#withintemptation — Public Fediverse posts

https://www.europesays.com/es/563368/ Rock Imperium Festival anuncia sus horarios de 2026 con Iron Maiden, Sabaton y Within Temptation como cabezas de cartel – MariskalRock.com #Entertainment #Entretenimiento #ES #España #IronMaiden #MR2022 #Music #Música #ROCKIMPERIUMFESTIVAL #SABATON #Spain #WithinTemptation

It’s here!! 🎧🎶

#WithinTemptation #IceQueen #Music

Just got some excellent news!
A while back I had pre-ordered a fancy blue Ice Queen Acoustic bundle and it's finally shipping ☺️❄️

#WithinTemptation #IceQueen #Music

Auftritte gestern: #Nephylim - nicht so meins. Ich mag die Art des Gesangs nicht, die der Sänger hauptsächlich benutzt. Wenn ich das höre denke ich immer, das sollen Growls sein, die er einfach nicht kann (danke an #WithinTemptation damals für diese Assoziation).
#InVain haben mir gefallen. Der Sänger kommt so richtig tief und trotzdem kraftvoll mit seiner Stimme, so soll das. Überhaupt empfand ich das als beeindruckenden Range, den er hatte. Und dass hin und wieder Gitarristen und Bassist mit einsteigen, resultierte in schönen Harmonien.

#MetalheadConcerts

Auftritte gestern: #Nephylim - nicht so meins. Ich mag die Art des Gesangs nicht, die der Sänger hauptsächlich benutzt. Wenn ich das höre denke ich immer, das sollen Growls sein, die er einfach nicht kann (danke an #WithinTemptation damals für diese Assoziation).
#InVain haben mir gefallen. Der Sänger kommt so richtig tief und trotzdem kraftvoll mit seiner Stimme, so soll das. Überhaupt empfand ich das als beeindruckenden Range, den er hatte. Und dass hin und wieder Gitarristen und Bassist mit einsteigen, resultierte in schönen Harmonien.

#MetalheadConcerts

When was the last time you actualy listened to lyrics? #bleedout #hellfestopenair

https://www.youtube.com/shorts/qy4UO35_eP8

#Music #WithinTemptation #SymPhonicMetal

By the way, Within Temptation has a cool vinyl/cd with an acoustic version of Ice Queen ❄️😍

https://www.within-temptation.com

#Music #Vinyl #WithinTemptation

Le Motocultor 2026 dévoile son affiche complète https://www.lagrosseradio.com/webzine-metal/actu-metal/p206613-le-motocultor-2026-devoile-son-affiche-complete/

L'affiche 2026 du festival breton est désorm #withintemptation #WEBZINEMETAL #masshysteria #JudasPriest #Motocultor #ACTUMETAL #archenemy #godsmack #affiche #primus #2026

Le Motocultor 2026 dévoile son affiche complète https://www.lagrosseradio.com/webzine-metal/actu-metal/p206613-le-motocultor-2026-devoile-son-affiche-complete/

L'affiche 2026 du festival breton est désorm #withintemptation #WEBZINEMETAL #masshysteria #JudasPriest #Motocultor #ACTUMETAL #archenemy #godsmack #affiche #primus #2026

Le Motocultor 2026 dévoile son affiche complète https://www.lagrosseradio.com/webzine-metal/actu-metal/p206613-le-motocultor-2026-devoile-son-affiche-complete/

L'affiche 2026 du festival breton est désorm #withintemptation #WEBZINEMETAL #masshysteria #JudasPriest #Motocultor #ACTUMETAL #archenemy #godsmack #affiche #primus #2026

Le Motocultor 2026 dévoile son affiche complète https://www.lagrosseradio.com/webzine-metal/actu-metal/p206613-le-motocultor-2026-devoile-son-affiche-complete/

L'affiche 2026 du festival breton est désorm #withintemptation #WEBZINEMETAL #masshysteria #JudasPriest #Motocultor #ACTUMETAL #archenemy #godsmack #affiche #primus #2026

Le Motocultor 2026 dévoile son affiche complète https://www.lagrosseradio.com/webzine-metal/actu-metal/p206613-le-motocultor-2026-devoile-son-affiche-complete/

L'affiche 2026 du festival breton est désorm #withintemptation #WEBZINEMETAL #masshysteria #JudasPriest #Motocultor #ACTUMETAL #archenemy #godsmack #affiche #primus #2026

https://www.europesays.com/ie/295908/ Beyond the Black – Break the Silence Review #2026 #3.0 #Aerosmith #BeyondTheBlack #BreakTheSilence #Darkyra #Éire #ElettraStorm #Entertainment #GermanMetal #HardRock #HeavyMetal #IE #Ireland #Jan26 #Korn #LordOfTheLost #LoveBites #Music #NuclearBlastRecords #Pink #PowerMetal #Review #Reviews #Saxon #Scorpions #SymphonicMetal #TheMysteryOfTheBulgarianVoices #WithinTemptation

Beyond the Black play the sort of female-led symphonic metal that seems to get a bit of traction in Europe. Since Jennifer Haben formed the band in 2014, they have recorded five LPs that climbed the charts in her home country of Germany as well as those of neighboring countries. They’ve also gone on European tours in support of popular acts like Aerosmith, Scorpions, Korn, Saxon, and Within Temptation. Break the Silence, their sixth record, finds them at their peak. It’s a concept album revolving around themes of communication and connection. This concept materializes in the form of international guest collaborators— from Germany, Bulgaria, and Japan—and diverse languages—English, French, and German. Considering the poor reception symphonic bands like this have received on the blog (see Within Temptation), I can sense your skepticism. What Beyond the Black needs to break in order to win over this readership isn’t the silence but the mold.

Similar to Elettra Storm and Darkyra, Beyond the Black plays a form of symphonic metal that falls somewhere between hard rock and power metal, leaning a little more into the heavier stuff. Tracks follow a pretty standard formula with catchy choruses, above-average riffs, and plenty of solos. The symphonic portion is surprisingly muted, but it does add some emotional depth to songs like “The Art of Being Alone” or even distinctive hooks (“Let There Be Rain”). At the heart of the music is Haben’s vocal performance. Her voice has a poppy, clean character, and Beyond the Black forgo the beastly growls that typically balance out the beauty. This type of performance could easily become sterile, but she shows some range on tracks like “Ravens,” where her voice switches from somber to a soaring chorus that could find a home on the KPop Demon Hunters soundtrack. Her strength is most apparent on the finale, “Weltschmerz,” a gentler, symphonic-led tune that allows Haben to take charge with a moving performance.

