Tag Archives: scotland

Album Review – Olde Throne / Megalith (2025)

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Behold the new opus by this New Zealand-based Melodic and Atmospheric Black Metal entity, a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age.

A Melodic and Atmospheric Black Metal band born in a time when main composer and frontman Harrison McKenzie was living in Glencoe, Scotland, the amazing Christchurch, New Zealand-based project Old Throne returns with another bold and multi-layered opus, entitled Megalith, following up on their 2022 debut An Gorta Mór and their 2023 sophomore In the Land of Ghosts. Even after moving back to his native New Zealand, Harrison felt deeply inspired by his experience in the highlands, translating such inspiration into the music found in all of his albums. Mixed and mastered by Tim Yatras (Austere, Germ), and displaying a stunning artwork by German illustrator Misanthropic Art, the newborn spawn by Harrison on vocals, guitars and bass, alongside Zannibal on lead guitars and synthesizers and the aforementioned Tim Yatras as their session drummer, is a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age. Drawing inspiration from stories of Celtic mythology, the album’s narrative is rooted in tales dating back as far as 10,000 BC, with the use of flutes, throat singing and tribal drums forging an immersive brand of Neolithic Black Metal.

The soothing sounds of Mother Nature permeate the air in the intro Primordial Realm, inviting us all to join Old Throne in an distant era long forgotten in The Most Elder Days, a lecture in Atmospheric Black Metal spearheaded by Harrison’s striking riffs and devilish roars, with all background elements giving it an even more epic and visceral vibe just the way we like it in extreme music. It’s then pedal to the metal in the Black Metal attack entitled My Throne, offering more of the band’s killer riffage, boosted by the blast beats by Tim; whereas An Drochshúil, an Irish-Gaelic term meaning “the evil eye” which refers to a supernatural curse or affliction caused by a malevolent glare or look, believed to bring harm to a person or animal, perfectly depicts that type of evil, with Zannibal’s synths bringing an extra dosage of darkness to the song.

Ail Na Mireann, which means the “Stone of the Divisions” and refers to a significant ancient stone on the Hill of Uisneach in County Westmeath, Ireland, sees the band shift to an even more obscure, melancholic sonority, with Harrison’s strident riffs and rumbling bass matching perfectly with his desperate growls. Then we face a stunning Atmospheric Black Metal storm titled Temple of the Sky, where Tim shows no mercy for his drums while Harrison and Zannibal extract pure adrenaline from their axes, not to mention the song’s captivating, mysterious female vocal lines. The second to last song in Megalith, titled Sceach Geal, a sacred tree in Irish folklore strongly associated with fairies and mystical beings, slows things down a bit while maintaining the album’s epic vibe, losing a bit of its energy close to the end, though; and lastly, get ready for the darkest of all songs, the ruthless Tuan’s Bane, alternating between Doom Metal moments and the sheer aggression of Black Metal, also offering some enfolding passages until its climatic and furious finale.

Conceived as a single, unbroken auditory ritual, Megalith is a continuous concept piece, with each track flowing seamlessly into the next, demanding to be experienced in its entirety from beginning to end, therefore resulting in the perfect meeting spot for SAOR and Naglfar alike, just to name a couple. Harrison and his henchmen are waiting for you with their breathtaking Neolithic Black Metal experience on Facebook and on Instagram, and don’t forget to also stream their undisputed creations on Spotify, and to purchase a copy of the excellent Megalith from the project’s own BandCamp, as well as from the Avantgarde Music’s BandCamp or from Sound Cave (in both CD and LP formats), or simply click HERE for all things Old Throne. This is by far one of the most interesting and unique Melodic and Atmospheric Black Metal projects of the current scene worldwide, and I’m sure you’ll have an absolute blast going back ten thousand years together with Old Throne to the sound of their imposing new album.

Best moments of the album: The Most Elder Days, Temple of the Sky and Tuan’s Bane.

Worst moments of the album: Sceach Geal.

Released in 2025 Avantgarde Music

Track listing
1. Primordial Realm 1:15
2. The Most Elder Days 5:14
3. My Throne 3:17
4. An Drochshúil 5:18
5. Ail Na Mireann 6:39
6. Temple of the Sky 6:18
7. Sceach Geal 6:50
8. Tuan’s Bane 7:58

Band members
Harrison McKenzie – vocals, guitars, bass
Zannibal – lead guitars, synthesizers

Guest musician
Tim Yatras – drums (session)

Album Review – SAOR / Amidst the Ruins (2025)

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Andy Marshall and his band of Caledonian warriors are back with an epic voyage set to rekindle the fires of heritage and resurrect the valor that courses through Scotland’s vast landscapes.

Out of the mists, where lore whispers in the winds, Glasgow, Scotland-based Atmospheric Folk/Black Metal act SAOR, pronounced “seur”, which means “free” and “unconstrained” in Scottish Gaelic, the heralds of Caledonia’s primeval beauty and ancient tales, rises once again to enrapture souls far and wide. Their newest offering, Amidst the Ruins, is an epic voyage set to rekindle the fires of heritage and resurrect the valor that courses through Scotland’s vast landscapes. Recorded at Fortriu Studios (vocals, guitars, bass), Nikolaus Recordings Studio (female vocals, tin whistles, low whistles, uilleann pipes), NewLife Studios (drums) and Farkosten Studios (violin, viola, cello), mixed by Chris Fielding at Penylan Studio, mastered by Tony Lindgren at Fascination Street Studios, displaying a beautiful artwork by Julian Bauer (with layout by Adrien Bousson), and featuring guest musicians Ella Zlotos, Carlos Vivas, Jo Quail, Àngela Moya Serrat, Miguel Izquierdo, and Samuel C. Ledesma, Amidst the Ruins stands proud, a timeless sentinel amidst the sands of time carefully brought into being by the project’s mastermind Andy Marshall, offering a stunning onrush of his “Caledonian Metal” perfect for fans of Winterfylleth, Agalloch, and Wolves in the Throne Room, among many others.

