Edguy regresa tras casi una década y encabeza el primer avance del Z! Live Rock Fest 2027
Info en 👉 https://www.guitarcalavera.com/edguy-primer-avance-del-zlive-2027/
#Bloodhunter #Conception #Edguy #KØS #Korpiklaani #Primordial #Stratovarius #TheNightFlightOrchestra #Trollfest #VirginSteele #ZLiveRockFes...
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#the-night-flight-orchestra — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #the-night-flight-orchestra, aggregated by home.social.
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Audrey Horne – Achilles Review By Steel DruhmFun fact for fans of AMG lore: I originally found this very metal blog back in early 2010 while searching for reviews of Audrey Horne’s self-titled third album. I auditioned for a writing job, and my first review posted a mere month later. Since then, I’ve reviewed all the Audrey Horne releases, and I admit to being a big fanboy of their retro-leaning hard rock style. At their best, they craft irresistibly fun, punchy anthems, and even at their worst, the music is still pretty damn entertaining, and it never ceases to amuse me that the band features Ice Dale of Enslaved and I fame. 2022s Devil’s Bell had big moments, but felt a bit flat compared to prior platters like Youngblood and Pure Heavy. Now comes 8th album, Achilles, and it’s everything you expect from the band. There’s a strong focus on hooks and replay factor while keeping that 70s rock vibe intact. But can they get the wheels back on the Hornemobile for another monster of a rock album?
The opening title track kicks the party off with a hard-charging attack. Charismatic frontman Toschie leads you on a rowdy ride backed by galloping, churning riffs and a thumping bass rumble, and it’s exactly what I want from Audrey Horne. Then things get moody and introspective with a thick 70s prog rock vibe. Soon it steers back into rocked-out festivities with dominating guitar lines and a kinda sorta Iron Maiden vibe. It’s a cool trip. “In the Eye of a Hurricane” is the perfect Audrey Horne song with a raucous, uncouth vibe and a huge chorus designed to destabilize stadiums. There are even vague traces of Survivor’s “Eye of the Tiger” hidden under the surface. “Vampires” is another win, simple and uber cool, a rock song that gets under your skin on first listen and never lets go. I’ve had this one on replay an obscene amount, and I can’t get enough of it. In a just world, “God Damn Beautiful” would be a huge hit for the band and garner heavy radio play since it’s a dangerously infectious earworm monster. It features bassist Espen Lien on vocals instead of Toschie, though you may not notice at first. He does a bang-up job selling the song, and The Night Flight Orchestra will bitterly wish they wrote this one.
Despite this killer start, Achilles can’t maintain the same level of awesome sauce, and the back half is less memorable. While “Insanity” is pure rock fury and “Hell is Eternity” is like a drunken Iron Maiden doing a rock song, other cuts like “Six Feet in the Ground,” “Running Through the Night,” and closer “New Star Falling” are just okay. They’re pleasant enough, but they don’t hit anywhere near as hard as the better tracks, and at times they’re overly similar to the recent material from The Night Flight Orchestra. There’s an uneventful interlude included as well, and it seems to serve no particular purpose. This makes Achilles very front-loaded, as you get the best 5 cuts within the first 7 tracks. However, at a tight 44 minutes with all cuts in the 3-5 minute frame, it’s a pretty easy, breezy spin.
I’ve been a big fan of Toschie’s vocals and overall frontman persona since I discovered Audrey Horne. He’s one of the best hard rock vocalists out there, and he brings a lot ot personality and gravitas to the material. He’s in great form here, delivering his usual sleazy, ne’er-do-well vocals in a way that feels like he’s about to do something illegal. He’s buoyed by the high-flying leads from Ice Dale and Thomas Tofthagen (ex-Sahg) as they draw inspiration from classic rock acts like AC/DC, Thin Lizzy, and Led Zeppelin, but also rock very Maiden-esque harmonies when things kick into high gear. Behind them, the big bass presence from Espen Lien is counterpointed by rock-solid kit work from Kjetil Greve. Audrey Horne have been around the block and play the kind of music they love, and it shows, even when the writing isn’t consistently great.
