This talented Swedish brigade returns with their fourth studio album, once again delivering their own blend of modern, hard-driving and melodic Heavy Metal.
Arising from the ashes of Power Metal band Morifade in early 2015, Linköping, Sweden-based act Prime Creation is ready to unveil their fourth studio album, titled Souls of the Fallen, following up on their 2023 album Tell Freedom I Said Hello. Consisting of skilled and experienced musicians, those being Esa Englund ($ilverdollar, Hellshaker) on vocals, Robin Arnell (Los Sin Nombre, Morifade) and Rami Tainamo on the guitars, Henrik Weimedal (Devil’s Crown, Morifade) on bass, and Kim Arnell (Zornheym, Devil’s Crown, Morifade, Nephenzy Chaos Order) on drums, Prime Creation deliver their own blend of modern, hard-driving and melodic Heavy Metal in Souls Of The Fallen, being therefore recommended for admirers of the music by renowned acts from the Power Metal scene worldwide the likes of Nocturnal Rites, HammerFall, Brainstorm and Firewind, among several others.
Futuristic sounds ignite the band’s modern-day Power Metal voyage in Galactic Rebirth, led by the classic drums by Kim while Robin and Rami deliver classy, no shenanigans riffs nonstop, followed by Ghosts, presenting one hundred percent European Power Metal magic flowing from all instruments, being therefore highly recommended for fans of the genre. It looks like their riff-making machine is working at full power in the entire album, as in Blood Harvest they keep slashing our minds with their scorching guitars while Esa fires his trademark raspy vocals; and the pounding drums by Kim kick off the title-track Souls of the Fallen, accompanied by the low-tuned, metallic bass by Henrik in a hard hitting blend of Heavy and Power Metal.
Alliance is a solid power ballad that keeps the momentum going, although it could have been slightly shorter in duration. The vocals by Esa are once again impeccable, though, as well as their melodious riffs and solos, whereas the band offers more of their high-octane Power Metal magic in Lost Legacy, with its Iron Maiden-inspired rhythm offering us all a very good reason to raise our fists together with the band. Legends Never Die is another epic composition by the band, with their Swedish Melodic Metal roots arising from the underworld, being perfect for playing our good old “air guitar;” before Kim kicks off the closing tune Ashes of Trust while Robin, Rami and Henrik bring forward a massive stringed attack armed with their incendiary axes for our total delight.
After all is said and done, if Power Metal with a melodic Swedish twist is your cup of tea, Souls Of The Fallen will certainly satisfy your cravings, inspiring Prime Creation to keep delivering top-of-the-line heavy music for many years to come. Furthermore, if you want to know more about the band, their music, tour dates and plans for the future, you can find those talented heavy metallers from beautiful Sweden on Facebook and on Instagram, subscribe to their YouTube channel, stream their full discography on Spotify, and of course put your metallic hands on Souls Of The Fallen by purchasing it from the ROAR! Rock of Angels Records’ BandCamp or webstore, or from other online stores like Sonic Age Records. Having said all that, as true metalheads we can all rest assured that as long as Prime Creation keep releasing high quality albums like their new one, the souls of the fallen will remain alive inside our hearts.
Best moments of the album:Galactic Rebirth, Blood Harvest and Ashes of Trust.
Worst moments of the album:Alliance.
Released in 2026 ROAR! Rock of Angels Records
Track listing 1. Galactic Rebirth 3:28
2. Ghosts 4:35
3. Blood Harvest 3:09
4. Souls of the Fallen 5:07
5. Alliance 6:07
6. Lost Legacy 3:40
7. Legends Never Die 5:22
8. Ashes of Trust 4:51
Band members Esa Englund – vocals
Robin Arnell – lead guitar
Rami Tainamo – rhythm guitar
Henrik Weimedal – bass
Kim Arnell – drums
The Cult of the Snake returns to action with their incendiary third studio offering, bringing Heavy Metal back to its unpolished, rough, and weird roots.
Formed in 2008 in Gelsenkirchen, Germany, the unrelenting Heavy Metal squad known as Iron Kobra began with a noble mission – to bring Heavy Metal back to its unpolished, rough, and weird roots, influenced by heroes of old like Iron Maiden, Cirith Ungol, Living Death, Manowar, and Tank with a sprinkle of punk. Produced, recorded and mixed by Stefan Castevet (with drums recorded by Konrad aka Goat Primator), mastered by Patrick W. Engel at Temple of Disharmony, and showcasing an old school artwork by by Mario Lopez, Eternal Dagger is the third studio album by Iron Kobra, following up on their 2015 sophomore Might & Magic and exploding with excitement at every turn of its nine songs of raging Speed Metal, all carefully brought into being by Ela on vocals and guitars, Steffen also on the guitars, Matze on bass, and Björn on drums.
The band doesn’t waste a single second and takes us on a wild metal journey right from the start in Trembling Dungeons, with the Thrash Metal beats by Björn adding an extra dosage of rebelliousness to their sound. Then the Iron Maiden-infused guitars by Ela and Steffen will invite you to slam into the pit in Forbidden Fruits, followed by Fliehen, another classic Speed and Heavy Metal feast by the quartet, with Ela’s vocals taking us back to the glory of the 80’s. And adding elements of old school Hard Rock to their core insanity we’re treated to Shibuya Nights, where the guitars by Ela and Steffen transpire electricity; whereas with a name like Silver Strings and Iron Wings it was obvious it was going to be an overdose of pure Heavy Metal madness, led by Björn’s unrelenting drums.
It’s time to hit the dance floor, but of course holding your sword and shield, in the inspiring title-track Eternal Dagger, with the rumbling sounds crafted by Matze and Björn clashing beautifully with the strident riffage by Ela and Steffen. Unchained & Untamed is even faster and sharper, like a razor blade of Heavy and Speed Metal cutting through our headbanging minds, with their riffs and solos once again breathing fire; and the band still has a lot of fuel to burn as you can see in the high-octane beast titled Treacherous Tyrant, with Björn again stealing the spotlight behind his drums. Last but not least, Ela’s soaring vocals will invite you for an epic voyage through metallic lands in Mountains of Madness, ending the album on a killer NWOBHM style.
