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Turbo’s Tribunal – Mills of Tribunal Review
Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire…
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https://www.newsbeep.com/uk/400230/
Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?
Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.
Mills of Tribunal by Turbo’s Tribunal
For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.
The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.
Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.
Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026
Allmächd! Fate's Hand veröffentlicht am 21.11. „Steel, Fire And Ice“.
YouTube-Video zu ‚Fire Reigns Once More‘: https://www.youtube.com/watch?v=NrnMT5d89V4
The riffs, the blastbeats, the blasphemy, they're all for you, today on Moshville Radio between 17:00 - 19:00 (UK time) - head to https://moshville.radio at the appointed time for our unholy sermon! #SatanNotHatin #BlackMetal #TraditionalMetal #TripHop #Hardcore #DroneMetal #DoomMetal
Legendarium – For Eternal Glory Review
By Eldritch Elitist
Powerdeath. That’s the genre tag attached to Legendarium’s fifth album For Eternal Glory, and one I’d almost certainly roll my eyes at, had I not been following this curious project since its debut LP. Through arcane magics of ancient origin1, I became aware of Legendarium, the brainchild of singer, songwriter, and multi-instrumentalist Laurence Kerbov and drummer Stefano Vaccari, in its earliest stages as a charmingly amateurish blend of traditional metal and classic punk. 2022’s Death’s Hand in Yours changed their status quo, not only by amping up their power metal side and introducing death metal elements to the mix, but also by being the first Legendarium record to be legitimately good. For Eternal Glory is their logical next step. Like its predecessor, For Eternal Glory sounds like nothing else in metal. Unlike its predecessor, however, it transcends novelty status.
At its core, Legendarium’s heart is rooted in trad / trve metal, their straightforward rhythms and legato guitar lines rooted in grounded grandiosity. You wouldn’t know it from the introductory riff of opener “A Thousand Swords” though, which claims a tremolo-happy middle ground between Ensiferum and Dissection. This track makes immediate sense of the “powerdeath” tag, one which I find sells the Legendarium experience short. For Eternal Glory is showered with shimmering keys yanked from the 90’s symphonic black metal playbook, and while the occasional blackened vibe rears its head (“Nightfall in the Deep Woods”), the keys more frequently compliment tracks that remind of Manilla Road (“Crypt Crusher”) or Viking-era Bathory (“Tomorrow We Die”). I could namedrop bands all day, but what ultimately matters is Legendarium’s miraculous cohesion. No aspect of For Eternal Glory sounds forced or out of place; everything gels, a unified vision that delights in exploring the connecting threads of countless styles of metal.
A record like For Eternal Glory only works if it manages to be more than the sum of its parts. While that certainly holds true, it inevitably feels something like a jack of all trades, master of none. The experience as a whole is engrossing and addictively catchy, but its steadfast baseline of quality means that there are no surprising standouts. The closest this record comes to throwing a wild curveball comes from the Unto Others-esque goth-pop-metal jam “My Life in Your Hands;” refreshing, but not exactly thrilling. While For Eternal Glory is far and away the superior Legendarium album to Death’s Hand in Yours, I miss the latter record’s big rhythmic and stylistic swings, resulting in odd, delightful surprises, even if they didn’t always work. It’s difficult to justify complaining about the lack of strong highlights, however, on a record with no identifiable weak links. On For Eternal Glory, consistency is king. It’s just missing a certain je ne sais quoi that would elevate it to the same tier as Legendarium’s most prestigious peers.
While my compositional nitpicks are nothing that should turn off prospective Legendarium fans, For Eternal Glory’s vocals may prove divisive. Kerbov’s harsh vocals manifest as shouty death growls, and while I love their distinctly unhinged timbre, his clean singing requires some acclimation. Kerbov’s confidence and control over his clean vocals have improved exponentially with each subsequent Legendarium release, but while his singing is a great fit for the slower, mournful “Tomorrow We Die,” his delivery on the record’s more intense cuts lack the power to be fully compelling. That being said, I find his performances on the whole to be more charming than detrimental, and really, this show is all about his string work. For Eternal Glory is one of those records where there is almost always something interesting happening with the guitars. Massive, effortlessly catchy lead riffs soar above just about every measure of this record, resulting in every single song being stuck in my head at some point during my review process.
