Tag Archives: heavy metal

Album Review – Alterium / Stormrage EP (2025)

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The new EP by this up-and-coming Italian band captures the essence of classic Power Metal while pushing their sound into exciting new territories.

Further cementing the band’s place among the most promising names in the new wave of European Power Metal, Stormrage is the brand new EP by Italian Symphonic/Melodic Power Metal warriors Alterium, a powerful chapter that bridges their acclaimed 2024 debut Of War And Flames and their upcoming full-length album. Formed of Nicoletta Rosellini on vocals, Paolo Campitelli on the guitars and keyboards, Alessandro Mammola also on the guitars, Luca Scalabrin on bass, and Dario Gozzi on drums, the band continues their tradition of blending agile riffs, epic atmospheres, and battle-hardened energy in Stormrage, capturing the essence of classic Power Metal while pushing the band’s sound into exciting new territories.

The whimsical, epic keys by Paolo will embellish the airwaves and invite you on a symphonic journey in the title-track Stormrage, accompanied by the classic drumming by Dario and the melodic and powerful vocals by Nicoletta; whereas Sui starts in a more melodic manner, sounding almost like a Folk Metal ballad, before Paolo and Alessandro strike us all with their scorching Heavy Metal riffs in a very detailed, imposing and electrifying feast of Symphonic and Melodic Power Metal. The CD version of the EP comes with two amazing bonus, the first one being their cover version for the classic by Symphony X titled Paradise Lost (check the original version from their 2007 album Paradise Lost), and Alterium’s version is just as magical and enfolding, with Nicoletta’s powerful vocal lines being flawlessly supported by Paolo’s keys and the low-tuned, groovy kitchen crafted by Luca and Dario. And closing the CD version of the EP we have the orchestral version of Of War and Flames, a cinematic rendition of the original version from their own 2024 album Of War and Flames, where all orchestrations walk hand in hand with Nicoletta’s epic, soaring vocals.

In summary, this new chapter sees the band sharpen their songwriting and deliver a fresh burst of adrenaline that both longtime fans and newcomers will appreciate, reaffirming their mission to carry the torch of European metal with pride and power. Hence, you can get in touch with those Italian metallers via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase their new EP from Big Cartel. As aforementioned, Stormrage works as a bridge between their 2024 album and their future endeavor, and based on the high energy and quality of the music found in their new EP, we can rest assured the future looks extremely promising for such an amazing up-and-coming band.

Best moments of the album: Sui and Paradise Lost.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Stormrage 4:16
2. Sui 5:27

CD Version bonus tracks
3. Paradise Lost (Symphony X cover) 6:45
4. Of War and Flames (Orchestral version) 3:40

Band members
Nicoletta Rosellini – vocals
Paolo Campitelli – guitars, keyboards
Alessandro Mammola – guitars
Luca Scalabrin – bass
Dario Gozzi – drums

Album Review – Paradise Lost / Ascension (2025)

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More than three decades into their career, UK’s own torchbearers of death and doom return with their seventeenth opus, traversing the multitude of sounds in their arsenal while keeping a minor-key melancholy that remains irresistible.

More than three decades into their career, and with over two million albums sold, Halifax, UK’s own  Doom/Death/Gothic Metal/Rock behemoths Paradise Lost remain the undisputed kings of metal’s darkest side, always putting us on a Stygian embrace of heaviness intertwined with shadowy melody and atmosphere. Now in 2025 the Yorkshire quintet formed of the iconic frontman Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, bassist Steve Edmondson, and drummer Guido Zima (who left the band after the album recordings were done, being replaced by Jeff Singer) returns with their staggering seventeenth album, entitled Ascension, a record that sees their crown continue to gleam as it underlines just how they attained their position. Produced by Greg Mackintosh at Black Planet Studios, with drums and vocals captured at NBS and Wasteland Studios, and adorned by the stunning painting “The Court of Death” (1902), by George Frederic Watts (1817 – 1904), the album’s ten tracks traverse the multitude of sounds in the band’s arsenal, from full-bore Heavy Metal to sky-high melody, all the while keeping a minor-key melancholy that remains irresistible.

Serpent on the Cross is absolutely gloomy and embracing from the very first second, with the sluggish beats by Guido exhaling Doom Metal magic, not to mention how crisp and piercing the guitars by Greg and Aaron sound, followed by Tyrants Serenade, one of the singles previously released, beautifully depicting the essence of the album with Nick stealing the show with his unique deep vocals while also presenting a strong Type O Negative vibe. Then we have Salvation, another lengthy and captivating aria of doom by those veterans with the keys by Greg sounding utterly haunting and somber; and their obscure sounds will penetrate deep inside your skull in Silence like the Grave, getting heavier and heavier while Nick vociferates the song’s devilish lyrics with endless anger in his blackened heart. And Lay a Wreath upon the World is one of their trademark dark ballads, albeit below the rest of the album regarding its punch and vibe.

The next track Diluvium sounds like it was taken from Icon or Draconian Times with a strong progressive twist thanks to the fantastic job done by Greg and Aaron armed with their stringed axes, whereas again delivering a beyond melancholic, slow and visceral Doom Metal sonority we have Savage Days, with Guido’s beats hitting us hard inside our heads. They keep blasting our minds with their idiosyncratic blend of Gothic and Doom Metal in Sirens, where their slashing riffs match perfectly with Nick’s vocals once again, even sounding a little like Metallica; and Steve and Guido will make your entire body tremble in Deceivers, accompanied by the thrilling sounds crafted by their bandmates, resulting in a lecture in modern-day Doom Metal with Gothic Rock and Metal nuances. And lastly, cryptic piano notes set the tone in The Precipice, closing the album on a pensive, sinister mode to the pounding drums by Guido and the menacing bass by Steve.