It goes without saying that the band’s arsenal throughout the entire album offers a wide variety of pure Heavy Metal gold, evoking the likes of Exciter, Brocas Helm, Diamond Head, and early Running Wild but, of course, with their undeniable personality and panache. If you want to join those amazing German metallers in the battlefield, you can find them on Facebook, stream their music on any platform such as Spotify, and of course purchase a copy of the incendiary Eternal Dagger from their own BandCamp, from the Dying Victims Productions’ BandCamp, or simply by clicking HERE. In summary, at very long last, Iron Kobra return to stake their claim as kings of swords and sorcery metal music with Eternal Dagger, so strap yourselves to your seats as the Cult of the Snake is back, bringing you heavy hymns that will pierce your eardrums like a Heavy Metal drill.
Best moments of the album:Trembling Dungeons, Eternal Dagger and Unchained & Untamed.
Band members Ela – vocals, guitars
Steffen – guitars
Matze – bass
Björn – drums
Guest musicians
Stefan Castevet – additional guitar solos on “Eternal Dagger” and “Shibuya Nights”, additional vocals on “Treacherous Tyrant” and “Trembling Dungeons”, additional electronic soundscapes
Rike – additional vocals on “Treacherous Tyrant” and “Trembling Dungeons”
Chantal – additional vocals on “Treacherous Tyrant” and “Trembling Dungeons”
These Progressive Thrash/Death Metal stalwarts are back with their sophomore full-length album, delivering faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect.
Delivering a unique fusion of tight Thrash Metal riffing, noisy Punk Rock aggression, Progressive Rock ambition, and classic Heavy Metal grandeur, Baltimore, Maryland’s own Progressive Thrash/Death Metal stalwarts Nuclear Tomb are back as twisted and vicious as ever with their sophomore full-length album, titled Epoch Inhumane, following up on their 2024 opus Terror Labyrinthian. Engineered and mixed by Matt Michel at Viva Studio, mastered by Brad Boatright at Audiosiege, and showcasing a thrashing, apocalyptic artwork by Brad Moore, the new offering by Michael Brown on vocals and guitar, Matt Ibach also on the guitar, Amelia Morris on bass, and JD Lookabill on drums brings forward faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect, being therefore perfect for fans of the music by Voivod, Pestilence, Coroner, and Atheist, just to name a few.
A cryptic warning sets the stage for the band’s maniacal thrashing feast titled Watch The Skies, with the harsh roars by Michael bringing even more adrenaline to their sound, followed by Falling Out The World Of Lies, a lesson in underground Progressive Thrash Metal by those American marauders with the rumbling bass and drums by Amelia and JD sounding absurdly heavy and vibrant. Unbowed / Averse is undoubtedly more experimental than its predecessors, led by the caustic and groovy riffs by Michael and Matt, whereas Faithless Continuum keeps the atmosphere as dark and visceral as possible, with JD once again sounding inhumane behind his drums. And they definitely know how to bring the intricacy of Progressive Metal to their core Thrash Metal insanity without slowing it down not even a bit, which is exactly the case in Broken Promise, Barren Essence.
Get ready to be caught in a nuclear mosh by Nuclear Tomb to the sound of Lifeless Transformation, where they speed things up and offer our avid ears their passion for the 80’s and 90’s infused with their progressive vein; followed by Butcher’s Lament, not their best effort to date, as it sounds a bit dissonant and out of place when compared to all other songs of the album. They get back on track with the razor-edged Terminally Emboldened, where their riffs and solos are effectively supported by the gigantic kitchen sounds crafted by Amelia and JD. The Coward’s Curse is another tune where they experiment with different sounds and tones while keeping blasting their killer thrashing core nonstop, whereas finally we face the multi-layered, rockin’ title-track Epoch Inhumane, showcasing the band’s undisputed dexterity until its eerie, grim finale.
Presenting songs that fearlessly rip and tear through warped tales of real world society’s impending collapse, Epoch Inhumane is a must-listen for fans of the weirdest side of Thrash Metal without forgetting the genre’s core aggression and speed, and if you want to know more about those American thrashers you can find them on Facebook and on Instagram, stream their caustic music on any platform like Spotify, and of course put your hands on such a striking album by purchasing it from the band’s own BandCamp or from Rotted Life Records. In other words, be prepared for the horror of the mind thrashing sonic nightmares blasted by Nuclear Tomb. You’ll never be able to sleep again after such a wild ride.
Best moments of the album:Falling Out The World Of Lies, Lifeless Transformation and Terminally Emboldened.
Worst moments of the album:Butcher’s Lament.
Released in 2026 Rotted Life Records
Track listing 1. Watch The Skies 3:17
2. Falling Out The World Of Lies 3:47
3. Unbowed / Averse 3:35
4. Faithless Continuum 3:56
5. Broken Promise, Barren Essence 3:58
6. Lifeless Transformation 3:02
7. Butcher’s Lament 3:30
8. Terminally Emboldened 2:25
9. The Coward’s Curse 3:53
10. Epoch Inhumane 5:02
Band members Michael Brown – vocals, guitar
Matt Ibach – guitar
Amelia Morris – bass
JD Lookabill – drums
Guest musician
Demir Soyer – additional lead guitars
Demon, please leave my mind… Delusional fight… Beaten, feel so traumatized… Outraged and down…
As June in the Northern Hemisphere is always splendid, our metal lady of such a warm and vibrant month also had to be a splendid one. However, you’re absolutely wrong if you think she sings about happiness and joy. Quite the contrary, she doesn’t care if it’s sunny and warm outside, delivering a Stygian blend of Atmospheric Black and Doom Metal with her band powerful enough to block the sun like a true sonic eclipse. Her name is Kristien Cools, the frontwoman for Belgian doom entity Splendidula, and you better be ready because once you enter her realm of gloomy and visceral doom, there’s no escape.
Born on September 22, 1985 in Mol, a municipality located in the Belgian province of Antwerp, but currently residing in Temse, a municipality in East Flanders, Belgium, Kristien is not only a metal vocalist, but she’s also a digital creator and a financial assistant. Regarding her studies, she went to the Provincial Kunsthumaniora Hasselt (PIKOH), to SISA in Antwerp, and also studied Desktop Publishing at CVO Heusden-Zolder. In addition, she’s is in a relationship with Belgian musician Joachim Taminau, who’s by the way the drummer for Splendidula.
Kristien said that she already started singing from the very first moment she could, already as a young child. Even back then she said “I’m going to be a singer,” and she has stuck to that ever since. “I was in my first band when I was 17, with which I did gigs and recorded a CD. Splendidula is definitely the band where things got more serious. I actually waited a very long time before taking singing lessons, but I once read an article about a singing teacher who teaches the technique for heavier singing in a healthy way, and that piqued my interest.”
