initiate (“Asphyxiation,” “The Final Attempt”). It’s a good thing, then, that Doom Zone is short, clocking in at a responsible 39 minutes. Even so, it drags such that I routinely check my playback to see if I’m close to the end.

This is a shame, because Distorted Reflection are gifted musicians with great potential. Kostas filled Doom Zone with an arsenal of chunky riffs and high-octane solos (“3000 A.D.,” “Certain Death,” “Diminished,” “Morbid Reality”), many of which aptly reference the great works of the doom metal scene, though perhaps a bit too closely. Zen’s drumming is a perfect fit for this sound as well, and Vangelis’ bass noodling is a delight to hear with such clarity. More importantly, everybody understands their role and can play their instruments well enough to attract the spotlight without having to force it away from someone else. The overarching problem ultimately lies in the songwriting. With the exception of a few solid tracks at the album’s midpoint, like “Diminished,” Doom Zone wholly lacks the dynamics, the creativity, and the voice it needs to succeed.

Charm can go a long way to make me like something I would otherwise pass up. Distorted Reflection almost instantaneously lost the charm they once had after my time with Doom Zone. Unmemorable, uninspired, and at times downright irritating, Doom Zone fails to exhibit Distorted Reflection’s strengths in a way that overshadows their flaws. Instead, it accomplished the inverse. Flaws glare, making the process of picking out highlights a grind, and the experience of enjoying the good a chore. I still have hope that they can turn it around with album three, but as it stands, my recommendation is to leave Doom Zone behind while you traverse the doom zone.



Rating: Bad
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: distortedreflectiondoom.bandcamp.com | facebook.com/distortedreflectiondoom
Releases Worldwide: February 27th, 2026

Charm is a powerful drug. At the farthest extremes, charm can alter my perception at a fundamental level, warping what might otherwise be boring, unreliable, or even downright problematic things into something worth defending or even loving. But when it comes to music, charm—in measured doses, of course—allows me to fully enjoy the good in something flawed. This is what ultimately drew me to Greek doom startups Distorted Reflection in 2024, and now again in 2026.

2024’s Doom Rules Eternally introduced founding member Kostas Salodmidis’ new project to the world and established Distorted Reflection’s core of doom. Combining Candlemass riffs with Sorcerer drama and a touch of Sorrows Path shred, that core carries over unchanged into Doom Zone. Kostas’ beefy riffs and screaming solos remain as present as ever, and so does his shaky baritone croon. Vangelis gains greater presence with his bass here, which is a welcome improvement over the debut, burbling in lockstep with riffs and offering counterpoint during solo breaks. Filling out the lineup, Thomas Zen pounds the skins with a swinging stomp that suits this doom-laden material like a fitted suit, classy and reigned into the pocket at all times. It might not be the most exciting or unique formula, but it works.

Unfortunately, Doom Zone lacks the one thing that made Doom Rules Eternally worth covering: charm. Doom Zone isn’t completely soulless, but its flaws dominate my experience, leaving very little room for Distorted Reflection’s earnest delivery and competent riffcraft to shine. Evident from the onset of opener “3000 A.D.” and unrelenting throughout the runtime, Kostas’ vocals conspire to distract and detract at almost every opportunity. Unstable vibrato, strained upper range1, abysmal growls and repetitive melodic phrasing make tracks like “My Second Father,” “Gates of Paranoia,” “Tower of Dreams,” and “Morbid Reality” difficult to enjoy. Doom Zone’s songwriting is also noticeably weaker, suffering from a deeply repetitive structure and monotonous pacing that inevitably stalls any momentum individual elements (riffs, solos, choruses) initiate (“Asphyxiation,” “The Final Attempt”). It’s a good thing, then, that Doom Zone is short, clocking in at a responsible 39 minutes. Even so, it drags such that I routinely check my playback to see if I’m close to the end.

This is a shame, because Distorted Reflection are gifted musicians with great potential. Kostas filled Doom Zone with an arsenal of chunky riffs and high-octane solos (“3000 A.D.,” “Certain Death,” “Diminished,” “Morbid Reality”), many of which aptly reference the great works of the doom metal scene, though perhaps a bit too closely. Zen’s drumming is a perfect fit for this sound as well, and Vangelis’ bass noodling is a delight to hear with such clarity. More importantly, everybody understands their role and can play their instruments well enough to attract the spotlight without having to force it away from someone else. The overarching problem ultimately lies in the songwriting. With the exception of a few solid tracks at the album’s midpoint, like “Diminished,” Doom Zone wholly lacks the dynamics, the creativity, and the voice it needs to succeed.