Andy and his more-than-special guests waste no time and melt our faces with 12 minutes of beautiful and atmospheric passages in Amidst the Ruins, led by the pulverizing drums by Carlos while Andy fires razor-edged riffs, not to mention how all background instruments like the whistles, violin, viola and cello sound utterly embracing. Echoes of the Ancient Land already begins in full force with Andy gnarling like a beast accompanied by the massive beats by Carlos, offering our avid years another very detailed and embracing musical experience; and by now you’ve probably noticed Andy nurtures a deep passion for long and complex songs, which is also the case with Glen of Sorrow, where the charming vocals by Ella bring a touch of finesse to the hurricane of Atmospheric Black Metal crafted by the whole crew. Then after such an imposing tune it’s time for the folk-infused, atmospheric The Sylvan Embrace, with guest Jo Quail embellishing the airwaves with her cello, followed by the closing song Rebirth, the perfect fusion of Atmospheric Black Metal with classic folk sounds where Ella is once again spot-on with her whimsical whistles while Andy continues to blast his harsh vociferations and melodic yet scorching riffs, all spiced up by the hypnotizing strings by Àngela, Miguel and Samuel.

Building upon the chronicles of old, Amidst the Ruins sees the warriors of SAOR cast a clarion call to awaken from the lethargy of modern existence, to reclaim the essence of a heritage laid asunder. Hence, if you want to join such an amazing army hailing from the Scottish Highlands, you can find them on Facebook, Instagram, YouTube, and Spotify, and of course purchase a copy of the stylish Amidst the Ruins from Bandcamp or by clicking HERE. Andy and his band of Caledonian warriors have crafted a majestic symphony that welds the intensity of Black Metal with Celtic folk melodies in their new album, bridging the past and present as they remain the ceaseless bards of Caledonia unbroken.

Best moments of the album: Amidst the Ruins and Rebirth.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. Amidst the Ruins 12:41
2. Echoes of the Ancient Land 11:41
3. Glen of Sorrow 12:05
4. The Sylvan Embrace 8:19
5. Rebirth 14:10

Band members
Andy Marshall – vocals, guitars, bass

Guest musicians
Ella Zlotos – female vocals, tin whistles, low whistles, uilleann pipes
Carlos Vivas – drums
Jo Quail – cello and FX on “The Sylvan Embrace”
Àngela Moya Serrat – violin on “Amidst the Ruins”, “Echoes of the Ancient Land” and “Rebirth”
Miguel Izquierdo – viola on “Amidst the Ruins”, “Echoes of the Ancient Land” and “Rebirth”
Samuel C. Ledesma – cello on “Amidst the Ruins”, “Echoes of the Ancient Land” and “Rebirth”

Album Review – Barshasketh / Antinomian Asceticism (2025)

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This Scotland-based Black Metal beast returns with their first full-length in five years, their most direct album to date evoking authentic, purple-blue visions of the late 90’s.

It’s been a long and winding road for Black Metal beast Barshasketh from their earliest days in 2007 as a solo project of KG aka Krigeist in his native Wellington, New Zealand on to his relocation to Edinburgh, Scotland and building an actual band, from breakout third album Ophidian Henosis in 2015 on to the even-mightier Barshasketh in 2019, but even amidst all the lineup shuffles and geographical distance covered, one fact has remained firm, and that’s purest Black Metal, intentionally free of genre cross-pollination, chiseled and refined with patience and persistence, which is also the case with their newborn spawn Antinomian Asceticism, their first full-length in five years. Recorded by the band’s guitarist GM at Sonorous Studio and Necromorbus Studio, mixed and mastered by Tore Stjerna at Necromorbus Studio, and displaying a beautifully sinister artwork by Rodrigo Pereira Salvatierra (with additional illustrations and layout by Fenomeno Design), the new album by the aforementioned KG on vocals, guitars and keyboards, GM on the guitars, BB on bass, and MK on drums, vocals and keyboards is their most direct and concise record in many a year, with its melding of mysticism and might evoking authentic, purple-blue visions of the late 90’s as soundly as it stands upon palatably modern ground.

The bells tolling warn the listener of the brutal Black Metal attack that’s about to come in Radiant Aperture, with the devilish vocals by KG sounding truly haunting and evil; and KG and GM sound ruthless with their piercing, caustic Black Metal riffage in Nitimur in Vetitum, supported by the rumbling bass by BB. Lebenswelt Below is a Blackened Doom extravaganza where MK hammers his drums in absolute darkness, exploding into sheer savagery made in the pits of the underworld, whereas they continue to evoke the fires of the netherworld in Charnel Quietism, a classic Black Metal feast where KG once again vociferates like a demonic entity.

Phaneron Engulf is another song with a beyond sinister start, darkening our minds and hearts to the minimalist guitar lines by KG and GM, but the fact it’s an instrumental piece takes away a bit of its strength; followed by the title-track Antinomian Asceticism, keeping the album’s overall vibe grim and vile with MK’s sluggish, visceral beats inspiring us all to headbang in the name of evil. And the album ends with the fulminating Black Metal aria Exultation of Ceaseless Defiance, again presenting the band’s trademark riffs, beats and the always infernal gnarls by KG.

Torches ablaze, hearts enflamed. Eternal strife is the fuel. Barshasketh, which by the way derives from the Hebrew term Be’er Shachat, roughly translating as “pit of corruption”, are on absolute fire throughout their entire new album, proving that the five-year wait for new material from such an amazing horde was absolutely worth it. You can get more information about them on Facebook and on Instagram, stream their music on Spotify or on Apple Music, and of course purchase a copy of the caustic Antinomian Asceticism from BandCamp or from the W.T.C.Productions webstore, fueling the band’s Black Metal machine to keep roaring in the name of pure darkness and evil for all eternity from the bottomless pit with more amazing albums like their demented new offering.

Best moments of the album: Radiant Aperture, Lebenswelt Below and Antinomian Asceticism.

Worst moments of the album: Phaneron Engulf.

Released in 2025 W.T.C.Productions

Track listing
1. Radiant Aperture 6:47
2. Nitimur in Vetitum 5:46
3. Lebenswelt Below 6:48
4. Charnel Quietism 7:14
5. Phaneron Engulf 4:21
6. Antinomian Asceticism 7:26
7. Exultation of Ceaseless Defiance 5:08

Band members
KG – vocals, guitars, keyboards
GM – guitars
BB – bass
MK – drums, vocals, keyboards

Concert Review – Alestorm (The Concert Hall, Toronto, ON, 03/22/2024)

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In a winter-like night of spring in Toronto, countless fans braved a ruthless snowstorm to enjoy the incendiary concert by the most famous pirates of the metal scene worldwide.