Effortlessly blending genres to create a unique and captivating sound while dealing with delicate topics such as spirituality, depression, nightmares and death, Temse, Belgium-based Atmospheric Black/Doom Metal entity Splendidula started back in 2008, but none of the founding members are part of the band anymore. As a matter of fact, the band only released their debut self-titled album in 2013, already including Kristien on vocals, but with a completely different lineup with David Vandegoor and Adriaan Paszewski on the guitars, Jo Flemings on bass, and Patrick Vanderhenst on drums. After that, already featuring Joachim Taminau on drums (as well as other band members), the band released the albums Post Mortem, in 2018, and Somnus, in 2021.
Things unfortunately took a dark turn for Splendidula in 2022 with the passing of bassist Peter Chromiak, who played with the band in the albums Post Mortem and Somnus. Both guitarists at that time, Pieter Houben and David Vandegoor, found it impossible to carry on and Kristien and Joachim had to find new band members. After guitarist Guy Van Campenhout joined the band, and with the departures of guitarist Kim Van Stichel and bassist Bart Deroissart, they released their 2026 opus Absentia, a deeply personal journey through themes of loss and remembrance, available on BandCamp and on Spotify. Furthermore, in all of their albums you’ll find really touching, grim and scathing creations such as Absentia, Echoes of Quiet Remain, Behind My Semblance, Oculus, and Drocht.
According to the band, their name is derived from “lamprohiza splendidula,” the Latin name for “firefly,” aiming to represent the mysterious and peaceful feeling that these insects express when they fly around trees or float over water at night. Sitting at the crossroads of Atmospheric Black Metal and Doom Metal, the band blends the raw intensity of Black Metal with the deep, immersive atmosphere of Doom Metal, and while classic influences are certainly present, their focus is on crafting a layered, emotional experience. The combination of visceral screams, ethereal synths, and heavy instrumentation builds an atmosphere that is both intense and hypnotic, as their music is all about emotion and immersion, drawing the listener into the darkness they create.
Kristien also had some interesting comments about the music style played by Splendidula in one of her interviews. “We actually started writing music without wanting to play a particular genre. For us, the atmosphere that a song radiates is more important than whether or not we fit into the box we’re put into. During this process, we’ve evolved to a sound with a typical Doom metal base, accompanied by different influences from Sludge, Post and Black Metal. In this way we’re not limited to the boundaries of a particular genre. We want to continue evolving and explore musical boundaries, without standing still, and of course we hope that our audience will show the willingness to grow with us.” Regarding the band’s usually bleak artworks, she mentioned that the band decided to go for a really somber, yet very meaningful style of monochromatic art, to connect further with the concept of dreaming. “Actually a part of the population dreams solely in black and white, and a lot of theories suggest that people tend to dream in black and white when they experience something traumatic. After overcoming that difficult period, colours are gradually returning. We found this connection between dreams and reality very intriguing.”
Although Splendidula is obviously Kristien’s only band, you can also find her as a guest vocalist for the song Of Winter’s Woe and Whishes Whispered, from the 2021 album Prelude to Void, and all female vocals in the 2022 album A Voidchaser’s Elegy, both by German Ambient Doom/Post-Metal act Eirð, with her delicate yet visceral vocals matching perfectly with the long composition by the band’s mastermind Andreas Georg Libera, going on for over 10, 15 and even 20 minutes. I’m sure we’ll see more special appearances from Kristien in the near future for other bands that play Black, Death, Doom, Post-Metal, or any other subgenre of extreme music, as her voice fits perfectly in any of the darkest styles in Heavy Metal.
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Within the Black Metal spectrum, Kristien said that some of her major musical influences are renowned acts the likes of Rotting Christ, Wiegedood, Austere, Hecate Enthroned, and Urfaust, among several others, saying she’s always been drawn to Atmospheric Black Metal. “There’s something about the darkness and atmosphere that truly moves me. It’s more than just music, it’s an emotional experience. Outside of metal, my ‘feel-good’ music is New Wave and EBM, as I love the melancholic yet danceable energy these styles bring. I listen to many genres, what truly matters is that the music evokes emotion,” she commented.
As the band wanted to dedicate Absentia to their deceased bassist Peter Chromiak, and as Kristien was looking for a way to express her emotions even further, that album is the one where you’ll find her most aggressive vocals, having received lots of tips on how to properly venture through the realms of screaming and guttural singing. “Personally, I like to be able to vary as much as possible, both the low and high vocals, and now with the screams added, so that people stay captivated, and for me that is interesting too, of course.” Not only that, she mentioned that the band’s creative process includes writing the music first, starting from a basic riff in the rehearsal room, and then experimenting with song structures and implementing some of their personal influences, which is when she begins crafting her vocal lines as well. “Remarkably, I usually create my vocals while driving the car. Belgian traffic jams seem to be the perfect occasion to play some rehearsal recordings and start singing along. In this way I often create melodies very instinctively, and only at the very last stage, these melodies are also accompanied by written words.”
Needless to say, Kristien loves to perform live, having already played in different Belgian cities like Antwerp, as well as outside of their homeland, and at Belgium’s second-largest metal festival, Alcatraz. Furthermore, when asked how she would determine the setlist when Splendidula is scheduled for a 30 or 40-minute slot anywhere, taking into account their songs are long and detailed (sometimes surpassing the nine-minute mark), she said that can be a bit of a puzzle, but in the end everything makes sense and the show flows really well. Also, as the band consistently uses visuals in the background, like video footage, to create the perfect atmosphere and give their concerts a more theatrical vibe, there’s always lot of work to be done by Kristien and the boys, but it’s all worth it as the audiences love every single second of their performances.
Lastly, as a Belgian citizen that’s proud of the metal scene in her homeland, Kristien recommends Antwerp’s own Doom/Death Metal band Marche Funèbre, who by the way released the amazing album After the Storm, in 2024; West Flanders-based Atmospheric Death/Black Metal act Thurisaz, who unfortunately played their last concert on December 6, 2024 in Kortrijk, Belgium, before calling it quits; and Mechelen’s own Atmospheric Sludge/Post-Metal band Pothamus, who released in 2025 the album Abur. Who knows, maybe one day we’ll see Kristien as a guest vocalist for one of these bands, or any other band from the darkest and most melancholic side of music, right? Because we need more of the voice of Kristien Cools in our rotten and decaying world, as her singing is as comforting as it’s dark and gloomy.
