𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗧𝗘𝗠𝗣𝗟𝗔𝗥𝗜𝗢 – 𝗩𝗔𝗟𝗟𝗘 𝗘𝗟𝗘𝗖𝗧𝗥𝗜𝗖𝗢
When was the last time you came across something in the deep underground metal scene that really excited and intrigued you? I know it has been quite a long time, since nowadays more and more bands try to sound exactly the same, never quite absorbing their influences and most don’t even try to go off the beaten bath. Yet, fear not, because from time to time small bands pop up from out of the deepest places of the underground, offering a dose of archaic heavy/power metal that brings forth memories of the early 00’s.
Yes, TEMPLARIO from the far away city of La Paz, Bolivia are here swinging their swords for the glory of metal with their first album called Valle Eléctrico. And YES they sing in their native Spanish language and if you are uncomfortable with that, better admit that you were never into heavy/power metal, since the Latin American scene was a refuge for classic heavy/power metal when the nu-groove plagued North America. Therefore, I couldn’t expect anything less than an overdose of power, melody permeated with an epic feeling.
Valle Eléctrico is as if it came from that era. Imagine a mixture of the “heavy side” of European power metal (HELLOWEEN, GAMMA RAY, EDGUY) alongside the 80’s melodic approach of bands like WARLORD, VIRGIN STEELE or HEIR APPARENT. They are not prog, neither are they a pure power metal band, instead they blend the heavy side along with melodies and a straightforward, simplistic yet powerful approach towards their songs. They reminded me of Europe’s “deep power metal acts” like ADRAMELCH, SHADOWS OF STEEL (check out their last album alongside WILD STEEL‘s latest effort), ZARPA,TARANTULA, of course TIERRA SANTA with the epicness of NOBLE SAVAGE or Greek bands like WISDOM the early INNERWISH.
As I said, the songs are simplistic, memorable, fast but melodic with catchy choruses and the Spanish language fits quite well. Don’t expect exquisite virtuoso guitars, TEMPLARIO don’t care about that. There is no glossy, highly detailed production with crystal clear sound. Instead the sound is organic; it has a “live” feeling, a romantic melancholy as if it were composed in a long lost age and a genuine 90’s vibe. Songs like the title track Valle Eléctrico or the anthemic Armadura de Metal are made to be played live or in rock bars. Other highlights include Apócrifo or the ballad El Fuego de tu Adiós.
This one is highly recommended if you are into this sound, alongside with Knight of Metal by the Brazillian band TEMPLAR. I always enjoy bands from South America, as they share a genuine, sincere approach towards Heavy Metal, something quite hard to find today. Loved it.
TEMPLARIO – Valle Eléctrico was released digitally on April 12th, 2025 and will be available on CD on January 30th 2026 via Under Siege Records.
———
𝗙𝗿𝗼𝗺:
www.forgotten-scroll.net/metal-reviews/valle-electrico/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/2woclmjJAA8ytNDZ50zLPR
———
#Colderra
#ColderraMusic
#MusicReview
#PowerMetal
#HeavyMetal
#TEMPLARIO
#ValleEléctricoTemplario · album · 2025 · 8 songs
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COLDERRA
Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗧𝗥𝗜𝗨𝗠𝗣𝗛𝗘𝗥 – 𝗣𝗜𝗘𝗥𝗖𝗜𝗡𝗚 𝗧𝗛𝗘 𝗛𝗘𝗔𝗥𝗧 𝗢𝗙 𝗧𝗛𝗘 𝗪𝗢𝗥𝗟𝗗
The third album by TRIUMPHER is, in my opinion, the most critical one for the further evolution of the Athenian band. It stands at a pivotal point where the band, having made a powerful impression with its debut, “Storming The Walls” (Floga Records, 2023), returned without losing a second with “Spirit Invictus” (No Remorse Records, 2024) and, capitalizing on the momentum created by the reissue of their first album through their new label during 2025, comes back with “Piercing The Heart Of The World”.
Three albums in the span of three years.
And the wager, of course, is whether this latest release not only continues what they achieved with the previous two albums, but also whether it manages to give TRIUMPHER the push toward something even greater.
Personally, I had placed a wager of my own – whether the band would shape a clearer and more firmly established sound and aesthetic, one that, building upon its clearly identifiable traits, such as the distinctive vocal performance of Mars Triumph and the successful blend of black/speed elements within the formula of classic, tight epic heavy/power, would dare to make a difference not only compositionally but also on an inherently expressive level.
Whether it would demonstrate not just ability, but strength, courage, and passion – that qualitative element of a truly deeper musical character.
And whether, beyond vision and intelligence, it would also possess the musical gift to stand against the world and charge forward, convincingly, to conquer it!
There is no one within the metal scene who truly knows their craft and does not recognize that TRIUMPHER is an utterly dedicated, hard-working, and admirably professional band. Their participation in festivals such as Keep It True and Up The Hammers, Hell Over Hammaburg and Midalidare Rock Festival, as well as Pyrenean Metal Warriors, Metal im Void, Metalheads Open Air, and Rethymno Rocks, proves that the Athenians are determined to scour the entire world and conquer every stage that gives them the chance to prove their worth.
So, it is not merely three albums in three years. It is also countless live performances where, by common admission, TRIUMPHER always give their absolute best.
Will March 6th be the date on which the band spreads its wings wider than ever before? And, like a dragon of myth, strikes the air with them, soaring through skies that will carry it even farther, toward the most distant horizons of its dreams?
This long prologue with its successive questions is obviously not meant to tire you. Nor does it, under any circumstances, build TRIUMPHER’s biography while foreshadowing the familiar, dismissive “but”!
Quite the opposite.
I write these words feeling immense joy – and relief, I dare say – because yes, the Athenians fully vindicated me! And of course, it is not my small, personal wager that truly matters. What matters is that the quintet of Mars Triumph (vocals), Christopher Tsakiropoulos (guitars), Mario Ñ Peters (guitars), Stelios Zoumis (bass), and Agis Tzoukopoulos (drums) lay their soul bear with “Piercing The Heart Of The World”, a soul that now radiates clearly the beginning of a new – in my humble opinion – trajectory for TRIUMPHER: one that may one day establish them as a truly major name within the epic heavy/power idiom.
The album opens with “Black Blood”, a sweeping, highly rhythmic blackened epic power track with beautiful symphonic elements, chosen as the album’s first single.
This is followed by “Destroyer”, walking in familiar tracks of a galloping, torrential sound, featuring an uplifting chorus that conceals a majestic mid-section which erupts into a formidable guitar solo. The comparison may not be entirely fair, but given the shared impetuous character, the identical position in the tracklist, and the same duration, “Arrival of the Avenger” from “Spirit Invictus” inevitably came to mind. Without a doubt, “Destroyer” wins it on points, and by its ending came the very first moment when I smiled quietly to myself – yes, TRIUMPHER had made the difference within themselves, and that was the fundamental key to the success of the new album.
And if someone says that it was far too early for such conclusions, I would agree.
What followed, however, was the typhoon titled “The Mountain Throne”, an amalgam of epic heavy and black metal that has it all! Multiple tempos, hymnal and choral passages, seismic bass, relentless guitars, intelligent structuring, and a frenzied sense of progression!
Honestly, I did not know what to expect next, but I felt that I did not want another fast and aggressive track in a row. And then I saw “Ithaca (Return Of The Eternal King)” on the tracklist, the album’s second single, which I had listened to earlier that same morning, and had been left literally moved. For me, managing to take the legacy of epic metal – even in its more commercial incarnation – and transmute it into something personal is a massive achievement in itself. Yes, compositionally it may be a power ballad, but one that emanates and honors late-era MANOWAR at their very best – and I freely admit that this alone is more than enough for me.
Next comes “Vaults Of Immortals”, a two-minute piece that dares to continue in low, ethereal, this time haunting tones, imbued with dense dramatic weight. I would not want it to be perceived merely as a prelude to the following “The Flaming Sword”; in my mind it is a wonderful, small sonata – it genuinely brought to mind the first movement of BEETHOVEN’s legendary “Moonlight Sonata”, and I do not believe I am mistaken.
Then comes “The Flaming Sword”, where TRIUMPHER return to paying homage to their greatest influence, the mighty MANOWAR. However, the following must now be made absolutely clear: the Athenians do not sound as if they are trying to imitate, but rather to embody the quintessence of the Americans. What is the difference? How do I perceive that they are not simply copying the brand-like identity of MANOWAR, but truly forging it within themselves? As someone who did not hide his reservations and doubts when I feared that TRIUMPHER might tread such paths, I have the answer ready: it lies in the essential refinement of the piece so that it credibly fits the band’s own measure, bearing a clear signature of Greekness in the chorus – as much love as I have for MANOWAR of the old, good, golden era, and as directly as every guitar strike of “The Flaming Sword” invokes the Americans, this refrain could never belong to them! And yet, here it is, perfectly integrated into TRIUMPHER’s own style. At this point, I was finally at ease: “Piercing The Heart Of The World” is, on the one hand, a faithful and recognizable TRIUMPHER album; on the other, it is the one that solidifies their sound, with their own identity.