Charm can go a long way to make me like something I would otherwise pass up. Distorted Reflection almost instantaneously lost the charm they once had after my time with Doom Zone. Unmemorable, uninspired, and at times downright irritating, Doom Zone fails to exhibit Distorted Reflection’s strengths in a way that overshadows their flaws. Instead, it accomplished the inverse. Flaws glare, making the process of picking out highlights a grind, and the experience of enjoying the good a chore. I still have hope that they can turn it around with album three, but as it stands, my recommendation is to leave Doom Zone behind while you traverse the doom zone.



Rating: Bad
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: distortedreflectiondoom.bandcamp.com | facebook.com/distortedreflectiondoom
Releases Worldwide: February 27th, 2026

Charm is a powerful drug. At the farthest extremes, charm can alter my perception at a fundamental level, warping what might otherwise be boring, unreliable, or even downright problematic things into something worth defending or even loving. But when it comes to music, charm—in measured doses, of course—allows me to fully enjoy the good in something flawed. This is what ultimately drew me to Greek doom startups Distorted Reflection in 2024, and now again in 2026.

2024’s Doom Rules Eternally introduced founding member Kostas Salodmidis’ new project to the world and established Distorted Reflection’s core of doom. Combining Candlemass riffs with Sorcerer drama and a touch of Sorrows Path shred, that core carries over unchanged into Doom Zone. Kostas’ beefy riffs and screaming solos remain as present as ever, and so does his shaky baritone croon. Vangelis gains greater presence with his bass here, which is a welcome improvement over the debut, burbling in lockstep with riffs and offering counterpoint during solo breaks. Filling out the lineup, Thomas Zen pounds the skins with a swinging stomp that suits this doom-laden material like a fitted suit, classy and reigned into the pocket at all times. It might not be the most exciting or unique formula, but it works.

Unfortunately, Doom Zone lacks the one thing that made Doom Rules Eternally worth covering: charm. Doom Zone isn’t completely soulless, but its flaws dominate my experience, leaving very little room for Distorted Reflection’s earnest delivery and competent riffcraft to shine. Evident from the onset of opener “3000 A.D.” and unrelenting throughout the runtime, Kostas’ vocals conspire to distract and detract at almost every opportunity. Unstable vibrato, strained upper range1, abysmal growls and repetitive melodic phrasing make tracks like “My Second Father,” “Gates of Paranoia,” “Tower of Dreams,” and “Morbid Reality” difficult to enjoy. Doom Zone’s songwriting is also noticeably weaker, suffering from a deeply repetitive structure and monotonous pacing that inevitably stalls any momentum individual elements (riffs, solos, choruses) initiate (“Asphyxiation,” “The Final Attempt”). It’s a good thing, then, that Doom Zone is short, clocking in at a responsible 39 minutes. Even so, it drags such that I routinely check my playback to see if I’m close to the end.

This is a shame, because Distorted Reflection are gifted musicians with great potential. Kostas filled Doom Zone with an arsenal of chunky riffs and high-octane solos (“3000 A.D.,” “Certain Death,” “Diminished,” “Morbid Reality”), many of which aptly reference the great works of the doom metal scene, though perhaps a bit too closely. Zen’s drumming is a perfect fit for this sound as well, and Vangelis’ bass noodling is a delight to hear with such clarity. More importantly, everybody understands their role and can play their instruments well enough to attract the spotlight without having to force it away from someone else. The overarching problem ultimately lies in the songwriting. With the exception of a few solid tracks at the album’s midpoint, like “Diminished,” Doom Zone wholly lacks the dynamics, the creativity, and the voice it needs to succeed.

Charm can go a long way to make me like something I would otherwise pass up. Distorted Reflection almost instantaneously lost the charm they once had after my time with Doom Zone. Unmemorable, uninspired, and at times downright irritating, Doom Zone fails to exhibit Distorted Reflection’s strengths in a way that overshadows their flaws. Instead, it accomplished the inverse. Flaws glare, making the process of picking out highlights a grind, and the experience of enjoying the good a chore. I still have hope that they can turn it around with album three, but as it stands, my recommendation is to leave Doom Zone behind while you traverse the doom zone.



Rating: Bad
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: distortedreflectiondoom.bandcamp.com | facebook.com/distortedreflectiondoom
Releases Worldwide: February 27th, 2026