OPENING ACTS: Glyph and Elvenking

Unfortunately due to a heavy snowstorm that hammered the city of Toronto on Friday night (it looks like we moved from a spring-like winter to a winter-like spring, which is a real bummer), I wasn’t able to make it to The Concert Hall to enjoy the start of the Tour of the Dead Marauder 2024, with the bands GLYPH, ELVENKING and ALESTORM, another amazing event brought to the city by the one and only Noel Peters of Inertia Entertainment. Not only that, this was the first ever event Noel held at The Concert Hall, which according to my buddy Keith Ibbitson of Metal Paparazzi is a fantastic venue for metal concerts. Huge stage, amazing lighting and sound, and the wrap around the upper balcony has a wicked view with one bar. Hopefully I’ll be able to see other bands playing at The Concert Hall, because I’m really curious to see how it is now. Anyway, as mentioned Keith was able to make it to the show, so not only he was responsible for the photos, but he also had to send me some words about each of the bands that played Friday night. I’ll add some information about the bands to the review as well, just to make it more detailed, and I hope you crazy metalheads enjoy the reading.

“Toronto is in its 4th day of spring and old man winter thought it would be nice for a snowstorm. However, the fans of the band Alestorm didn’t care. They stood outside for more than an hour in the blustery wind and snow to get inside a warm and newly renovated The Concert  Hall, where Noel Peters and his company Inertia Entertainment put on their first show. The bands Glyph, Elvenking and headliners Alestorm kicked some ass and let all their fans enjoy some much needed moshing,” said Keith about the entire night. The doors opened at 7pm and the first band of the night, GLYPH (a Power Metal featuring members of Gatekeeper, Greyhawk, Hjelvik, and Ravenous) went on shortly after, leaving Keith scrambling to get his camera ready and fight his way through the already packed venue. I believe they played the songs Honor, Power, Glory, A Storm of Crimson Fire and When The World Was Young during their set, and maybe a few others, but these three definitely deserve a listen. Moreover, Glyph will release their new album Honor. Power. Glory. this Friday March 29, so don’t be a fool and get ready to rock with such an amazing band by purchasing it or streaming it on BandCamp and on Spotify.

Band members
R. A. Voltaire – vocals
Rob Steinway – guitars
Darin Wall – bass
Jeff Black – keyboards
Ryan Yancey – drums

Right after Glyph finished warming up the crowd, it was time for Italian Melodic Power/Folk Metal entity ELVENKING to take the city of Toronto by storm (and fortunately not a snowstorm) with their hypnotizing concert, blending songs from their vast catalogue (as the band has been kicking ass all over the world for 27 years already) with their most recent effort, the 2023 album Reader of the Runes – Rapture. In addition, Elvenking are not your regular band, as their lineup includes mystical creatures represented by frontman Damna, guitarist and keyboardist Aydan, guitarist HeadMatt, bassist Jakob, drummer Symohn, and the iconic violinist Lethien, who definitely adds an extra touch of magic to their live performances. Keith said their concert was insane, driving their fans crazy and eager for more Elvenking in the city in the near future, and I honestly can’t wait for that as long as there isn’t a boring snowstorm blocking all roads, of course.

Setlist
Rapture
The Hanging Tree
Draugen’s Maelstrom
Pagan Revolution
Silverseal
Moonbeam Stone Circle
To Oak Woods Bestowed
Pagan Purity
Bride of Night
The One We Shall Follow
The Wanderer
The Divided Heart
Elvenlegions
She Lives at Dawn

Band members
Damna – lead vocals
Aydan – guitars, harsh and backing vocals, keyboards
HeadMatt – guitars
Jakob – bass
Lethien – violin
Symohn – drums

ALESTORM

Finally, after a quick break, the main attraction of the night took the stage for a memorable performance. The one day Scottish but now multinational Folk/Power Metal privateers ALESTORM kicked some serious ass according to Keith, with a jam packed venue making the night even more special. Having released that same Friday their new EP Voyage of the Dead Marauder (which is really cool, by the way), the band formed of Christopher Bowes, Máté Bodor, Gareth Murdock (and if you don’t know his Black Metal band Imperial Demonic, I highly recommend listening to their 2023 debut EP Beneath the Crimson Eclipse), Elliot Vernon, and Peter Alcorn was on fire during their entire set, playing classics like Keelhauled, Drink and Zombies Ate My Pirate Ship as well as the new songs The Last Saskatchewan Pirate and Voyage of the Dead Marauder, leaving a sold out The Concert Hall eager for another killer show by those metallic pirates in a not-so-distant future. “The crowd barrier broke and me and the security held it up during the third song for Alestorm. They had to fix it on the fly,” said Keith who, despite having a corrupt memory card and losing most of his over 200 Alestorm photos, made sure I got a very special (or maybe I should say divine) photo taken by our amazing brother and photographer Ryan Miles Leblanc. “There was a special appearance by the lord Jesus Christ who graciously moshed and crowd surfed,” said Keith in a message to me. Well, who would say that Jesus would be a fan of pirate metal, right? YAAAAAARRRR!

Setlist
Keelhauled
No Grave but the Sea
The Sunk’n Norwegian
Alestorm
Under Blackened Banners
Hangover (Taio Cruz cover)
The Last Saskatchewan Pirate
Wenches & Mead
Magellan’s Expedition
Mexico
Voyage of the Dead Marauder
Big Ship Little Ship
Nancy the Tavern Wench
P.A.R.T.Y.
1741 (The Battle of Cartagena)
Shit Boat (No Fans)

Encore:
Drink
Zombies Ate My Pirate Ship
Fucked With an Anchor

Band members
Christopher Bowes – vocals, keyboards
Máté Bodor – guitars
Gareth Murdock – bass
Elliot Vernon – keyboards, backing vocals
Peter Alcorn – drums

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Concert Review – Gloryhammer (The Phoenix Concert Theatre, Toronto, ON, 03/12/2024)

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One of the torchbearers of Symphonic Power Metal worldwide returned to Toronto after five long years with more of their striking music, swords, goblins, hammers, and HOOTS!