“The album title is taken from the belief in rising to the better place, in fiction from Earth to heaven, and all the requirements that go with that,” elaborates Nick Holmes. “In real life, people are often striving to get to a better place from birth, trying to be a better person, regardless of the fact that the only reward is death. The lyrics deal with everything that life throws at us. It’s never predictable, and within that it can also be terrifying. How people deal with death, the crutches they turn to, and how the mental state is affected by life changing situations is always intriguing.” Hence, you can join those trailblazers of doom in their quest for absolute darkness on Facebook and on Instagram, stream their unparalleled discography in full on Spotify, and of course click HERE to put your hands on such a beautiful album of obscure music. Because in the end,  Ascension stands proud in Paradise Lost’s canon. The misery never stops but, as the band itself likes to say, that’s how they like it.

Best moments of the album: Serpent on the Cross, Silence like the Grave and Deceivers.

Worst moments of the album: Lay a Wreath upon the World.

Released in 2025 Nuclear Blast Records

Track listing
1. Serpent on the Cross 6:12
2. Tyrants Serenade 4:20
3. Salvation 7:07
4. Silence like the Grave 4:46
5. Lay a Wreath upon the World 4:51
6. Diluvium 5:47
7. Savage Days 3:54
8. Sirens 4:46
9. Deceivers 3:37
10. The Precipice 5:42

Band members
Nick Holmes – vocals
Greg Mackintosh – lead guitars, keyboards
Aaron Aedy – rhythm guitars
Steve Edmondson – bass
Guido Zima – drums

Album Review – Lorna Shore / I Feel the Everblack Festering Within Me (2025)

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Call them heroes or hell-bringers, the torchbearers of modern-day Deathcore are inviting us all to be part of their own movie to the sound of their the declarative and breathtaking fifth album.

Call them heroes or hell-bringers, it doesn’t matter to the  men of New Jersey, United States-based Symphonic Deathcore beast Lorna Shore. Produced and engineered by Josh Schroeder, and displaying a sinister artwork by Zac Shiffer, I Feel The Everblack Festering Within Me, the declarative fifth album in their career, and the follow-up to their 2022 masterpiece Pain Remains, sees the band currently formed of Will Ramos on vocals, Adam De Micco and Andrew O’Connor on the guitars, Michael Yager on bass, and Austin Archey on drums putting all of metal’s subgenres on notice. Because after one listen, you’ll wonder what motivates them and what took metal so long to evolve. You also might wonder whose truck may have hit you while you were listening to the album.

Like the soundtrack to a horror movie, the opening track Prison of Flesh grows in intensity until all hell breaks loose to the visceral beats and fills by Austin in a demented display of brutal and vile Deathcore, while Oblivion follows a similar pattern, with Will’s deep, inhumane growls and screeches sounding like a creature form the abyss, being therefore perfect for some insane action inside the circle pit to the wicked riffs by Adam and Andrew. In the infuriated In Darkness, the background orchestrations and choir elevate the song’s epicness to a whole new level, with once again Will growling manically while the sound of their guitars exhales harmony and electricity; and they continue to fill every single space in the air with their striking fusion of Deathcore and symphonic elements in Unbreakable, leaning towards the sound from Pain Remains. Then a serene start ignites Glenwood, another epic and atmospheric creation by the band overflowing melancholy and darkness, albeit a bit generic in the end.

Will keeps roaring like a true lion in Lionheart, where Austin makes sure his beats and fills are not only heavy-as-hell, but also complex enough to keep the music as vibrant and fresh as possible, followed by Death Can Take Me, another pulverizing display of Symphonic Deathcore where the crushing drums by Austin walk hand in hand with Will’s desperate screams. Then presenting elements from traditional metal styles like Heavy and Thrash Metal we have War Machine, with its background keys elevating its punch, not to mention the excellent job done by Adam and Andrew armed with their axes. Their second to last metallic attack is offered in the form of A Nameless Hymn, with Michael and Austin sounding ruthless with their heavy-as-hell kitchen; and last but definitely not least, Lorna Shore bring forth a masterpiece of darkness entitled Forevermore, starting in an almost Atmospheric Black Metal manner before morphing into a grandiose feast of symphonic elements intertwined with the sheer heaviness of Deathcore, or in other words, it’s definitely a beautiful conclusion to such an epic album.

Lorna Shore are neither dire misery goats, nor flower-picking pollyannas and definitely not lapdogs currying favor from those who would exalt the ordinary, inviting us all to embrace I Feel The Everblack Festering Inside Of Me and, therefore, become part of the band’s own movie. “I think a lot of bands – especially in deathcore – they write stuff that they think is cool, but they’re not necessarily writing stuff that’s true to them,” commented Will Ramos. “I think between everything that we’ve been through over the last couple years, those things have helped push the band to think bigger. We’re putting our heart and soul into it. I think it’s those little experiences that we’ve been through that help shape that. It doesn’t necessarily work for everybody, but it works for us.” Furthermore, you can get in touch with one of the torchbearers of modern-day Deathcore via Facebook and Instagram, stream their vicious, down-tempo creations on Spotify, and of course grab your copy of the poetically titled I Feel the Everblack Festering Within Me by clicking HERE or HERE. When heroes are hard to find, try looking inside yourself first. and when good heavy music is hard to find, simply enjoy the phenomenal new album by Lorna Shore.

Best moments of the album: Prison of Flesh, Unbreakable, Lionheart and Forevermore.

