𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗟𝗘𝗘𝗣𝗜𝗡𝗚 𝗪𝗜𝗧𝗛 𝗦𝗜𝗥𝗘𝗡𝗦 – 𝗔𝗡 𝗘𝗡𝗗𝗜𝗡𝗚 𝗜𝗡 𝗜𝗧𝗦𝗘𝗟𝗙
Sleeping With Sirens have spent the better part of fifteen years balancing chaos and catharsis, evolving from Warped Tour darlings into one of modern alternative rock’s most enduring acts. With An Ending In Itself, their eighth studio album and first release on Rise Records since Feel, the band doesn’t simply revisit the past—it reclaims it. Produced by Will Yip (Turnstile, Circa Survive, Movements), the record serves as both a reflection on the battles they’ve endured and a celebration of the resilience that’s kept them moving forward. The result is a powerful, emotionally charged collection that bridges the gap between the band’s post-hardcore roots and the more mature songwriting they’ve cultivated over the last decade.
From the opening title track, Sleeping With Sirens establishes the album’s central theme: survival. "An Ending In Itself" is more than just a lead single; it’s a mission statement. Built around soaring melodies, crushing guitars, and one of Kellin Quinn’s most heartfelt vocal performances in years, the song tackles mental health struggles with honesty and compassion. Rather than wallowing in despair, it offers reassurance and hope, setting the emotional tone for everything that follows.
"Forever/Always" immediately follows with a more uplifting energy, embracing the importance of friendship and the human connection. Its nostalgic mid-2000s alternative influences feel deliberate, evoking memories of the era that first brought the band to prominence. The track’s massive chorus feels tailor-made for festival crowds, yet its message remains intimate and sincere.
The album’s middle section is where An Ending In Itself truly shines. You get the trio of tracks like "God In My Head," "Need You Here," and "Left On Repeat" that delve into anxiety, loneliness, and emotional dependency with remarkable vulnerability. Quinn’s lyrics never overcomplicate their message; instead, they rely on relatable emotions and vivid imagery that connect immediately. "House Of Matches" and "Waiting For You" continue this trend, balancing explosive instrumentation with deeply personal storytelling. Musically, all five of these tracks have their own very distinct sound.
Perhaps the album’s most thrilling moment arrives with the album’s most recent single, "Paralyzed." As promised, it is one of the heaviest songs Sleeping With Sirens has released in years. Drawing clear inspiration from bands such as Thrice, The Used, and Haste the Day, the track unleashes aggressive riffs, thunderous drumming, and raw emotion. Yet even amid the chaos, the band’s gift for melody remains intact. It’s a reminder that their heavier instincts never disappeared—they simply evolved.
The final stretch of the record continues to showcase the band’s growth as songwriters. The tracks "Process" and "PTSD" confront trauma and healing with unflinching honesty, while "Looking Back At Me" is one of the album’s most sombre tracks, and it examines self-reflection without succumbing to nostalgia. An Ending In Itself closes with its final track, "Storm Clouds," a fitting finale that blends melancholy and optimism into a sweeping conclusion. Rather than offering neat resolutions, the song acknowledges that healing is ongoing—a sentiment that perfectly encapsulates the album’s overarching message.
Instrumentally, An Ending In Itself benefits tremendously from Yip’s production. Every guitar layer feels purposeful, the rhythm section remains punchy throughout, and Quinn’s distinctive vocals sit front and center without overshadowing the rest of the band. Guitarists Nick Martin and Tony Pizzuti inject fresh energy into the arrangements, while bassist Justin Hills and drummer Matty Best provide a rock-solid foundation that allows the songs to breathe and explode when necessary.
What makes An Ending In Itself particularly compelling is its balance. It contains the angst, urgency, and massive hooks that longtime fans have been craving while embracing the emotional maturity gained through years of personal and artistic growth. The band isn’t attempting to recreate Let’s Cheers to This or With Ears to See and Eyes to Hear; instead, they’re channelling the spirit of those records through the lens of lived-in experience.