Despite the mostly close adherence to the same formula from song to song, Beyond the Black add enough variety to keep things from growing stale. Collaborators help in this regard, and they have two really good ones. Chris Harms (Lord of the Lost) lends his charismatic baritone on “The Art of Being Alone,” an entertaining bit of gothic metal that includes rather dramatic symphonic instrumentals and keyboards. My favorite track, “Let There Be Rain,” gets a boost from its collaboration with The Mystery of the Bulgarian Voices, a cheerful all-female choral group, as well as a nifty symphonic hook that puts a smile on my face. Break the Silence has a consistently high energy throughout—reaching near-thrash levels on “The Flood”—but a few songs break up the pace to avoid monotony, such as the more sober, arpeggio-driven “Ravens,” and the melodic adult rock of “(La Vie Est Un) Cinéma.” The consistently catchy hooks that permeate this varied record highlight just how talented this group is.

Unfortunately, some nagging issues and a weak-ish back half keep this from reaching the heights of fellow symphonic/pop group, Lord of the Lost. “The Flood” is a terrific tune hampered by an unfortunate decision to include prominent robo vocals that are more grating than cool, or whatever they’re meant to be. The two songs that follow, however, sink the record even further, as they lack any hooks to raise them above the fray. One of these is an unfortunate waste of the talents of Asami (Love Bites) in a bit of synth-pop on “Can You Hear Me” that had me wondering if I was listening to a cover of a Pink tune. The last couple of tracks do end Break the Silence on a stronger note, with the catchy chorus of “Hologram” and the aforementioned showstopper of “Weltschmerz.” These keep the record safely in the solid territory despite a brief weak streak.

Admittedly, I had no prior history with Beyond the Black, but based on the time I spent with their previous two albums, Break the Silence is a marked improvement. This is yet another pleasant surprise in the realm of symphonic metal released by the larger metal labels, along with last year’s two Lord of the Lost records. If this genre is in your wheelhouse, or you’re a fan of Beyond the Black’s prior work, you’re in for a treat. Fortunately, Break the Silence proves to be better than the soulless dreck that often floods this genre. It has heart, a powerful message, and, best of all, good music.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: January 9th, 2026

Beyond the Black play the sort of female-led symphonic metal that seems to get a bit of traction in Europe. Since Jennifer Haben formed the band in 2014, they have recorded five LPs that climbed the charts in her home country of Germany as well as those of neighboring countries. They’ve also gone on European tours in support of popular acts like Aerosmith, Scorpions, Korn, Saxon, and Within Temptation. Break the Silence, their sixth record, finds them at their peak. It’s a concept album revolving around themes of communication and connection. This concept materializes in the form of international guest collaborators— from Germany, Bulgaria, and Japan—and diverse languages—English, French, and German. Considering the poor reception symphonic bands like this have received on the blog (see Within Temptation), I can sense your skepticism. What Beyond the Black needs to break in order to win over this readership isn’t the silence but the mold.

Similar to Elettra Storm and Darkyra, Beyond the Black plays a form of symphonic metal that falls somewhere between hard rock and power metal, leaning a little more into the heavier stuff. Tracks follow a pretty standard formula with catchy choruses, above-average riffs, and plenty of solos. The symphonic portion is surprisingly muted, but it does add some emotional depth to songs like “The Art of Being Alone” or even distinctive hooks (“Let There Be Rain”). At the heart of the music is Haben’s vocal performance. Her voice has a poppy, clean character, and Beyond the Black forgo the beastly growls that typically balance out the beauty. This type of performance could easily become sterile, but she shows some range on tracks like “Ravens,” where her voice switches from somber to a soaring chorus that could find a home on the KPop Demon Hunters soundtrack. Her strength is most apparent on the finale, “Weltschmerz,” a gentler, symphonic-led tune that allows Haben to take charge with a moving performance.

Despite the mostly close adherence to the same formula from song to song, Beyond the Black add enough variety to keep things from growing stale. Collaborators help in this regard, and they have two really good ones. Chris Harms (Lord of the Lost) lends his charismatic baritone on “The Art of Being Alone,” an entertaining bit of gothic metal that includes rather dramatic symphonic instrumentals and keyboards. My favorite track, “Let There Be Rain,” gets a boost from its collaboration with The Mystery of the Bulgarian Voices, a cheerful all-female choral group, as well as a nifty symphonic hook that puts a smile on my face. Break the Silence has a consistently high energy throughout—reaching near-thrash levels on “The Flood”—but a few songs break up the pace to avoid monotony, such as the more sober, arpeggio-driven “Ravens,” and the melodic adult rock of “(La Vie Est Un) Cinéma.” The consistently catchy hooks that permeate this varied record highlight just how talented this group is.

Unfortunately, some nagging issues and a weak-ish back half keep this from reaching the heights of fellow symphonic/pop group, Lord of the Lost. “The Flood” is a terrific tune hampered by an unfortunate decision to include prominent robo vocals that are more grating than cool, or whatever they’re meant to be. The two songs that follow, however, sink the record even further, as they lack any hooks to raise them above the fray. One of these is an unfortunate waste of the talents of Asami (Love Bites) in a bit of synth-pop on “Can You Hear Me” that had me wondering if I was listening to a cover of a Pink tune. The last couple of tracks do end Break the Silence on a stronger note, with the catchy chorus of “Hologram” and the aforementioned showstopper of “Weltschmerz.” These keep the record safely in the solid territory despite a brief weak streak.

Admittedly, I had no prior history with Beyond the Black, but based on the time I spent with their previous two albums, Break the Silence is a marked improvement. This is yet another pleasant surprise in the realm of symphonic metal released by the larger metal labels, along with last year’s two Lord of the Lost records. If this genre is in your wheelhouse, or you’re a fan of Beyond the Black’s prior work, you’re in for a treat. Fortunately, Break the Silence proves to be better than the soulless dreck that often floods this genre. It has heart, a powerful message, and, best of all, good music.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: January 9th, 2026

Beyond the Black play the sort of female-led symphonic metal that seems to get a bit of traction in Europe. Since Jennifer Haben formed the band in 2014, they have recorded five LPs that climbed the charts in her home country of Germany as well as those of neighboring countries. They’ve also gone on European tours in support of popular acts like Aerosmith, Scorpions, Korn, Saxon, and Within Temptation. Break the Silence, their sixth record, finds them at their peak. It’s a concept album revolving around themes of communication and connection. This concept materializes in the form of international guest collaborators— from Germany, Bulgaria, and Japan—and diverse languages—English, French, and German. Considering the poor reception symphonic bands like this have received on the blog (see Within Temptation), I can sense your skepticism. What Beyond the Black needs to break in order to win over this readership isn’t the silence but the mold.