Worst moments of the album: Glenwood.

Released in 2025 Century Media Records

Track listing
1. Prison of Flesh 7:00
2. Oblivion 8:19
3. In Darkness 6:43
4. Unbreakable 4:49
5. Glenwood 6:43
6. Lionheart 5:44
7. Death Can Take Me 7:16
8. War Machine 4:53
9. A Nameless Hymn 5:14
10. Forevermore 9:47

Band members
Will Ramos – vocals
Adam De Micco – guitar
Andrew O’Connor – guitar
Michael Yager – bass
Austin Archey – drums

Album Review – Ambush / Evil In All Dimensions (2025)

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One of Sweden’s most electrifying bands returns with a striking new album, bursting with relentless energy while capturing the classic essence of Heavy Metal.

We all know that Heavy Metal is the law, and Växjö, Sweden-based brigade Ambush is more than ready to reinforce that armed with their breathtaking new album, titled Evil In All Dimensions, the follow-up to their critically acclaimed 2020 offering Infidel. Recorded, mixed, mastered and produced by Mankan Sedenberg, and displaying a killer artwork by Péter Sallai of Mortpaintgraphics, the new album by Oskar Jakobsson on vocals, Olof Engqvist and Karl Dotzek on the guitars, Oskar Andersson on bass, and Linus Fritzson on drums draws inspiration from the likes of Judas Priest, Accept, and Iron Maiden, bursting with relentless energy while capturing the classic essence of Heavy Metal, an undeniable proof of the band’s unwavering passion and talent for the genre.

Olof and Karl embellish the airwaves with their striking riffs from the very first second in the title-track Evil In All Dimensions, kicking off the album on a high and incendiary mode, followed by Maskirovka, a metal hymn that exhales of 80’s Hard Rock, with Oskar Jakobsson delivering a passionate, powerful vocal performance that matches perfectly with the song’s headbanging mid-tempo pace. It’s then pedal to the Heavy Metal to the hammering drums by Linus and the rumbling bass by Oskar Andersson in Iron Sign, again sending us back to the glory days of heavy music, and it’s impressive how the band flawlessly blends Heavy Metal with Hard Rock like in The Night I Took Your Life, with their riffs and beats transpiring epicness.

As like in countless other Heavy Metal albums, there’s a power ballad for us to enjoy with our loved ones titled I Fear The Blood, although I prefer a billion times their fast and heavy creations; whereas Oskar Jakobsson’s vocals live up to the legacy of legends like Bruce Dickinson and Rob Halford in Come Angel Of Night, accompanied by the striking, electrifying sounds blasted by his bandmates. The Reaper then showcases the band back to a more cadenced yet still headbanging sound, feeling like it was taken from one of those afternoon movies from the 80’s, while Bending The Steel is another metal hymn with a powerful name, reminding me of some old school tunes by the mighty Judas Priest and Grave Digger, not to mention their dual guitar attack will pierce your brain mercilessly. And lastly, Heavy Metal Breathren brings forward one final onrush of pure metal magic by Ambush, led by the flammable, classy riffs and solos by Olof and Karl.

Get your denim and leather jackets ready, as Evil in All Dimensions marks the beginning of an exciting new chapter in Ambush’s relentless quest for speed. Hence, as the band is ready to rise to even greater heights with their new opus, you can get to know more about their music, tour dates and everything else surrounding such an amazing crew on Facebook and Instagram, stream all of their incendiary discography on Spotify, and grab a copy of Evil in All Dimensions from Big Cartel or from Napalm Records (or simply click HERE for all things Ambush). Because Heavy Metal is their business, and business is good. Or maybe I should say that business is metal.

Best moments of the album: Iron Sign, Come Angel Of Night and Bending The Steel.

Worst moments of the album: I Fear The Blood.

Released in 2025 Napalm Records

Track listing
1. Evil In All Dimensions 4:38
2. Maskirovka 4:33
3. Iron Sign 4:08
4. The Night I Took Your Life 4:57
5. I Fear The Blood 4:44
6. Come Angel Of Night 4:18
7. The Reaper 4:01
8. Bending The Steel 4:19
9. Heavy Metal Breathren 5:12

Band members
Oskar Jakobsson – vocals
Olof Engqvist – guitars, backing vocals
Karl Dotzek – guitars, backing vocals
Oskar Andersson – bass, vocals, backing vocals
Linus Fritzson – drums, backing vocals

Guest musicians
Elias Jakobsson – harmony vocals on “Maskirovka” and “I Fear The Blood”,  piano on “The Reaper”
Jakob Janson – shout vocals on “Bending The Steel” and “Heavy Metal Breathren”
Johan Janson – shout vocals on “Heavy Metal Breathren”
Adam Hagelin – backing vocals on “Heavy Metal Breathren”
Mankan Sedenberg – guitar solo on “The Reaper”

Album Review – Primal Fear / Domination (2025)

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The Teutonic eagle of Heavy Metal strikes again with a thunderous 13-track opus, a masterclass in sonic warfare offering an unrelenting barrage of soaring vocals, earth-shattering riffs, and battle-hardened anthems forged in fire and steel.

Spanning more than 25 years of pure Heavy and Power Metal, having faced numerous challenges since their formation in 1997, and having repeatedly risen from their lowest points like a phoenix from the ashes, Germany’s own metal commando Primal Fear is finally back into the battlefield with their fifteenth studio opus, simply titled Domination, following up on their successful 2023 album Code Red. After a recent line-up change, which saw the incredible Thalìa Bellazecca join on guitar and André Hilgers on drums, alongside the iconic frontman Ralf Scheepers, the unbreakable bassist Mat Sinner, and the unstoppable guitarist Magnus Karlsson, the band will strike again with a thunderous 13-track opus, a masterclass in sonic warfare offering an unrelenting barrage of soaring vocals, earth-shattering riffs, and battle-hardened anthems forged in fire and steel.

