#withintemptation — Public Fediverse posts

when a song released 26 years ago still makes you feel alive today 🌏.

https://www.youtube.com/shorts/LtV4sJHMYYE

#Music #WithinTemptation #SymPhonicMetal

when a song released 26 years ago still makes you feel alive today 🌏.

https://www.youtube.com/shorts/LtV4sJHMYYE

#Music #WithinTemptation #SymPhonicMetal

when a song released 26 years ago still makes you feel alive today 🌏.

https://www.youtube.com/shorts/LtV4sJHMYYE

#Music #WithinTemptation #SymPhonicMetal

when a song released 26 years ago still makes you feel alive today 🌏.

https://www.youtube.com/shorts/LtV4sJHMYYE

#Music #WithinTemptation #SymPhonicMetal

Within Temptation - Mother Earth (Live at Rock am Ring 2026)

https://www.youtube.com/watch?v=iwMLcfjQ3TU

#Music #WithinTemptation #SymPhonicMetal

https://www.europesays.com/ie/630560/ Xandria – Eclipse Review | Angry Metal Guy #2026 #30 #Aug26 #Eclipse #Éire #Entertainment #GermanMetal #IE #Ireland #Music #NapalmRecords #Nightwish #PowerMetal #Review #Reviews #SymphonicMetal #WithinTemptation #Xandria

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

#Arte Concert ist heute beim #MeraLuna. U.A. später mit #Megaherz, #InExtremo und #WithinTemptation
https://www.arte.tv/de/videos/133771-001-A/m-era-luna-festival-2026/
https://www.youtube.com/watch?v=qbMXvl2i_Ww

#Arte Concert ist heute beim #MeraLuna. U.A. später mit #Megaherz, #InExtremo und #WithinTemptation
https://www.arte.tv/de/videos/133771-001-A/m-era-luna-festival-2026/
https://www.youtube.com/watch?v=qbMXvl2i_Ww

#Arte Concert ist heute beim #MeraLuna. U.A. später mit #Megaherz, #InExtremo und #WithinTemptation
https://www.arte.tv/de/videos/133771-001-A/m-era-luna-festival-2026/
https://www.youtube.com/watch?v=qbMXvl2i_Ww

#Arte Concert ist heute beim #MeraLuna. U.A. später mit #Megaherz, #InExtremo und #WithinTemptation
https://www.arte.tv/de/videos/133771-001-A/m-era-luna-festival-2026/
https://www.youtube.com/watch?v=qbMXvl2i_Ww

#Arte Concert ist heute beim #MeraLuna. U.A. später mit #Megaherz, #InExtremo und #WithinTemptation
https://www.arte.tv/de/videos/133771-001-A/m-era-luna-festival-2026/
https://www.youtube.com/watch?v=qbMXvl2i_Ww

https://www.europesays.com/at/318604/ Sabaton Headliner bei Wacken Open Air: Was das fürs Line-up heißt #AT #Austria #data_wacken2026 #Deutschland #Entertainment #Falun #JudasPriest #Music #Musik #Musikgruppe #Österreich #RockPop #Schweden #UMusik #Unterhaltung #USA #WithinTemptation

Only Tuesday? Then there's only one way through - FASTER. ⚡

https://www.youtube.com/shorts/DA-E8Nb4rRo

#Music #WithinTemptation #SymPhonicMetal

Within Temptation - Faster (Live at Rock am Ring 2026)

https://www.youtube.com/watch?v=8kf9K-rVCgc

#Music #WithinTemptation #SymPhonicMetal

28 juli 2026

https://www.youtube.com/shorts/wpTmt2TZ6-E

#Music #WithinTemptation #SymPhonicMetal

23 juli 2026

https://www.youtube.com/shorts/DartAQ4ARZQ

#Music #WithinTemptation #SymPhonicMetal

Within Temptation ft. Piotr Rogucki – Whole World is Watching

https://www.youtube.com/watch?v=mf97F-SpBQU

Within Temptation ft. Piotr Rogucki – Whole World is Watching

https://www.youtube.com/watch?v=mf97F-SpBQU

Within Temptation ft. Piotr Rogucki – Whole World is Watching

https://www.youtube.com/watch?v=mf97F-SpBQU

i guess we’ll never know... #documentarytrend #bandlife #withintemptation #martijnspierenburg

https://www.youtube.com/shorts/xrZJ3zHoinQ

#Music #WithinTemptation #SymPhonicMetal

Zwarte Cross Festival 2026 🎶
📅 16.–19.07.2026
📍 Lichtenvoorde, Netherlands
🎸 Rock / Indie / Pop · from €30.00

🔊 Kaiser Chiefs, Within Temptation, Dropkick Murphys, Razorlight & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com

#ZwarteCrossFestival2026 #Lichtenvoorde #Netherlands #Rock #Indie #Pop #KaiserChiefs #WithinTemptation #DropkickMurphys #Razorlight #TheVaccines #Alestorm #Zwarte2026 #festival2026 #festival #livemusic #lineup #musicfestival

Zwarte Cross Festival 2026 🎶
📅 16.–19.07.2026
📍 Lichtenvoorde, Netherlands
🎸 Rock / Indie / Pop · from €30.00