Similar to Elettra Storm and Darkyra, Beyond the Black plays a form of symphonic metal that falls somewhere between hard rock and power metal, leaning a little more into the heavier stuff. Tracks follow a pretty standard formula with catchy choruses, above-average riffs, and plenty of solos. The symphonic portion is surprisingly muted, but it does add some emotional depth to songs like “The Art of Being Alone” or even distinctive hooks (“Let There Be Rain”). At the heart of the music is Haben’s vocal performance. Her voice has a poppy, clean character, and Beyond the Black forgo the beastly growls that typically balance out the beauty. This type of performance could easily become sterile, but she shows some range on tracks like “Ravens,” where her voice switches from somber to a soaring chorus that could find a home on the KPop Demon Hunters soundtrack. Her strength is most apparent on the finale, “Weltschmerz,” a gentler, symphonic-led tune that allows Haben to take charge with a moving performance.

Despite the mostly close adherence to the same formula from song to song, Beyond the Black add enough variety to keep things from growing stale. Collaborators help in this regard, and they have two really good ones. Chris Harms (Lord of the Lost) lends his charismatic baritone on “The Art of Being Alone,” an entertaining bit of gothic metal that includes rather dramatic symphonic instrumentals and keyboards. My favorite track, “Let There Be Rain,” gets a boost from its collaboration with The Mystery of the Bulgarian Voices, a cheerful all-female choral group, as well as a nifty symphonic hook that puts a smile on my face. Break the Silence has a consistently high energy throughout—reaching near-thrash levels on “The Flood”—but a few songs break up the pace to avoid monotony, such as the more sober, arpeggio-driven “Ravens,” and the melodic adult rock of “(La Vie Est Un) Cinéma.” The consistently catchy hooks that permeate this varied record highlight just how talented this group is.

Unfortunately, some nagging issues and a weak-ish back half keep this from reaching the heights of fellow symphonic/pop group, Lord of the Lost. “The Flood” is a terrific tune hampered by an unfortunate decision to include prominent robo vocals that are more grating than cool, or whatever they’re meant to be. The two songs that follow, however, sink the record even further, as they lack any hooks to raise them above the fray. One of these is an unfortunate waste of the talents of Asami (Love Bites) in a bit of synth-pop on “Can You Hear Me” that had me wondering if I was listening to a cover of a Pink tune. The last couple of tracks do end Break the Silence on a stronger note, with the catchy chorus of “Hologram” and the aforementioned showstopper of “Weltschmerz.” These keep the record safely in the solid territory despite a brief weak streak.

Admittedly, I had no prior history with Beyond the Black, but based on the time I spent with their previous two albums, Break the Silence is a marked improvement. This is yet another pleasant surprise in the realm of symphonic metal released by the larger metal labels, along with last year’s two Lord of the Lost records. If this genre is in your wheelhouse, or you’re a fan of Beyond the Black’s prior work, you’re in for a treat. Fortunately, Break the Silence proves to be better than the soulless dreck that often floods this genre. It has heart, a powerful message, and, best of all, good music.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: January 9th, 2026

Beyond the Black play the sort of female-led symphonic metal that seems to get a bit of traction in Europe. Since Jennifer Haben formed the band in 2014, they have recorded five LPs that climbed the charts in her home country of Germany as well as those of neighboring countries. They’ve also gone on European tours in support of popular acts like Aerosmith, Scorpions, Korn, Saxon, and Within Temptation. Break the Silence, their sixth record, finds them at their peak. It’s a concept album revolving around themes of communication and connection. This concept materializes in the form of international guest collaborators— from Germany, Bulgaria, and Japan—and diverse languages—English, French, and German. Considering the poor reception symphonic bands like this have received on the blog (see Within Temptation), I can sense your skepticism. What Beyond the Black needs to break in order to win over this readership isn’t the silence but the mold.

Similar to Elettra Storm and Darkyra, Beyond the Black plays a form of symphonic metal that falls somewhere between hard rock and power metal, leaning a little more into the heavier stuff. Tracks follow a pretty standard formula with catchy choruses, above-average riffs, and plenty of solos. The symphonic portion is surprisingly muted, but it does add some emotional depth to songs like “The Art of Being Alone” or even distinctive hooks (“Let There Be Rain”). At the heart of the music is Haben’s vocal performance. Her voice has a poppy, clean character, and Beyond the Black forgo the beastly growls that typically balance out the beauty. This type of performance could easily become sterile, but she shows some range on tracks like “Ravens,” where her voice switches from somber to a soaring chorus that could find a home on the KPop Demon Hunters soundtrack. Her strength is most apparent on the finale, “Weltschmerz,” a gentler, symphonic-led tune that allows Haben to take charge with a moving performance.

Despite the mostly close adherence to the same formula from song to song, Beyond the Black add enough variety to keep things from growing stale. Collaborators help in this regard, and they have two really good ones. Chris Harms (Lord of the Lost) lends his charismatic baritone on “The Art of Being Alone,” an entertaining bit of gothic metal that includes rather dramatic symphonic instrumentals and keyboards. My favorite track, “Let There Be Rain,” gets a boost from its collaboration with The Mystery of the Bulgarian Voices, a cheerful all-female choral group, as well as a nifty symphonic hook that puts a smile on my face. Break the Silence has a consistently high energy throughout—reaching near-thrash levels on “The Flood”—but a few songs break up the pace to avoid monotony, such as the more sober, arpeggio-driven “Ravens,” and the melodic adult rock of “(La Vie Est Un) Cinéma.” The consistently catchy hooks that permeate this varied record highlight just how talented this group is.

Unfortunately, some nagging issues and a weak-ish back half keep this from reaching the heights of fellow symphonic/pop group, Lord of the Lost. “The Flood” is a terrific tune hampered by an unfortunate decision to include prominent robo vocals that are more grating than cool, or whatever they’re meant to be. The two songs that follow, however, sink the record even further, as they lack any hooks to raise them above the fray. One of these is an unfortunate waste of the talents of Asami (Love Bites) in a bit of synth-pop on “Can You Hear Me” that had me wondering if I was listening to a cover of a Pink tune. The last couple of tracks do end Break the Silence on a stronger note, with the catchy chorus of “Hologram” and the aforementioned showstopper of “Weltschmerz.” These keep the record safely in the solid territory despite a brief weak streak.