The album kicks off with the striking The Hunter, with Ralf delivering pure adrenaline through the song’s classic words (“Through the labyrinth of fear, you’re lost and alone / A primal force unleashed a river of blood / This is the part / When you will run for your life / And every step you take / Leads closer to my knife / Blood stains the ground / The hunt never ends”); and  Magnus and Thalìa showcase their passion for shredding in the excellent Destroyer, a pure Primal Fear extravaganza with Mat and André keeping the rhythm flowing in great fashion. The band then goes full Melodic Power Metal in Far Away, where Thalìa proves why she was chosen as the new band’s guitarist as her dexterity is impressive, followed by I Am the Primal Fear, and as cheesy as the song title might sound, the music is a great mid-tune party by the band, with Mat kicking some ass on bass. Needless to say, it’s great to have him back in action. Tears of Fire is another song with a classic title following a similar pattern as the previous song, with Ralf’s soaring vocals adding an extra touch of epicness to the overall result; whereas back to a heavier, faster and more dynamic sonority we face Heroes and Gods, with André crushing his drums while Ralf pierce our minds with his undisputed screams.

Hallucinations is a smooth, melodic instrumental piece where Thalìa once again steals the spotlight with her flammable axe, warming us up for Eden, a dark and enfolding power ballad by those Teutonic metallers led by Ralf’s passionate vocal performance. In Scream the name of the song says it all, demanding us to jump up and down with Primal Fear and simply scream together with Ralf. Furthermore, the heaviness flowing from the guitars by Magnus and Thalìa is truly awesome, boosted by Mat’s thunderous bass. The Dead Don’t Die brings forward another blast of razor-edged riffs and blast beats that reek of Rock N’ Roll, perfect for some wild headbanging, and get ready to be caught in a crossfire of pure Heavy Metal to the sound of Crossfire, where André pounds his drums nonstop for our total delight. March Boy March is a song that gradually evolves into a metal attack led by Ralf’s piercing vocals while the band’s guitar duo keeps delivering sheer electricity through their axes, and ending the album we have the melancholic ballad A Tune I Won’t Forget, which is fine for what it is despite taking away some of the power blasted in all previous songs.

Recorded by Dennis Ward at Kangaroo Studios, produced by Mat Sinner and co-produced by Ralf Scheepers and Magnus Karlsson, and mixed and mastered by Jacob Hansen at Hansen Studios, Domination reeks of classic Primal Fear while at the same time sounding fresh and unique, proving why the band has been on the road for so many years against all odds. You can check what the German eagle is up to on Facebook and on Instagram, including their breathtaking live performances, stream their incendiary discography on Spotify, and above all that, put your metallic hands on Domination by clicking HERE. Primal Fear are more than ready to spread their metal wings once again all across the globe and dominate the world of heavy music armed with their new album, a new chapter in the career of this Teutonic eagle that refuses to die, forever fighting in the name of our beloved Heavy Metal.

Best moments of the album: Destroyer, Heroes and Gods, Scream and Crossfire.

Worst moments of the album: A Tune I Won’t Forget.

Released in 2025 Reigning Phoenix Music

Track listing
1. The Hunter 4:21
2. Destroyer 4:31
3. Far Away 4:19
4. I Am the Primal Fear 5:41
5. Tears of Fire 5:14
6. Heroes and Gods 4:10
7. Hallucinations 2:37
8. Eden 7:25
9. Scream 4:27
10. The Dead Don’t Die 4:27
11. Crossfire 4:12
12. March Boy March 5:01
13. A Tune I Won’t Forget 3:32

Band members
Ralf Scheepers – vocals
Mat Sinner – bass, vocals
Magnus Karlsson – guitars
Thalìa Bellazecca – guitars
André Hilgers – drums

Album Review – Helloween / Giants & Monsters (2025)

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Confident and bursting with vigor, these German giants of Heavy Metal and monsters of Rock N’ Roll are back with their breathtaking seventeenth studio album.

With 15 gold awards, six platinum awards and over ten million records sold, German Heavy Metal masters Helloween are celebrating the band’s 40th anniversary with the successor to their critically acclaimed 2021 self-titled masterpiece. Confident and bursting with vigor, the septet formed of frontmen Michael Kiske and Andi Deris, guitarists Kai Hansen, Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf, and drummer Dani Löble presents one of their most versatile albums to date, titled Giants & Monsters, the seventeenth studio album in their undisputed career. Recorded and mixed by Charlie Bauerfeind and Dennis Ward at Mi Sueno Studio, mastered by Sascha “Busy” Bühren and Emil Pohjalainen at Wisseloord Studios, and once again displaying a stunning artwork by Eliran Kantor, Giants & Monsters showcases a band that keeps reinventing themselves while staying true to the foundations of Heavy Metal, continuing to challenge seven brimming careers even after four decades.

Mr. Andi Deris begins embellishing the airwaves with his striking vocals in Giants on the Run, a classic Helloween tune sounding fast, electrifying and epic from start to finish, and I must say I love the fact Kai also delivers some vocal lines during the song. Then it’s time for Mr. Michael Kiske to take us back to the glory of the 80’s in Savior of the World, a flawless Power Metal song striking us hard like fire and thunder, with Dani kicking some ass behind his drums; whereas venturing through the realms of Progressive Rock but always rooted in their classic Heavy Metal sonority we have A Little Is a Little Too Much, one of those songs perfect for dancing with your loved ones. The visceral riffs by Kai, Michael Weikath and Sascha set the tone in the Primal Fear-like attack titled We Can Be Gods, flowing majestically until the very end. And Into the Sun, which was originally recorded for their 2021 self-titled album, but scrapped after being altered during production (as the final result wasn’t to their liking), is a charming ballad led by the hypnotizing vocals by Kiske and Andi.