Next up is “Erinyes”, which carries a menacing darkness, with shrieking black metal vocal moments that I personally would have liked to last longer, just as I would have liked an inserted atmospheric wedge to momentarily lower the relentless intensity through some kind of horror evoking melody. The band opted instead for the straight blackened path. My only disagreement on the album – and not a particularly significant one.
The curtain falls with the epic-scale “Naus Apidalia”, where the legendary Rudderless Ship offers an inexhaustible source of inspiration, blending ancient Greek myth, sharp US metal attack, and rich British tonality, choral sections and spine-chilling narrations, pompous riffs, and magnificent, flowing solos.
A true epic!
Listening to it, I once again made a mental comparison with the track that closed the previous album, “Hall of a Thousand Storms”, my personal favorite song from “Spirit Invictus”. And I mean this in the best possible way: they cannot even be compared; they are incommensurable magnitudes – “Naus Apidalia” is simply the seal confirming that “Piercing The Heart Of The World” is the best TRIUMPHER album to date, by a notable margin! When I presented “Spirit Invictus” in 2024 (read here), I wrote that I also found it – perhaps against many other opinions – better than “Storming The Walls”, based on the totality and consistency of its style.
With “Piercing The Heart Of The World”, the improvement is more substantial. It is the album that won every bet. It is TRIUMPHER with a now firmly established personal imprint, with a recognizable musical identity – and whether you like it or not, it is capable of claiming its place on the international stage.
I wonder whether it even makes sense to mention associations beyond MANOWAR. Clearly, they exist – BATHORY, PRIMORDIAL, early ICED EARTH and late NIGHTFALL, IRON MAIDEN, ATLANTEAN KODEX, MEGATON SWORD, and ETERNAL CHAMPION are some reference points.
In the end, however, the band is only one.
And its name is TRIUMPHER!
I close with congratulations to Anastasia Ziazopoulou for the cover artwork, and to Achilles Kalantzis for his outstanding work in recording, mixing, and mastering.
“Piercing The Heart Of The World” will be released on March 6th both CD and LP by No Remorse Records.
———
𝗙𝗿𝗼𝗺:
www.forgotten-scroll.net/metal-reviews/12457-2/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
triumpher.bandcamp.com/album/piercing-the-heart-of-the-world
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#PowerMetal
#TRIUMPHER
#PiercingTheHeartOfTheWorld8 track album
The third album by TRIUMPHER is, in my opinion, the most critical one for the further evolution of the Athenian band. It stands at a pivotal point where the band, having made a powerful impression with its debut, “Storming The Walls” (Floga Records, 2023), returned without losing a second with “Spirit Invictus” (No Remorse Records, 2024) and, capitalizing on the momentum created by the reissue of their first album through their new label during 2025, comes back with “Piercing The Heart Of The World”.
Three albums in the span of three years.
And the wager, of course, is whether this latest release not only continues what they achieved with the previous two albums, but also whether it manages to give TRIUMPHER the push toward something even greater.
Personally, I had placed a wager of my own – whether the band would shape a clearer and more firmly established sound and aesthetic, one that, building upon its clearly identifiable traits, such as the distinctive vocal performance of Mars Triumph and the successful blend of black/speed elements within the formula of classic, tight epic heavy/power, would dare to make a difference not only compositionally but also on an inherently expressive level.
Whether it would demonstrate not just ability, but strength, courage, and passion – that qualitative element of a truly deeper musical character.
And whether, beyond vision and intelligence, it would also possess the musical gift to stand against the world and charge forward, convincingly, to conquer it!
There is no one within the metal scene who truly knows their craft and does not recognize that TRIUMPHER is an utterly dedicated, hard-working, and admirably professional band. Their participation in festivals such as Keep It True and Up The Hammers, Hell Over Hammaburg and Midalidare Rock Festival, as well as Pyrenean Metal Warriors, Metal im Void, Metalheads Open Air, and Rethymno Rocks, proves that the Athenians are determined to scour the entire world and conquer every stage that gives them the chance to prove their worth.
So, it is not merely three albums in three years. It is also countless live performances where, by common admission, TRIUMPHER always give their absolute best.
Will March 6th be the date on which the band spreads its wings wider than ever before? And, like a dragon of myth, strikes the air with them, soaring through skies that will carry it even farther, toward the most distant horizons of its dreams?
This long prologue with its successive questions is obviously not meant to tire you. Nor does it, under any circumstances, build TRIUMPHER’s biography while foreshadowing the familiar, dismissive “but”!
Quite the opposite.
I write these words feeling immense joy – and relief, I dare say – because yes, the Athenians fully vindicated me! And of course, it is not my small, personal wager that truly matters. What matters is that the quintet of Mars Triumph (vocals), Christopher Tsakiropoulos (guitars), Mario Ñ Peters (guitars), Stelios Zoumis (bass), and Agis Tzoukopoulos (drums) lay their soul bear with “Piercing The Heart Of The World”, a soul that now radiates clearly the beginning of a new – in my humble opinion – trajectory for TRIUMPHER: one that may one day establish them as a truly major name within the epic heavy/power idiom.
The album opens with “Black Blood”, a sweeping, highly rhythmic blackened epic power track with beautiful symphonic elements, chosen as the album’s first single.
This is followed by “Destroyer”, walking in familiar tracks of a galloping, torrential sound, featuring an uplifting chorus that conceals a majestic mid-section which erupts into a formidable guitar solo. The comparison may not be entirely fair, but given the shared impetuous character, the identical position in the tracklist, and the same duration, “Arrival of the Avenger” from “Spirit Invictus” inevitably came to mind. Without a doubt, “Destroyer” wins it on points, and by its ending came the very first moment when I smiled quietly to myself – yes, TRIUMPHER had made the difference within themselves, and that was the fundamental key to the success of the new album.
And if someone says that it was far too early for such conclusions, I would agree.
What followed, however, was the typhoon titled “The Mountain Throne”, an amalgam of epic heavy and black metal that has it all! Multiple tempos, hymnal and choral passages, seismic bass, relentless guitars, intelligent structuring, and a frenzied sense of progression!
Honestly, I did not know what to expect next, but I felt that I did not want another fast and aggressive track in a row. And then I saw “Ithaca (Return Of The Eternal King)” on the tracklist, the album’s second single, which I had listened to earlier that same morning, and had been left literally moved. For me, managing to take the legacy of epic metal – even in its more commercial incarnation – and transmute it into something personal is a massive achievement in itself. Yes, compositionally it may be a power ballad, but one that emanates and honors late-era MANOWAR at their very best – and I freely admit that this alone is more than enough for me.
Next comes “Vaults Of Immortals”, a two-minute piece that dares to continue in low, ethereal, this time haunting tones, imbued with dense dramatic weight. I would not want it to be perceived merely as a prelude to the following “The Flaming Sword”; in my mind it is a wonderful, small sonata – it genuinely brought to mind the first movement of BEETHOVEN’s legendary “Moonlight Sonata”, and I do not believe I am mistaken.
Then comes “The Flaming Sword”, where TRIUMPHER return to paying homage to their greatest influence, the mighty MANOWAR. However, the following must now be made absolutely clear: the Athenians do not sound as if they are trying to imitate, but rather to embody the quintessence of the Americans. What is the difference? How do I perceive that they are not simply copying the brand-like identity of MANOWAR, but truly forging it within themselves? As someone who did not hide his reservations and doubts when I feared that TRIUMPHER might tread such paths, I have the answer ready: it lies in the essential refinement of the piece so that it credibly fits the band’s own measure, bearing a clear signature of Greekness in the chorus – as much love as I have for MANOWAR of the old, good, golden era, and as directly as every guitar strike of “The Flaming Sword” invokes the Americans, this refrain could never belong to them! And yet, here it is, perfectly integrated into TRIUMPHER’s own style. At this point, I was finally at ease: “Piercing The Heart Of The World” is, on the one hand, a faithful and recognizable TRIUMPHER album; on the other, it is the one that solidifies their sound, with their own identity.
Next up is “Erinyes”, which carries a menacing darkness, with shrieking black metal vocal moments that I personally would have liked to last longer, just as I would have liked an inserted atmospheric wedge to momentarily lower the relentless intensity through some kind of horror evoking melody. The band opted instead for the straight blackened path. My only disagreement on the album – and not a particularly significant one.
The curtain falls with the epic-scale “Naus Apidalia”, where the legendary Rudderless Ship offers an inexhaustible source of inspiration, blending ancient Greek myth, sharp US metal attack, and rich British tonality, choral sections and spine-chilling narrations, pompous riffs, and magnificent, flowing solos.
A true epic!
Listening to it, I once again made a mental comparison with the track that closed the previous album, “Hall of a Thousand Storms”, my personal favorite song from “Spirit Invictus”. And I mean this in the best possible way: they cannot even be compared; they are incommensurable magnitudes – “Naus Apidalia” is simply the seal confirming that “Piercing The Heart Of The World” is the best TRIUMPHER album to date, by a notable margin! When I presented “Spirit Invictus” in 2024 (read here), I wrote that I also found it – perhaps against many other opinions – better than “Storming The Walls”, based on the totality and consistency of its style.