Admittedly, I had no prior history with Beyond the Black, but based on the time I spent with their previous two albums, Break the Silence is a marked improvement. This is yet another pleasant surprise in the realm of symphonic metal released by the larger metal labels, along with last year’s two Lord of the Lost records. If this genre is in your wheelhouse, or you’re a fan of Beyond the Black’s prior work, you’re in for a treat. Fortunately, Break the Silence proves to be better than the soulless dreck that often floods this genre. It has heart, a powerful message, and, best of all, good music.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: January 9th, 2026

Beyond the Black play the sort of female-led symphonic metal that seems to get a bit of traction in Europe. Since Jennifer Haben formed the band in 2014, they have recorded five LPs that climbed the charts in her home country of Germany as well as those of neighboring countries. They’ve also gone on European tours in support of popular acts like Aerosmith, Scorpions, Korn, Saxon, and Within Temptation. Break the Silence, their sixth record, finds them at their peak. It’s a concept album revolving around themes of communication and connection. This concept materializes in the form of international guest collaborators— from Germany, Bulgaria, and Japan—and diverse languages—English, French, and German. Considering the poor reception symphonic bands like this have received on the blog (see Within Temptation), I can sense your skepticism. What Beyond the Black needs to break in order to win over this readership isn’t the silence but the mold.

Similar to Elettra Storm and Darkyra, Beyond the Black plays a form of symphonic metal that falls somewhere between hard rock and power metal, leaning a little more into the heavier stuff. Tracks follow a pretty standard formula with catchy choruses, above-average riffs, and plenty of solos. The symphonic portion is surprisingly muted, but it does add some emotional depth to songs like “The Art of Being Alone” or even distinctive hooks (“Let There Be Rain”). At the heart of the music is Haben’s vocal performance. Her voice has a poppy, clean character, and Beyond the Black forgo the beastly growls that typically balance out the beauty. This type of performance could easily become sterile, but she shows some range on tracks like “Ravens,” where her voice switches from somber to a soaring chorus that could find a home on the KPop Demon Hunters soundtrack. Her strength is most apparent on the finale, “Weltschmerz,” a gentler, symphonic-led tune that allows Haben to take charge with a moving performance.

Despite the mostly close adherence to the same formula from song to song, Beyond the Black add enough variety to keep things from growing stale. Collaborators help in this regard, and they have two really good ones. Chris Harms (Lord of the Lost) lends his charismatic baritone on “The Art of Being Alone,” an entertaining bit of gothic metal that includes rather dramatic symphonic instrumentals and keyboards. My favorite track, “Let There Be Rain,” gets a boost from its collaboration with The Mystery of the Bulgarian Voices, a cheerful all-female choral group, as well as a nifty symphonic hook that puts a smile on my face. Break the Silence has a consistently high energy throughout—reaching near-thrash levels on “The Flood”—but a few songs break up the pace to avoid monotony, such as the more sober, arpeggio-driven “Ravens,” and the melodic adult rock of “(La Vie Est Un) Cinéma.” The consistently catchy hooks that permeate this varied record highlight just how talented this group is.

Unfortunately, some nagging issues and a weak-ish back half keep this from reaching the heights of fellow symphonic/pop group, Lord of the Lost. “The Flood” is a terrific tune hampered by an unfortunate decision to include prominent robo vocals that are more grating than cool, or whatever they’re meant to be. The two songs that follow, however, sink the record even further, as they lack any hooks to raise them above the fray. One of these is an unfortunate waste of the talents of Asami (Love Bites) in a bit of synth-pop on “Can You Hear Me” that had me wondering if I was listening to a cover of a Pink tune. The last couple of tracks do end Break the Silence on a stronger note, with the catchy chorus of “Hologram” and the aforementioned showstopper of “Weltschmerz.” These keep the record safely in the solid territory despite a brief weak streak.

Admittedly, I had no prior history with Beyond the Black, but based on the time I spent with their previous two albums, Break the Silence is a marked improvement. This is yet another pleasant surprise in the realm of symphonic metal released by the larger metal labels, along with last year’s two Lord of the Lost records. If this genre is in your wheelhouse, or you’re a fan of Beyond the Black’s prior work, you’re in for a treat. Fortunately, Break the Silence proves to be better than the soulless dreck that often floods this genre. It has heart, a powerful message, and, best of all, good music.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: January 9th, 2026

https://www.europesays.com/es/342728/ WITHIN TEMPTATION – HELIX – BATTERING RAM – WWW.RAFABASA.COM #BATTERINGRAM #Entertainment #Entretenimiento #ES #España #HELIX #Music #Música #Spain #WithinTemptation

https://www.europesays.com/es/333857/ Single de WITHIN TEMPTATION y SMASH INTO PIECES. Horarios para THE 69 EYES y D-A-D. Nuevo disco de AGGRESSIVE PERFECTOR. #AGGRESSIVEPERFECTOR #D.A.D. #Entertainment #Entretenimiento #ES #España #Music #Música #SMASHINTOPIECES #Spain #THE69EYES #WithinTemptation

Within Temptation y Smash Into Pieces presentan “Somebody Like You”, una intensa balada rock grabada con orquesta que explora la vulnerabilidad y la conexión emocional.
#WithinTemptation #SmashIntoPieces #SomebodyLikeYou #RockEuropeo #RockModerno #BaladaRock #LanzamientosRock #MetalSinfonico #RockAlternativo #RockAndBlog

https://rockandblog.net/within-temptation-y-smash-into-pieces-unen-fuerzas-en-somebody-like-you/?utm_source=mastodon&utm_medium=jetpack_social

https://www.europesays.com/es/223027/ Rock Imperium Festival cierra su cartel de 2026 con Within Temptation, Mastodon, Anthrax, Trivium, Testament y muchos más grupos – MariskalRock.com #ANTHRAX #Entertainment #Entretenimiento #ES #España #H.E.A.T. #IronMaiden #LACUNACOIL #Mastodon #Music #Música #RockImperium #ROCKIMPERIUMFESTIVAL #SABATON #Spain #TESTAMENT #Trivium #WithinTemptation

#Music
#MusicAndre
#WithinTemptation

Within Temptation - Bleed Out

https://www.youtube.com/watch?v=dBilK-h3lRQ

#Music
#MusicAndre
#WithinTemptation

Within Temptation – Don’t Pray For Me

https://www.youtube.com/watch?v=J60IPPvLhWA

#Music
#MusicAndre
#WithinTemptation

Within Temptation - We Go To War

https://www.youtube.com/watch?v=Y1QAMCYmAcY

My favourite Within Temptation song. And I found it from, of all things, a cs188 Michael Rosen YouTube Poop.