After eight albums, many bands struggle to find new ways to tell their story. Sleeping With Sirens accomplishes the rare feat of sounding both familiar and revitalized. An Ending In Itself feels like a full-circle moment—a record that honours the band’s legacy while proving they still have plenty left to say. For longtime fans, it’s a rewarding return to form. For newer listeners discovering the band amid their recent resurgence, it’s an ideal introduction to why Sleeping With Sirens continue to matter in 2026.
———
𝗙𝗿𝗼𝗺:
www.crucialrhythm.com/sleeping-with-sirens-an-ending-in-itself-review
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.apple.com/id/album/an-ending-in-itself/1890528931
open.spotify.com/album/3Oc9WCYMSdMZmwFPdrjS1c
———
#Colderra
#ColderraMusic
#MusicReview
#SleepingWithSirens
#AnEndingInItselfSleeping With Sirens · album · 2026 · 12 songs
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COLDERRA
Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗟𝗜𝗡𝗗𝗦𝗔𝗬 𝗦𝗖𝗛𝗢𝗢𝗟𝗖𝗥𝗔𝗙𝗧 – 𝗛𝗔𝗥𝗥𝗢𝗪𝗜𝗡𝗚
There are albums that tell stories, and then there are albums that bleed them. On Harrowing, the third full-length release from Canadian singer-songwriter and multi-instrumentalist Lindsay Schoolcraft, every note feels earned through struggle, reflection, and ultimately, survival. Arriving independently on June 19, 2026, the seven-track record stands as Schoolcraft’s most vulnerable and sonically adventurous work to date, transforming personal trauma into a cathartic journey of healing.
Known for her work with Cradle of Filth and her acclaimed solo releases, Schoolcraft has always excelled at balancing beauty and darkness. However, Harrowing elevates that formula to a whole new level. Produced alongside Justin deBlieck, whose work with Motionless in White helped define modern metalcore’s cinematic edge, the album embraces heavier guitars, sharper electronic textures, and a more aggressive emotional palette while retaining the orchestral grandeur and gothic atmosphere that have become Schoolcraft’s signature.
The album’s concept is deeply personal. Framed as a chronicle of recovery from narcissistic abuse, each song represents a stage in the healing process, from recognition and grief to rage, empowerment, and release. While concept albums often risk feeling overly structured, Harrowing succeeds because the emotions never feel manufactured. Schoolcraft’s songwriting is brutally honest, allowing listeners to experience every wound and every triumph alongside her.
Opening track "Mercy Has Come" immediately establishes the record’s emotional gravity. Its combination of ethereal choirs, dramatic strings, and crushing modern metal instrumentation creates a sense of anticipation, as if the listener is standing at the threshold of a difficult but necessary reckoning. Schoolcraft’s voice remains the album’s most powerful instrument, effortlessly shifting between delicate vulnerability and commanding intensity.
That intensity reaches its peak on "Crucified," arguably the album’s defining statement. Built around religious imagery and righteous fury, the song is both a personal exorcism and a universal anthem for survivors of manipulation and abuse. The metallic edge introduced by deBlieck is especially effective here, with thunderous guitars and pounding rhythms amplifying every lyric. Schoolcraft’s anger is palpable, but it never devolves into bitterness. Instead, the track channels pain into empowerment, becoming one of the heaviest and most emotionally resonant songs of her career.
Where "Crucified" burns with fury, "Vague" retreats inward. The song’s exploration of heartbreak and emotional paralysis is elevated by Spencer Creaghan’s stunning string arrangements, which add cinematic depth without overwhelming the track’s intimate core. Schoolcraft’s performance is captivating, capturing the loneliness of watching a relationship fade while struggling to find a path forward. It’s one of the album’s most haunting moments and a reminder of her gift for marrying classical influences with contemporary alternative music.