For all of Legendarium’s genre-splicing inspirations, For Eternal Glory sometimes feels like an elevated jam session between Kerbov and Vaccari, and I absolutely mean that as a compliment. This record’s rhythmic simplicity forms the ideal platform for Legendarium’s exploratory nature to blossom. While I’d like to hear them further push the boundaries of their aesthetic, I’m also deeply impressed at how they have boiled down so many genres and influences into a formula that can only be described as the Legendarium sound. This is the first Legendarium record that I can easily recommend to basically any appreciator of traditional and melodic metal, and one which I anticipate being the ideal foundation upon which to further refine and propel their sound. And just in case the spectacular album cover did not make it immediately clear: Yes, you should buy this.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: WAV
Label: Fiadh Productions
Websites: legendarium.bandcamp.com | ampwall.com/a/legendarium | facebook.com/people/Legendarium/61559083652568
Releases Worldwide: November 8th, 2024
#2024 #35 #Bathory #Dissection #Ensiferum #FiadhProductions #ForEternalGlory #InternationalMetal #Legendarium #ManillaRoad #MelodicDeathMetal #Nov24 #PowerMetal #Review #Reviews #TraditionalMetal #UntoOthers
Flamekeeper – Flamekeeper Review
By Kenstrosity
Our mischievous promo handlers love to play mind games with us lowly writers, practicing to deceive us by teasing with unexpected genre combinations. Labels and bands do this equally as often. The reasons behind this trend are legion, I’m sure, but in every case it’s a double-edged sword. On one side, it grants us the privilege of discovering killer tunes we might not have otherwise considered. On the other, we occasionally encounter something that fails to deliver on the promise of something novel and unique. Italian/Swedish one-man trad/heavy newcomer Flamekeeper captured me with an alluring combo of power metal, heavy metal, and black metal tags. A genre-bending mind-fuck like that I could never resist, and so I snapped up their self-titled debut LP without hesitation. To my slight dismay, what I thought would be an exciting mashup turned out to be merely a mixed bag.
Believe it or not, we’ve covered Flamekeeper mastermind Marco S. before, under his blackened death metal project Demonomancy. It stands to reason, then, that Marco knows what black metal sounds like, but there is almost no trace of it in Flamekeeper. An occasional dalliance with quicker gallops verifies some measure of power metal heritage as well, but at the core this music is tailor-made for raising swords and pumping chests in the traditional way—think less Morgul Blade and more Manowar. Despite heavily accented vocals, Marco proves himself a competent singer for this style. His smooth, but understated baritone complements the simplistic but highly effective instrumentation behind him. His sense of rhythm—as displayed through his choice of beats, bass guitar work, and vocal cadence—elicits just the right kind of triumphant swagger to give each of these nine tomes respectable motivation. Somewhat predictably, and despite similarities to the music of trad metal legends on the surface, Flamekeeper can’t hold a candle torch to those classics, though it does an admirable job at steel worship nonetheless.
In fact, one of Flamekeeper’s greatest strengths is memorability despite its rather generic nature. Opener “New Wild World,” slightly awkward lyrics and all, emits an irresistible charm that allows it’s chorus to lodge in the grey matter. The unexpected recall to Shocking Blue’s “Venus” in the title track similarly secures its permanent installment in my memory. “Raise the Banner” features some of the album’s strongest percussion, leads, and riffwork, but Marco’s spitfire verse work steals the show instantly with its clarity and accuracy. The album’s true highlight, however, is penultimate track “As One with Light.” Using this opportunity to flex epic metal musculature, Flamekeeper soars in this track with highly effective vocal and guitar leads, thrashy power metal rhythms, and a killer chorus, resulting in an unqualified heavy metal triumph.
Regrettably, Flamekeeper’s approach is far too reserved to make the meteor impact I think Marco intended with this record. Epic metal requires a certain undeniable grandeur and sense of scale to complement traditional metal’s adventurous and eager spirit. Think about bands like Sorcerer and Manilla Road, who each set souls ablaze across the world. This phenomenon is no accident; deliberately gigantic sound, gutsy performances, and a seemingly limitless thirst for battle and victory define the style and inform the standard by which genre standouts earn their names. With Flamekeeper, a distinct lack of all three of these qualities leaves me almost totally unmoved, with the exceptions of “Raise the Banner” and “As One with Light.” These highlights alone awaken the red-blooded warrior that lives in me as it does in all of us, but even then, they don’t make that warrior feel powerful enough to take on whatever the world dares throw my way.
Instead of empowering and enlivening me as a listener, Flamekeeper leaves me terminally starving for more POWERS. While this debut is, for the most part, enjoyable on casual spins, it fails the mission statement of epic, traditional metal. In my mind, a record of this type needs to make me feel absolutely invincible, as a paragon of battle-hardened strength and fierce will. Flamekeeper, on the other hand, feels almost tentative, uncommitted to achieving ultimate victory at all costs. A fine proof of concept for Marco, but nothing greater at this time.