With “Piercing The Heart Of The World”, the improvement is more substantial. It is the album that won every bet. It is TRIUMPHER with a now firmly established personal imprint, with a recognizable musical identity – and whether you like it or not, it is capable of claiming its place on the international stage.
I wonder whether it even makes sense to mention associations beyond MANOWAR. Clearly, they exist – BATHORY, PRIMORDIAL, early ICED EARTH and late NIGHTFALL, IRON MAIDEN, ATLANTEAN KODEX, MEGATON SWORD, and ETERNAL CHAMPION are some reference points.
In the end, however, the band is only one.
And its name is TRIUMPHER!
I close with congratulations to Anastasia Ziazopoulou for the cover artwork, and to Achilles Kalantzis for his outstanding work in recording, mixing, and mastering.
“Piercing The Heart Of The World” will be released on March 6th both CD and LP by No Remorse Records.
———
𝗙𝗿𝗼𝗺:
www.forgotten-scroll.net/metal-reviews/12457-2/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
triumpher.bandcamp.com/album/piercing-the-heart-of-the-world
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#PowerMetal
#TRIUMPHER
#PiercingTheHeartOfTheWorld8 track album
𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗘𝗗𝗚𝗘 𝗢𝗙 𝗣𝗔𝗥𝗔𝗗𝗜𝗦𝗘 – 𝗠𝗔𝗥𝗧𝗬𝗥 (𝗠𝗢𝗡𝗦𝗧𝗘𝗥)
Los Angeles–based cinematic hard rock visionaries EDGE OF PARADISE unveil a striking new music video for “Martyr (Monster)”, cut from last year’s smash hit album Prophecy. Delving deeper into the band’s immersive sci-fi universe, the narrative-driven visual experience features the first performance of new keyboardist, Alex Nasla, and a second act that reimagines the song as an instrumental, musically expanding upon its initial appearance on Prophecy.
This instrumental reimagining directly accompanies the release of “Hologram and Slaves to Forever”’s, the band’s graphic novel, upcoming audiobook, heightening the emotional themes of consciousness, control, and humanity in an increasingly digital world. EDGE OF PARADISE channels their inner William Gibson, inviting fans into their narratively confrontational dystopia.
EDGE OF PARADISE frontwoman Margarita Monet says this about the new video and expanded track:
“This song is about realizing you can either surrender to the system that shapes you or reclaim your own identity. Perspective decides whether you’re seen as a martyr or a monster, I believe both live within us. But the power lies in choosing which one you allow to define your reality. The video expands that idea visually, exploring fractured possibilities, perspective, and what it means to stay human in an increasingly artificial and controlled world.”
Monet adds about the addition of New Keyboardist Alex Nasla:
“We are also very excited to welcome Alex Nasla to the band, as he extends the cinematic sound even more! In the song, each member carries a moment that pushes the story forward. Alex Nasla’s keyboard solo marks the beginning of a shift, and in the instrumental version they explode into something far more expansive, like stepping into a larger reality. Doug Weiand’s solo brings vulnerability and tension, and then Dave Bate’s lead hits with intensity and resolve. Anchored by the drive of Jamie Moreno and Kenny Lockwood, the song follows the same arc as its message, evolution through choice…”
Hot off several North American tours supporting labelmates Delain and Xandria, and Japanese metal sensation Lovebites, the video arrives alongside several premier festivals internationally, including headline performances on February 7 at Fire It Up Festival in Garden Grove, CA, and April 17 at Hyperspace Metal Fest in Vancouver, BC Canada, as well as a performance at Rock in Rautheim in Braunschweig, DE, with more live dates to be announced soon!
Prophecy kicks off in explosive fashion with opening track “Death Note”, a bombastic crash through apathetic walls encouraging listeners to break free from their technological isolation, and embrace connection with others over numb comfort alone. “Give It To Me (Mind Assassin)”, cranks up the intensity with an irresistible driving pulse propelled even further by an infectiously dancy chorus. A raucous fight for authenticity and self-realization, “Prophecy Unbound” careens through claustrophobically tight riffage, blossoming into a lush and cathartic belt-along chorus. The winding serpentine melodies of “Falling Light” explode with Monet’s venomous soaring vocals, dancing around ethereal synth textures, enveloping listeners in a sonic gothic cathedral. Released earlier this year, lead single “Rogue (Aim For The Kill)”, is a full throttle industrial rock track about perseverance in the face of seeming unbeatable adversity. “The Other Side of Fear” is an energized rager built on pulsating dance beats and features a standout guitar solo from composer and commander in shred Dave Bates. Prophecy takes a stand against indifference, encouraging listeners to go outside, cry, and embrace all the uncomfortable parts of life that make us human, before apathetic comfort, driven by addictive algorithms bring about our demise.
Co-produced with Mike Plotnikoff (Nita Strauss, Apocalyptica, Daughtry, Three Days Grace), mixed and mastered by Jacob Hansen (Amaranthe, Arch Enemy, Katatonia, Delain, Evergrey), and incorporated for the first time, 8-string guitars, Prophecy packs extreme firepower for EDGE OF PARADISE’s most intense voyage yet.
Order Your Copy of Prophecy HERE napalmrecords.com/edge-of-paradise
Prophecy tracklisting:
1 Death Note
2 Give it to Me (Mind Assassin) (feat. Ben V. from Ludovico)
3 Prophecy Unbound
4 Sad Life of a Rose
5 Rogue (Aim for the Kill)
6 Hear Me
7 The Other Side of Fear
8 Martyr (Monster)
9 Relive Again
10 Falling Light
———
𝗙𝗿𝗼𝗺:
knac.com/edgeofparadise-officialvideo-martyrmonster/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=GtHYeuZpXbA
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#RockBand
#EdgeofParadise
#Martyr
#Monster
Los Angeles–based cinematic hard rock visionaries EDGE OF PARADISE unveil a striking new music video for “Martyr (Monster)”, cut from last year’s smash hit album Prophecy. Delving deeper into the band’s immersive sci-fi universe, the narrative-driven visual experience features the first performance of new keyboardist, Alex Nasla, and a second act that reimagines the song as an instrumental, musically expanding upon its initial appearance on Prophecy.
This instrumental reimagining directly accompanies the release of “Hologram and Slaves to Forever”’s, the band’s graphic novel, upcoming audiobook, heightening the emotional themes of consciousness, control, and humanity in an increasingly digital world. EDGE OF PARADISE channels their inner William Gibson, inviting fans into their narratively confrontational dystopia.
EDGE OF PARADISE frontwoman Margarita Monet says this about the new video and expanded track:
“This song is about realizing you can either surrender to the system that shapes you or reclaim your own identity. Perspective decides whether you’re seen as a martyr or a monster, I believe both live within us. But the power lies in choosing which one you allow to define your reality. The video expands that idea visually, exploring fractured possibilities, perspective, and what it means to stay human in an increasingly artificial and controlled world.”
Monet adds about the addition of New Keyboardist Alex Nasla:
“We are also very excited to welcome Alex Nasla to the band, as he extends the cinematic sound even more! In the song, each member carries a moment that pushes the story forward. Alex Nasla’s keyboard solo marks the beginning of a shift, and in the instrumental version they explode into something far more expansive, like stepping into a larger reality. Doug Weiand’s solo brings vulnerability and tension, and then Dave Bate’s lead hits with intensity and resolve. Anchored by the drive of Jamie Moreno and Kenny Lockwood, the song follows the same arc as its message, evolution through choice…”
Hot off several North American tours supporting labelmates Delain and Xandria, and Japanese metal sensation Lovebites, the video arrives alongside several premier festivals internationally, including headline performances on February 7 at Fire It Up Festival in Garden Grove, CA, and April 17 at Hyperspace Metal Fest in Vancouver, BC Canada, as well as a performance at Rock in Rautheim in Braunschweig, DE, with more live dates to be announced soon!
Prophecy kicks off in explosive fashion with opening track “Death Note”, a bombastic crash through apathetic walls encouraging listeners to break free from their technological isolation, and embrace connection with others over numb comfort alone. “Give It To Me (Mind Assassin)”, cranks up the intensity with an irresistible driving pulse propelled even further by an infectiously dancy chorus. A raucous fight for authenticity and self-realization, “Prophecy Unbound” careens through claustrophobically tight riffage, blossoming into a lush and cathartic belt-along chorus. The winding serpentine melodies of “Falling Light” explode with Monet’s venomous soaring vocals, dancing around ethereal synth textures, enveloping listeners in a sonic gothic cathedral. Released earlier this year, lead single “Rogue (Aim For The Kill)”, is a full throttle industrial rock track about perseverance in the face of seeming unbeatable adversity. “The Other Side of Fear” is an energized rager built on pulsating dance beats and features a standout guitar solo from composer and commander in shred Dave Bates. Prophecy takes a stand against indifference, encouraging listeners to go outside, cry, and embrace all the uncomfortable parts of life that make us human, before apathetic comfort, driven by addictive algorithms bring about our demise.