OPENING ACTS: AMMO and Twilight Force

It was a beyond pleasant night in Toronto yesterday with temperatures above the two digits, something VERY uncommon for this time of the year but perfect for enjoying some high-quality Power Metal at The Phoenix Concert Theatre (which by the way desperately needs better parking nearby), courtesy of AMMO, TWILIGHT FORCE and GLORYHAMMER during their most excellent The Red, White & Hoots North American Tour 2024, and the Torontonian fans of all three bands answered their call and joined them in the battlefield for a night of soaring vocals, shredding, orcs, goblins, swords, hammers, princess and princesses, and of course my buddy Keith Ibbitson of Metal Paparazzi and I couldn’t be left out of that metallic party in a land far, far away, right?

Well, to be fair, due to other commitments I couldn’t get to the venue in time to see Toronto’s own Heavy Metal act AMMO, but some people told me they were really good and put on a very entertaining warmup for Twilight Force and Gloryhammer. I checked online and it looks like there have been some significant changes to their lineup since their 2019 EP Taking the Throne, available on BandCamp and on Spotify, which means we can expect new music from those guys in a not-so-distant future. Sorry, AMMO, for not catching you live last night opening for Twilight Force and Gloryhammer, but I’m sure there will be plenty of opportunities to see you guys kicking ass on stage in the coming months.

Setlist
Into Death
Street Metal Werewolves
Doomsayer
Taking the Throne
Empire
Too Metal for Metal

Band members
Alex Zdarvkovic – vocals
Brett Hexx – guitars, backing vocals
Matt Lewis – guitars
Necro Hippie – bass
Struan Robertson – drums

It was around 8pm when Sweden’s iconic Symphonic Power Metal unity TWILIGHT FORCE hit the stage for a fantastic performance, I would say just as electrifying as Gloryhammer, with all band members being on absolute fire throughout the entire show and in sync with the crowd, leading each person at the venue into magical battles with dragons (and there was actually a “floating” dragon released over the crowd during Dragonborn) and other mystical creatures. Having released the album At the Heart of Wintervale last year, Twilight Force was unfortunately missing their lead singer Allyon due to unforeseen issues with his family back home, but that doesn’t mean their show was boring; quite the contrary, Long Island, New York-born (but currently residing in Sweden) vocalist Kristin Starkey, of Italian Melodic Heavy/Power Metal act Temperance, and who’s been doing backing vocals for Twilight Force since 2023, did all the vocals last night and, oh boy, she was incredible. What an amazing voice she has, plus of course her charisma and onstage theatricals, making us even “forget” she’s not the actual vocalist for the band. Sword yielding songs like Dragonborn, Thundersword, and the closing one The Power of the Ancient Force, inspired all fans to raise their fists in the air and enjoy an ass-kicking performance by Twilight Force, and I’m sure soon we’ll see those guys headlining concerts in the city thanks to the more-than-warm reception from their Torontonian fans (and if you want to know more about their music, go check them on BandCamp and on Spotify).

Setlist
Dawn of the Dragonstar
Twilight Force
Dragonborn
Thundersword
Sunlight Knight
Flight of the Sapphire Dragon
Sunlight Knight
At the Heart of Wintervale
The Power of the Ancient Force

Band members
Kristin Starkey – vocals
Lynd – lead & acoustic guitars, lute
Aerendir – rhythm guitars
Born – bass
Blackwald – keyboards, piano, violin, harpsichord
De’Azsh – drums

GLORYHAMMER

Finally, five years after their last concert in Toronto, Scotland’s own Symphonic Power Metal brigade GLORYHAMMER returned to Canadian battlefields armed with their 2023 opus Return To The Kingdom Of Fife, and if there’s one word that could define their show, that word has to be HOOTS! It was a fusion of Heavy and Power Metal with symphonic elements, beer, goblins, hammers and other fantasy elements by Angus McFife II, Ser Proletius, The Hootsman, Zargothrax and Ralathor, putting a huge smile on the faces of everyone who attended the show last night. Blending songs from all of their albums with new ones like Wasteland Warrior Hoots Patrol and Fife Eternal, which are extremely catchy and perfect for live concerts, the band kicked some ass and slayed some goblins for our total delight.

Of course, some of the most anticipated songs of their setlist didn’t disappoint at all, including the amazing battle hymns Gloryhammer, Hootsforce and The Unicorn Invasion of Dundee, with Angus McFife II (aka Sozos Michael) proving why he was chosen to become the band’s frontman with not only an amazing vocal performance, but also being very charismatic and leading the crowd with his requests for fists in the air while holding the Gloryhammer high. Also, I was impressed with the fact that there were even mosh pits during Gloryhammer’s performance, because that’s not the type of music you expect mosh pits. Well, it’s Toronto, so mosh pits can happen anytime. Furthermore, when you have a concert where a goblin appears on stage playing the saxophone, that means ANYTHING can happen, and I bet everyone at the venue can’t wait for Gloryhammer to visit Toronto again in the near future with more swords, hammers, and HOOTS!

Setlist
Incoming Transmission
Holy Flaming Hammer of Unholy Cosmic Frost
Gloryhammer
The Land of Unicorns
Fly Away
Angus McFife
Questlords of Inverness, Ride to the Galactic Fortress!
Also Sprach Zarathustra
Wasteland Warrior Hoots Patrol
Fife Eternal
Masters of the Galaxy
Sword Lord of the Goblin Horde
The Siege of Dunkeld (In Hoots We Trust)
Keeper of the Celestial Flame of Abernethy
Universe on Fire
Hootsforce
The Unicorn Invasion of Dundee
The National Anthem of Unst

Band members
Angus McFife II (Sozos Michael) – vocals
Ser Proletius, Grand Master of the Deathknights of Crail (Paul Templing) – guitars
The Hootsman, Astral Demigod of Unst (James Cartwright) – bass
Zargothrax, Dark Emperor of Dundee (Michael Barber) – keyboards
Ralathor, the Mysterious Submarine Commander of Cowdenbeath (Ben Turk) – drums

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Album Review – Eternal Storm / A Giant Bound to Fall (2024)

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A boundless, always-evolving Spanish Progressive and Melodic Death Metal outfit returns with their hugely ambitious yet still passionate and heartfelt sophomore album, a giant step ahead for the band and for the entire style.