Rating: Mixed
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Invictus Productions
Websites: facebook.com/flamekeeperofficial | flamekeeper.bandcamp.com
Releases Worldwide: May 10th, 2024
#25 #2024 #Demonomancy #Flamekeeper #HeavyMetal #InvictusProductions #ManillaRoad #Manowar #May24 #MorgulBlade #Review #Reviews #ShockingBlue #Sorcerer #SwedishMetal #TradMetal #TraditionalMetal
Triumpher – Storming the Walls [Things You Might Have Missed 2023]
By Kenstrosity
As a sponge, I am not usually picky about what music I absorb. I often find my way to liking anything if it clicks the right boxes. For some reason, though, I’m pickiest about traditional heavy metal, both classic and modern. I rarely like anything that falls under the stock “heavy” umbrella, instead preferring things that are hybridized with other, more extreme fare. Luckily for me, Triumpher are here to help raise my sword to full might with their immense, astoundingly compelling debut Storming the Walls, released in March of this year.
If you want hair on your chest, you want to listen to bands like Greece’s Triumpher. Heeding the same warrior’s call as trad metal legends Manowar, Triumpher use a blackened, Bütchered blade to slay their enemies and conquer lands. A light Gothic touch further endarkens these epic battle anthems to form a fiery record chock full of fist-pumping riffs, unholy Judas Priest-esque vocal acrobatics, blackened tremolos, and dramatic baritone choirs. Most songs take on a marching beat, but the occasional freakout, shred, and blast affords Storming the Walls a greater sense of peril that threatens its audience with summary destruction. These are tunes for the mighty, for those in search of wictory and wengeance!
Opening suite “Journey/Europa Victrix” introduces its audience to Triumpher’s extensive arsenal of steel. Rasping wails give in to a bombastic, blood-boiling war cry that would motivate even the most cowardly peasant to the field of battle. Muscular riffery follows as “The Thunderer” and “Storming the Walls” usher in an exciting assortment of gallops, trem-picked melodies, hooky verse and chorus work, and stomping beats. In Storming the Walls’ midsection, songwriting dynamics reign supreme as highlights “I Wake the Dragon (Promachos)” and “Esoteric Church of Dagon” rip and roar with all of the unchecked fury of an enraged draGONE. Swerving between epic arena fanfare and vicious blackened speed, these songs expand this record’s scope and scale to continental proportions. Numbers like the gothic, yet thrashy “Divus De Mortuus” and the thoroughly doom and black metal-inspired “Epitaphios” carry the album’s immense momentum straight into closer “The Blazing Circle.” Yet another album highlight, this closer holds what might very well be the most memorable send-off for a heavy metal album all year. Its infectious chorus is sure to light a fire in your soul, a fire that calls to that replay button with unfettered lust.
More important than the strength of this album’s individual parts is their sum. While arguably a bit overlong at fifty-three minutes, Storming the Walls takes its heavy metal heritage and elevates its with a unique voice while maintaining a cohesive character throughout the entire runtime. Furthermore, excellent transitions both inside and between songs make this record a joy to spin from front to back in a single sitting. That’s really the best way to experience the album, so intimately tied are its various components.
Triumpher’s concept and musical core stand out amongst a crowd of stock trad worship acts, thanks to remarkably well-conceived writing and disarming execution. Rare is the debut record as compelling as this, but there’s no denying Storming the Walls’ POWERS. If you missed it, remedy your ignorance with haste.
Tracks to Check Out: ”The Thunderer,” “Mediterranean Wrath,” “I Wake the Dragon (Promachos),” “The Blazing Circle”
#2023 #BlackMetal #Bütcher #EpicMetal #HeavyMetal #JudasPriest #Manowar #PowerMetal #Review #Reviews #StormingTheWalls #ThingsYouMightHaveMissed2023 #TradMetal #TraditionalMetal #Triumpher
Theophonos – Nightmare Visions [Things You Might Have Missed 2023]
By Maddog
Nightmare Visions is a blackened grindcore debut from Michigan’s Theophonos, the brainchild of Jimmy Hamzey (Serpent Column). If that genre label sounds unappetizing, don’t let that deter you. Theophonos took every hard rock and metal song released since 1967, crammed them all into a woodchipper, and assembled the mangled output into a blackened 30-minute hydra. Miraculously, it works. Whether you like black metal, grindcore, old-school hard rock, speed metal, or death metal, Nightmare Visions has something for you. Beauty, dissonance, and anger coalesce into the most creative record I heard this year.