One of the album’s most surprising highlights arrives with "I Wait For You To Fall." Drawing inspiration from late-’90s and early-2000s acts like Korn, The Prodigy, and Republica, the track injects a welcome dose of playful aggression into the record. Its fusion of nu-metal riffs, electronic industrial beats, and rocktronica textures feels nostalgic without sounding dated. Lyrically, it tackles betrayal with an almost sarcastic smirk, offering a refreshing contrast to the album’s heavier emotional themes.
"Cut Your Teeth" and "So Alive" continue the record’s momentum while showcasing Schoolcraft’s willingness to experiment. The latter receives an added boost from guest vocalist Krista Shipperbottom (ex-Lutharo), whose harsh vocals provide a compelling counterpoint to Schoolcraft’s soaring melodies. The dynamic interplay between beauty and brutality encapsulates the album’s central themes perfectly: strength forged through suffering.
By the time the closing number, "Chase The Dark," arrives, Harrowing has completed its emotional arc. Rather than ending in despair, the album concludes with a sense of hard-earned freedom. The darkness remains present, but it no longer controls the overarching narrative. Schoolcraft emerges not as a victim of her experiences but as someone who has confronted them head-on and found a way forward.
What makes Harrowing particularly impressive is its balance. The album incorporates elements of metalcore, nu metal, gothic rock, orchestral music, electronic experimentation, and alternative metal without ever feeling disjointed anywhere along its seven tracks. Schoolcraft’s voice serves as the connective tissue throughout, guiding listeners through an ever-shifting landscape of sounds and emotions. The contributions from Rocky Gray, Spencer Creaghan, Brian Cook, guitarist Cody Johnstone, and drummer Dylan Gowan further enrich the album’s sonic diversity, creating a record that feels expansive despite its concise runtime.
For longtime fans, Harrowing represents a bold evolution from the foundations laid on Martyr. For newcomers, it serves as a compelling introduction to an artist unafraid to transform her deepest scars into art. It’s an album that confronts difficult subjects with courage, honesty, and remarkable musical ambition.
In a genre often fueled by pain, Harrowing stands out because it refuses to romanticize suffering. Instead, it acknowledges the damage, processes the grief, and ultimately chooses healing. That journey makes this not only Lindsay Schoolcraft’s most personal album but arguably her most powerful.
———
𝗙𝗿𝗼𝗺:
www.crucialrhythm.com/lindsay-schoolcraft-harrowing-review
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
schoolcraftmusic.bandcamp.com/album/harrowing
———
#Colderra
#ColderraMusic
#MusicReview
#LindsaySchoolcraft
#Harrowing7 track album
There are albums that tell stories, and then there are albums that bleed them. On Harrowing, the third full-length release from Canadian singer-songwriter and multi-instrumentalist Lindsay Schoolcraft, every note feels earned through struggle, reflection, and ultimately, survival. Arriving independently on June 19, 2026, the seven-track record stands as Schoolcraft’s most vulnerable and sonically adventurous work to date, transforming personal trauma into a cathartic journey of healing.
Known for her work with Cradle of Filth and her acclaimed solo releases, Schoolcraft has always excelled at balancing beauty and darkness. However, Harrowing elevates that formula to a whole new level. Produced alongside Justin deBlieck, whose work with Motionless in White helped define modern metalcore’s cinematic edge, the album embraces heavier guitars, sharper electronic textures, and a more aggressive emotional palette while retaining the orchestral grandeur and gothic atmosphere that have become Schoolcraft’s signature.
The album’s concept is deeply personal. Framed as a chronicle of recovery from narcissistic abuse, each song represents a stage in the healing process, from recognition and grief to rage, empowerment, and release. While concept albums often risk feeling overly structured, Harrowing succeeds because the emotions never feel manufactured. Schoolcraft’s songwriting is brutally honest, allowing listeners to experience every wound and every triumph alongside her.
Opening track "Mercy Has Come" immediately establishes the record’s emotional gravity. Its combination of ethereal choirs, dramatic strings, and crushing modern metal instrumentation creates a sense of anticipation, as if the listener is standing at the threshold of a difficult but necessary reckoning. Schoolcraft’s voice remains the album’s most powerful instrument, effortlessly shifting between delicate vulnerability and commanding intensity.