Achilles is a bit better than Devil’s Bell. It has big moments and memorable romps, but it has a few lower-tier nuggets that drag it down a notch or two. I may want another album as strong as Youngblood, but I’ll settle for releases like this because Audrey Horne are so damn fun and the perfect soundtrack for summer beer chuggery. You like fun, right? Does anyone remember laughter? Ah, fuck you all, I’m getting drunk.
Rating: 3.0/5.0
#2026 #30 #ACDC #Achilles #AudreyHorne #HardRock #HeavyMetal #IronMaiden #NapalmRecords #NorwegianMetal #Review #Reviews #TheNightFlightOrchestra #ThinLizzy
DR: NA | Format Reviewed: FUCKING STREAM
Label: Napalm
Websites: audrey-horne.bandcamp.com/album/achilles | facebook.com/audreyhorneofficial | instagram.com/audreyhorneofficial/?hl=en
Releases Worldwide: September 4th, 2026 -
Ever wondered what classic rock would sound like if someone just absolutely went for it with no restraint whatsoever? This week #TheNightFlightOrchestra answer that question, and then some.
Check it out and see what we had to say about the track and the band behind it. Don't forget to follow us as we shine a spotlight on one awesome track from across the world of #rock and #metal every week!
Stay awesome out there everyone!
https://rocksongoftheweek.com/song/the-night-flight-orchestra-midnight-flyer/
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https://youtu.be/i3OVJI-aNB8?si=9mmB_NqL5YoBVEwF
La meva #CançóDelDia per al divendres 29 d'agost és aquesta de #TheNightFlightOrchestra #Helsingborg #HardRock #ClassicRock #AOR 🛩️!
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Nite – Cult of the Serpent Sun Review
By Steel Druhm
The wise and worldly Don Dokken taught me long ago that one should never unchain the night. Growing up, I’ve done my best to live this crucial truth. Unfortunately, no one ever told me what to do about Nite, the odd heavy metal project birthed by members of Dawnbringer, High Spirits, and Satan’s Wrath. Their 2020 Darkness Silence Mirror Flame debut was an intriguing mash-up of classic 80s and trve metal with a decidedly blackened edge courtesy of vocalist Van Labrakis (Satan’s Wrath). Their enthusiastically retro sound borrowed heavily from Mercyful Fate, Iron Maiden, and of course, Dawnbringer, but sometimes the fit between the music and the vocals didn’t work. They smoothed things out somewhat for 2022s Voices of the Kronian Moon, but nagging issues still held them back. Now third platter Cult of the Serpent Sun is upon us, and they haven’t tweaked their sound so much as honed it into a more imposing weapon. Does that portend good things for those who dwell in the Niteside eclipse?
I’ll say this for Nite: they’re determined to stick to their original concept and find ways to make you love it. While I’ve always enjoyed the core of what they do, the extraordinarily one-note black metal rasps by Van Labrakis were a huge drag on the material. The vocals haven’t changed on Cult of the Serpent Sun, but Nite’s ability to write compelling song with a fuck ton of excellent guitar parts has finally allowed them to overcome the vocal shortcomings. The album plays out like a collaborative jam session between Mercyful Fate, The Night Eternal, Grand Magus, and Dawnbringer, and the guitar work is lusty, mighty, and glorious from start to finish. Cuts like “Skull” throw so much Grand Magus-esque guitar splendor at the wall that you can’t resist gobbling up everything that sticks, and Labrakis’ rasps now add character instead of sounding out of place. “Crow (Fear the Night)” is an impossible song to dislike. The stellar guitar work from Scott Hoffman (Dawnbringer) and Labrakis is out of this world and exactly what makes metal so damn intoxicating. Just listen to all the cool, badass shit they do throughout the song and feel your back hair grow in appreciation.