Following up on the release of their 2019 debut album Come the Tide, which was a shockingly accomplished, poignant and evocative album which many still regard to be one of the highlights in the style, Spanish Progressive/Melodic Death Metal outfit Eternal Storm returns to the battlefield four years later with their sophomore opus, titled A Giant Bound to Fall, a worthy effort that doesn’t betray their sound nor dilute it. Produced by the band itself, recorded at The Empty Hall Studio (vocals, guitars, bass) and at Sadman Studio (drums), re-amped, mixed and mastered by Dan Swanö at Unisound, and displaying a sinister artwork by Leoncio Harmr (with logo by Christophe Szpajdel of Lord of the Logos), the album is far more nuanced, multifaceted and even feels darker than their debut installment, all masterfully brought into being by Daniel R. Flys on lead vocals, guitars, keyboards and bass, Jaime Torres on the guitars, vocals, keyboards, bass and fretless bass, and Daniel Maganto on bass, additional guitars and additional vocals, plus guest musicians Gabriel Valcázar (Wormed, Ernia) on drums and percussion, and Jaboto Fernández (Nexus 6, TodoMal) on additional keyboards and synths, being recommended for fans of Be’lakor, Dyssebeia, Insomnium, and Dark Tranquillity.

Guest Roberto Bustabad (Varunian, Ovakner, Rvinas) brings some noise and additional synths to the opening tune An Abyss of Unreason, starting in an ethereal manner as the drums by Gabriel arise from the underworld, exploding into a dissonant and experimental hybrid of Black and Death Metal where Daniel R. Flys roars manically nonstop, offering us all endless progressiveness and multiple layers of unique sounds and tones in a true aria of darkness. Then featuring guest vocalist Sven de Caluwé (Aborted), A Dim Illusion is another melodious yet visceral and somber creation by the band, a more progressive version of the music by Insomnium highly recommended for some vigorous headbanging to the piercing riffage by Daniel R. Flys and Jaime; and after such intense and bold tune it’s time for a soothing, serene sonority in There was a Wall, bringing forward elements from modern-day Doom Metal, in special in the sluggish beats by Gabriel, while Daniel R. Flys, Jaime and Daniel Maganto extract sheer groove and feeling form their stringed axes. Their mesmerizing feast goes on in Last Refuge, featuring guests Kheryon on additional vocals and Paul R. Flys on violin, a ten-minute journey through the realms of Progressive and Melodic Death Metal showcasing another amazing job done by all band members, with Daniel R. Flys once again leading his horde with his anguished screams.

It’s then time for a gentle, enfolding interlude titled Eclipse, generating a delicate atmosphere to the sound of minimalist guitar lines (albeit going on for a bit too long, but nothing that takes away its vibe), setting the tone for Lone Tree Domain, with guest Eloi Boucherie (Vidres a la Sang, White Stones) on additional vocals, an even more intricate, detailed and visceral creation by Eternal Storm, with their guitar riffs getting boosted by the rumbling bass by Daniel Maganto, sounding beautiful and impactful at the same time. The trio keeps embellishing the airwaves with their complex yet captivating sounds in The Sleepers, featuring Dan Swanö on additional vocals, a Progressive Death Metal aria alternating between deep, enraged moments and atmospheric passages, exploding into the infernal The Void, a lecture in Death Metal infused with progressive, technical and blackened elements tailored for admirers of the genre, with the superb drumming by Gabriel enhancing the song’s punch while Daniel R. Flys roars like a beast, always accompanied by the thunderous bass by Daniel Maganto. Lastly, we’re treated to the title-track A Giant Bound to Fall, featuring Sergi “Bobby” Verdeguer (Persefone) on additional vocals, beginning in a futuristic, whimsical vibe while also offering more of the band’s harsh and demolishing sounds, bringing peace and hope to our damned hearts and, therefore, putting a stunning finale to the album.

A Giant Bound to Fall is a giant step ahead in the logical direction, for the band and for the entire style. There is little doubt that this hugely ambitious and more importantly still passionate and heartfelt album will go down as another towering landmark in the genre, and if you want to show Eternal Storm all your support you can start following the band on Facebook and on Instagram, stream their music on Spotify, on YouTube and on any other streaming platform, and above all that, purchase a copy of the album from their own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as a CD (in the US and Europe) or as a very special CD + shirt combo (also in the US and Europe). The storm of Progressive and Melodic Death Metal available in the new album by such talented band from Spain definitely deserves a detailed listen by all of us, and I can’t wait to see what’s next in their boundless and always evolving career.

Best moments of the album: An Abyss of Unreason, Last Refuge and The Void.

Worst moments of the album: Eclipse.

Released in 2024 Transcending Obscurity Records

Track listing
1. An Abyss of Unreason 13:35
2. A Dim Illusion 7:18
3. There was a Wall 5:07
4. Last Refuge 10:00
5. Eclipse 4:06
6. Lone Tree Domain 9:27
7. The Sleepers 6:27
8. The Void 6:27
9. A Giant Bound to Fall 6:46

Band members
Daniel R. Flys – lead vocals, guitars, keyboards, bass
Jaime Torres – guitars, vocals, keyboards, bass, fretless bass
Daniel Maganto – bass, additional guitars, additional vocals

Guest musicians
Gabriel Valcázar – drums, percussion (session)
Jaboto Fernández – additional keyboards and synts
Roberto Bustabad – noise and additional synths on “An Abyss of Unreason”
Sven de Caluwé – additional vocals on “A Dim Illusion”
Kheryon – additional vocals on “Last Refuge”
Paul R. Flys – violin on “Last Refuge”
Eloi Boucherie – additional vocals on “Lone Tree Domain”
Dan Swanö – additional vocals on “The Sleepers”
Sergi “Bobby” Verdeguer – additional vocals on “A Giant Bound to Fall”

Album Review – Gloryhammer / Return To The Kingdom Of Fife (2023)

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Scotland’s own metallic warriors return to the Kingdom Of Fife with their fourth full-length opus, a massive onslaught of Power Metal greatness and epic fantasy.