These Canadian metal heroes return with their sixth studio album, taking on loss, pain and struggle while also blending their classic Heavy Metal roots with new textures, progressive touches, and a renewed sense of storytelling.
Forged in Vancouver, Canada in 2011, Iron Kingdom have spent fifteen years carrying the torch for classic Heavy Metal with unwavering conviction, inspired by the genre’s titans such as Iron Maiden, Judas Priest, Helloween, Scorpions, and Rush while building identity on electrifying stage presence, intricate twin-guitar harmonies, and a steadfast devotion to the melodic, adventurous spirit of traditional metal, culminating now in 2026 with their sixth studio album, titled Shadows and Dust. Recorded at KH Studios, co-produced by the band’s own Chris Osterman and Megan Merrick, mixed by Andy Boldt, mastered by Greg Reely at The Green Jacket, and displaying a harsh artwork by Alan Lathwell (inspired by a scene in the Malazan Book of the Fallen series by Steven Erikson), the new opus by vocalist and guitarist Chris Osterman, guitarist Megan Merrick, bassist Leighton Holmes, and drummer Max Friesen heavily lends itself towards the themes of death and impermanence, taking on loss, pain and struggle while also blending the band’s classic Heavy Metal roots with new textures, progressive touches, and a renewed sense of storytelling.
Chris and Megan rev up the band’s Heavy Metal engine with their striking axe attack in Defenders before the same Chris delivers his 80’s-inspired soaring vocals for our total delight; and get ready for another battle hymn titled Eternal Emperor, with the galloping rhythm led by Leighton and Max sounding thrilling and vibrant. Then fully inspired by the classic sound crafted by Iron Maiden, Judas Priest and Saxon we have Dreamless Sea, with their guitars sounding melodic and sharp from start to finish. Max once again takes the lead in Deadhouse Gates, with the entire band being in total sync and therefore offering us all first-class classic Heavy Metal; whereas it’s time for total anarchy with the fast and furious Line of Fire, adding elements of Speed and Thrash Metal to their core sound while led by the ass-kicking riffs and solos by Chris and Megan.
Despite its imposing name, Blood and Steel sounds a bit too mellow and soft compared to the rest of the album, as if it was a mellow version of Melodic Rock or AOR, although it’s still a very enjoyable tune. Then back to their trademark fusion of Hard Rock and Heavy Metal we face Shadow of Time, with the groove flowing from Leighton’s bass and Max’s drums penetrating deep inside our metallic minds; and it’s time to put the pedal to the metal in the high-octane Speed Metal extravaganza Dark Demands, with Chris firing his most insane high-pitched screams of the whole album. Again delivering a rhythmic, galloping sonority we have Starlight, with their guitar riffs and solos once again bringing fire to the ambience, whereas closing the album we’re treated to the epic seven-minute aria Sacred Fire, starting in a serene manner before morphing into a classic sound rooted in the 80’s, spearheaded by the old school vocals by Chris.
Across six albums, Iron Kingdom have transformed from a Hard Rock-leaning young band into a fully realized traditional Heavy Metal powerhouse, with Shadows and Dust also becoming the first album recorded entirely in the band’s own home studio, a major step in their long-standing DIY ethos. You can find more information about the band on Facebook and on Instagram, subscribe to their YouTube channel, stream their excellent music on Spotify, and of course purchase their new album from BandCamp. With Shadows and Dust, Iron Kingdom enter a new era with sharpened purpose, renewed fire, and a sound that honors the past while forging boldly ahead. It’s a story of endurance, evolution, and the unbreakable power of Heavy Metal, and I’m sure that after Shadows and Dust we’ll see those Canadians rockin’ for many years to come no matter what.
Best moments of the album:Deadhouse Gates, Line of Fire and Dark Demands.
Worst moments of the album:Blood and Steel.
Released in 2026 Steel Shark Records
Track listing 1. Defenders 6:05
2. Eternal Emperor 4:31
3. Dreamless Sea 5:11
4. Deadhouse Gates 4:57
5. Line of Fire 3:06
6. Blood and Steel 4:53
7. Shadow of Time 4:23
8. Dark Demands 3:36
9. Starlight 4:10
10. Sacred Fire 7:21
Band members Chris Osterman – lead vocals, guitars
Megan Merrick – guitars
Leighton Holmes – bass
Max Friesen – drums
The leaders of Heavy Psychedelic Rock take their years of experience and form their most engaging record to date, allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework.
Consisting of frontman and lead guitarist Nick DiSalvo, bassist Jack Donovan, guitarist and keyboardist Michael Risberg, and drummer Georg Edert, formed in Massachusetts, in the United States, but currently located in Berlin, Germany, Heavy Psychedelic Rock band Elder is back with their seventh studio album, titled Through Zero, the follow-up to their 2022 opus Innate Passage. Two decades into their existence, Elder remain an anomaly in the underground rock scene, a rare band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their own identity, and their new record is a strong reaffirmation of a commitment to pushing boundaries in the world of Heavy Rock and cements the group’s status as leaders of the pack in Heavy Psychedelic Rock. Recorded in Berlin across several months between tours in 2025, and the first album which the band not only produced but also co-mixed together with longtime collaborator Richard Behrens, Through Zero sounds more like a full extension of the band’s creative intentions than ever before.
It’s always a bold move to kick off an album with a ten-minute song like Sigil To Ruin, I mean, will the listener stay hooked? Well, in this case I can guarantee you won’t get bored at all, with the bass by Jack hammering your heads mercilessly while Nick delivers delicate yet piercing vocals nonstop. Capture & Release is another very detailed and enfolding aria by those guys, with its whimsical start morphing into a feast of Progressive Rock and Metal led by the intricate beats and fills by Georg; while the title-track Through Zero brings to our avid ears an overdose of psychedelia flowing from the riffs by Nick and Mike, alternating between atmospheric passages and sheer progressive madness. Strata, the longest song of the album, kicks off to the classy bass by Jack while also presenting multiple layers and nuances, with Nick’s vocals overflowing energy and passion; and it’s time for the most psychedelic of all songs, titled Sight Unseen, while still presenting their Heavy Metal vein. Furthermore, Jack and Georg are relentless with their respective bass and drums. And lastly, we’re treated to the introspective outro Blighted Age, turning the ambience into fields of serenity thanks to the song’s soothing guitars and minimalist beats.