This Is Tokyo, the first single released a couple of months ago, was a very good sign of the classic, old school approach by Helloween with a Melodic Rock/AOR twist, boosting their vocal lines even more while the chorus couldn’t have sounded catchier; and it’s pedal to the metal in the Heavy and Power Metal attack entitled Universe (Gravity for Hearts), with Dani’s fast and furious beats providing Kiske with exactly what he needs to make his vocals soar high like an eagle, resulting in eight minutes of pure metal magic by our beloved German pumpkins. The septet then offers two three-minute songs, the first being Hand of God, showcasing a more experimental sounds mixed with their core essence. Not their best effort, to be honest, while back to a more electrifying sound we have Under the Moonlight, with the guitars by Kai, Weikath and Sascha adding an overdose of Rock N’ Roll to their core sound. There’s still time for one more epic tune by Helloween, the phenomenal Majestic, and the music perfectly reflects the song title, with Kiske taking the lead with his unparalleled vocals while the band’s guitar triumvirate penetrates deep inside our souls with their superb, classic riffs and solos, or in other words, it’s an epic conclusion to such a metallic celebration by Helloween.

After all is said and done, Giants & Monsters presents the experience and musical enthusiasm of a band that can do anything and everything blazes its way, with all creative limits being set aside once and for all. “What keeps motivating us is the fact that we’re extremely different. That generates suspense and creative energy,” explained Michael Weikath, “and if problems do occur, we connect through our passion and our sense of humor. We try not to take ourselves and everything around us too seriously,” added Kai Hansen, before Andi Deris concluded with a bang. “In the end, we’re just seven guys who want to make music and enjoy the incomparable force that arises when we’re together. Helloween is way more powerful than the sum of its parts.” Hence, if you also want to be part of the Pumpkins United army, you can follow the band on Facebook and on Instagram, stream their classy music on YouTube and on Spotify, and of course add their superb new album to your private collection by clicking HERE. Because Helloween are giants of Heavy Metal, they’re monsters of Rock N’ Roll, and while they’re among us we can all rest assured heavy music will remain alive and kicking.

Best moments of the album: Savior of the World, A Little Is a Little Too Much, This Is Tokyo, Universe (Gravity for Hearts) and Majestic.

Worst moments of the album: Hand of God.

Released in 2025 Reigning Phoenix Music

Track listing
1. Giants on the Run 6:20
2. Savior of the World 4:15
3. A Little Is a Little Too Much 3:30
4. We Can Be Gods 5:24
5. Into the Sun 3:39
6. This Is Tokyo 4:16
7. Universe (Gravity for Hearts) 8:22
8. Hand of God 3:44
9. Under the Moonlight 3:07
10. Majestic 8:10

Band members
Michael Kiske – vocals
Andi Deris – vocals
Kai Hansen – guitars, vocals
Michael Weikath – guitars
Sascha Gerstner – guitars
Markus Grosskopf – bass
Dani Löble – drums

Album Review – Baest / Colossal (2025)

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Back from the fires of Denmark with a fresh sound and a badass attitude, this unstoppable creature will crush you with their fourth studio album, a thrilling celebration of Heavy Metal played with Extreme Metal intensity.

Back once again from the fires of Aarhus, Denmark with a fresh sound and a badass attitude, the ruthless Death Metal creature known as Baest will crush our damned minds and souls with their fourth full-length opus, entitled Colossal, following up on their fantastic albums Danse Macabre (2018), Venenum (2019) and Necro Sapiens (2021) while also cementing their reputation as Extreme Metal mavericks with an ear for lethal hooks. Produced, recorded, mixed and mastered by Tue Madsen at Antfarm Studio, and featuring a demonic artwork by Solo Macello, the new offering by frontman Simon Olsen, axemen Lasse Revsbech and Svend Karlsson, bassist Mattias “Muddi” Melchiorsen, and drummer Sebastian Abildsten is an absolute monster, bursting at the seams with catchy riffs and classy melodies, with stylistic salutes to everyone from Ozzy Osbourne and Dokken, through to Iron Maiden and Whitesnake, while still rooted in the belligerent Death Metal that informed previous records, resulting in a magnificent Rock N’ Roll rebirth of such a prominent beast from the Danish metal scene.

The AC/DC-infused riffs by Lasse and Svend ignite the opening tune Stormbringer before the music turns into a wild fusion of Death Metal with Progressive Rock and Metal elements, followed by the indomitable Colossus, showcasing heavy-as-hell, Doom Metal-infused lyrics growled by Simon (“Colossus / Breath the air of the deceit / Colossus / Feel the weight of your defeat / Colossus / Never stray from the common line / Colossus / Crushed under the weight of the colossus”) while the sounds blasted by his bandmates are absolutely dark and menacing. The band keeps delivering sheer adrenaline spearheaded by the venomous vocals by Simon in In Loathe and Love, a lesson in modern-day Death Metal, whereas in King of the Sun, featuring Jesper Binzer of Danish rock band D-A-D on guest vocals, we’re treated to a rockin’ sonority led by the classic beats and fills by Sebastian.