https://www.youtube.com/watch?v=ZqG5fL5PVR8

#WithinTemptation #Metal #YouTubePoop

Heute das Kind in die Welt der Festivals und Livemusik eingeführt #summerbreeze #withintemptation War natürlich hart bei dem Wetter, aber ein tolles Erlebnis

Within Temptation waren mega, und super stabil mit mehreren Solisongs für die Ukraine. #summerbreeze #withintemptation

Aktuell kommt bei #Arte das #SummerBreeze - u.A. mit #InExtremo, #WithinTemptation und #ASP. Leider grade etwas chaotisch was Live und Aufzeichnungen angeht, daher statt Link ein "man findet das sicher" :D

Lord of the Lost – Opvs Noir Vol. 1

Chris Harms has been in the music business since 1999, but it wasn’t …
#NewsBeep #News #Music #2025 #3.5 #AU #Aug25 #Australia #BillyIdol #Deathstars #Eisbrecher #Entertainment #Feuerschwanz #FleshgodApocalypse #GermanMetal #GlamMetal #GothicMetal #IndustrialMetal #IronMaiden #KMFDM #LordoftheLost #NapalmRecords #OpvsNoirVol.1 #Pop #PopMetal #Rammstein #review #reviews #Stimmgewalt #SymphonicMetal #Warkings #WithinTemptation
https://www.newsbeep.com/au/55195/

https://www.europesays.com/uk/329193/ Lord of the Lost – Opvs Noir Vol. 1 #2025 #3.5 #Aug25 #BillyIdol #Deathstars #Eisbrecher #Entertainment #Feuerschwanz #FleshgodApocalypse #GermanMetal #GlamMetal #GothicMetal #IndustrialMetal #IronMaiden #KMFDM #LordOfTheLost #music #NapalmRecords #OpvsNoirVol.1 #Pop #PopMetal #Rammstein #Review #Reviews #Stimmgewalt #SymphonicMetal #UK #UnitedKingdom #Warkings #WithinTemptation

Lord of the Lost – Opvs Noir Vol. 1

By ClarkKent

Chris Harms has been in the music business since 1999, but it wasn’t until founding Lord of the Lost in 2007 that he seems to have found his home. I say this not because I am familiar with him or the band, but because Harms has released ten full-length albums, three orchestral albums, four live albums, and one compilation since forming Lord of the Lost. Probably Lord of the Lost’s biggest claim to fame is their participation at Eurovision in 2023, representing Germany, where they unfortunately placed last in the final round. But wait, isn’t Eurovision for pop music? Why are these guys being covered on Angry Metal Guy? Apparently, they’re metal enough to sign to Napalm Records and also have toured with KMFDM and Iron Maiden. And now with Eurovision in the rearview mirror, Lord of the Lost look to return to their darker roots with Opvs Noir Vol. 1, the first in a planned trilogy.

Lord of the Lost play Rammstein-inspired industrial metal with a gothic tinge and pop beats. Synths typically dominate the mix, but occasionally the guitars take over on heavier cuts like “Damage” and “Lords of Fyre.” What surprised me most was the variety of sounds on Opvs Noir Vol. 1, from the folk-y instruments on “Lords of Fyre” to the use of symphonics throughout. The chants, organs, and strings on cuts like “Moonstruck” evoke Fleshgod Apocalypse, and they often bring a cinematic touch, which is appropriate given the musicians’ penchant for elaborate costumes and makeup. On top of this already grandiose blending of genres is a touch of hip hop, most apparent on “Bazaar Bizarre,” where Harms semi-raps over rhythmic beats. While these descriptions might scare many of you off, this is actually a lot of fun. The songs are catchy and the mix of styles means you never know what you’ll get from track to track.

Anchoring the music is the performance of Harms, as well as the choice of collaborators throughout Opvs Noir Vol. 1. Harms has an undeniable charisma–his voice has a dark, sexy tenor that fits perfectly in either pop or heavy metal. He reminds me of Billy Idol and that dude who sings “Blue Monday.” Harms also tries on some occasional death metal growls, and while his voice isn’t as brutal as those more practiced in the style, they’re effective in the few instances he uses them. Aiding Harms is a well-curated mix of collaborators, from the obscure to the more well-known. Notably, Within Temptation performs a duet with Lord of the Lost on the slow tearjerker, “Light Can Only Shine in the Darkness,” where Sharon den Adel’s soft lilt contrasts nicely with Harms’ deeper resonance. Probably my favorite is a collaboration with cellist Tina Guo on “Ghosts,” though the catchiest chorus belongs to “Lords of Fyre,” performed with fellow Napalm-signed Germans, the power metal band Feuerschwanz. 1

Lord of the Lost make very few missteps on Opvs Noir Vol. 1. The 11-song record clocks in at a tidy 44 minutes, though it’s almost eerie how many songs come in at the 3:40 mark. While they largely play to a traditional pop structure, Lord of the Lost also succeed on the more progressively-structured “The Things We Do For Love,” which weaves from soft piano to heavy Eisbrecher-inspired riffs to hip hop to a chorus that absolutely nails it. Yet a few tracks keep this from being yet another 4.0 notch in my belt. “The Sadness in Everything” ruins a talented performance by Anna Maria Rose by having her sing a melody that sounds an awful lot like “This is Halloween” from A Nightmare Before Christmas. The finale also veers into self-parody when Harms sings “Twinkle twinkle brittle star” like a dramatic re-imagining of the classic children’s tune. These moments may be small, but they do undermine the album’s conclusion.

Opvs Noir Vol. 1 is a very good start to this planned trilogy. Don’t let the pop tag scare you away. Lord of the Lost has some quality songwriting–the performances and collaborations should be enough to interest anyone who is a fan of industrial metal, symphonic metal, or even power metal. This is yet another Napalm act, like Warkings, where the songwriting improves on older material–at least that which I’ve sampled from both bands. Yes, that material is well-polished, poppy, and catchy, but it’s a ton of fun and a welcome break from the bleakness of death and doom metal.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: August 8th, 2025

#2025 #35 #Aug25 #BillyIdol #Deathstars #Eisbrecher #Feuerschwanz #FleshgodApocalypse #GermanMetal #GlamMetal #GothicMetal #IndustrialMetal #IronMaiden #KMFDM #LordOfTheLost #NapalmRecords #OpvsNoirVol1 #Pop #PopMetal #Rammstein #Review #Reviews #Stimmgewalt #SymphonicMetal #Warkings #WithinTemptation

Lord of the Lost – Opvs Noir Vol. 1

By ClarkKent

Chris Harms has been in the music business since 1999, but it wasn’t until founding Lord of the Lost in 2007 that he seems to have found his home. I say this not because I am familiar with him or the band, but because Harms has released ten full-length albums, three orchestral albums, four live albums, and one compilation since forming Lord of the Lost. Probably Lord of the Lost’s biggest claim to fame is their participation at Eurovision in 2023, representing Germany, where they unfortunately placed last in the final round. But wait, isn’t Eurovision for pop music? Why are these guys being covered on Angry Metal Guy? Apparently, they’re metal enough to sign to Napalm Records and also have toured with KMFDM and Iron Maiden. And now with Eurovision in the rearview mirror, Lord of the Lost look to return to their darker roots with Opvs Noir Vol. 1, the first in a planned trilogy.