That intensity reaches its peak on "Crucified," arguably the album’s defining statement. Built around religious imagery and righteous fury, the song is both a personal exorcism and a universal anthem for survivors of manipulation and abuse. The metallic edge introduced by deBlieck is especially effective here, with thunderous guitars and pounding rhythms amplifying every lyric. Schoolcraft’s anger is palpable, but it never devolves into bitterness. Instead, the track channels pain into empowerment, becoming one of the heaviest and most emotionally resonant songs of her career.
Where "Crucified" burns with fury, "Vague" retreats inward. The song’s exploration of heartbreak and emotional paralysis is elevated by Spencer Creaghan’s stunning string arrangements, which add cinematic depth without overwhelming the track’s intimate core. Schoolcraft’s performance is captivating, capturing the loneliness of watching a relationship fade while struggling to find a path forward. It’s one of the album’s most haunting moments and a reminder of her gift for marrying classical influences with contemporary alternative music.
One of the album’s most surprising highlights arrives with "I Wait For You To Fall." Drawing inspiration from late-’90s and early-2000s acts like Korn, The Prodigy, and Republica, the track injects a welcome dose of playful aggression into the record. Its fusion of nu-metal riffs, electronic industrial beats, and rocktronica textures feels nostalgic without sounding dated. Lyrically, it tackles betrayal with an almost sarcastic smirk, offering a refreshing contrast to the album’s heavier emotional themes.
"Cut Your Teeth" and "So Alive" continue the record’s momentum while showcasing Schoolcraft’s willingness to experiment. The latter receives an added boost from guest vocalist Krista Shipperbottom (ex-Lutharo), whose harsh vocals provide a compelling counterpoint to Schoolcraft’s soaring melodies. The dynamic interplay between beauty and brutality encapsulates the album’s central themes perfectly: strength forged through suffering.
By the time the closing number, "Chase The Dark," arrives, Harrowing has completed its emotional arc. Rather than ending in despair, the album concludes with a sense of hard-earned freedom. The darkness remains present, but it no longer controls the overarching narrative. Schoolcraft emerges not as a victim of her experiences but as someone who has confronted them head-on and found a way forward.
What makes Harrowing particularly impressive is its balance. The album incorporates elements of metalcore, nu metal, gothic rock, orchestral music, electronic experimentation, and alternative metal without ever feeling disjointed anywhere along its seven tracks. Schoolcraft’s voice serves as the connective tissue throughout, guiding listeners through an ever-shifting landscape of sounds and emotions. The contributions from Rocky Gray, Spencer Creaghan, Brian Cook, guitarist Cody Johnstone, and drummer Dylan Gowan further enrich the album’s sonic diversity, creating a record that feels expansive despite its concise runtime.
For longtime fans, Harrowing represents a bold evolution from the foundations laid on Martyr. For newcomers, it serves as a compelling introduction to an artist unafraid to transform her deepest scars into art. It’s an album that confronts difficult subjects with courage, honesty, and remarkable musical ambition.
In a genre often fueled by pain, Harrowing stands out because it refuses to romanticize suffering. Instead, it acknowledges the damage, processes the grief, and ultimately chooses healing. That journey makes this not only Lindsay Schoolcraft’s most personal album but arguably her most powerful.
———
𝗙𝗿𝗼𝗺:
www.crucialrhythm.com/lindsay-schoolcraft-harrowing-review
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
schoolcraftmusic.bandcamp.com/album/harrowing
———
#Colderra
#ColderraMusic
#MusicReview
#LindsaySchoolcraft
#Harrowing7 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗕𝗢𝗟𝗔𝗡 – 𝗚𝗔𝗥𝗚𝗢𝗬𝗟𝗘 𝗢𝗙 𝗧𝗛𝗘 𝗚𝗔𝗥𝗗𝗘𝗡 𝗦𝗧𝗔𝗧𝗘
For over four decades, Rachel Bolan’s pulsating bass has delivered the groove of Skid Row. Now, a solo album brings the punk spirit of the bassist to the forefront. “Gargoyle of the Garden State” is Bolan’s first solo release and contains eleven brimming rock songs. While Skid Row is Bolan’s outlet for his passion for hard rock and metal, his solo debut embodies the spirit of punk rock.