Co-produced with Mike Plotnikoff (Nita Strauss, Apocalyptica, Daughtry, Three Days Grace), mixed and mastered by Jacob Hansen (Amaranthe, Arch Enemy, Katatonia, Delain, Evergrey), and incorporated for the first time, 8-string guitars, Prophecy packs extreme firepower for EDGE OF PARADISE’s most intense voyage yet.
Order Your Copy of Prophecy HERE napalmrecords.com/edge-of-paradise
Prophecy tracklisting:
1 Death Note
2 Give it to Me (Mind Assassin) (feat. Ben V. from Ludovico)
3 Prophecy Unbound
4 Sad Life of a Rose
5 Rogue (Aim for the Kill)
6 Hear Me
7 The Other Side of Fear
8 Martyr (Monster)
9 Relive Again
10 Falling Light
———
𝗙𝗿𝗼𝗺:
knac.com/edgeofparadise-officialvideo-martyrmonster/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=GtHYeuZpXbA
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#RockBand
#EdgeofParadise
#Martyr
#Monster
Edge of Paradise – Martyr (Monster) – Official Video | Napalm Records
www.youtube.com
"Prophecy" album is out NOW!Stream and order now: lnk.to/EOP-Prophecy "Martyr (Monster)" is about realizing you can either surrender to the system th… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗢𝗣𝗘𝗧𝗛 – §𝟳
Opeth have released the official music video for “§7”, which can be found below. The track is featured on the band’s 14th studio album, The Last Will And Testament, released in November 2024.
Says Mikael Åkerfeldt: “That track was scary to play live at first. Most of our songs are challenging, I suppose, and this one is no exception. I believe we all love playing this one. There are a myriad of details that could go wrong though, but it’s fun. It keeps you on your toes. And of course, then there’s Ian Anderson’s narrations, which is the only thing in our set that isn’t ”live”. Since we don’t play to a click-track, it’s dragging or pushing depending on the tempo of the evening. Again, it’s fun and I love the unforeseeable character of this song in a live setting. That’s a bit odd since I normally want to feel completely secure and really know what I’m doing. I generally don’t like surprises on stage.”
The Last Will And Testament was written by Mikael Åkerfeldt, with lyrics conferred with Klara Rönnqvist Fors (The Heard, ex-Crucified Barbara). The Last Will And Testament was co-produced by Åkerfeldt and Stefan Boman (Ghost, The Hellacopters), engineered by Boman, Joe Jones (Killing Joke, Robert Plant), and Opeth, with Boman, Åkerfeldt, and the rest of Opeth mixing at Atlantis and Hammerthorpe Studios in Stockholm. The strings on The Last Will And Testament were arranged by Åkerfeldt and returning prog friend Dave Stewart (Egg, Khan) and conducted by Stewart at Angel Studios in London. Not one to miss a beat, visual artist Travis Smith returns to the fold, crafting his 11th cover, a haunting “photograph” reminiscent of Stanley Kubrick’s infamous “Overlook Hotel” photograph. Miles Showell (ABBA, Queen) also revisits mastering and vinyl lacquer cutting at Abbey Road Studios in London.
Åkerfeldt rolls out the red carpet for storied flautist and Jethro Tull main man Ian Anderson. Not only do Anderson’s signature notes fly on “§4” and “§7”, he narrates on “§1”, “§2”, “§4”, and “§7”. Joining Anderson, Europe’s Joey Tempest lends a backing vocal hand on “§2”, while Åkerfeldt’s youngest daughter, Mirjam Åkerfeldt, is the disembodied voice in “§1”.
Watch the performance video for “§7” now, listen to “The Last Will and Testament” on all major platforms, and catch Opeth live where tickets remain available.
Order/stream “The Last Will And Testament”: opeth.rpm.link/lastwillPR
Catch Opeth on tour. Full dates and tickets can be found here opeth.com/tour-dates
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/opeth-debut-%C2%A77-music-video-that-track-was-scary-to-play-live-at-first-sa…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=lebYPPES5ss
———
#Colderra
#ColderraMusic
#MusicReview
#ProgressiveDeathMetal
#ProgressiveRock
#Opeth
#§7
Opeth have released the official music video for “§7”, which can be found below. The track is featured on the band’s 14th studio album, The Last Will And Testament, released in November 2024.
Says Mikael Åkerfeldt: “That track was scary to play live at first. Most of our songs are challenging, I suppose, and this one is no exception. I believe we all love playing this one. There are a myriad of details that could go wrong though, but it’s fun. It keeps you on your toes. And of course, then there’s Ian Anderson’s narrations, which is the only thing in our set that isn’t ”live”. Since we don’t play to a click-track, it’s dragging or pushing depending on the tempo of the evening. Again, it’s fun and I love the unforeseeable character of this song in a live setting. That’s a bit odd since I normally want to feel completely secure and really know what I’m doing. I generally don’t like surprises on stage.”
The Last Will And Testament was written by Mikael Åkerfeldt, with lyrics conferred with Klara Rönnqvist Fors (The Heard, ex-Crucified Barbara). The Last Will And Testament was co-produced by Åkerfeldt and Stefan Boman (Ghost, The Hellacopters), engineered by Boman, Joe Jones (Killing Joke, Robert Plant), and Opeth, with Boman, Åkerfeldt, and the rest of Opeth mixing at Atlantis and Hammerthorpe Studios in Stockholm. The strings on The Last Will And Testament were arranged by Åkerfeldt and returning prog friend Dave Stewart (Egg, Khan) and conducted by Stewart at Angel Studios in London. Not one to miss a beat, visual artist Travis Smith returns to the fold, crafting his 11th cover, a haunting “photograph” reminiscent of Stanley Kubrick’s infamous “Overlook Hotel” photograph. Miles Showell (ABBA, Queen) also revisits mastering and vinyl lacquer cutting at Abbey Road Studios in London.
Åkerfeldt rolls out the red carpet for storied flautist and Jethro Tull main man Ian Anderson. Not only do Anderson’s signature notes fly on “§4” and “§7”, he narrates on “§1”, “§2”, “§4”, and “§7”. Joining Anderson, Europe’s Joey Tempest lends a backing vocal hand on “§2”, while Åkerfeldt’s youngest daughter, Mirjam Åkerfeldt, is the disembodied voice in “§1”.
Watch the performance video for “§7” now, listen to “The Last Will and Testament” on all major platforms, and catch Opeth live where tickets remain available.
Order/stream “The Last Will And Testament”: opeth.rpm.link/lastwillPR
Catch Opeth on tour. Full dates and tickets can be found here opeth.com/tour-dates
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/opeth-debut-%C2%A77-music-video-that-track-was-scary-to-play-live-at-first-sa…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=lebYPPES5ss
———
#Colderra
#ColderraMusic
#MusicReview
#ProgressiveDeathMetal
#ProgressiveRock
#Opeth
#§7
OPETH – §7 (Official Music Video)
www.youtube.com
“That track was scary to play live at first. Most of our songs are challenging, I suppose, and this one is no exception. I believe we all love playing this o… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗥𝗢𝗕 𝗭𝗢𝗠𝗕𝗜𝗘 – (𝗜’𝗠 𝗔) 𝗥𝗢𝗖𝗞 "𝗡" 𝗥𝗢𝗟𝗟𝗘𝗥
Rock/metal legend, Rob Zombie, has released the third single, “(I’m A) Rock ‘N’ Roller,” from his upcoming album, The Great Satan, due out February 27 via Nuclear Blast Records.
The hell-raising new single, “(I’m A) Rock ‘N’ Roller,” is classic Rob Zombie with his signature brand of thick, boot-stomping grooves and fist-pumping choruses. It’s a clear declaration from the iconic and otherworldly frontman that “rock & roll is here to stay.”
Stream the single here robzombie.bfan.link/i-m-a-rock-n-roller and watch the music video below!
Following the success of his Top 10 charting record The Lunar Injection Kool Aid Eclipse Conspiracy (2021), Zombie is back, revisiting his early Hellbilly roots for a slaughterhouse of anthemic punk infused heavy rock/metal.
The Great Satan is available now for pre-order in a variety of formats including a limited box set and accompanying apparel. Pre-order here robzombie.bfan.link/the-great-satan
Rob Zombie and Marilyn Manson recently announce a co-headlining tour across North America, taking place this summer.
The tour unites two of rock’s most recognizable icons and consummate showmen for what promises to be a blockbuster 21-date run. It kicks off on August 20 in West Palm Beach, FL at iTHINK Financial Amphitheatre, rolls through major markets such as Boston, Chicago, Detroit, and more before concluding on September 20 in Concord, CA at Toyota Pavilion at Concord.
The tour will also feature Gold-certified Mongolian metal collective The Hu and multiplatinum-selling Los Angeles industrial rock stalwarts Orgy as special guests on all dates.