Lord of the Lost play Rammstein-inspired industrial metal with a gothic tinge and pop beats. Synths typically dominate the mix, but occasionally the guitars take over on heavier cuts like “Damage” and “Lords of Fyre.” What surprised me most was the variety of sounds on Opvs Noir Vol. 1, from the folk-y instruments on “Lords of Fyre” to the use of symphonics throughout. The chants, organs, and strings on cuts like “Moonstruck” evoke Fleshgod Apocalypse, and they often bring a cinematic touch, which is appropriate given the musicians’ penchant for elaborate costumes and makeup. On top of this already grandiose blending of genres is a touch of hip hop, most apparent on “Bazaar Bizarre,” where Harms semi-raps over rhythmic beats. While these descriptions might scare many of you off, this is actually a lot of fun. The songs are catchy and the mix of styles means you never know what you’ll get from track to track.

Anchoring the music is the performance of Harms, as well as the choice of collaborators throughout Opvs Noir Vol. 1. Harms has an undeniable charisma–his voice has a dark, sexy tenor that fits perfectly in either pop or heavy metal. He reminds me of Billy Idol and that dude who sings “Blue Monday.” Harms also tries on some occasional death metal growls, and while his voice isn’t as brutal as those more practiced in the style, they’re effective in the few instances he uses them. Aiding Harms is a well-curated mix of collaborators, from the obscure to the more well-known. Notably, Within Temptation performs a duet with Lord of the Lost on the slow tearjerker, “Light Can Only Shine in the Darkness,” where Sharon den Adel’s soft lilt contrasts nicely with Harms’ deeper resonance. Probably my favorite is a collaboration with cellist Tina Guo on “Ghosts,” though the catchiest chorus belongs to “Lords of Fyre,” performed with fellow Napalm-signed Germans, the power metal band Feuerschwanz. 1

Lord of the Lost make very few missteps on Opvs Noir Vol. 1. The 11-song record clocks in at a tidy 44 minutes, though it’s almost eerie how many songs come in at the 3:40 mark. While they largely play to a traditional pop structure, Lord of the Lost also succeed on the more progressively-structured “The Things We Do For Love,” which weaves from soft piano to heavy Eisbrecher-inspired riffs to hip hop to a chorus that absolutely nails it. Yet a few tracks keep this from being yet another 4.0 notch in my belt. “The Sadness in Everything” ruins a talented performance by Anna Maria Rose by having her sing a melody that sounds an awful lot like “This is Halloween” from A Nightmare Before Christmas. The finale also veers into self-parody when Harms sings “Twinkle twinkle brittle star” like a dramatic re-imagining of the classic children’s tune. These moments may be small, but they do undermine the album’s conclusion.

Opvs Noir Vol. 1 is a very good start to this planned trilogy. Don’t let the pop tag scare you away. Lord of the Lost has some quality songwriting–the performances and collaborations should be enough to interest anyone who is a fan of industrial metal, symphonic metal, or even power metal. This is yet another Napalm act, like Warkings, where the songwriting improves on older material–at least that which I’ve sampled from both bands. Yes, that material is well-polished, poppy, and catchy, but it’s a ton of fun and a welcome break from the bleakness of death and doom metal.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: August 8th, 2025

#2025 #35 #Aug25 #BillyIdol #Deathstars #Eisbrecher #Feuerschwanz #FleshgodApocalypse #GermanMetal #GlamMetal #GothicMetal #IndustrialMetal #IronMaiden #KMFDM #LordOfTheLost #NapalmRecords #OpvsNoirVol1 #Pop #PopMetal #Rammstein #Review #Reviews #Stimmgewalt #SymphonicMetal #Warkings #WithinTemptation

Lord of the Lost – Opvs Noir Vol. 1

By ClarkKent

Chris Harms has been in the music business since 1999, but it wasn’t until founding Lord of the Lost in 2007 that he seems to have found his home. I say this not because I am familiar with him or the band, but because Harms has released ten full-length albums, three orchestral albums, four live albums, and one compilation since forming Lord of the Lost. Probably Lord of the Lost’s biggest claim to fame is their participation at Eurovision in 2023, representing Germany, where they unfortunately placed last in the final round. But wait, isn’t Eurovision for pop music? Why are these guys being covered on Angry Metal Guy? Apparently, they’re metal enough to sign to Napalm Records and also have toured with KMFDM and Iron Maiden. And now with Eurovision in the rearview mirror, Lord of the Lost look to return to their darker roots with Opvs Noir Vol. 1, the first in a planned trilogy.

Lord of the Lost play Rammstein-inspired industrial metal with a gothic tinge and pop beats. Synths typically dominate the mix, but occasionally the guitars take over on heavier cuts like “Damage” and “Lords of Fyre.” What surprised me most was the variety of sounds on Opvs Noir Vol. 1, from the folk-y instruments on “Lords of Fyre” to the use of symphonics throughout. The chants, organs, and strings on cuts like “Moonstruck” evoke Fleshgod Apocalypse, and they often bring a cinematic touch, which is appropriate given the musicians’ penchant for elaborate costumes and makeup. On top of this already grandiose blending of genres is a touch of hip hop, most apparent on “Bazaar Bizarre,” where Harms semi-raps over rhythmic beats. While these descriptions might scare many of you off, this is actually a lot of fun. The songs are catchy and the mix of styles means you never know what you’ll get from track to track.