In the not-so-distant Kingdom of Fife, there lies a band like no other. Scottish Symphonic Power Metal outfit Gloryhammer embodies the very essence of Power Metal and epic fantasy, with a sound so majestic and grandiose that it could only be the work of the gods themselves. Led by the manifestation of extreme trumpet-chaos in battle-mode, Gloryhammer have been waging a never-ending fight against the forces of Zargothrax since their formation in 2010, armed with what they like to call “Interdimensional Power Metal”. Now in 2023 the band formed of vocalist Angus McFife V (aka Sozos Michael), guitarist Ser Proletius, Grand Master of the Deathknights of Crail (aka Paul Templing), bassist The Hootsman, Astral Demigod of Unst (aka James Cartwright), keyboardist Zargothrax, Dark Emperor of Dundee (aka Michael Barber), and drummer Ralathor, the Mysterious Submarine Commander of Cowdenbeath (aka Ben Turk) is back in action with Return to the Kingdom of Fife, the fourth album in their already solid career. Featuring a majestic artwork by Dan Goldsworthy, the album is a massive onslaught of Power Metal greatness, being highly recommended for admirers of Alestorm, Powerwolf, Beast In Black, Battle Beast and Sabaton, among other metal giants.

Time to enter Gloryhammer’s parallel dimension to the symphonic intro Incoming Transmission until all hell breaks loose in Holy Flaming Hammer of Unholy Cosmic Frost, a fast and thunderous Power Metal feast where Ser Proletius is on fire with his riffs while Zargothrax adds his touch of insanity to the music with his magic keys; followed by Imperium Dundaxia, even more imposing and multi-layered, with the keys by Zargothrax sounding striking from start to finish, not to mention the song’s absolutely rumbling bass and drums. The keys by Zargothrax will penetrate deep inside your mind in Wasteland Warrior Hoots Patrol, a video game-like metal attack led by the electrifying riffage by Ser Proletius, whereas Brothers of Crail is a battle hymn where Ralathor dictates the song’s galloping pace supported by the puissant bass by The Hootsman. And continuing to distill their keyboard-infused Power Metal we have Fife Eternal, showcasing another spot-on performance by Angus supported by the riffs and bass by Ser Proletius and The Hootsman.

Sword Lord of the Goblin Horde is a lot slower, more melodic than its predecessors, and not as inspiring, with even the kitchen by Zargothaz and Ralahor sounding very basic. However, that lack of energy doesn’t last for too long, as Ralathor speeds things up with his frantic drumming in Vorpal Laserblaster of Pittenweem while Angus powerfully declaims the song’s lyrics in an incendiary display of Symphonic Power Metal. Keeper of the Celestial Flame of Abernethy follows the same formula as most of the songs from the album, a very happy version of Symphonic Power Metal spearheaded by the classic drums by Ralathor. Lastly, get ready for a 12-minute voyage full of cinematic passages, soaring vocals, ethereal keys, epic guitars and pounding drums beautifully titled Maleficus Geminus (Colossus Matrix 38B – Ultimate Invocation of the Binary Thaumaturge), a proper ending to such entertaining album flowing into a whimsical grand finale.

The electrifying Return To The Kingdom Of Fife can be appreciated in all of its glory on YouTube and on Spotify, but of course you can support those metal warriors by purchasing the album from HERE or HERE (and if I were you I would certainly go for the wooden deluxe box containing the 2-CD digipak, a 7” single for “Fly Away”, plus a cards + dice + flag + collector’s card bundle), and don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and so on. “Hoots! We are proud to teleport you all to as-of-yet unknown mountaintops of extreme-trumpet-confoundry with this new opus! Several orchestras were maimed during the production process, which we think reflects adequately in the hyper-sonic nano-recordings we have inscribed on disc for you to peruse. Many battles await,” commented the band about their new album, inviting us all to join them on another quest for Power Metal in the vast Kingdom Of Fife, and I bet you’ll be more than happy to fight alongside one of the most important bands of the Scottish scene, right?

Best moments of the album: Holy Flaming Hammer of Unholy Cosmic Frost, Wasteland Warrior Hoots Patrol and Vorpal Laserblaster of Pittenweem.

Worst moments of the album: Sword Lord of the Goblin Horde.

Released in 2023 Napalm Records

Track listing
1. Incoming Transmission 1:46
2. Holy Flaming Hammer of Unholy Cosmic Frost 4:35
3. Imperium Dundaxia 4:36
4. Wasteland Warrior Hoots Patrol 4:29
5. Brothers of Crail 4:16
6. Fife Eternal 3:05
7. Sword Lord of the Goblin Horde 5:26
8. Vorpal Laserblaster of Pittenweem 4:29
9. Keeper of the Celestial Flame of Abernethy 3:20
10. Maleficus Geminus (Colossus Matrix 38B – Ultimate Invocation of the Binary Thaumaturge) 12:10

Band members
Angus McFife V (Sozos Michael) – vocals
Ser Proletius, Grand Master of the Deathknights of Crail (Paul Templing) – guitars
The Hootsman, Astral Demigod of Unst (James Cartwright) – bass
Zargothrax, Dark Emperor of Dundee (Michael Barber) – keyboards
Ralathor, the Mysterious Submarine Commander of Cowdenbeath (Ben Turk) – drums

Album Review – Hellripper / Warlocks Grim & Withered Hags (2023)

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Behold this infernal storm of Blackened Thrash Metal by a one-man army from Scotland, heavily inspired by witchcraft and the supernatural while also deeply rooted in his Scottish origins.

Crowned “Scotland’s king of the arcane mosh” by Metal Hammer magazine, Aberdeen-based Blackened Thrash Metal one-man army Hellripper, the brainchild of vocalist and multi-instrumentalist James McBain (Lock Howl, Lord Rot, Rats of Reality), aims to invoke the quintessential Black N’ Roll sound by mixing influences from classic 80’s Black Metal records with a more modern edge, heavily inspired by witchcraft and the supernatural while also deeply rooted in his Scottish origins, and always using the landscape and historical events as a backdrop for his lyrics and imagery. Now in 2023 it’s time for Hellripper to kill once again with Warlocks Grim & Withered Hags, the project’s third studio album, establishing a new threshold of excellence and raising the bar further over its 2020 album The Affair of the Poisons. Recorded and mixed by James himself at Coronach Studios, mastered by Damian Herring at Subterranean Watchtower Studios, and displaying a sick artwork by Adam Burke of Nightjar Illustration, the album is undoubtedly James’ most personal and diverse work to date, bringing the landscapes and legends of the Scottish Highlands to life in a beyond fantastic way.