In their new album, Elder takes their years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework, being therefore highly recommended for fans of Earthless, Truckfighters, Electric Wizard, The Sword, Sleep, Kylesa, Pallbearer, Monolord, and YOB, among several others. If you want to join them in their unique journey through the lands of psychedelia and progressiveness, you can find them on Facebook and on Instagram, stream their music on Spotify, and put your hands on their new album via BandCamp or by clicking HERE. Rock N’ Roll has never been heavier and crazier, and we must thank bands like Elder for releasing albums like Through Zero and, therefore, for making our world a much more pleasant place.
Best moments of the album:Sigil To Ruin and Strata.
Worst moments of the album: None.
Released in 2026 Blues Funeral Recordings
Track listing 1. Sigil To Ruin 10:34
2. Capture & Release 8:48
3. Through Zero 9:06
4. Strata 10:48
5. Sight Unseen 8:51
6. Blighted Age 5:49
Band members Nick DiSalvo – vocals, guitars
Mike Risberg – guitars, keyboards
Jack Donovan – bass
Georg Edert – drums
Crafting a heavy, story-driven sound rooted in some of the biggest names of the genre, this Heavy Metal ensemble attacks again with their electrifying sophomore album.
Crafting a heavy, story-driven sound rooted in influences like Black Sabbath, Iron Maiden, Metallica, Alice in Chains, and Tool, New Jersey’s own Heavy Metal/Hard Rock ensemble Who On Earth are ready to rock our world once again with their sophomore opus It Takes The Village, following up on their 2022 debut Blame. Currently formed of vocalist Coosh, guitarists Johnny James Barone and Jimmy Kocha, bassist Pete Rizzi, and drummer Howie Fallon, such an electrifying American rock and metal band is on fire throughout the entire It Takes The Village, honoring the legacy of former guitarist Bruce Gatewood (RIP), and re-energizing those five talented musicians to keep moving forward in the name of our good old Rock N’ Roll.
Their Southern Metal vein arises in the opening tune Vigilance, where the massive riffs by Johnny and Jimmy provide Coosh with exactly what he needs to shine on vocals, and their Rock N’ Roll groove keeps flowing in Any Other Way, reminding me of old school Soundgarden, with Howie kicking some ass behind his drums. Shadows is a solid rockin’ tune where the backing vocals by Coosh’s bandmates add a lot of power to his classic vocal lines, while the massive bass by Pete dictates the pace in the mid-tempo Hard Rock feast Good Man Down, excellent for enjoying a beer at a rock pub anywhere in the world. Closer is a weird interlude that doesn’t add much to the album, followed by Too Close, starting with the 70’s-inspired bass by Pete and accompanied by the always striking riffs by Johnny and Jimmy, flirting with Alternative and Groove Metal and Rock.
There’s no time to breathe as Who On Earth continue to fight the unfaithful in Double Or Nothing, a song that should be added to the playlists of all rock stations around the globe, not to mention how electrifying their guitar solos sound. Then we have Monster!, a journey back in time without sounding outdated where Coosh once again leads his crew with a killer vocal performance, highly recommended for hitting the highway with your loved ones, followed by Oh, Set Me Free, another very melodic display of Hard Rock that reminds me of some creations by the mighty Armored Saint. It’s time to open up the pit and slam together with your buddies to the sound of We Don’t Belong Here, led by the pounding drums by Howie; and Ascension is a cinematic interlude that feels like it was taken from a Power Metal album, warming us up for The Unbeaten, a delicate ballad by the boys to put an enfolding ending to the album. Well, there are still the bonus tracks left, all offering the band’s trademark fusion of Hard Rock with Southern and Groove Metal, just like in the thrilling extended version of Vigilance, with Mike Orlando and Jason Bittner as guest vocalists.
Heavy riffs, classic bass, galloping drums, and an endless amount of sheer energy. That’s exactly what will hit you as you listen to the excellent It Takes The Village, proving that despite some bumps on the way, the guys from Who On Earth are inspired and focused to keep moving forward no matter what. Having said that, don’t waste your time and go show your support to those guys by following them on Facebook and on Instagram, by subscribing to their Youtube channel, by streaming their rockin’ creations on Spotify and on Apple Music, and of course by purchasing their new album from Bandcamp. Because Who On Earth live and breathe Heavy Metal and Rock N’ Roll, and in the end, who on earth doesn’t enjoy some high-quality heavy music, right?
Best moments of the album:Vigilance, Too Close, Monster! and We Don’t Belong Here.
Worst moments of the album:Closer.
Released in 2026 Independent
Track listing 1. Vigilance 4:15
2. Any Other Way 3:07
3. Shadows 4:00
4. Good Man Down 3:13
5. Closer 1:00
6. Too Close 3:39
7. Double Or Nothing 4:09
8. Monster! 4:08
9. Oh, Set Me Free 4:28
10. We Don’t Belong Here 3:51
11. Ascension 1:47
12. The Unbeaten 4:15
Bonus tracks
13. Jane 4:17
14. Down And Out – Dvrko Remix 3:41
15. Vigilance [Extended] 5:08
Band members Coosh – vocals
Johnny James Barone – guitar
Jimmy Kocha – guitar
Pete Rizzi – bass
Howie Fallon – drums
Guest musicians
Mike Orlando – vocals on “Vigilance [Extended]”
Jason Bittner – vocals on “Vigilance [Extended]”
Metalheads in Toronto were finally locked in the dark tower of Heavy Metal ruled by the phenomenal Witches of the North on their first ever concert in the city.
For the first time ever in their already solid career, the indomitable BURNING WITCHES, with the support of THUNDEROR and AMMO, took the city of Toronto by storm with their undisputed blend of Heavy and Power Metal during their Canadian Tour 2026, brought to the city by Boonsdale Records. I initially thought The Garrison might have been too small for these three amazing bands, but due to the fact Dark Tranquillity were playing in the city at the exact same time, the attendance for Burning Witches wasn’t exceptional. It feels like that’s the norm in Toronto in April and May, and then in September and Ocober, with countless concerts night after night, then huge draughts in the summer and winter. Well, Keith Ibbitson of Metal Paparazzi and I were there to worship our beloved Witches of the North, bringing to our metallic hearts an overdose of metal awesomeness (louder than an atom bomb, by the way), and I’m sure after such an amazing show they’ll quickly return to Toronto in the near future for another ass-kicking concert.