Anchoring the music is the performance of Harms, as well as the choice of collaborators throughout Opvs Noir Vol. 1. Harms has an undeniable charisma–his voice has a dark, sexy tenor that fits perfectly in either pop or heavy metal. He reminds me of Billy Idol and that dude who sings “Blue Monday.” Harms also tries on some occasional death metal growls, and while his voice isn’t as brutal as those more practiced in the style, they’re effective in the few instances he uses them. Aiding Harms is a well-curated mix of collaborators, from the obscure to the more well-known. Notably, Within Temptation performs a duet with Lord of the Lost on the slow tearjerker, “Light Can Only Shine in the Darkness,” where Sharon den Adel’s soft lilt contrasts nicely with Harms’ deeper resonance. Probably my favorite is a collaboration with cellist Tina Guo on “Ghosts,” though the catchiest chorus belongs to “Lords of Fyre,” performed with fellow Napalm-signed Germans, the power metal band Feuerschwanz. 1

Lord of the Lost make very few missteps on Opvs Noir Vol. 1. The 11-song record clocks in at a tidy 44 minutes, though it’s almost eerie how many songs come in at the 3:40 mark. While they largely play to a traditional pop structure, Lord of the Lost also succeed on the more progressively-structured “The Things We Do For Love,” which weaves from soft piano to heavy Eisbrecher-inspired riffs to hip hop to a chorus that absolutely nails it. Yet a few tracks keep this from being yet another 4.0 notch in my belt. “The Sadness in Everything” ruins a talented performance by Anna Maria Rose by having her sing a melody that sounds an awful lot like “This is Halloween” from A Nightmare Before Christmas. The finale also veers into self-parody when Harms sings “Twinkle twinkle brittle star” like a dramatic re-imagining of the classic children’s tune. These moments may be small, but they do undermine the album’s conclusion.

Opvs Noir Vol. 1 is a very good start to this planned trilogy. Don’t let the pop tag scare you away. Lord of the Lost has some quality songwriting–the performances and collaborations should be enough to interest anyone who is a fan of industrial metal, symphonic metal, or even power metal. This is yet another Napalm act, like Warkings, where the songwriting improves on older material–at least that which I’ve sampled from both bands. Yes, that material is well-polished, poppy, and catchy, but it’s a ton of fun and a welcome break from the bleakness of death and doom metal.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: August 8th, 2025

#2025 #35 #Aug25 #BillyIdol #Deathstars #Eisbrecher #Feuerschwanz #FleshgodApocalypse #GermanMetal #GlamMetal #GothicMetal #IndustrialMetal #IronMaiden #KMFDM #LordOfTheLost #NapalmRecords #OpvsNoirVol1 #Pop #PopMetal #Rammstein #Review #Reviews #Stimmgewalt #SymphonicMetal #Warkings #WithinTemptation

Lord of the Lost – Opvs Noir Vol. 1

By ClarkKent

Chris Harms has been in the music business since 1999, but it wasn’t until founding Lord of the Lost in 2007 that he seems to have found his home. I say this not because I am familiar with him or the band, but because Harms has released ten full-length albums, three orchestral albums, four live albums, and one compilation since forming Lord of the Lost. Probably Lord of the Lost’s biggest claim to fame is their participation at Eurovision in 2023, representing Germany, where they unfortunately placed last in the final round. But wait, isn’t Eurovision for pop music? Why are these guys being covered on Angry Metal Guy? Apparently, they’re metal enough to sign to Napalm Records and also have toured with KMFDM and Iron Maiden. And now with Eurovision in the rearview mirror, Lord of the Lost look to return to their darker roots with Opvs Noir Vol. 1, the first in a planned trilogy.

Lord of the Lost play Rammstein-inspired industrial metal with a gothic tinge and pop beats. Synths typically dominate the mix, but occasionally the guitars take over on heavier cuts like “Damage” and “Lords of Fyre.” What surprised me most was the variety of sounds on Opvs Noir Vol. 1, from the folk-y instruments on “Lords of Fyre” to the use of symphonics throughout. The chants, organs, and strings on cuts like “Moonstruck” evoke Fleshgod Apocalypse, and they often bring a cinematic touch, which is appropriate given the musicians’ penchant for elaborate costumes and makeup. On top of this already grandiose blending of genres is a touch of hip hop, most apparent on “Bazaar Bizarre,” where Harms semi-raps over rhythmic beats. While these descriptions might scare many of you off, this is actually a lot of fun. The songs are catchy and the mix of styles means you never know what you’ll get from track to track.

Anchoring the music is the performance of Harms, as well as the choice of collaborators throughout Opvs Noir Vol. 1. Harms has an undeniable charisma–his voice has a dark, sexy tenor that fits perfectly in either pop or heavy metal. He reminds me of Billy Idol and that dude who sings “Blue Monday.” Harms also tries on some occasional death metal growls, and while his voice isn’t as brutal as those more practiced in the style, they’re effective in the few instances he uses them. Aiding Harms is a well-curated mix of collaborators, from the obscure to the more well-known. Notably, Within Temptation performs a duet with Lord of the Lost on the slow tearjerker, “Light Can Only Shine in the Darkness,” where Sharon den Adel’s soft lilt contrasts nicely with Harms’ deeper resonance. Probably my favorite is a collaboration with cellist Tina Guo on “Ghosts,” though the catchiest chorus belongs to “Lords of Fyre,” performed with fellow Napalm-signed Germans, the power metal band Feuerschwanz. 1

Lord of the Lost make very few missteps on Opvs Noir Vol. 1. The 11-song record clocks in at a tidy 44 minutes, though it’s almost eerie how many songs come in at the 3:40 mark. While they largely play to a traditional pop structure, Lord of the Lost also succeed on the more progressively-structured “The Things We Do For Love,” which weaves from soft piano to heavy Eisbrecher-inspired riffs to hip hop to a chorus that absolutely nails it. Yet a few tracks keep this from being yet another 4.0 notch in my belt. “The Sadness in Everything” ruins a talented performance by Anna Maria Rose by having her sing a melody that sounds an awful lot like “This is Halloween” from A Nightmare Before Christmas. The finale also veers into self-parody when Harms sings “Twinkle twinkle brittle star” like a dramatic re-imagining of the classic children’s tune. These moments may be small, but they do undermine the album’s conclusion.