James wastes no time and begin his sonic massacre in The Nuckelavee, delivering sheer electricity and rage through his riffs and blast beats in a demolishing fusion of Black and Thrash Metal for admirers of the darkest side of music, and the party is just starting as James has endless fuel to burn, bringing to our ears more of his acid roars and riffs in I, The Deceiver, sounding brutal yet very melodic; whereas the title-track Warlocks Grim & Withered Hags, featuring the majestic bagpipes by guest Antonio Rodríguez, blends James’ passion for extreme music with his Scottish roots in a very compelling manner, with his riffs and beats walking hand in hand with his visceral screams. As you all know, a beautiful song name requires an even more beautiful sound, and that’s exactly what James has to offer us all in Goat Vomit Nightmare, being frantic, sulfurous and blasphemous from the very first second, not to mention his thrashing riffs and solos are simply fantastic.

Featuring Joseph Quinlan (Desert Heretic) on lead guitars and additional vocals by Marianne, James takes no prisoners in his quest for violence and blood in The Cursed Carrion Crown, where his vocals get more and more demented as the music progresses, therefore blasting endless aggression for our vulgar delight. Joseph is back in The Hissing Marshes, where it’s impressive how James was able to blend the music by Motörhead and The Exploited to perfection. Moreover, his work on bass and drums is superb throughout the entire song, all spiced up of course by his devilish growling, whereas in Poison Womb (The Curse of the Witch) we face the last guest solo by Joseph, with the music being as fast and infernal as the rest of the album, or in other words an ode to all things 666, or a “lovely” song perfect for a “romantic” moment with your significant other. Last but not least, we’re treated to over eight minutes of pure hell and sulfur titled Mester Stoor Worm, perhaps the most Black Metal of all songs (which is obviously a good thing) where James is yet again spot-on with his screams, riffs and demented beats.

You can enjoy all the fury, speed and energy of the Blackened Thrash Metal played by Hellripper by following James and his Scottish beast on Facebook and on Instagram, by subscribing to his YouTube channel and by streaming his music on Spotify, and above all that, by purchasing the phenomenal Warlocks Grim & Withered Hags from his own BandCamp page, from his official EU store as a CD or an LP, or simply by clicking HERE or HERE. Hellripper is absolutely fast, loud and uncompromising, with Warlocks Grim & Withered Hags being a contemporary masterpiece of extreme music that deserves a listen from any living being that enjoys some good old Black Metal with a powerful Rock N’ Roll attitude. So keep calm, listen to the superb new opus by Hellripper, and all hail the goat!

Best moments of the album: Goat Vomit Nightmare, The Cursed Carrion Crown, The Hissing Marshes and Mester Stoor Worm.

Worst moments of the album: None.

Released in 2023 Peaceville Records

Track listing
1. The Nuckelavee 5:47
2. I, The Deceiver 4:55
3. Warlocks Grim & Withered Hags 7:14
4. Goat Vomit Nightmare 3:15
5. The Cursed Carrion Crown 5:47
6. The Hissing Marshes 3:51
7. Poison Womb (The Curse of the Witch) 3:43
8. Mester Stoor Worm 8:31

Band members
James McBain – vocals, all instruments

Guest musicians
Joseph Quinlan – additional lead guitars on “Poison Womb (The Curse of the Witch)”, “The Cursed Carrion Crown” and “The Hissing Marshes”
Marianne – additional vocals on “The Cursed Carrion Crown”
Antonio Rodríguez – great highland bagpipes on “Warlocks Grim & Withered Hags”

Album Review – Man Must Die / The Pain Behind It All (2023)

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This Scottish Death Metal institution returns with their most aggressive album to date, once again bringing the fight but in a bigger way than ever.

Having already released four furious records and having toured with the likes of Kataklysm, Aborted, Misery Index, Machine Head, Hatebreed and Decapitated, to name a few, Glasgow, Scotland-based Technical Death Metal entity Man Must Die is back in action with their most aggressive album to date and their first full-length album in almost ten years, The Pain Behind It All, following up on their 2019 EP Gagging Order and their 2013 full-length opus Peace Was Never an Option. Known and praised for their highly energetic music style, with early releases containing elements of Technical Death Metal, Melodic Death Metal and even influences from old school Hardcore Punk, but currently showcasing much more melodic elements coupled with a Deathgrind-based sound, the band formed of vocalist Joe McGlynn, guitarists Alan McFarland and Mike Allan, bassist James Wright, and drummer Tony Corio is once again bringing the fight but in a bigger way than ever armed with their new album, always dealing with religion, murder, death, hate and warfare in their lyrics, usually written in a very violent fashion.

The sinister and short intro O.C.D sets the stage for Man Must Die to smash our cranial skulls with Patterns In The Chaos, a pulverizing display of Death Metal with Deathcore nuances with Tony going berserk behind his drums while Joe roars and gnarls nonstop for our vulgar delectation, whereas the title-track The Pain Behind It All brings forward sheer heaviness directly to our faces, with the band’s guitar duo Alan and Mike sounding visceral armed with their axes, not to mention the song’s eerie background ambience. It’s pedal to the metal with the band being on fire in In The Hour Before Your Death, a frantic, heavy-as-hell Death Metal extravaganza led by the always demolishing beats by Tony while their guitars keep exhaling absolute hatred, followed by Clickhate, another boisterous tune by those Scottish death metallers where the level of fury and animosity flowing from all instruments is gargantuan, with Joe bursting his lungs growling like a beast.

After such intense first half of the album, it’s time for a darker song entitled Enabler, a decent mid-tempo feast of Technical Death Metal spearheaded by the piercing riffage by Allan and Mike; and back to their most vicious mode, the band will pulverize our ears in Bring Me The Head Of The King, taking their violence to a whole new level while Joe vociferates the song’s catchy lyrics in great fashion. Get ready for six minutes of anguished passages, thrilling riffs and endless obscurity in War Is My Will, with James blasting his rumbling bass while Tony completes their evil kitchen with his pounding drums, followed by the instrumental interlude Alone In A Crowded Room, soothing our souls for a little less than two minutes before the band comes ripping with their final sonic attack entitled Who Goes There?/I.F.F, a lecture in Death Metal infused with elements from Deathcore, Hardcore, and even hints of Punk Rock. Put differently, it’s impossible to stand still to this venomous sonic hurricane, inspiring us all to slam our damned bodies into the circle pit.