Then blending the fury of Death Metal with the heaviness of Doom and Sludge Metal we have Imp of the Perverse, with Mattias and Sebastian hammering their thunderous weapons mercilessly; and featuring additional vocals by Danish black metal band ORM, the band offers another blast of insanity, heaviness and classy Death Metal in Misfortunate Son, with the riffage by Lasse and Svend exhaling pure adrenaline. Then get ready to be crushed into tiny pieces to the sound of Mouth of the River, where Simon’s deranged growls walk hand in hand with Sebastian’s pounding drums; and a guitar-driven instrumental tune titled Light the Beacons, which feels like an ode to all of their idols and influences, sets the stage for Depraved World, a multi-layered, groovy and vibrant composition where the deep roars by Simon match perfectly with all riffs, bass lines and beats, putting a climatic ending to the album.

Colossal never bends to current trends; instead, it is a thrilling celebration of Heavy Metal played with Extreme Metal intensity, representing a wholesale transformation. Inspired by and infused with old school, classic metal riffs, Colossal is an album that delights in the glory of Heavy Metal and the fine art of rocking out, inviting us all to bang our heads and raise our horns together with those beyond talented Danes, and they’re waiting for you on Facebook, Instagram, YouTube and Spotify with more of their ass-kicking music, undisputed attitude, and deep passion for all types of rock and metal music. Hence, you can purchase a copy of Colossal by clicking HERE, or you can also click HERE for all things Baest, getting to know more about one of the best bands of the current scene worldwide. As you might have noticed, something colossal is coming, and you better brace for impact as those boys are armed to the teeth with the pulverizing sounds of their incendiary newborn beast.

Best moments of the album: Colossus, In Loathe and Love, Mouth of the River and Depraved World.

Worst moments of the album: None.

Released in 2025 Century Media Records

Track listing
1. Stormbringer 4:32
2. Colossus 4:23
3. In Loathe and Love 5:09
4. King of the Sun 4:09
5. Imp of the Perverse 5:56
6. Misfortunate Son 4:02
7. Mouth of the River 4:24
8. Light the Beacons 3:42
9. Depraved World 6:03

Band members
Simon Olsen – vocals
Lasse Revsbech – guitars
Svend Karlsson – guitars
Mattias “Muddi” Melchiorsen – bass
Sebastian Abildsten – drums, percussion

Guest musicians
Jesper Binzer – vocals on “King of the Sun”
ORM – vocals on “Misfortunate Son”

Album Review – Crimson Shadows / Whispers of War (2025)

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Bringing fast and thrilling songs of battle and victory to our metal hearts since 2006, Toronto’s own metal warriors are finally back into the battlefield with their breathtaking third studio album.

Bringing fast and thrilling songs of battle and victory to our metal hearts since the already distant year of 2006, Toronto, Canada’s own Epic/Melodic Death/Power Metal warriors Crimson Shadows are finally back into the battlefield with their fusion of the guttural screams and blast beats of Death Metal with the epic up-tempo guitar harmonies and choruses of Power Metal in their brand new album, the magnificent Whispers of War. Mixed and mastered by Christian Donaldson, and displaying a classy artwork by Péter Sallai of Mortpaintgraphics, showcasing a brave, dauntless warrior that perfectly depicts the sound of the band, the new album by frontman Jimi Maltais, guitarists Greg Rounding and Ryan Hofing, bassist Alex Snape, and drummer Cory Hofing is a worthy follow-up to their 2014 beast Kings Among Men, offering our avid ears an overdose of the band’s characteristic sound while also pointing to an even brighter future ahead of them.

Those Toronto warriors waste no time and kick off their metal music played at the speed of light party in Dawn of an Age, with Cory taking the lead with his crushing beats, and Jimi and Greg make a phenomenal vocal duo in Guardians, with it’s catchy-as-hell lyrics (“Guardians / We stand in a time of blood and fire / Ancient tales become our legacy / Skies ablaze, spirits of evil surrounding me / The prophecy remains our destiny”) inspiring us all to raise our fists and join them in a lecture in Melodic Death and Power Metal. Defenders of the Crown offers our avid ears more of their epic lyrics (“Here we stand to hold our ground / We defenders of the crown / Hold your steel and clench it tight / Or we all will die tonight”) in another classic battle hymn; and featuring the unparalleled Canadian growler Matt McGachy of Cryptopsy, Whispers of War is a fulminating metal attack by the boys sounding as fast as it is epic and aggressive, with Greg and Ryan firing truly piercing riffs nonstop, followed by Embrace the Fire, a little bit below the rest of the album but still fast, furious and presenting the band’s trademark sonority.

Then a smooth piano-driven intro quickly evolves into another shredding extravaganza by Greg and Ryan titled Battle Hard II: Battle Harder (the sequel to their 2012 song “Battle Hard”), while Jimi roars and growls with all of his strength and passion for heavy music. And featuring the indomitable Brittney Slayes (frontwoman for Canadian metal masters Unleash The Archers), who brings balance to the vocals together with Greg, we have Secrets of Our Time, not to mention Cory demolishes his drums in great fashion until the very last second. Jimi then sounds out of control, roaring manically in The Legacy of Steel, another headbanging beast where their riffs and solos exhale pure Heavy Metal magic, whereas lastly, the band will head into their final battle entitled Rise of the Fallen Soul, with Greg stealing the show with his awesome clean vocals while their Dragonforce-like guitar solos bring an extra onrush of electricity to their sound.