🔊 Kaiser Chiefs, Within Temptation, Dropkick Murphys, Razorlight & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com

#ZwarteCrossFestival2026 #Lichtenvoorde #Netherlands #Rock #Indie #Pop #KaiserChiefs #WithinTemptation #DropkickMurphys #Razorlight #TheVaccines #Alestorm #Zwarte2026 #festival2026 #festival #livemusic #lineup #musicfestival

Zwarte Cross Festival 2026 🎶
📅 16.–19.07.2026
📍 Lichtenvoorde, Netherlands
🎸 Rock / Indie / Pop · from €30.00

🔊 Kaiser Chiefs, Within Temptation, Dropkick Murphys, Razorlight & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com

#ZwarteCrossFestival2026 #Lichtenvoorde #Netherlands #Rock #Indie #Pop #KaiserChiefs #WithinTemptation #DropkickMurphys #Razorlight #TheVaccines #Alestorm #Zwarte2026 #festival2026 #festival #livemusic #lineup #musicfestival

Zwarte Cross Festival 2026 🎶
📅 16.–19.07.2026
📍 Lichtenvoorde, Netherlands
🎸 Rock / Indie / Pop · from €30.00

🔊 Kaiser Chiefs, Within Temptation, Dropkick Murphys, Razorlight & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com

#ZwarteCrossFestival2026 #Lichtenvoorde #Netherlands #Rock #Indie #Pop #KaiserChiefs #WithinTemptation #DropkickMurphys #Razorlight #TheVaccines #Alestorm #Zwarte2026 #festival2026 #festival #livemusic #lineup #musicfestival

Zwarte Cross Festival 2026 🎶
📅 16.–19.07.2026
📍 Lichtenvoorde, Netherlands
🎸 Rock / Indie / Pop · from €30.00

🔊 Kaiser Chiefs, Within Temptation, Dropkick Murphys, Razorlight & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com

#ZwarteCrossFestival2026 #Lichtenvoorde #Netherlands #Rock #Indie #Pop #KaiserChiefs #WithinTemptation #DropkickMurphys #Razorlight #TheVaccines #Alestorm #Zwarte2026 #festival2026 #festival #livemusic #lineup #musicfestival

we’re very serious until... Mike finds a broom 👀😎

https://www.youtube.com/shorts/bwa4Q2mKMwk

#Music #WithinTemptation #SymPhonicMetal

Faster but… The lead singer hasn't gotten ready yet & showtime is in 10.

https://www.youtube.com/shorts/WQt9stAv9P0

#Music #WithinTemptation #SymPhonicMetal

https://www.europesays.com/be-nl/88106/ Bospop 2026: meer dan een uitstapje voor de metalfan #Amusement #BE #België #Belgium #bospop #Entertainment #festivalnieuws #Hardcore #metal #Music #Muziek #Nederland #Nieuws #Rock #Volbeat #WithinTemptation #ZwareMetalen #ZzTop

https://www.europesays.com/nl/244823/ Bospop 2026: meer dan een uitstapje voor de metalfan #Amusement #bospop #Dutch #Entertainment #festivalnieuws #hardcore #metal #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #Nieuws #NL #rock #Volbeat #WithinTemptation #ZwareMetalen #ZzTop

what have you done now... cause the energy was absolutely ON ⚡️🔥 #LiveMusic #modernrock

https://www.youtube.com/shorts/hZBgM7ZrAyY

#Music #WithinTemptation #SymPhonicMetal

https://www.europesays.com/es/585583/ La Heavy 482 ya a la venta en nuestra tienda online con Deep Purple en portada junto a Iron Maiden, Judas Priest, Within Temptation y Limp Bizkit #BarónRojo #BLOODHUNTER #DEEPPURPLE #Entertainment #Entretenimiento #ES #España #GabrielleDeVal #IronMaiden #JudasPriest #LaHeavy482 #LimpBizkit #Megadeth #Metallica #MR2022 #Music #Música #RESURRECTIONFEST #ROCKIMPERIUMFESTIVAL #Spain #TimeToRock #VamosConTodo #WithinTemptation

Video: Within Temptation Command Spain’s Resurrection Fest In 2019, Now Streaming https://www.byteseu.com/2072741/ #ResurrectionFest #SharonDenAdel #Spain #WithinTemptation

Pues así a lo tonto solo me faltan tres albumes de #WithinTemptation...

Hmm... 🤔

Pues así a lo tonto solo me faltan tres albumes de #WithinTemptation...

Hmm... 🤔

It’s here!! 🎧🎶

#WithinTemptation #IceQueen #Music

It’s here!! 🎧🎶

#WithinTemptation #IceQueen #Music

It’s here!! 🎧🎶

#WithinTemptation #IceQueen #Music

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

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

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

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

Within Temptation – Shot In The Dark

https://www.youtube.com/watch?v=mLz61g0JLxQ

Within Temptation – Shot In The Dark

https://www.youtube.com/watch?v=mLz61g0JLxQ

Within Temptation – Shot In The Dark

https://www.youtube.com/watch?v=mLz61g0JLxQ

Within Temptation – Shot In The Dark

https://www.youtube.com/watch?v=mLz61g0JLxQ

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

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

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

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

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

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