Bolan named bands like the Sex Pistols and the Ramones as influences and launched a raw, untamed album bursting with energy. The first chapter of the release is an explosive opening. “Anything But You” is a furious punk rocker with no compromises. It’s impossible to stand still while listening to this song. “At War with Myself” is one of the two lead singles and features a guest appearance. Danko Jones joins Bolan for this dirty rocker, and having these two perform together is a big win. “Memory” is a raw punk rock gem that showcases a fully committed bandleader.
Another well-known musician joins the band for the song “Jet Black Universe.” This throbbing rock song features Nuno Bettencourt and one of his blistering solos. Two Skid Row bandmates are also present on the album. Snake Sabo contributes to the nasty rock anthem “See You on the Other Side,” and Scotti Hill adds riff power to the dirty rocker “Rock and Roll Star.”
A calmer, soulful moment on the album is entitled “Bridges,” featuring Steve Conte on guitar. It is a powerful yet emotive song with a well-crafted melody, though it is an average tune on an otherwise thrilling album. The counterpart to “Bridges” is “Big Stick.” This roaring tune features none other than Slipknot frontman Corey Taylor. Driven by an anarchic spirit, the song reflects the true spirit of unbridled rock music, with a solid punk edge.
Another renowned guitarist joins the list of guests on “Gargoyle of the Garden State.” Damon Johnson appears on “Walk Away,” the bass-driven closer with a pumping beat.
“Gargoyle of the Garden State” is an energetic and rebellious album. It’s more than just a side project. Bolan poured his heart into this album, and he wanted these songs to sound exactly the way they blast out of the speakers. Forget energy drinks when you need an extra boost. “Gargoyle of the Garden State” is musical caffeine that will make your heart beat faster.
———
𝗙𝗿𝗼𝗺:
markusheavymusicblog.org/2026/06/10/review-bolan-gargoyle-of-the-garden-state/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/3FQRYmvMD73lXpiF9pWDu9
music.apple.com/gb/album/gargoyle-of-the-garden-state/1887557791
music.youtube.com/playlist?list=OLAK5uy_nF0ec9T1FuOpoiLS16MWIAQ3IQLy53674
———
#Colderra
#ColderraMusic
#MusicReview
#BOLAN
#GargoyleoftheGardenState
For over four decades, Rachel Bolan’s pulsating bass has delivered the groove of Skid Row. Now, a solo album brings the punk spirit of the bassist to the forefront. “Gargoyle of the Garden State” is Bolan’s first solo release and contains eleven brimming rock songs. While Skid Row is Bolan’s outlet for his passion for hard rock and metal, his solo debut embodies the spirit of punk rock.
Bolan named bands like the Sex Pistols and the Ramones as influences and launched a raw, untamed album bursting with energy. The first chapter of the release is an explosive opening. “Anything But You” is a furious punk rocker with no compromises. It’s impossible to stand still while listening to this song. “At War with Myself” is one of the two lead singles and features a guest appearance. Danko Jones joins Bolan for this dirty rocker, and having these two perform together is a big win. “Memory” is a raw punk rock gem that showcases a fully committed bandleader.
Another well-known musician joins the band for the song “Jet Black Universe.” This throbbing rock song features Nuno Bettencourt and one of his blistering solos. Two Skid Row bandmates are also present on the album. Snake Sabo contributes to the nasty rock anthem “See You on the Other Side,” and Scotti Hill adds riff power to the dirty rocker “Rock and Roll Star.”
A calmer, soulful moment on the album is entitled “Bridges,” featuring Steve Conte on guitar. It is a powerful yet emotive song with a well-crafted melody, though it is an average tune on an otherwise thrilling album. The counterpart to “Bridges” is “Big Stick.” This roaring tune features none other than Slipknot frontman Corey Taylor. Driven by an anarchic spirit, the song reflects the true spirit of unbridled rock music, with a solid punk edge.