Crimson Shadows might have competed in and won the 2013 edition of Wacken Metal Battle Canada, and they absolutely deserved it, but in my humble opinion it’s now with Whispers of War that their trademark metallic, roaring sounds are ready to spread all over the world, positioning them as one of the forces to be reckoned with in the current Heavy Metal scene. Furthermore, those brave metallers are ready to take on the stages of the world by storm, and you can keep an eye on their tour dates by following them on Facebook and on Instagram, as well as by clicking HERE. Don’t forget to also stream their striking creations on YouTube and on Spotify, and of course to grab a copy of the incendiary Whispers of War from BandCamp or from Big Cartel. War is upon us, and it’s time to fight side by side with Crimson Shadows to the sound of their superb new album, one of the best of the year, and a lecture in Canadian metal.

Best moments of the album: Guardians, Whispers of War, Battle Hard II: Battle Harder and The Legacy of Steel.

Worst moments of the album: Embrace the Fire.

Released in 2025 Independent

Track listing
1. Dawn of an Age 4:46
2. Guardians 4:20
3. Defenders of the Crown 5:09
4. Whispers of War 5:18
5. Embrace the Fire 4:07
6. Battle Hard II: Battle Harder 5:57
7. Secrets of Our Time 4:48
8. The Legacy of Steel 5:39
9. Rise of the Fallen Soul 5:51

Band members
Jimi Maltais – vocals
Greg Rounding – guitars, clean vocals
Ryan Hofing – guitars
Alex Snape – bass
Cory Hofing – drums

Guest musicians
Matt McGachy – vocals on “Whispers of War”
Brittney Slayes – vocals on “Secrets of Our Time”

Album Review – Mass Deception / Resurrections (2025)

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The final chapter of the trilogy by this ruthless Dutch Thrash Metal outfit offers a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting.

Founded in 2015 in The Netherlands with a bold vision to craft a trilogy of albums, Thrash Metal brigade Mass Deception laid the foundation with Revelations (2016) and Redemptions (2019), followed by the EP Halls of Amenti (2022). Now, with Resurrections, the final chapter arrives and it’s heavier, sharper, and more energized than ever before. Produced by Mass Deception and Jörg Uken, mixed and mastered by the same Jörg Uken at Soundlodge Studios, and displaying a sinister cover art by the band’s own guitarist Bänziger, the new album by Klaus on vocals, Waltmans and Bänziger on the guitars, Van Den Beuken on bass, and Sanders on drums is a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting, drawing influence from genre-defining acts such as Flotsam and Jetsam, Meliah Rage, Laaz Rockit, Nocturnus, Testament, King Diamond and Judas Priest, all while forging a sound distinctly their own.

Rev up your engines as it’s total anarchy and violence in Gain of Function, a fun thrashing feast perfect for banging our heads like there’s no tomorrow, followed by Selling Souls! Buying Lies!, exhaling pure Thrash Metal from the Anthrax-inspired riffs by Waltmans and Bänziger while Klaus declaims the song’s acid lyrics in great fashion. Then after two hard hitting songs in a row, the band offers a more introspective mid-tempo tune titled Menticide, led by the intricate drumming by Sanders, followed by the futuristic interlude Metropolis, before the band attacks once again with 1984, putting the pedal to the metal with their infuriated riffs and classic Thrash Metal beats and fills. And The Road to Hell leads to Rome carries one of the most poetic names out there, offering more of the razor sharp riffs by the band’s guitar duo for our total delight.

Then we face another heavy interlude, entitled Saturn, setting the stage for the band to kick some ass in Ruins of Dominion, where the thunderous bass by Van Den Beuken transpires our good old Thrash Metal. Blue Flame of Anger is another explosion of thrashing madness led by the striking beats and fills by Sanders, putting us all to slam into the mosh pit manically, whereas Passenger of Time and V are two instrumental pieces that despite not being bad tunes, they end up taking away some of the album’s punch. On the other hand, Dark Matter brings back their fury and rage, with Sanders sounding demented behind his drums while his bandmates make sure the circle pit doesn’t stop moving as fast as possible. We’re then treated to the “calm before the storm” in the form of the semi acoustic Druids Descendants, warming us up for Reveal, Redeem & Resurrect, where Klaus takes the lead with his harsh storytelling vocals supported by the crushing drums by Sanders and the always striking riffage by Waltmans and Bänziger.

For the purists, there’s no AI, no MIDI drum computers, no shortcuts in Resurrections. Just raw, honest, and thunderous Heavy Metal, and you can experience all that and get to know more about Mass Deception by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their incendiary creations on Spotify, and of course by purchasing a copy of Resurrections from the Gruesome Records’ BandCamp. As aforementioned, Mass Deception are sounding tighter and more ruthless than ever in their new album, putting a beyond striking and climatic conclusion to their killer trilogy for the delight of all fans of our good old Thrash Metal.

Best moments of the album: Selling Souls! Buying Lies!, Ruins of Dominion, Blue Flame of Anger and Dark Matter.

Worst moments of the album: Passenger of Time and V.

Released in 2025 Gruesome Records

Track listing
1. Gain of Function 2:41
2. Selling Souls! Buying Lies! 2:33
3. Menticide 4:00
4. Metropolis 1:15
5. 1984 4:37
6. The Road to Hell leads to Rome 4:13
7. Saturn 2:05
8. Ruins of Dominion 2:56
9. Blue Flame of Anger 4:32
10. Passenger of Time 1:48
11. V 1:46
12. Dark Matter 3:21
13. Druids Descendants 3:03
14. Reveal, Redeem & Resurrect 6:36

Band members
Klaus – vocals
Waltmans – guitars
Bänziger – guitars
Van Den Beuken – bass
Sanders – drums

Concert Review – Lutharo, Blackguard & Killotine (Horseshoe Tavern, Toronto, ON, 07/26/2025)

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We were born to ride on the wings of Canadian underground metal together with three of the must-see bands of the current scene on a rainy night in Toronto.