Tickets are available at livenation.com
Of course, this isn’t the first time that these titans have canvased the country on tour together. Zombie and Manson have packed sold-out amphitheaters and arenas coast-to-coast with co-headlining runs in the past. Now, they’re hitting the road together once again this summer — and it’s not one to miss.
Tour dates:
August
20 – West Palm Beach, FL – iTHINK Financial Amphitheatre^+
21 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre^+
23 – Alpharetta, GA – Ameris Bank Amphitheatre^+
24 – Charlotte, NC – Truliant Amphitheater^+
26 – Holmdel, NJ – PNC Bank Arts Center^+
27 – Mansfield, MA – Xfinity Center^+
29 – Burgettstown, PA – The Pavilion at Star Lake^+
30 – Darien Center, NY – Darien Lake Amphitheater^+
September
1 – Toronto, ON – RBC Amphitheatre^+
2 – Cuyahoga Falls, OH – Blossom Music Center^+
4 – Clarkston, MI – Pine Knob Music Theatre^+
5 – Tinley Park, IL – Credit Union 1 Amphitheatre^+
6 – Noblesville, IN – Ruoff Music Center^+
9 – St. Louis, MO – Hollywood Casino Amphitheater^+
10 – Kansas City, MO – Morton Amphitheater^+
12 – Greenwood Village, CO – Fiddler’s Green Amphitheatre*^+
14 – West Valley City, UT – Utah First Credit Union Amphitheatre^+
16 – Airway Heights, WA – BECU Live at Northern Quest+
17 – Auburn, WA – White River Amphitheatre^+
18 – Ridgefield, WA – Cascades Amphitheater^+
20 – Concord, CA – Toyota Pavilion at Concord^+
* Not a Live Nation show
^ With The Hu
+ With Orgy
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/rob-zombie-releases-new-single-im-a-rock-n-roller-music-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=Xef8Uj5BX5w
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#IndustrialMetal
#RobZombie
#RockNRoller
Rock/metal legend, Rob Zombie, has released the third single, “(I’m A) Rock ‘N’ Roller,” from his upcoming album, The Great Satan, due out February 27 via Nuclear Blast Records.
The hell-raising new single, “(I’m A) Rock ‘N’ Roller,” is classic Rob Zombie with his signature brand of thick, boot-stomping grooves and fist-pumping choruses. It’s a clear declaration from the iconic and otherworldly frontman that “rock & roll is here to stay.”
Stream the single here robzombie.bfan.link/i-m-a-rock-n-roller and watch the music video below!
Following the success of his Top 10 charting record The Lunar Injection Kool Aid Eclipse Conspiracy (2021), Zombie is back, revisiting his early Hellbilly roots for a slaughterhouse of anthemic punk infused heavy rock/metal.
The Great Satan is available now for pre-order in a variety of formats including a limited box set and accompanying apparel. Pre-order here robzombie.bfan.link/the-great-satan
Rob Zombie and Marilyn Manson recently announce a co-headlining tour across North America, taking place this summer.
The tour unites two of rock’s most recognizable icons and consummate showmen for what promises to be a blockbuster 21-date run. It kicks off on August 20 in West Palm Beach, FL at iTHINK Financial Amphitheatre, rolls through major markets such as Boston, Chicago, Detroit, and more before concluding on September 20 in Concord, CA at Toyota Pavilion at Concord.
The tour will also feature Gold-certified Mongolian metal collective The Hu and multiplatinum-selling Los Angeles industrial rock stalwarts Orgy as special guests on all dates.
Tickets are available at livenation.com
Of course, this isn’t the first time that these titans have canvased the country on tour together. Zombie and Manson have packed sold-out amphitheaters and arenas coast-to-coast with co-headlining runs in the past. Now, they’re hitting the road together once again this summer — and it’s not one to miss.
Tour dates:
August
20 – West Palm Beach, FL – iTHINK Financial Amphitheatre^+
21 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre^+
23 – Alpharetta, GA – Ameris Bank Amphitheatre^+
24 – Charlotte, NC – Truliant Amphitheater^+
26 – Holmdel, NJ – PNC Bank Arts Center^+
27 – Mansfield, MA – Xfinity Center^+
29 – Burgettstown, PA – The Pavilion at Star Lake^+
30 – Darien Center, NY – Darien Lake Amphitheater^+
September
1 – Toronto, ON – RBC Amphitheatre^+
2 – Cuyahoga Falls, OH – Blossom Music Center^+
4 – Clarkston, MI – Pine Knob Music Theatre^+
5 – Tinley Park, IL – Credit Union 1 Amphitheatre^+
6 – Noblesville, IN – Ruoff Music Center^+
9 – St. Louis, MO – Hollywood Casino Amphitheater^+
10 – Kansas City, MO – Morton Amphitheater^+
12 – Greenwood Village, CO – Fiddler’s Green Amphitheatre*^+
14 – West Valley City, UT – Utah First Credit Union Amphitheatre^+
16 – Airway Heights, WA – BECU Live at Northern Quest+
17 – Auburn, WA – White River Amphitheatre^+
18 – Ridgefield, WA – Cascades Amphitheater^+
20 – Concord, CA – Toyota Pavilion at Concord^+
* Not a Live Nation show
^ With The Hu
+ With Orgy
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/rob-zombie-releases-new-single-im-a-rock-n-roller-music-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=Xef8Uj5BX5w
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#IndustrialMetal
#RobZombie
#RockNRoller
ROB ZOMBIE – (I’m a) Rock “N” Roller (OFFICIAL MUSIC VIDEO)
www.youtube.com
Official @RobZombie music video "(I’m a) Rock "N" Roller" from the album, The Great Satan, out February 27, 2026 via Nuclear Blast Records.🛒 PRE-ORDER & PRE… 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗕𝗨𝗟𝗟𝗘𝗧 – 𝗞𝗜𝗖𝗞𝗦𝗧𝗔𝗥𝗧𝗘𝗥
I took this album with just two days until the release date.
Oh I do like a challenge! 😆
Bullet hail from Sweden and have been in existence since 2001.
I viewed the promo videos for the title track and ‘Keep Rollin’‘ and it’s evident these guys are seriously from the old school approach, with nods to Accept, AC/DC, Airbourne, Judas Priest, Hardbone etc.
Nowt wrong with that though, eh lads?!
First up, let’s address the elephant in the room.
Singer Dag ‘Hell’ Hofer has one of those voices you’ll either love or hate. It’s a cross between a lot of Udo Dirkschneider, a little latter day Brian Johnson and a filthy old tramp on a 100 a day Woodbines.
On my copy, Dag’s voice is cleverly placed in the mix, which helps the impact. Personally, I don’t have a problem with it. Bullet would sound as weak as piss with a Coverdale style singer at the helm.
High octane are words that spring readily to mind when describing the music on offer here.
There’s a shit ton of neck benders on offer – ‘Kickstarter‘ – ideal track to open proceedings, ‘Caught In The Action‘, ‘Open Fire‘, ‘Hit The Road‘, ‘Chained By Metal‘ (Now there’s a title!), ‘Avenger‘ etc.
What Bullet have learned though, is the art of dynamics and pacing.
They show on the likes of ‘Keep Rolling‘, ‘Spitfire‘ and particularly in ‘Night Falls Down‘ that although there’s nothing wrong with the one dimension attack, when you open up your colour palette, there’s a greater depth on offer.
Some might call it more melodic, or tuneful, but it provides a broader brushstroke so to speak.
(Fuck me, what’s with all the art references?!) 😂
Well, if it was good enough for AC/DC on the Highway To Hell album…..it’s straddling that fine line between raw and structured and melody.
There’s no doubting these lads are a road band. This album has been entirely built for getting out on the road and I’ve no doubt that any of these tunes could be slotted into the live set and the punters would be happy as an alcoholic with a free bar.
Their biography supplied tales of a tortured tour bus that has its ass hanging out (engine recently exploded) and how it’s had more comebacks than Liberace.
I bet these guys are happiest in the land of the tour bus stink, beer and whisky bottles and the twilight hours that touring is all about.
Sonically, the production is spot on for this kind of rock. Guitars are full and to the fore, bass and drums thump hard and it’s beautifully balanced.
Dag, Hampus, Freddie, Gustav and Gustav, (Two Gustav’s in the band and not one of them has a stupid nickname to differentiate from the other?! Come on!) are the carriers of the thumping rock, the fist throwers, the headbangers, the rivet heads, the earth dogs and the denim and leather brigade.
I hope they play southern Spain.
I’d love to be in amongst it when it all kicks off.
Tracklisting:
1. Kickstarter
2. Caught In The Action
3. Open Fire
4. Keep Rolling
5. Hit The Road
6. Avenger
7. Chained By Metal
8. Spitfire
9. Full Throttle
10. Strike At Night
11. Night Falls Down
Line-Up:
Dag “Hell” Hofer (vocals)
Hampus Klang (guitar)
Freddie Johansson (guitar)
Gustav Hector (bass)
Gustav Hjortsjö (drums)
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/01/06/review-bullet-kickstarter/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_nwVHq6fU1v2H_fZtKXXoejcYa4mUo1CjQ
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#Hardrock
#BulletKickstarter
#Kickstarter
I took this album with just two days until the release date.