In order to properly introduce the first band of the night, I have a question for you. Are you too metal for metal? That’s exactly what Toronto’s own Heavy Metal brigade AMMOdelivered to us all this Thursday night, playing their already classic hymn Too Metal for Metal, plus songs from their 2019 EP Taking the Throne, and their 2025 single Mortis Rex, all available on BandCamp and on Spotify. With guitarist Brett Williams now also taking care of their vocal duties, the quartet kicked some serious ass onstage, properly warming up the crowd for the upcoming attractions. Kudos also to the iconic bassist Necro Hippie for blasting his bass nonstop, adding an extra layer of heaviness to the band’s core sound. I think their first full-length album is long overdue, we definitely need that, as those guys know how to add the word “METAL” to any stage, and if you ever have a chance to see them live, do not miss it.
Setlist Mortis Rex
Far From Here
Street Metal Werewolves
Heart of Sin
Empire
Too Metal for Metal
Band members Brett Williams – vocals, guitars
Matt Lewis – guitars
Necro Hippie – bass
Struan Robertson – drums
After a short break, it was time for Toronto’s Heavy Meta/Hard Rock heroes THUNDEROR to bring the arena-rock anthems from their 2022 album Fire It Up and their brand new offering Bleed for It to life at The Garrison, both available on BandCamp and on Spotify, and I’m always going to say it’s truly impressive how the band’s mastermind JJ Tartaglia is capable of singing, playing drums, and even playing keyboards at the same time. Well, we can all do that, but of course let’s say the quality of the sound in that case will be below hideous, right? Jokes aside, and back to the concert, it felt like being taken back to the glory of the 80’s during their set, with songs like Fire It Up, Get ‘Em Counted, and in special Cape Breton Home, featuring the awesome guest fiddler Zoe S., inspiring us to headbanging and raise our horns together with JJ and his crew. If you don’t know Thunderor yet, don’t waste your time and go check their music, and if possible, go see them live. It’s time to pump up the volume, my friends!
Setlist Fire It Up
One Chance
Pump Up The Volume
Get ‘Em Counted
Cape Breton Home
Dangerous Times
Thunderor
How We Roll
Band members JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass
After a long wait of over ten years, Switzerland’s unparalleled Heavy/Power Metal brigade BURNING WITCHES finally toured Canada, or at least a few selected Canadian cities including Toronto, and the excitement on the faces of all fans at The Garrison was crystal clear with their first chance ever to see those talented ladies kicking some serious ass live. Having released the excellent Inquisition in 2025 (available on both BandCamp and Spotify, just like all of their other albums), the band formed of the air raid siren Laura Guldemond (what an incredible voice!), the virtuosi Romana Kalkuhl and Courtney Cox on the guitars, the thunderous Jeanine Grob on bass, and the unstoppable Lala Frischknecht on drums delivered a fantastic mix of their entire discography for the total delight of all concert goers, leaving us all eager for more after all was said and done.
Lots of vocalists use a variety of corrective and creative effects on their microphones during their live performances, such as reverb or delay, but not Laura. Her voice is unbelievable, absurdly powerful and piercing, adding even more electricity to their already thrilling songs like Dance With the Devil, The Dark Tower (my favorite of the night), Inquisition, and the beautiful ballad Release Me. It’s truly a thing of beauty, but of course her bandmates make sure there’s endless heaviness for her to shine on vocals. Romana and Courtney didn’t stop shredding their axes, while Jeanine and Lala made the whole venue tremble. It was insanely loud. Fans were having a phenomenal time, raising their fists, chanting all songs with the girls, and even igniting some mosh pits during their faster songs.
After their coup-de-grace with the classics Hexenhammer, Wings of Steel, The Witch of the North, and Burning Witches, as it was their last show of the tour (before getting a flight to Germany the following morning to play at a festival basically that same day), we were all expecting a surprise like “Holy Diver”, but that’s fine. We understand how exhausting their flight back could be, and besides, we already got to see them playing their biggest classics live in the city for the first time, right? After the show, some of the girls spent a few minutes outdoors chatting with fans. I had the pleasure of talking for a bit with Courtney and Jeanine, and I must say they’re not just extremely talented musicians, but super nice ladies who make the world a much better place with their music and charisma. I really hope this wasn’t their first and only show in Toronto, as they need to return to the city to play at a bigger venue (and not on the same day as a major player like Dark Tranquillity), so that more people get exposed to their stunning Heavy Metal. As a huge fan of the band, I can’t wait to get locked in a dark tower in Toronto once again by the most talented witches of heavy music.
Setlist Sanguini Hominum
Soul Eater
Shame
Dance With the Devil
Maiden of Steel
The Dark Tower
Sea of Lies
Inquisition
Release Me
Black Widow
Evil Witch
Lucid Nightmare Dungeon of Infamy The Witch Circle
Hexenhammer
Wings of Steel
The Witch of the North
Burning Witches Malus Maga
Band members Laura Guldemond – vocals
Romana Kalkuhl – guitars
Courtney Cox – guitars
Jeanine Grob – bass
Lala Frischknecht – drums
These Melodic Death Metal masters and Gothenburg Sound pioneers are unleashing upon us their striking seventh album, a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg.
Recorded and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and displaying a dark, minimalist artwork by Robert Samsonowitz, the breathtaking The Ghost of a Future Dead is more than just the seventh studio album by Melodic Death Metal masters and Gothenburg Sound pioneers At the Gates. The follow-up to their 2021 opus The Nightmare of Being has now become a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg, an absolute titan of underground music, who tragically passed away in September 2025. In the midst of processing such a devastating loss, the remaining members of At the Gates, guitarists Anders Björler and Martin Larsson, bassist Jonas Björler, and drummer Adrian Erlandsson, vowed to complete the musical journey they had been on for the previous 12 months, with Tomas’ blessings and inspirational contributions still ringing in their ears, resulting in another essential part of his brave, fascinating, and inspirational story, and arguably one of the most powerful and emotional albums the band has ever recorded. “If I remember rightly, we had all the lyrics before it was recorded, but we played with the title after he was diagnosed,” said Anders. “So the title reflects his situation, that he might not survive the illness. The working title was The Dissonant Void, but in the spring of 2024, we changed it to The Ghost of a Future Dead. I don’t know if it was like a premonition of what was about to come or anything. But now it’s an eerie title, because he has passed. It makes the title even more real somehow.”