The “blackened grind” label is a Trojan horse; a fearsome army lurks inside. War metal riffs evoke Concrete Winds with their frenzied rhythms and their chromatic structure, while dissonance and slow melodies build an ominous atmosphere. Unexpected forays into subgenres like drone (“Lost One”) round out Nightmare Visions’ lightspeed tour of extreme metal. But the most exhilarating sections are Theophonos’ digressions into old-school heavy metal. Nightmare Visions’ headbanging riffs recall Led Zeppelin’s “Black Dog” (“Thousand Imaginary Swords”), Motörhead’s “Ace of Spades” (“Go On to Your Gallows”), and Iron Maiden’s “Wrathchild” (“Of Days Past”), with a blackened veneer that sounds distinctly like Theophonos. The album races among its sonic experiments at a grindcore pace, but gives each one enough space to shine, making it a pleasure for grind lovers and haters alike.
Every measure of Nightmare Visions flows perfectly into the next. “Nightmare Visionary” opens with slow chugging, but drops breadcrumbs of speed to lead you into a war metal trap. Later on, the instant when the song’s fury collapses back into a slow sinister melody is a highlight of 2023. Theophonos’ disparate styles often join forces, like the way the serene guitar solo on “Of Days Past” transforms its backing melody into a black metal assault. Throughout Nightmare Visions, the rhythmic gymnastics of the drums and bass help fuse contrasting sections (“Lost One”). Meanwhile, the callbacks between songs reward repeated listens, like when the calm “At Rest in Turbulence” resurrects a descending melody from the vicious “Lost One.” The album’s impeccable flow makes every twist and turn unforgettable, despite the daunting volume of ideas on display.
Nightmare Visions is painstakingly composed, but it doesn’t come off as a mere technical exercise. The black metal riffs are good old-fashioned fun, making the album a pleasure even in my brain-dead moments (“Maps of the Future”). On the other hand, closer “Of Days Past” makes me want to both reminisce and flip over a table, through its blend of sorrowful melodies and extremity. Upbeat melodies make occasional cameo appearances amidst chaos, a haunting technique that reminds me of 2022’s Ultha. I could go on and on. In short, Theophonos’ mastery of climaxes, variety, and transitions drags me to hell, to heaven, and back again.
Writing this piece feels like describing an orchid to a Martian. No matter how exhaustively I describe the petals, the diversity of Orchidaceae, or the beauty of a bloom, it wouldn’t do justice to the experience of seeing one firsthand. So yes, Nightmare Visions is black metal, grindcore, hard rock, death metal, The Velvet Underground, and more; it’s evocative, angry, hypnotic, unsettling, and fun; it’s concise but expansive; it’s chaotic but meticulously written; it is, as Wvrm said of Æther Realm’s Tarot, “all that metal can be”; it might be my favorite record of 2023. But most of all, it’s indescribable. Just listen for yourself.
Tracks to Check Out: “Lost One,” “Nightmare Visionary,” “Of Days Past”
#AmericanMetal #AvantGardeBlackMetal #BlackMetal #ConcreteWinds #DeathMetal #Grind #Grindcore #HardRock #HeavyMetal #IronMaiden #LedZeppelin #Motörhead #NightmareVisions #SerpentColumn #TheVelvetUnderground #Theophonos #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2023 #TraditionalMetal #TYMHM #Ultha #WarMetal
Watch for #CategoryVI interview in Outburn Magazine. 📸 @Gord #nwothm #traditionalmetal #heavymetal #powermetal
Category VI vocalist speaks with Heavy New York! https://www.youtube.com/watch?v=86uOvmADbrU #Metal #NWOTHM #HeavyMetal #PowerMetal #TraditionalMetal #CanadianMetal
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PHIL DEMMEL Reflects On His Audition To Become SEPULTURA's Singer: 'It Was A Good Experience'
During an appearance on "Put Up Your Dukes", the podcast hosted by ex-EXODUS singer Rob Dukes, former MACHINE HEAD and current VIO-LENCE guitarist Phil Demmel reflected on his audition for the lead-singer position in SEPULTURA when Max...
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An interview with me about our upcoming #CategoryVI album #Firecry out March 24th on Moribund Records. http://petesrocknewsandviews.com/category-vi-interview/. #metal #heavymetal #nwothm #powermetal #traditionalmetal
My bands new single for the album title track just dropped. Hope you like it!!! 🤘🤘 #categoryvi #traditionalmetal #powermetal #PowerThrashMetal #80smetal https://youtu.be/odqnpiCzCks