Oh I do like a challenge! 😆
Bullet hail from Sweden and have been in existence since 2001.
I viewed the promo videos for the title track and ‘Keep Rollin’‘ and it’s evident these guys are seriously from the old school approach, with nods to Accept, AC/DC, Airbourne, Judas Priest, Hardbone etc.
Nowt wrong with that though, eh lads?!
First up, let’s address the elephant in the room.
Singer Dag ‘Hell’ Hofer has one of those voices you’ll either love or hate. It’s a cross between a lot of Udo Dirkschneider, a little latter day Brian Johnson and a filthy old tramp on a 100 a day Woodbines.
On my copy, Dag’s voice is cleverly placed in the mix, which helps the impact. Personally, I don’t have a problem with it. Bullet would sound as weak as piss with a Coverdale style singer at the helm.
High octane are words that spring readily to mind when describing the music on offer here.
There’s a shit ton of neck benders on offer – ‘Kickstarter‘ – ideal track to open proceedings, ‘Caught In The Action‘, ‘Open Fire‘, ‘Hit The Road‘, ‘Chained By Metal‘ (Now there’s a title!), ‘Avenger‘ etc.
What Bullet have learned though, is the art of dynamics and pacing.
They show on the likes of ‘Keep Rolling‘, ‘Spitfire‘ and particularly in ‘Night Falls Down‘ that although there’s nothing wrong with the one dimension attack, when you open up your colour palette, there’s a greater depth on offer.
Some might call it more melodic, or tuneful, but it provides a broader brushstroke so to speak.
(Fuck me, what’s with all the art references?!) 😂
Well, if it was good enough for AC/DC on the Highway To Hell album…..it’s straddling that fine line between raw and structured and melody.
There’s no doubting these lads are a road band. This album has been entirely built for getting out on the road and I’ve no doubt that any of these tunes could be slotted into the live set and the punters would be happy as an alcoholic with a free bar.
Their biography supplied tales of a tortured tour bus that has its ass hanging out (engine recently exploded) and how it’s had more comebacks than Liberace.
I bet these guys are happiest in the land of the tour bus stink, beer and whisky bottles and the twilight hours that touring is all about.
Sonically, the production is spot on for this kind of rock. Guitars are full and to the fore, bass and drums thump hard and it’s beautifully balanced.
Dag, Hampus, Freddie, Gustav and Gustav, (Two Gustav’s in the band and not one of them has a stupid nickname to differentiate from the other?! Come on!) are the carriers of the thumping rock, the fist throwers, the headbangers, the rivet heads, the earth dogs and the denim and leather brigade.
I hope they play southern Spain.
I’d love to be in amongst it when it all kicks off.
Tracklisting:
1. Kickstarter
2. Caught In The Action
3. Open Fire
4. Keep Rolling
5. Hit The Road
6. Avenger
7. Chained By Metal
8. Spitfire
9. Full Throttle
10. Strike At Night
11. Night Falls Down
Line-Up:
Dag “Hell” Hofer (vocals)
Hampus Klang (guitar)
Freddie Johansson (guitar)
Gustav Hector (bass)
Gustav Hjortsjö (drums)
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/01/06/review-bullet-kickstarter/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_nwVHq6fU1v2H_fZtKXXoejcYa4mUo1CjQ
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#Hardrock
#BulletKickstarter
#Kickstarter
music.youtube.com
Listen to Kickstarter by Bullet on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗛𝗘𝗟𝗜𝗫 – 𝗦𝗖𝗥𝗔𝗣 𝗠𝗘𝗧𝗔𝗟
Another band who has survived into 2026, albeit that vocalist Brian Vollmer is the only original member left these days.
I saw Helix at the Marquee in 1985 and the band had two strippers onstage from the Daily Star.
Sometimes it’s the small details that live longest in the memory…….
‘Scrap Metal‘ features five new tracks and a bunch that have been released previously.
The current incantation of the band stays steadfastly true to its roots on the new numbers. It’s the 80’s every day in Helix’s world.
It’s no irony that the opener ‘Stuck In The 80’s‘ tells you everything you need to know.
It rocks harder than prime time Ron Jeremy. Good old fashioned hard rock with scorching vocals. An impressive feat from Vollmer who is in his 70’s.
Second song ‘Fast And Furious‘ sees the band burn into overdrive. You don’t have to guess with Helix’s song titles!
‘Pretty Poison‘ is another song that rocks furiously.
So far so good but, it’s the second half of the album where the quality dips. The last two numbers in particular are, well, lacklustre.
If however, typical 80’s hard rock is you thing, then this album will do a job.
Obviously the sales figures won’t be of those attained by the band back in the day with ‘Walking The Razors Edge‘ or ‘No Rest For The Wicked‘.
But Brian Vollmer is probably well aware of this. An old rocker doesn’t just give up when he’s having as much fun as say, well Ron Jeremy in his prime, does he?!
Bands like Helix used to be ten a Penny. Bands that can still cut it in an old school way are less these days.
Helix still do.
And sometimes that’s enough.
Tracklisting:
1. Stuck in the 80’s
2. Fast & Furious
3. Pretty Poison
4. Hot Heavy & Wild
5. Money (Goes with Everything)
6. Jaws of the Tiger
7. Coming Back with Bigger Gus
8. Danger Zone
9. Tie Me Down
10. Closer
11. The Same Room
12. The Pusher
Line-up:
Lead vocals: Brian Vollmer
Programmed drums: Aaron Murray
Drums: Greg “Fritz” Hinz/Earl Constant
Guitars: Kaleb Duck/Paul Hackman/Brent Doerner/Sean Kelly/Christopher Julke/Mark Chichkan/Daryl Gray
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/01/21/review-helix-scrap-metal/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_mOnkl_lBAzJEBgOPJed2_Aarw5V4n8nRI
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#Hardrock
#Helix
#ScrapMetal
Another band who has survived into 2026, albeit that vocalist Brian Vollmer is the only original member left these days.
I saw Helix at the Marquee in 1985 and the band had two strippers onstage from the Daily Star.
Sometimes it’s the small details that live longest in the memory…….
‘Scrap Metal‘ features five new tracks and a bunch that have been released previously.
The current incantation of the band stays steadfastly true to its roots on the new numbers. It’s the 80’s every day in Helix’s world.
It’s no irony that the opener ‘Stuck In The 80’s‘ tells you everything you need to know.
It rocks harder than prime time Ron Jeremy. Good old fashioned hard rock with scorching vocals. An impressive feat from Vollmer who is in his 70’s.
Second song ‘Fast And Furious‘ sees the band burn into overdrive. You don’t have to guess with Helix’s song titles!
‘Pretty Poison‘ is another song that rocks furiously.
So far so good but, it’s the second half of the album where the quality dips. The last two numbers in particular are, well, lacklustre.
If however, typical 80’s hard rock is you thing, then this album will do a job.
Obviously the sales figures won’t be of those attained by the band back in the day with ‘Walking The Razors Edge‘ or ‘No Rest For The Wicked‘.
But Brian Vollmer is probably well aware of this. An old rocker doesn’t just give up when he’s having as much fun as say, well Ron Jeremy in his prime, does he?!
Bands like Helix used to be ten a Penny. Bands that can still cut it in an old school way are less these days.
Helix still do.
And sometimes that’s enough.
Tracklisting:
1. Stuck in the 80’s
2. Fast & Furious
3. Pretty Poison
4. Hot Heavy & Wild
5. Money (Goes with Everything)
6. Jaws of the Tiger
7. Coming Back with Bigger Gus
8. Danger Zone
9. Tie Me Down
10. Closer
11. The Same Room
12. The Pusher
Line-up:
Lead vocals: Brian Vollmer
Programmed drums: Aaron Murray
Drums: Greg “Fritz” Hinz/Earl Constant
Guitars: Kaleb Duck/Paul Hackman/Brent Doerner/Sean Kelly/Christopher Julke/Mark Chichkan/Daryl Gray
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/01/21/review-helix-scrap-metal/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_mOnkl_lBAzJEBgOPJed2_Aarw5V4n8nRI
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#Hardrock
#Helix
#ScrapMetal
music.youtube.com
Listen to Scrap Metal by Helix on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗠𝗘𝗚𝗔𝗗𝗘𝗧𝗛 – 𝗠𝗘𝗚𝗔𝗗𝗘𝗧𝗛
So it comes to pass – the final Megadeth studio album is here. It might not be the first time we’ve heard Megadeth was ending (having previously disbanded in 2002) but Dave Mustaine has confirmed that this self-titled album is their final studio project, with many years of a ‘final tour’ to follow. The expectations are therefore impossibly high. The quality of the current Megadeth lineup is undeniable, as Mustaine has consistently surrounded himself with great players. Do they have the juice to recall the classic Rust in Peace or the massive selling Countdown to Extinction? Or does Mustaine want to mix it up again, as he did successfully on Cryptic Writings or badly on the infamous Supercollider? There’s a real weight to the legacy, one that makes evaluating new music difficult against the hits and misses of their back catalogue.