Another renowned guitarist joins the list of guests on “Gargoyle of the Garden State.” Damon Johnson appears on “Walk Away,” the bass-driven closer with a pumping beat.
“Gargoyle of the Garden State” is an energetic and rebellious album. It’s more than just a side project. Bolan poured his heart into this album, and he wanted these songs to sound exactly the way they blast out of the speakers. Forget energy drinks when you need an extra boost. “Gargoyle of the Garden State” is musical caffeine that will make your heart beat faster.
———
𝗙𝗿𝗼𝗺:
markusheavymusicblog.org/2026/06/10/review-bolan-gargoyle-of-the-garden-state/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/3FQRYmvMD73lXpiF9pWDu9
music.apple.com/gb/album/gargoyle-of-the-garden-state/1887557791
music.youtube.com/playlist?list=OLAK5uy_nF0ec9T1FuOpoiLS16MWIAQ3IQLy53674
———
#Colderra
#ColderraMusic
#MusicReview
#BOLAN
#GargoyleoftheGardenState
Gargoyle of the Garden State – Album by Rachel Bolan
music.youtube.com
Listen to Gargoyle of the Garden State by Rachel Bolan and Skid Row on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗩𝗔𝗡𝗗𝗘𝗡 𝗣𝗟𝗔𝗦 – 𝗔𝗖𝗖𝗨𝗟𝗧 𝗜𝗜
Progressive metal veterans Vanden Plas made their debut in 1994 with the album “Colour Temple” followed by the acoustic EP “AcCult” which included acoustic covers of other artists’ songs, plus some rearranged tunes from the debut album. Thirty years later, the German metal group has revived the spirit of the ’90s with the release of “AcCult II”, the second chapter in this acoustic adventure. The concept remains the same: the band has recorded a couple of cover versions and original songs in a new dress.
Let’s start with the two cover versions. Vanden Plas have recorded their own version of “Boat on the River”, originally by Styx. It is a classic, and the Vanden Plas version lives up to expectations. While staying close to the original, the band added details that make the song sparkle.
The second cover is a cover of a thrash metal band. “Nothing Else Matters” is one of Metallica‘s biggest hits, and Vanden Plas pays tribute to these metal pioneers by giving “Nothing Else Matters” a piano-driven depth. This touching version has a lot of feeling and can stand proudly next to the original. In fact, Vanden Plas give the song an extra level of emotive intensity.
However, first up is “Face Off Grace”, the title track from the 1999 release. It’s a superb version that showcases the German prog rockers’ elegance in songwriting. With “Holes in the Sky”, we move forward eleven years in Vanden Plas’s discography. Originally released on “The Seraphic Clockwork”, the song demonstrates the power of acoustic music. The tune shows great density, and it is “The Ghost Experience” that reminds us of the 2019 release. “Healing Tree” feels like a ballad from a rock musical, featuring the mysterious voice of a female singer unnamed in the listing.
One guest who is mentioned is John Helliwell (Supertramp). His saxophone adds an extra dimension to “You Fly”, showcasing the album’s sonic diversity.
“AcCult II” is a soulful album that proves acoustic songs can be powerful, moving and heart-warming. Vanden Plas demonstrate once again that they belong in the top league of progressive rock and metal.
———
𝗙𝗿𝗼𝗺:
markusheavymusicblog.org/2026/06/15/review-vanden-plas-accult-ii/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/38WFbA1ehgD4TXkjsNLRmO
music.apple.com/us/album/accult-ii/1884082734
music.youtube.com/playlist?list=OLAK5uy_nGUdQ19NQoLIS5r8GtBDasRmXYO_ZQHsk
———
#Colderra
#ColderraMusic
#MusicReview
#VANDENPLAS
#AcCultII
Progressive metal veterans Vanden Plas made their debut in 1994 with the album “Colour Temple” followed by the acoustic EP “AcCult” which included acoustic covers of other artists’ songs, plus some rearranged tunes from the debut album. Thirty years later, the German metal group has revived the spirit of the ’90s with the release of “AcCult II”, the second chapter in this acoustic adventure. The concept remains the same: the band has recorded a couple of cover versions and original songs in a new dress.