At the Gates waste no time and kick off their rabid feast with The Fever Mask, featuring guest Charlie Storm (Dimmu Borgir, Dragonlord, In Flames) on keyboards, where Tomas screams the song’s words majestically (“Irrevocable howling rapture / Ravenous and foul / All-devouring hallucinations / A purgatorial shroud / Emptiness unbound / Annihilation masked / The labyrinth inside / The fever mask”). Moreover, I love the fact Tomas basically “cheated” death with the release of this album, proving his soul is immortal, and his visceral vocals in The Dissonant Void are simply phenomenal. Det Oerhörda, a Swedish phrase that translates to “the incredible” or “the monstrous” in English, featuring guest Fredrik Wallenberg (Embalmed, Sarcasm, The Lurking Fear) on vocals, starts in a sinister way like a horror movie, boosted by Anders and Martin’s relentless riffs; followed by A Ritual of Waste, a journey back to their early days where Adrian is bestial behind his drums supported by the massive bass lines by Jonas. In Dark Distortion keeps the energy flowing with its fast-paced rhythm in a lesson in Melodic Death Metal made in Sweden; and they definitely want us all to keep the circle pit moving in Of Interstellar Death, with Anders and Martin sounding yet again venomous with their riffage.
Get ready for another majestic melodeath voyage together with Tomas and the boys in Tomb of Heaven, with Adrian showing absolutely no mercy for our souls, hammering his drums like there’s no tomorrow, followed by Parasitical Hive, perhaps the most generic of all songs in the album, not because it’s a weak song but because The Ghost of a Future Dead is truly insane from start to finish. And when a band like At the Gates kicks off a song with an eerie intro you know they’ll smash you like an insect quickly after, which is exactly the case in the high-octane The Unfathomable, spearheaded by another venomous performance by our beloved Tomas on vocals. The Phantom Gospel keeps the level of adrenaline in the album through the roof, with the entire band being on fire armed with their sonic weapons, but of course Tomas steals the spotlight with his infernal growling, whereas Förgängligheten, a Swedish noun that translates to “the impermanence” or “the ephemerality” in English, is a soothing, melancholic interlude that will bring tears to your Heavy Metal eyes before we face Black Hole Emission, a hard hitting tune perfect for concluding Tomas’ undisputed legacy on a high and pulverizing mode. Furthermore, I have no idea if the band has any additional material with his vocals to be released, but if this is his swan song he’s definitely going down in style.
“There’s a legacy surrounding Tomas, especially in Sweden,” commented Anders. “He’s a forefather. He was one of the first people in Gothenburg involved in this scene, and he was an important figure in the tape-trading scene. He was really warm and welcoming to new people. You felt welcome in his presence, somehow. He was super social. He had a lot of friends in a lot of bands around the world. The new album feels like a good, emotional release. To get our last creative moment together out on CD and vinyl, it’s more of an existential thing. The music will speak for itself!” Needless to say, you can pay your tribute to the great Tomas Lindberg by letting the band know how much you love their new album on Facebook and on Instagram, by streaming their music on Spotify, and by purchasing a copy of their amazing new album from the Century Media Records’ BandCamp or webstore, or by clicking HERE. Thank you, Mr. Tomas Lindberg, for making heavy music a much better place, and for leaving us with such a killer album. You’ll never be forgotten. Rest in Power.
Best moments of the album:The Dissonant Void, A Ritual of Waste, Tomb of Heaven and Black Hole Emission.
Worst moments of the album:Parasitical Hive.
Released in 2026 Century Media Records
Track listing 1. The Fever Mask 3:12
2. The Dissonant Void 2:47
3. Det Oerhörda 3:35
4. A Ritual of Waste 3:35
5. In Dark Distortion 3:50
6. Of Interstellar Death 3:45
7. Tomb of Heaven 3:53
8. Parasitical Hive 4:34
9. The Unfathomable 4:07
10. The Phantom Gospel 2:44
11. Förgängligheten 2:41
12. Black Hole Emission 3:39
Band members Tomas Lindberg – vocals
Anders Björler – guitars
Martin Larsson – guitars
Jonas Björler – bass
Adrian Erlandsson – drums
Guest musicians
Charlie Storm – keyboards on “The Fever Mask”
Fredrik Wallenberg – vocals on “Det Oerhörda”
First and foremost, I have to start this review by thanking Mr. Noel Peters of Inertia Entertainment for bringing one of my childhood heroes back to Toronto. Secondly, although the crowd was not as rowdy nor loud as in Montreal the night before (and yes, I drove all the way from Toronto to Montreal for the show, and back), the cozy Queen Elizabeth Theatre was on fire for the unparalleled HELLOWEEN, supported by BEAST IN BLACK, for their must-see 40th Anniversary North American Tour 2026. My buddy Keith Ibbitson of Metal Paparazzi was also there to witness one of the most important bands in the history of Heavy Metal, and his shots of the concert will give you a very good idea of how bright, vibrant, well-produced and engaging the whole evening was. As a fanboy, it was a dream come true to finally se back to back concerts by my beloved pumpkins, something I had only been able to do before in my life with Iron Maiden, Judas Priest, Slayer and Megadeth, and I need to say this amazing “HelloWeekend” will forever stay in my mind and in my heart as one of my most cherished metal memories.
Before the mighty Helloween hit the stage, the opening slot was given to Helsinki, Finland-based Heavy Metal/Hard Rock brigade BEAST IN BLACK. Formed in 2015 by Anton Kabanen after he left Battle Beast, and having already released the albums Berserker, From Hell with Love,Dark Connection, and the EP Power of the Beast, plus the 2025 single Enter the Behelit, all available on BandCamp and on Spotify, the band put on a great show to warmup the crowd in Toronto (as well as in Montreal, by the way), proving why they’ve been gaining more and more fans in Canadian lands. Songs like Power of the Beast, Enter the Behelit and No Surrender worked really well live, with frontman Yannis Papadopoulos keeping the audience entertained the entire time, but the fact that Anton Kabanen himself stayed in Finland to finish their upcoming album, therefore missing their entire North American tour, was really weird and made their sound feel a bit thinner than usual. Well, priorities are priorities, and I’m sure Anton didn’t want to miss the tour at all, but you never know what surprises or challenges life will present to you, right?