Do Megadeth even need to hit those highs again, or is a solid record enough to bow out on?
The singles so far are a fair indication of the LP’s direction. ‘Tipping Point’ and ‘Let There Be Shred’ are fast and hard with killer solos. No one is putting these ahead of ‘Holy Wars’ or ‘Wake Up Dead’ among the greatest thrash songs but as an example of later day Megadeth they are perfectly acceptable. The lyrics are fine for what Mustaine is trying to get across. The second single ‘I Don’t Care!’ isn’t great. It might be bass driven, straight out of the ‘Peace Sells’ era, with Mustaine spitting venom. But it reminds me of those dorky singles from the Th1rt3en album, with far too obvious lyrics that want to be badass but aren’t saying anything fresh. Musically it’s just repetitive and uninteresting. They’ve written better versions of this song before. There’s more of that ahead.
The album tracks are a fair representation of Megadeth’s career and Mustaine’s songwriting. ‘Hey God’ is promising, sitting among the singles with an ear to the alternative leaning thrash of Countdown… All it is missing is Marty Friedman… though Teemu Mäntysaari is up to the task. It’s that early 90s era that the band is most interested in recapturing. ‘Puppet Parade’ is a mid tempo metal tune that he has specialised in since the 90s, with ‘Sweating Bullets’ style spoken verses. The second half of the first solo is a blues-infused bridge to the middle-eighth and it’s pretty cool. ‘Another Bad Day’ is a similar tune with more groove than speed, Dave telling a first person narrative about, well, having a bad day. Hardly inspired and will be quickly relegated to the songs Megadeth never played live. ‘I Am War’ will likely suffer a similar fate, with lyrics that sound like they were a first draft and not much happening musically.
We get more thrashing on ‘Made to Kill’, where the solos squeak and buzz like they always have. The James LoMenzo / Dirk Verbeuren rhythm section is tight and really drives the song’s changes in tempo. The best part of ‘Obey the Call’ is the solo, with Mäntysaari and Mustaine’s fingers flying fast down the fret board. There’s nothing to prove here, except that Dave can keep up with the prodigy in the studio. The album’s final proper track is ‘The Last Note’. Mustaine reflects on his career, upbringing and retirement with a brutal honesty backed by crunching riffs. Mäntysaari adds a classical guitar solo that shakes up the formula before we get back to shredding in the traditional style. The intro and outro also use acoustic guitar with Mustaine explaining his thinking. It is as epic and different as the LP gets.
Which brings me to the album’s bonus track, the much discussed cover of the Dave Mustaine co-written but Metallica recorded ‘Ride the Lightening’. It’s a little faster with a new solo but largely faithful to the version we know from his old band. I get the idea behind it, Mustaine reclaiming a song from his past, effectively closing his career with one of his pre-Megadeth songs in the same manner he opened it by including ‘The Mechanix’ on Killing Is My Business… back in 1985. So it isn’t without merit but not exactly a must listen either. Megadeth covers have been awesome (‘Paranoid’, ‘No More Mr Nice Guy’) or odd (‘Anarchy in the UK’, ‘These Boots’) but this one is just kind of there. Which sums up the album really.
To answer the questions I posed in the intro: Megadeth doesn’t hit the heights of the classic but is a reasonable attempt to reignite the lightning. It is probably as good as The Sick, The Dead, The Dying, but it lacks the bite of Dystopia. There’s little experimentation or risk (pun intended) so it is far from a disaster and represents the current line up of Megadeth pretty well. It makes for a solid final album with a few great tracks and some filler. It holds up on repeat listens, which is awesome because we will need to learn some of these songs when Megadeth eventually tour Australia for the last time. See you in the pit!
———
𝗙𝗿𝗼𝗺:
www.wallofsoundau.com/reviews/megadeth-megadeth-album-review
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Megadeth/Megadeth/1380627
music.youtube.com/playlist?list=OLAK5uy_mkaoG2b43n1gU2cr3Dt4r2Bt9T-BcQinM
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#Megadeth
So it comes to pass – the final Megadeth studio album is here. It might not be the first time we’ve heard Megadeth was ending (having previously disbanded in 2002) but Dave Mustaine has confirmed that this self-titled album is their final studio project, with many years of a ‘final tour’ to follow. The expectations are therefore impossibly high. The quality of the current Megadeth lineup is undeniable, as Mustaine has consistently surrounded himself with great players. Do they have the juice to recall the classic Rust in Peace or the massive selling Countdown to Extinction? Or does Mustaine want to mix it up again, as he did successfully on Cryptic Writings or badly on the infamous Supercollider? There’s a real weight to the legacy, one that makes evaluating new music difficult against the hits and misses of their back catalogue.
Do Megadeth even need to hit those highs again, or is a solid record enough to bow out on?
The singles so far are a fair indication of the LP’s direction. ‘Tipping Point’ and ‘Let There Be Shred’ are fast and hard with killer solos. No one is putting these ahead of ‘Holy Wars’ or ‘Wake Up Dead’ among the greatest thrash songs but as an example of later day Megadeth they are perfectly acceptable. The lyrics are fine for what Mustaine is trying to get across. The second single ‘I Don’t Care!’ isn’t great. It might be bass driven, straight out of the ‘Peace Sells’ era, with Mustaine spitting venom. But it reminds me of those dorky singles from the Th1rt3en album, with far too obvious lyrics that want to be badass but aren’t saying anything fresh. Musically it’s just repetitive and uninteresting. They’ve written better versions of this song before. There’s more of that ahead.
The album tracks are a fair representation of Megadeth’s career and Mustaine’s songwriting. ‘Hey God’ is promising, sitting among the singles with an ear to the alternative leaning thrash of Countdown… All it is missing is Marty Friedman… though Teemu Mäntysaari is up to the task. It’s that early 90s era that the band is most interested in recapturing. ‘Puppet Parade’ is a mid tempo metal tune that he has specialised in since the 90s, with ‘Sweating Bullets’ style spoken verses. The second half of the first solo is a blues-infused bridge to the middle-eighth and it’s pretty cool. ‘Another Bad Day’ is a similar tune with more groove than speed, Dave telling a first person narrative about, well, having a bad day. Hardly inspired and will be quickly relegated to the songs Megadeth never played live. ‘I Am War’ will likely suffer a similar fate, with lyrics that sound like they were a first draft and not much happening musically.
We get more thrashing on ‘Made to Kill’, where the solos squeak and buzz like they always have. The James LoMenzo / Dirk Verbeuren rhythm section is tight and really drives the song’s changes in tempo. The best part of ‘Obey the Call’ is the solo, with Mäntysaari and Mustaine’s fingers flying fast down the fret board. There’s nothing to prove here, except that Dave can keep up with the prodigy in the studio. The album’s final proper track is ‘The Last Note’. Mustaine reflects on his career, upbringing and retirement with a brutal honesty backed by crunching riffs. Mäntysaari adds a classical guitar solo that shakes up the formula before we get back to shredding in the traditional style. The intro and outro also use acoustic guitar with Mustaine explaining his thinking. It is as epic and different as the LP gets.
Which brings me to the album’s bonus track, the much discussed cover of the Dave Mustaine co-written but Metallica recorded ‘Ride the Lightening’. It’s a little faster with a new solo but largely faithful to the version we know from his old band. I get the idea behind it, Mustaine reclaiming a song from his past, effectively closing his career with one of his pre-Megadeth songs in the same manner he opened it by including ‘The Mechanix’ on Killing Is My Business… back in 1985. So it isn’t without merit but not exactly a must listen either. Megadeth covers have been awesome (‘Paranoid’, ‘No More Mr Nice Guy’) or odd (‘Anarchy in the UK’, ‘These Boots’) but this one is just kind of there. Which sums up the album really.
To answer the questions I posed in the intro: Megadeth doesn’t hit the heights of the classic but is a reasonable attempt to reignite the lightning. It is probably as good as The Sick, The Dead, The Dying, but it lacks the bite of Dystopia. There’s little experimentation or risk (pun intended) so it is far from a disaster and represents the current line up of Megadeth pretty well. It makes for a solid final album with a few great tracks and some filler. It holds up on repeat listens, which is awesome because we will need to learn some of these songs when Megadeth eventually tour Australia for the last time. See you in the pit!
———
𝗙𝗿𝗼𝗺:
www.wallofsoundau.com/reviews/megadeth-megadeth-album-review
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Megadeth/Megadeth/1380627
music.youtube.com/playlist?list=OLAK5uy_mkaoG2b43n1gU2cr3Dt4r2Bt9T-BcQinM
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#Megadeth
music.youtube.com
Listen to Megadeth by Megadeth on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗟𝗘𝗔𝗩𝗘𝗦’ 𝗘𝗬𝗘𝗦 – 𝗦𝗢𝗡𝗚 𝗢𝗙 𝗗𝗔𝗥𝗞𝗡𝗘𝗦𝗦
Symphonic metal masters, Leaves’ Eyes, have released the official video for “Song Of Darkness”, the title track of their new EP, Song Of Darkness, available on March 6 via Reigning Phoenix Music.