The ruthless squad of Man Must Die is waiting for you on Facebook and on Instagram with news, tour dates and other great information about the band and their music, and of course you can stream all of their pulverizing creations on Spotify. The Pain Behind It All, available for purchase from the Distortion Music Group’s webstore as a CD or a vinyl, as well as from Apple Music or Amazon, is as aforementioned Man Must Die’s strongest and most obscure album to date, positioning the band as one of the torchbearers of the current Scottish metal scene and, therefore, leaving us eager for more and more of their flammable music in the coming years.

Best moments of the album: Patterns In The Chaos, In The Hour Before Your Death, Bring Me The Head Of The King and Who Goes There?/I.F.F.

Worst moments of the album: Enabler.

Released in 2023 Distortion Music Group

Track listing
1. O.C.D 0:33
2. Patterns In The Chaos 4:38
3. The Pain Behind It All 5:01
4. In The Hour Before Your Death 4:11
5. Clickhate 4:07
6. Enabler 5:57
7. Bring Me The Head Of The King 3:33
8. War Is My Will 5:57
9. Alone In A Crowded Room 1:45
10. Who Goes There?/I.F.F 4:13

Band members
Joe McGlynn – vocals
Alan McFarland – lead guitars
Mike Allan – guitars
James Wright – bass
Tony Corio – drums

Album Review – Hand of Kalliach / Samhainn (2021)

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Behold the debut full-length album by this rising metal duo, offering us all dual concepts of benevolence and malevolence, all against the backdrop of the history, mythology and land and seascapes of the Scottish islands.

Melding a passion for metal music with traditional Scottish folk elements, Edinburgh, Scotland-based Atmospheric Celtic Metal duo Hand of Kalliach (a name that comes from the legend of the “Cailleach”, a Scottish witch god of winter) has just unleashed their globally awaited debut effort entitled Samhainn, focusing on dual concepts of benevolence and malevolence, all against the backdrop of the history, mythology and land and seascapes of the Scottish islands. Mixed and mastered by Wynter Prior at Sphynx Studios, and displaying a stylish artwork by Brazilian artist VHummel (aka Vinicius Hummel), the album is a lecture in Scottish metal by the couple formed of Sophie Fraser on vocals and bass, and John Fraser on vocals, guitars and drums, drawing  inspiration from the rhythms, time signatures and patterns used in folk music and adapting them for distorted guitars. “We’re both extremely excited to be releasing our debut full-length, Samhainn. Named after the ancient Celtic festival of winter (pronounced “Sah-win”), this album represents a huge gear change in our writing and production from our initial work, bringing a darker and more aggressive energy to our hybrid sound of Melodeath and Folk Metal,” commented John about the duo’s newborn spawn.

The opening tune Beneath Starlit Waters is atmospheric and enfolding form the very first second, with Sophie mesmerizing us all with her gentle vocals before John comes crushing with his deep roars and blast beats in a more epic version of Melodic Death Metal. Then in Solas Neònach we face sheer poetry flowing from the song’s lyrics (“Wake / From dreaming / The warmth departs these shores / From eightfold crones the chants are heard / The sand inverted once again”) while John slashes his stringed axe in great fashion, supported of course by Sophie’s ethereal vocalizations, followed by Each Uisge (roughly pronounced “eyach oosh-keh”), which translates to “water horse”, a demon from Scottish mythology that disguises itself as a horse before binding its flesh to a rider and galloping into the sea to drown and devour them. Musically speaking, it’s another stunning musical voyage showcasing a breathtaking vocal duet, a galloping bass and blast beats for our total delight. John continues to growl like a demonic entity in Roil, a lot more inclined to contemporary Melodic Death Metal, with Sophie embellishing the airwaves with her clean vocals; whereas adding elements from Viking Metal to their core essence it’s time for another epic onrush of sounds by the duo titled Cinders, where Sophie and John are thunderous with their respective bass and drums.

Arising from the depths of the underworld amidst a serene and melancholic ambience, The Lull Of Loch Uigeadail presents a more tribal side of the duo filling our ears with Celtic sounds and tones, bringing peace to our hearts before all hell breaks loose in Ascendant, leaning towards classic Melodic Death Metal while Sophie and John make the perfect metal couple throughout the entire song, resulting in a hybrid of pure rage and madness with smooth and hypnotizing sounds. Òran Na Tein’-éigin brings forward a stunning vocal attack by both Sophie and John, with its visceral drums creating a beautiful paradox with all background elements, and the duo keeps hammering our souls with their Atmospheric Celtic Metal in Trial Of The Beithir-Nimh, a solid, headbanging composition presenting metallic bass lines by Sophie intertwined with the flammable riffage by John. Finally,  get ready for one last round of poetic words (“Lost / On waves / Of an endless sea / Under starlit skies / It returns to me”) in Return to Stone while the music sounds a lot heavier and more doomed than all previous songs, feeling like the band’s farewell and, as a consequence, putting a pensive conclusion to the album.

This beautiful and absolutely atmospheric album made in Scotland can be better appreciated in its entirety on YouTube and on Spotify, but of course if you want to show your utmost support and admiration for such talented duo you can purchase a copy of Samhainn from the band’s own BandCamp page (or simply click HERE for all locations where you can buy or stream the album), and don’t forget to follow Hand of Kalliach on Facebook and on Instagram to know more about this up-and-coming Scottish entity. As the festival of Samhainn marks the end of the harvest season and beginning of winter or “darker-half” of the year, there’s nothing better than listening to an album that perfectly depicts that change from light to darkness and all of its nuances, and we must thank Sophie and john for being able to generate that album with such high level of passion and musicianship.

Best moments of the album: Solas Neònach, Each Uisge and Ascendant.

Worst moments of the album: Cinders.

Released in 2021 Trepanation Recordings

Track listing
1. Beneath Starlit Waters 5:56
2. Solas Neònach 4:53
3. Each Uisge 5:01
4. Roil 3:28
5. Cinders 3:02
6. The Lull Of Loch Uigeadail 3:49
7. Ascendant 3:13
8. Òran Na Tein’-éigin 4:10
9. Trial Of The Beithir-Nimh 3:49
10. Return to Stone 5:21

Band members
Sophie Fraser – vocals, bass
John Fraser – vocals, guitars, drums