Let’s start with the two cover versions. Vanden Plas have recorded their own version of “Boat on the River”, originally by Styx. It is a classic, and the Vanden Plas version lives up to expectations. While staying close to the original, the band added details that make the song sparkle.
The second cover is a cover of a thrash metal band. “Nothing Else Matters” is one of Metallica‘s biggest hits, and Vanden Plas pays tribute to these metal pioneers by giving “Nothing Else Matters” a piano-driven depth. This touching version has a lot of feeling and can stand proudly next to the original. In fact, Vanden Plas give the song an extra level of emotive intensity.
However, first up is “Face Off Grace”, the title track from the 1999 release. It’s a superb version that showcases the German prog rockers’ elegance in songwriting. With “Holes in the Sky”, we move forward eleven years in Vanden Plas’s discography. Originally released on “The Seraphic Clockwork”, the song demonstrates the power of acoustic music. The tune shows great density, and it is “The Ghost Experience” that reminds us of the 2019 release. “Healing Tree” feels like a ballad from a rock musical, featuring the mysterious voice of a female singer unnamed in the listing.
One guest who is mentioned is John Helliwell (Supertramp). His saxophone adds an extra dimension to “You Fly”, showcasing the album’s sonic diversity.
“AcCult II” is a soulful album that proves acoustic songs can be powerful, moving and heart-warming. Vanden Plas demonstrate once again that they belong in the top league of progressive rock and metal.
———
𝗙𝗿𝗼𝗺:
markusheavymusicblog.org/2026/06/15/review-vanden-plas-accult-ii/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/38WFbA1ehgD4TXkjsNLRmO
music.apple.com/us/album/accult-ii/1884082734
music.youtube.com/playlist?list=OLAK5uy_nGUdQ19NQoLIS5r8GtBDasRmXYO_ZQHsk
———
#Colderra
#ColderraMusic
#MusicReview
#VANDENPLAS
#AcCultII
Accult II – Album by Vanden Plas
music.youtube.com
Listen to Accult II by Vanden Plas on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗗𝗜 𝗕𝗔𝗟𝗜𝗞 𝗞𝗘𝗟𝗔𝗠𝗕𝗨 𝗪𝗔𝗞𝗧𝗨 𝗬𝗔𝗡𝗚 𝗞𝗘𝗟𝗔𝗠
𝗕𝗮𝗯 𝗜: 𝗙𝗮𝗷𝗮𝗿 𝘆𝗮𝗻𝗴 𝗠𝗲𝗻𝘂𝗻𝘁𝘂𝘁 𝗟𝗮𝗻𝗴𝗸𝗮𝗵 𝗕𝗮𝗿𝘂
("This Time Is Start To Find Another Day… This Day Is Born I Feel A Time So Long")
Hatta, tatkala sang fajar menyingsing di ufuk timur, ia tidak membawa kehangatan yang dinanti, melainkan sebuah titah yang kejam dari sang waktu. Waktu telah tiba, aduhai diri yang malang, untuk memutar haluan perahu dan mencari hari yang baru. Tiada lagi guna meratapi malam yang telah larut, sebab hari ini menuntut daku untuk memburu air mata yang lain—air mata yang mungkin akan tumpah di tanah yang asing.
Hari yang baru ini telah lahir, namun mengapa rasanya begitu melelahkan? Setiap detiknya merayap laksana seabad lamanya, menghimpit dada yang kian sesak. Langkah kaki ini dipaksa untuk meretas jalan yang lain, meninggalkan jalan lama yang telah usai kita tapaki bersama. Sungguh, sebuah kelahiran hari yang dirayakan dengan kesayuan jiwa yang teramat dalam.