Opvs Noir Vol. 1 is a very good start to this planned trilogy. Don’t let the pop tag scare you away. Lord of the Lost has some quality songwriting–the performances and collaborations should be enough to interest anyone who is a fan of industrial metal, symphonic metal, or even power metal. This is yet another Napalm act, like Warkings, where the songwriting improves on older material–at least that which I’ve sampled from both bands. Yes, that material is well-polished, poppy, and catchy, but it’s a ton of fun and a welcome break from the bleakness of death and doom metal.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: August 8th, 2025

#2025 #35 #Aug25 #BillyIdol #Deathstars #Eisbrecher #Feuerschwanz #FleshgodApocalypse #GermanMetal #GlamMetal #GothicMetal #IndustrialMetal #IronMaiden #KMFDM #LordOfTheLost #NapalmRecords #OpvsNoirVol1 #Pop #PopMetal #Rammstein #Review #Reviews #Stimmgewalt #SymphonicMetal #Warkings #WithinTemptation

#MinutosMusicales de un #ViernesDeMúsica. Hoy se lo dedico a #LordOfTheLost y #WithinTemptation con su colaboración #LightCanOnlyShineInTheDarkness

En unos días los veré a ambos en el #LeyendasDelRock, ¿habrá oportunidad de escucharla en directo?

https://www.youtube.com/watch?v=WRLmbULWDhY

#Music #GothicMetal

#MinutosMusicales de un #ViernesDeMúsica. Hoy se lo dedico a #LordOfTheLost y #WithinTemptation con su colaboración #LightCanOnlyShineInTheDarkness

En unos días los veré a ambos en el #LeyendasDelRock, ¿habrá oportunidad de escucharla en directo?

https://www.youtube.com/watch?v=WRLmbULWDhY

#Music #GothicMetal

🎥👇Videoclips released in July you should definitely check out:

#DerWegEinerFreiheit
#LordoftheLost x #WithinTemptation
#MAVIS
Hei'An
#ABBIEFALLS
ten56.
#OrbitCulture
#SignsoftheSwarm
.
.
.
#SeasonofMist #NapalmRecords #OutOfLineMusic #deathcore #metalcore #oktoberpromotion #metalmusic #metal #heian #tenfiftysix #videoclip

🎥👇Videoclips released in July you should definitely check out:

#DerWegEinerFreiheit
#LordoftheLost x #WithinTemptation
#MAVIS
Hei'An
#ABBIEFALLS
ten56.
#OrbitCulture
#SignsoftheSwarm
.
.
.
#SeasonofMist #NapalmRecords #OutOfLineMusic #deathcore #metalcore #oktoberpromotion #metalmusic #metal #heian #tenfiftysix #videoclip

🎥👇Videoclips released in July you should definitely check out:

#DerWegEinerFreiheit
#LordoftheLost x #WithinTemptation
#MAVIS
Hei'An
#ABBIEFALLS
ten56.
#OrbitCulture
#SignsoftheSwarm
.
.
.
#SeasonofMist #NapalmRecords #OutOfLineMusic #deathcore #metalcore #oktoberpromotion #metalmusic #metal #heian #tenfiftysix #videoclip

🎥👇Videoclips released in July you should definitely check out:

#DerWegEinerFreiheit
#LordoftheLost x #WithinTemptation
#MAVIS
Hei'An
#ABBIEFALLS
ten56.
#OrbitCulture
#SignsoftheSwarm
.
.
.
#SeasonofMist #NapalmRecords #OutOfLineMusic #deathcore #metalcore #oktoberpromotion #metalmusic #metal #heian #tenfiftysix #videoclip

Jerry Heil & Within Temptation - Sing Like A Siren / #Rock

https://soundcloud.com/jerryheil-sc/sing-like-a-siren

#JerryHeil #WithinTemptation #music #UkrainianMusic #MusicWomenWednesday

Great Concert!
#Hellfest2023
#WithinTemptation

https://www.arte.tv/de/videos/114748-000-A/within-temptation/?utm_source=android&utm_medium=share&utm_campaign=114748-000-A

My favorites were:
Raise your banner
Whireless
What have you done
Mother Earth

#Music
#Metal

Heute sucht die #ThursdayFiveList Songs, in denen eines oder mehrere der fünf Elemente (Luft, Wasser, Erde, Feuer, Metal(l) vorkommt/en.

Unsere Wahl fiel auf folgende Lieder:

"Rapid Fire" von Judas Priest
https://song.link/i/207346197

"Fire Water Burn" von Bloodhound Gang
https://song.link/i/1440916414

"Mother Earth" von Within Temptation
https://song.link/i/1550899957

"Fire Fire" von Motörhead
https://song.link/us/i/1611639561

"Metal on Metal" von Anvil
https://song.link/us/i/282837739

#TheElementsOfFive #Anvil #Motörhead #WithinTemptation #BloodhoundGang #JudasPriest #Metal

Heute sucht die #ThursdayFiveList Songs, in denen eines oder mehrere der fünf Elemente (Luft, Wasser, Erde, Feuer, Metal(l) vorkommt/en.

Unsere Wahl fiel auf folgende Lieder:

"Rapid Fire" von Judas Priest
https://song.link/i/207346197

"Fire Water Burn" von Bloodhound Gang
https://song.link/i/1440916414

"Mother Earth" von Within Temptation
https://song.link/i/1550899957

"Fire Fire" von Motörhead
https://song.link/us/i/1611639561

"Metal on Metal" von Anvil
https://song.link/us/i/282837739

#TheElementsOfFive #Anvil #Motörhead #WithinTemptation #BloodhoundGang #JudasPriest #Metal

Heute sucht die #ThursdayFiveList Songs, in denen eines oder mehrere der fünf Elemente (Luft, Wasser, Erde, Feuer, Metal(l) vorkommt/en.

Unsere Wahl fiel auf folgende Lieder:

"Rapid Fire" von Judas Priest
https://song.link/i/207346197

"Fire Water Burn" von Bloodhound Gang
https://song.link/i/1440916414

"Mother Earth" von Within Temptation
https://song.link/i/1550899957

"Fire Fire" von Motörhead
https://song.link/us/i/1611639561

"Metal on Metal" von Anvil
https://song.link/us/i/282837739

#TheElementsOfFive #Anvil #Motörhead #WithinTemptation #BloodhoundGang #JudasPriest #Metal

Hé, @tyom ! #withintemptation a partagé la chanson du groupe de #rock ukrainien #blind8 et je l'écoute en boucle depuis.
https://share.amuse.io/track/blind8-locked-in-the-cage

Hé, @tyom ! #withintemptation a partagé la chanson du groupe de #rock ukrainien #blind8 et je l'écoute en boucle depuis.
https://share.amuse.io/track/blind8-locked-in-the-cage

Hé, @tyom ! #withintemptation a partagé la chanson du groupe de #rock ukrainien #blind8 et je l'écoute en boucle depuis.
https://share.amuse.io/track/blind8-locked-in-the-cage

Hé, @tyom ! #withintemptation a partagé la chanson du groupe de #rock ukrainien #blind8 et je l'écoute en boucle depuis.
https://share.amuse.io/track/blind8-locked-in-the-cage