Elsewhere, “The Last Blade” manages to blend the hard rocking energy of early 80s act like Keel and Y&T with trve vintages like Dawnbringer and Grand Magus for a wild ride into nostalgia. “Carry On” sounds like The Night Flight Orchestra showed up to help In Solitude and/or The Night Eternal add 80s radio rock energy to their typically Mercyful Fate-worshipping material. It’s just an uber-cool tune that gets you fist-pumping and air-guitaring in equal doses as Manowar look down upon you approvingly from their Airbnb at Crom’s Mountain of Steel. The high point is the ginormously epic closer “Winds of Sokar,” where all the honor and valor of Bathory’s Viking era bleeds forth over you in a red geyser of grandeur. You WILL love this song or be judged harshly at the gates of Valhalla by me or some other ape-like security goon. So what are the downsides? A few songs go for mood over hard rocking, and though nothing is skippable, “The Mystic” plays out like a lost piece to the soundtrack to Conan the Barbarian, and it’s too restrained despite its ample machismo. “Tarmut” suffers a similar handicap, with atmosphere superceding badasserey. At a very lean 36 minutes, Cult is a quick, vital listen, though it may take 2-3 spins to fully implant its hooks. Once it does, though, there’s no going back.
Cult is a guitar-lovers wet dream. Hoffman and Labrakis hold nothing back and go deep into the heart of classic metal for an endless series of cutting riffs and shining harmonies. The riffage ranges from edgy, to melodic to heroic, and you will hunger for more, no matter how high they stack the fretboard buffet. Nearly every song features exceptional guitar work and memorable pieces, and the spirit of metal’s golden age lives loudly in the writing. Oh, the sweet, sweet jammage! Van Labrakis’ vocals are the same monotone snarl as before, but somehow, he seems less of an impediment and injects the right amount of oomph to the songs. Would Nite be better with an actual singer? Yes, but three albums in, this is the Nite show, and it’s improving with every release. An additional hats off to the slick drumming by Patrick Crawford, who drives the songs right through your fucking head with propulsive kit thumps.
I expected to be whelmed by Cult of the Serpent Sun and report that I loved the music but not the vocals. I do love the music, and now the vocals don’t bother me as much. This is a very entertaining slab of retro metal that spans multiple genres, and it has truly great moments that I’ll be spinning for a long time. It also exudes a level of coolness that’s hard to resist. Maybe it’s okay to unchain the Nite? I better ask Donny first, though.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: nitemetal.com | nitemetal.bandcamp.com | facebook.com/nitemetal
Releases Worldwide: March 14th, 2025#2025 #35 #AmericanMetal #CultOfTheSerpentSun #DarknessSilenceMirrorFlame #Dawnbringer #GrandMagus #HeavyMetal #HighSpirits #Mar25 #MercyfulFate #Nite #Review #Reviews #SatanSWrath #SeasonOfMistRecords #TheNightEternal #TheNightFlightOrchestra #VoicesOfTheKronianMoon
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The Night Flight Orchestra – Give Us The Moon Review
By Mystikus Hugebeard
As the youngest writer currently staffed at and embarrassing the great AMG lineage, I glean real pleasure at the irony of me reviewing The Night Flight Orchestra (NFO). I mean, NFO is basically “Hey the 80’s called, they want their music back” whereas I’m smack in the later part of “only 90’s kids remember this,” blessedly not part of the “skibidi” generation by a couple of years. Pimply little scamp though I might be, I fucking love NFO, which just goes to show that all ages are vulnerable to the raw magnetism of that slick, sexy 80’s sound. Pumping synths, dancing guitars, bodacious vocals, and big n’ burly mustaches; that’s what I’ve been comin’ to NFO for since 2017’s Amber Galactic, and I’m happy to say that in Give Us The Moon, NFO gives more of exactly what I want, and what all of you damn well should want.