INTRO: A perfect night of Canadian metal almost ruined by one of the heaviest traffics ever experienced in the city…

I’ve always hated the QEW, and will forever hate it, but the traffic this Saturday night to get to the city was beyond any level of patience I might have to face any type of situation. Rain is the new snow, and it was absolute chaos to get to the cozy Horseshow Tavern in time to see LUTHARO, BLACKGUARD and KILLOTINE in another killer event of the Canadian underground organized by Noel Peters of Inertia Entertainment. It took me over two fuckin’ hours for a 30km drive, and when I met my buddy Keith Ibbitson of Metal Paparazzi at the venue I was completely drained and exhausted, and there were only five minutes left before the first attraction of the night, so I can say I was a bit numb during the first half of the show. I don’t know what I’m going to do in the near future as the city is growing in population but not in infrastructure, and more and more companies are demanding their employees to return to the office five times a week, which means any day of the week from now on will be fucked by heavy traffic. I might have to start handpicking my concerts, and that’s very depressing.

KILLOTINE

I don’t like to start a review of an excellent night of Canadian metal with a rant like that, and I’m sorry about it. Fortunately, Hamilton, Ontario’s own Thrash Metal marauders KILLOTINE brought a lot of energy back to my tired soul with their frantic and vibrant performance. The reigning champions of Wacken Metal Battle Canada 2025 proved why they were the chosen ones to represent Canada at Wacken Open Air this year, kicking some ass onstage with their no shenanigans blend of Thrash Metal spearheaded by the charismatic vocalist and guitarist Matt Fraser. I don’t know exactly which songs they played, but I guess it was pretty much the entire 2024 EP Live at the Whiskey Pit, available on Spotify, with songs like Survival of the Wicked and Isolate sounding amazing live, already igniting some wild mosh pits for our total delight. Go check more details about Killotine by clicking HERE, but be careful as thrashing is their business, and business is good.

Band members
Matt Fraser – vocals, guitars
Jesse Luciani – guitars
James McNeil – bass, backing vocals
James Beck – drums

BLACKGUARD

The second band of the night, Montreal, Quebec-based Symphonic/Melodic Death Metal horde BLACKGUARD, might not have released anything new since their excellent 2020 album Storm, but the band fronted by the talented Paul Ablaze showed why they’re one of the most beloved bands of the Canadian scene with a breathtaking performance, melting our faces with their hybrid of Children of Bodom with Swedish melodeath and elements from Symphonic and Black Metal, all spiced up by the hammering beats by Justine Ethier. Once again I have no idea of their full setlist, but all songs sounded amazing, like Northern Storm. You can check their full discography on Spotify, and get more information about the band HERE, as I’m sure you’ll have a blast with such an amazing band. My only “complaint” is that they could have played the song A Dying Season with the multi-talented Lyndsay Schoolcraft, former keyboardist for Cradle of Filth (who was in the house as a fan) just like in their album. Nothing to really worry about, though, but as a fan of Lyndsay’s work I personally thought she would have been a nice touch to their fantastic concert.

Band members
Paul Ablaze – vocals
David Gagné Guitars – lead guitars
Terry Roadcase – rhythm guitar
Vincent Harnois – bass
Jonathan Lefrancois-Leduc – keyboards
Justine Ethier – drums, percussion

LUTHARO

The night was getting better and better inside the Horseshoe Tavern (and kudos to the house DJ for playing only songs by Black Sabbath and Ozzy Osbourne the entire night, as a beautiful tribute to our beloved Prince of Darkness), and of course the incendiary Melodic Death Metal by Hamilton, Ontario’s most ass-kicking band ever, the unstoppable LUTHARO, was the icing on the cake on such an excellent metal party. Playing songs from all of their albums, but of course focusing more on their 2024 beast Chasing Euphoria (available in full on Spotify or for purchase by clicking HERE, by the way), the band led by the stunning frontwoman Krista Shipperbottom, who was sporting an awesome outfit with an altered  Lutharo shirt and a huge smile on her face during the entire show, set the whole place on fire with their striking performance.

Krista was of course flawlessly supported by her bandmates Victor Bucur, Jeff Wilson (who paid a subtle tribute to the recently deceased iconic wrestler Hulk Hogan during one of the songs), Chris Pacey and Cory Hofing, adding even more energy to their breathtaking performance. Fans were loving every single song played, with Time to Rise, To Kill or to Crave and Reaper’s Call being some of the favorites of the night. It felt like Lutharo were a veteran band used to play at arenas simply having fun at a small venue so professional and passionate they sounded, and I really hope now that they’re embarking on a fun European tour that they become the next big thing in the Old Continent. When they returned to the stage for their more-than-special encore with Born to Ride (my favorite of the night) and Lost in a Soul, it was the coronation of a perfect night for the band. Go check more details about Lutharo if you know nothing about the band by clicking HERE, because they were definitely born to ride on the wings of Heavy Metal, and we were all born to rock to the sound of their beautiful music.

Setlist
Phantom
Ruthless Bloodline
Bonded to the Blade
Creating a King
Time to Rise
To Kill or to Crave
Wings of Agony
Hopeless Abandonment
Reaper’s Call
Paradise or Parasite

Encore:
Born to Ride
Lost in a Soul

Band members
Krista Shipperbottom – vocals
Victor Bucur – guitars, backing vocals
Jeff Wilson – guitars
Chris Pacey – bass
Cory Hofing – drums

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