Vocalist Elina Siirala states: “‘Song Of Darkness’ is like a play with contrasts: it combines the mysterious and dark with light and angelic. In the midst of a dark story, there’s a feeling of hopefulness! The opposing elements create once again a perfect canvas and drama for a Leaves’ Eyes song!”
“Our ‘Song Of Darkness’ transports you to a world of dark dreams and inner turmoil, where mystical spirits from ancient times guide your destiny. A tragic love story, but no happy ending,” adds band founder Alexander Krull.
Stream/download the single here leaveseyes.rpm.link/sodsinglePR and find the music video below.
For more than two decades, Leaves’ Eyes have forged their own path through the realms of symphonic and Viking metal, uniting mythic storytelling with boundless musical imagination. Founded in 2003 by vocalist and producer Alexander Krull, the band stands as a meeting point between power and poetry. With Finnish soprano Elina Siirala fronting the band since 2016, their sound has evolved into a breathtaking blend of classical precision and visceral energy. Joined by Florian Ewert and Luc Gebhardt on guitars, bassist Dominik Prykiel and session drummer Nils Kreul, Leaves’ Eyes create immersive worlds that bridge ancient history and modern emotion.
In 2026, the band enters a new chapter with the release of the EP, Song Of Darkness, marking the dawn of a creative cycle that expands both their sonic and conceptual horizons. Recorded at Mastersound Studio under Krull’s production, the record refines their signature fusion of orchestral depth and metallic intensity. It reveals a group at the height of its craft, balancing the sweeping scale of symphonic metal with an earthy, human pulse.
Lyrically, Song Of Darkness journeys into the shifting borders between myth, magic and history. The stories it tells of shadowed realms, dark times, and the courage that endures through loss, mirror timeless themes that have always guided the band’s vision. The title track “Song Of Darkness” is inspired by the medieval Icelandic saga of Gisli the Outlaw and takes the listener to times of murder and intrigue, guilt-ridden magical dreams and the hope of redemption.
Each song unfolds like a chapter in a saga: cinematic in scope, yet deeply personal in feeling. Siirala’s commanding and emotional performance brings the tales to life, her voice illuminating the storm of sound around her, while Krull’s growls anchor the music with raw force and conviction.
Musically, the EP showcases the band’s mastery of contrasts. Towering choirs and strings rise beside crushing riffs, while folk-inspired melodies whisper through the darkness. From the orchestral grandeur that opens the record to the final echoes of its closing refrain, Song Of Darkness builds an atmosphere of tension and release that reflects both the brutality and beauty of legend. The production captures the clarity of each instrument and the spirit of live performance, a hallmark of Krull’s meticulous approach to sound.
As they step into their third decade, Leaves’ Eyes stand as one of symphonic metal’s most visionary forces. The release of Song Of Darkness sets the tone for the next full-length chapter to follow.
Pre-order/pre-save the Song Of Darkness EP here leaveseyes.rpm.link/sodPR
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/leaves-eyes-debut-music-video-for-new-single-song-of-darkness/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=KFiVewn7B7U
———
#Colderra
#ColderraMusic
#MusicReview
#SymphonicMetal
#LeavesEyes
#SongOfDarkness
Symphonic metal masters, Leaves’ Eyes, have released the official video for “Song Of Darkness”, the title track of their new EP, Song Of Darkness, available on March 6 via Reigning Phoenix Music.
Vocalist Elina Siirala states: “‘Song Of Darkness’ is like a play with contrasts: it combines the mysterious and dark with light and angelic. In the midst of a dark story, there’s a feeling of hopefulness! The opposing elements create once again a perfect canvas and drama for a Leaves’ Eyes song!”
“Our ‘Song Of Darkness’ transports you to a world of dark dreams and inner turmoil, where mystical spirits from ancient times guide your destiny. A tragic love story, but no happy ending,” adds band founder Alexander Krull.
Stream/download the single here leaveseyes.rpm.link/sodsinglePR and find the music video below.
For more than two decades, Leaves’ Eyes have forged their own path through the realms of symphonic and Viking metal, uniting mythic storytelling with boundless musical imagination. Founded in 2003 by vocalist and producer Alexander Krull, the band stands as a meeting point between power and poetry. With Finnish soprano Elina Siirala fronting the band since 2016, their sound has evolved into a breathtaking blend of classical precision and visceral energy. Joined by Florian Ewert and Luc Gebhardt on guitars, bassist Dominik Prykiel and session drummer Nils Kreul, Leaves’ Eyes create immersive worlds that bridge ancient history and modern emotion.
In 2026, the band enters a new chapter with the release of the EP, Song Of Darkness, marking the dawn of a creative cycle that expands both their sonic and conceptual horizons. Recorded at Mastersound Studio under Krull’s production, the record refines their signature fusion of orchestral depth and metallic intensity. It reveals a group at the height of its craft, balancing the sweeping scale of symphonic metal with an earthy, human pulse.
Lyrically, Song Of Darkness journeys into the shifting borders between myth, magic and history. The stories it tells of shadowed realms, dark times, and the courage that endures through loss, mirror timeless themes that have always guided the band’s vision. The title track “Song Of Darkness” is inspired by the medieval Icelandic saga of Gisli the Outlaw and takes the listener to times of murder and intrigue, guilt-ridden magical dreams and the hope of redemption.
Each song unfolds like a chapter in a saga: cinematic in scope, yet deeply personal in feeling. Siirala’s commanding and emotional performance brings the tales to life, her voice illuminating the storm of sound around her, while Krull’s growls anchor the music with raw force and conviction.
Musically, the EP showcases the band’s mastery of contrasts. Towering choirs and strings rise beside crushing riffs, while folk-inspired melodies whisper through the darkness. From the orchestral grandeur that opens the record to the final echoes of its closing refrain, Song Of Darkness builds an atmosphere of tension and release that reflects both the brutality and beauty of legend. The production captures the clarity of each instrument and the spirit of live performance, a hallmark of Krull’s meticulous approach to sound.
As they step into their third decade, Leaves’ Eyes stand as one of symphonic metal’s most visionary forces. The release of Song Of Darkness sets the tone for the next full-length chapter to follow.
Pre-order/pre-save the Song Of Darkness EP here leaveseyes.rpm.link/sodPR
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/leaves-eyes-debut-music-video-for-new-single-song-of-darkness/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=KFiVewn7B7U
———
#Colderra
#ColderraMusic
#MusicReview
#SymphonicMetal
#LeavesEyes
#SongOfDarkness
LEAVES’ EYES – Song Of Darkness (Official Music Video)
www.youtube.com
Taken from the EP "Song Of Darkness" (March 6th, 2026)🎧 Stream, get it here: leaveseyes.rpm.link/sodPRInspired by the Gísla saga, a saga of Icelande…
Happy metal weekend.. for all of you who still exist in this mortal world!
METAL OPERA Chapter 1: The Melodic Metallers
Mow available on @audiomack
For more information you can contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/wBUAKQ
METAL OPERA Chapter 1: The Melodic Metallers
Sudah tersedia & mengudara di @Bandcamp
Info lanjut mengenai kompilasi ini dan jika ada hal lain yang ditanyakan atau disampaikan bisa menghubungi akun berikut:
@metaloperamedia
@oridistromedia
@sembranix
https://s.id/1YRzA
METAL OPERA Chapter 1: The Melodic Metallers [T-Shirt]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/RFzYE
#Update
METAL OPERA Chapter 1: The Melodic Metallers
Details: Compilation | CD | Jewel Case
Label: Gerbang Sembilan
Country: Indonesia
Released: 2023
Classification: First Press | 500 copies
#GIX
#GerbangIX
#GerbangSembilan
#RecordLabel
#MusicPublisher
#Website #Page #Release #Update
METAL OPERA Chapter 1: The Melodic Metallers
Type: Compilation
Format: CD
Model: Jewel Case
Release Date: November 27, 2023
Catalog ID: GIX-MO.CD-001
#GIX
#GerbangIX
#GerbangSembilan
#RecordLabel
#MusicPublisher
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/mgKdIr
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/hthjjd
#Post3
METAL OPERA & GERBANG IX, collaborated to release a compilation album, with the title “METAL OPERA Chapter 1: The Melodic Metallers”
https://gerbangsembilan.com
https://goo.su/i4yl
#MetalOpera
#MetalOperaWebzine
#GIX
#GerbangIX
#GerbangSembilan
#Discography #Update
METAL OPERA Chapter 1: The Melodic Metallers
Compilation Album
Released on November 27, 2023
Distributed & Published by Gerbang Sembilan
https://www.colderra.com/discography/
#Colderra
#ColderraMusic
#PowerMetal
#SpeedMetal
#HeavyMetal
#MetalOpera
#GerbangSembilan