Anyone who’s heard NFO before already knows what to expect on Give Us The Moon, but allow me to break it down for any newbies who, having never heard NFO, have probably never felt joy a day in their life: NFO plays extremely fun rock n’ roll pulled straight from the 80’s, characterized by infectious energy, memorable choruses, and the killer vocals by Bjorn “Speed” Strid.” An arbitrary but fun trend I’ve noticed in determining the quality of an NFO album lies in how hard a respective album’s third song goes. In the past we’ve had iconic jams like Amber Galactic’s “Gemini,” Sometimes The World Ain’t Enough’s “Paralyzed,” and Aeromantic’s “Divinyls.” Give Us The Moon earns its place alongside these albums with the instant classic “Like The Beating of a Heart” (since I don’t count the scene-setting intro song). The synth intro bursts into a deliriously funky synth/guitar line, leading into a verse where the drums maintain a momentum that keeps your head nodding like clockwork. Then the chorus explodes with an unforgettable melody, the kind where you can’t help but try and sing along despite not knowing a damn word. It’s fun, it’s exciting, it leaves me with a stupid grin; it’s NFO, baby!
The entirety of Give Us The Moon basically feels like a smorgasbord of the many hats (or aviators, I guess) NFO wears with extreme style. You’ve got tracks that ooze with romantic camp (“Paloma,” “Runaways,” “Way to Spend the Night”), straightforward rock n’ rollers (“Stratus,” “Melbourne, May I?”), or songs that dial up the funk to reach critical funk (“A Paris Point of View,” “Miraculous”). The album’s first single, “Shooting Velvet,” is a particularly kickass tune with a lethally catchy chorus and a tasty guitar solo I wish was about four times as long. “Paloma” is an instant winner as well, with a dramatic escalation of big guitar chords and synths sounding like the climactic catharsis of that scene in the romance movie where they finally smooch. The consistently high quality of Give Us The Moon’s tracklist makes it exceptionally easy to just throw on without a second thought and before you know it an hour has passed.
Speaking of an hour passing, if I were to complain about anything in Give Us The Moon, it’s that it does feel just a little long. Even though there’s never really a point in Give Us The Moon where I feel compelled to skip, I do struggle to retain some tracks like “Miraculous” or “Cosmic Tides” even after several listens. Furthermore, I’m a little torn on Give Us The Moon’s closer, “Stewardess, Empress, Hot Mess (and the Captain of Pain). In addition to it’s ultra tubular title, it’s a dynamic and adventurous track that unquestionably ends the album on a high note. But I find it lacks the staying power and hyper-catchy hooks that enamored me to practically any of NFO’s previous closing songs. But as basically anyone who’s reviewed NFO before me has expounded upon, NFO at their worst is still pretty damn good.
Give Us The Moon is everything I want from an NFO record, and was a blast of excitement after I was a little underwhelmed with Aeromantic II. Once Give Us The Moon is over, the only thing I’m thinking is a resounding “fuck yeah, dude.” It’s the product of a band who has nailed their sound and songwriting down to an extremely sexy science and is bound to contain a couple of favorite tunes for any NFO fan out there. And if this is your first NFO album, I’m glad to be the one to deliver joy unto you for the first time.
Rating: 3.5/5.0
DR: n/a | Format Reviewed: Stream
Label: Napalm Records
Websites: official | facebook | bandcamp
Releases Worldwide: January 31st, 2025#2025 #35 #Aeromantic #AeromanticII #AlbumOrientedRock #AmberGalactic #GiveUsTheMoon #HardRock #Jan25 #NapalmRecords #Review #Reviews #SometimesTheWorldAinTEnough #SwedishMetal #TheNightFlightOrchestra
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2007 aus einer Bierlaune heraus von Musikern ins Leben gerufen, die sonst eher im melodischen Death Metal (u.a. SOILWORK und ARCH ENEMY) verortet sind, haben sich THE NIGHT FLIGHT ORCHESTRA mit erstklassigen Veröffentlichungen und mitreißenden Shows an der Spitze der modernen AOR-Szene festgesetzt.