Setlist Power of the Beast
Hardcore
Sweet True Lies
Born Again
From Hell With Love
Enter the Behelit
Die by the Blade
One Night in Tokyo
Blind and Frozen
No Surrender
Band members Yannis Papadopoulos – vocals
Daniel Freyberg – guitars
Máté Molnár – bass
Atte Palokangas – drums
It was precisely 8:45pm on a very chilly night in Toronto (after a sunny and warm Saturday in Montreal, which is why you can never trust the weather in April in Canada) when the indomitable metal invaders Michael Kiske, Andi Deris, Kai Hansen, Michael Weikath, Sascha Gerstner, Markus Grosskopf and Dani Löble, collectively known as the Pumpkins United of HELLOWEEN, hit the stage of the Queen Elizabeth Theatre to celebrate 40 years of their undisputed, unparalleled career, proving to us all that Heavy Metal is the law, and it will always be. Their sound, stage and overall production were impeccable, with the big screen behind the stage adding a lot of taste to all songs, in special to the ones preceded by “The Keeper.” Not only that, their setlist was also a thing of beauty, a journey through all of their phases, from their 1985 masterpiece Walls of Jericho, to their 2025 opus Giants & Monsters (and of course, you can stream them all on Spotify), showing it is possible to celebrate decades of music without forgetting or ignoring any period of their career. We got the usual classics, epic, long songs, new songs, and even some very welcome deep cuts. I think that, if they were allowed, they would have easily played for another hour.
There are no words that can be used to describe how amazing it is to watch Michael Kiske and Andi Deris sharing the vocal duties on basically all songs, plus of course Kai Hansen delivering his pure Heavy Metal power on Ride the Sky and Heavy Metal (Is the Law). In all seriousness, I don’t think there’s any other band in the world, of any music genre, with three phenomenal vocalists and frontmen like Helloween nowadays. I love the fact they sing each other’s songs without any bad blood; quite the contrary, it feels like they’re loving doing that, and of course us fans are the actual winners in this case as all songs sounded absolutely incredible. Just like in Montreal, I think I saw a few people crying every single time Kiske delivered his hypnotizing vocals, taking us all back in time like in the all-time classics March of Time and Future World, while also presenting us with the new masterpiece Universe (Gravity for Hearts), by far the best song of the new album both in the studio and live. What a stunning tune with magical lyrics, definitely reaching deep inside the hearts of us metalheads.
Deris was his usual one-man show, the “perfect gentleman” that keeps our eyes glued to the stage it doesn’t matter if he’s “just” singing or interacting with the other guys, always putting a smile on our faces, while Hansen, Weikath, Gerstner, Grosskopf and Löble kept their engine running flawlessly like one of those perfect German sports cars. That’s the reason why deep cuts like We Burn, Hey Lord! and Hell Was Made in Heaven work so well on this tour. Furthermore, the acoustic part of the show was also a nice touch to it, just like in 2023, with Kiske and Deris once again mesmerizing us all with their unique voices. In the Middle of a Heartbeat (preceded by a snippet of the classic “Yesterday”, by The Beatles) sounded excellent, inspiring all fans to sing it along with them, and having the beautiful A Tale That Wasn’t Right played half acoustic, half fully plugged was also amazing.
The show was already reaching the two-hour mark when the band decided to simply destroy our senses with an overdose of awesomeness that reminded us all why they’ve been on the road for so many decades, always strong, always metal. I guess the 13-minute work-of-art Halloween was by far the favorite of all fans in Toronto and Montreal, with simply everyone singing and screaming it at the top of their lungs. It was a collective catharsis of pure heavy music, and when it was over I wish they simply could start playing it again. The triumvirate of metal madness formed of Eagle Fly Free, Power and Dr. Stein, plus the outro to Keeper of the Seven Keys (and again, I wish they had played it in full), sounded beyond marvelous, and when the show was over you could see in everyone’s faces the crowd still had a lot of energy left for more, as well as the band, but unfortunately as you all know time marches on without us all. It never stops, and hopefully Helloween will never stop either. Needless to say, I’m already waiting for another pumpkin invasion in Toronto and Canada in general because, as you might have noticed, everyday is Helloween.
Setlist Let Me Entertain (Robbie Williams song) Interlude
March of Time The Keeper
The King for a 1000 Years
Future World
This Is Tokyo
We Burn The Keeper
Ride the Sky
Into the Sun
Hey Lord!
Universe (Gravity for Hearts)
Hell Was Made in Heaven
Drum Solo
I Want Out
In the Middle of a Heartbeat
A Tale That Wasn’t Right
A Little Is a Little Too Much
Heavy Metal (Is the Law) The Keeper
Halloween
Encore: Invitation
Eagle Fly Free
Power
Dr. Stein
Keeper of the Seven Keys (Outro)
Band members Michael Kiske – vocals
Andi Deris – vocals
Kai Hansen – guitars, vocals
Michael Weikath – guitars
Sascha Gerstner – guitars
Markus Grosskopf – bass
Dani Löble – drums
Arising from the ashes of Power Metal band Morifade in early 2015, Linköping, Sweden-based act Prime Creation is ready to unveil their fourth studio album, titled Souls of the Fallen, following up on their 2023 album Tell Freedom I Said Hello. Consisting of skilled and experienced musicians, those being Esa Englund ($ilverdollar, Hellshaker) on vocals, Robin Arnell (Los Sin Nombre, Morifade) and Rami Tainamo on the guitars, Henrik Weimedal (Devil’s Crown, Morifade) on bass, and Kim Arnell (Zornheym, Devil’s Crown, Morifade, Nephenzy Chaos Order) on drums, Prime Creation deliver their own blend of modern, hard-driving and melodic Heavy Metal in Souls Of The Fallen, being therefore recommended for admirers of the music by renowned acts from the Power Metal scene worldwide the likes of Nocturnal Rites, HammerFall, Brainstorm and Firewind, among several others.
After all is said and done, if Power Metal with a melodic Swedish twist is your cup of tea, Souls Of The Fallen will certainly satisfy your cravings, inspiring Prime Creation to keep delivering top-of-the-line heavy music for many years to come. Furthermore, if you want to know more about the band, their music, tour dates and plans for the future, you can find those talented heavy metallers from beautiful Sweden on Facebook and on Instagram, subscribe to their YouTube channel, stream their full discography on Spotify, and of course put your metallic hands on Souls Of The Fallen by purchasing it from the ROAR! Rock of Angels Records’ BandCamp or webstore, or from other online stores like Sonic Age Records. Having said all that, as true metalheads we can all rest assured that as long as Prime Creation keep releasing high quality albums like their new one, the souls of the fallen will remain alive inside our hearts.
THE HEADBANGING MOOSE 