Pünktlich zum Start ihrer Europa-Tournee schicken THE NIGHT FLIGHT ORCHESTRA ihr siebtes Album in die Umlaufbahn – das erste nach dem Tod von Gitarrist und Gründungsmitglied David Andersson und ihr Debüt unter dem Banner Napalm Records.
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Mosh Interviews… Björn Strid (The Night Flight Orchestra / Soilwork)
The Night Flight Orchestra release their new album Give Us The Moon on January 31st and we've already reviewed it. Frontman (and part time singer with some other band) Björn Strid joined us for a chat about both bands, tattoos, pizza... and a quiz which wi
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Album Review: The Night Flight Orchestra – Give Us The Moon
My experience of The Night Flight Orchestra is mainly limited to slightly more than one appearance at Bloodstock. They headlined the Sophie stage back in 2022, but I couldn't stay for the whole set and left wanting more. Thankfully they were back in 2024 and had an abso
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The Night Flight Orchestra announce album & release nostalgic new single ‘Shooting Velvet’
The Night Flight Orchestra's new album and Napalm Records debut, Give Us The Moon, is set for release on 31st January 2025. Today, the band offers a first taste of what's to come with their beautifully nostalgic new single
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Bloodstock 2024 Interview: The Night Flight Orchestra
Another of the many interviews we did at Bloodstock. The Night Flight Orchestra hosted a party on the Ronnie James Dio stage!
Header image: Linda Florin
The Night Flight Orchestra: official | facebook | twitter | instagram | spotify
https://www.moshville.co.uk/interview/2024/09/bloodstock-2024-interview-the-night-flight-orchestra/
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By Steel Druhm
Ever fall in love with something you feel guilty about liking? Maybe it’s tuna fish mixed with peanut butter, or hot sauce in your pricey single malt scotch. Whatever the kink, it can hurt to be different sometimes. Steel knows the sting of a guilty pleasure keenly, and that exquisite pain comes via Swedish retro 80s rockers Nestor and their second album Teenage Rebel. Forged in the flames of 80s radio rock like Survivor, Journey and early Michael Bolton, Nestor dwells in that small catchy space where acts like The Night Flight Orchestra and Captain Blackbeard call home, forever searching for that next huge chorus. I enjoyed their 2021 debut Kids in a Ghost Town far more than I was comfortable with,1 yet I refrained from reviewing it, but with Teenage Rebel, there’s no more holding back. This shit is more infectious than Turbo Covid and more fun than a free hobo wine kiosk at an 80s-themed metalfest. It’s stadium AOR rock for the young at heart and the hooks are real and disgustingly clingy like your ex. I hate loving it, but I do and the shame is almost too much to bear. Now you must share in it because misery loves company.
This is an easy album to describe. It’s one catchy, cheesy, cringey 80s radio rock gem after another by a band that really want to be Survivor whenever they’re not trying to be Journey or Bon Jovi. The rocket ride to the past begins with a very cool, interesting intro piece called “The Law of Jante” where the Scandanavia rules against individualism are read out and then promptly spat upon in the name of youthful rebellion. From there we plunge right into the hits with the irresistible pop magic of “We Come Alive” where the bombast of Metal Loaf meets the slick pop sensibilities of prime Journey and you will grudgingly love the result. The soundbites from Ronald Reagan only cement the time stamp and add to the charm. The title track is a bit more “metal,” sounding like Y&T hawking a prom-friendly product and damn it, it works! This is every bit as dumb as Nickelback’s “Photograph” but it’s just so likable! Album standout “Victorious” has been stuck in heavy rotation for weeks and Madam X is considering a restraining order, but I can’t let it go. It belongs on the soundtrack of Rocky III AND IV and that’s just how it is!
Anthem after anthem rolls by with hooks that cling tighter than neoprene. “Caroline” is an instant earworm, and “The One That Got Away” is so fucking sappy and sentimental but somehow still holds you in thrall. “Addicted to Love” is like the early days of Bon Jovi and just as insipid, but it still works. The closing mega-ballad “Daughter” jumps the focus from rebellious kids to daughter dads and brings the feelz with lyrics about that special bond between father and daughter and the bittersweet experience of seeing a child grow up. The album’s 43 minutes slip by effortlessly and it’s as easy to digest as cotton candy and just as likely to give you Diabetes. That’s not a bug, but a feature, and you embraced it when you pressed play.
Tobias Gustavsson is a vocal chameleon, becoming whomever he needs to be to sell the songs. One minute he’s Michael Bolton, the next Bon Jovi, and then Steve Perry or Survivor’s Dave Bickler. He’s got an insidious ability to mimic 80s radio rock idioms and trigger nostalgia bombs in those of us who lived through those times. He’s a master at this kind of nonsense and I salute him for it. Johnny Wemmenstedt is equally adept at 80s rock guitar work and knows exactly when to come forward and duck out, leaving a lot of room for the big, cheese-filled keys and synths courtesy of Martin Frejinger. The band seems like a bunch of lifelong friends who play down at the local bar for shits and giggles, but they’re cold, calculating songwriting assassins who will cut your ears off and mail them to the younger version of you. The whole album is a goddamn delight and a wonderful palate cleanser too.
Yeah, this one hurts. I always enjoyed The Night Flight Orchestra, but I didn’t see myself as the demographic for the kind of shameless 80s pop rock claptrap Nestor lives for. Turns out I’m that guy. Steel must be getting soft in his advancing ape age. Get this album and become the Teenage Rebel you once were before you’re too damn olde.
Rating: 3.5/5.02
DR: NA | Format Reviewed: STREAM
Label: Napalm
Websites: nestortheband.com | instagram.com/nestor_theband
Releases Worldwide: May 31st, 2024#2024 #35 #BonJovi #HairMetal #HardRock #HeavyMetal #Journey #May24 #MichaelBolton #NapalmRecords #Review #Reviews #Survivor #SwedishMetal #TheNightFlightOrchestra
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#BraveWords
THE NIGHT FLIGHT ORCHESTRA Frontman BJÖRN STRID On Opening For KISS In Sweden - "Absolutely Epic; Forever Grateful"#KISS #Sweden #TheNightFlightOrchestra #BJORNSTRID #Opening #Epic #Grateful
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#NowPlaying #TheMetalDogIsNowPlaying
#TheNightFlightOrchestra
Black Stars And Diamonds
Black Stars And DiamondsYouTube Search:
https://youtube.com/results?search_query=The+Night+Flight+Orchestra+Black+Stars+And+Diamonds+Black+Stars+And+DiamondsLyrics:
https://genius.com/The-night-flight-orchestra-black-stars-and-diamonds-lyrics -
#NowPlaying #TheMetalDogIsNowPlaying
#TheNightFlightOrchestra
Black Stars And Diamonds
Black Stars And Diamonds
https://youtube.com/results?search_query=The+Night+Flight+Orchestra+Black+Stars+And+Diamonds+Black+Stars+And+Diamonds
https://genius.com/The-night-flight-orchestra-black-stars-and-diamonds-lyrics -
#Day49 – Dusk ‚til Dawn
A song that reminds me of the night.The Night Flight Orchestra – Midnight Flyer
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Day 14: A song you’d love to be played at your wedding
The Night Flight Orchestra – Burn For Me
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It is #bandshirtfriday again! That means the weekend is coming 🤘🏼
Today's shirt is a 2022 tour t-shirt from 'The Night Flight Orchestra' which I bought some weeks ago on their #concert in #Bochum .