𝗕𝗮𝗯 𝗜𝗜: 𝗞𝗲𝗯𝗲𝗯𝗮𝘀𝗮𝗻 𝗝𝗶𝘄𝗮 𝘆𝗮𝗻𝗴 𝗧𝗲𝗿𝗯𝗮𝗸𝗮𝗿
("This World Is Open To All Something New… This Heart Is Breath I Feel My Mind So Strong")
Dunia di luar sana konon membentang luas, membuka pintunya lebar-lebar bagi segala hal yang baru. Ia menggamit siapa saja yang sudi datang, menjanjikan kebebasan bagi jiwa-jiwa yang selama ini terkungkung dalam sangkar lara.
"Namun, apalah arti kebebasan itu bagi seorang musafir yang kehilangan arah?"
Di tengah keriuhan dunia yang baru itu, jantung ini berdegup kencang, bagai dibakar oleh api kerinduan yang menyala-nyala. Dalam kehangatan yang menyiksa itu, sukmaku melambungkan doa-doa ke angkasa, memohon ketabahan yang tiada bertepi. Meskipun raga ini limbung, namun di dalam rongga dada yang bergolak, kurasakan pikiranku kian meneguh. Hati ini masih bernapas, menolak untuk mati sebelum masanya tiba.
𝗕𝗮𝗯 𝗜𝗜𝗜: 𝗗𝗲𝗸𝗮𝗽𝗮𝗻 𝗧𝗲𝗿𝗮𝗸𝗵𝗶𝗿 𝗱𝗶 𝗔𝗺𝗯𝗮𝗻𝗴 𝗠𝗮𝗹𝗮𝗺
("Hold Tonight Stay With Me Don’t Go Faraway… Leave All We Will Be Fly")
Maka, duhai jiwaku, kutautkan jemariku pada seulas malam ini. Dengarlah permintaanku yang terakhir: dekaplah malam ini erat-erat, janganlah engkau melangkah terlalu jauh dariku. Mari kita bagi momen yang singkat ini dalam kesunyian, dan kuingatkan kepadamu, usahlah ada air mata yang jatuh menitik di atas kain sutera itu.
Ada satu alasan yang tersimpan rapat di dasar hatimu, yang tak pernah engkau ucapkan dengan lisan, namun dapat terbaca oleh mataku yang lara. Biarlah malam ini menjadi saksi; mari kita tinggalkan segala beban duniawi, segala lara yang menggelayuti pundak. Bersama-sama, dalam khayalan yang fana, kita kan terbang tinggi menembus awan, terlepas dari belenggu takdir yang memisahkan.
𝗕𝗮𝗯 𝗜𝗩: 𝗞𝗲𝘁𝗶𝗸𝗮 𝗛𝗮𝗿𝗶 𝗠𝗮𝘁𝗶 𝗧𝗲𝗿𝗹𝗮𝗹𝘂 𝗖𝗲𝗽𝗮𝘁
("Another Time Is Stop To Kill The Day… Another Day Is Die So Fast I Feel")
Akan tetapi, impian itu lebur seketika tatkala waktu yang lain datang merenggut paksa. Waktu seolah berhenti hanya untuk membunuh sisa hari yang indah. Air mata yang tadi tertahan, kini dilepaskan tanpa ampun. Tiada lagi jalan yang perlu dicari, sebab segala jalan telah buntu, tertutup oleh dinding takdir yang angkuh.
Betapa cepatnya hari itu mati! Ia luruh bagai kelopak bunga yang diguyur hujan badai sebelum sempat mekar dengan sempurna. Kepergian hari itu menyisakan rasa hampa yang luar biasa di dalam dada. Aku tertegun dalam sepi, merasakan betapa fanyanya kebahagiaan yang baru saja kukecup sedetik yang lalu.
𝗕𝗮𝗯 𝗩: 𝗣𝗲𝗻𝗷𝗮𝗿𝗮 𝗦𝘂𝗻𝘆𝗶 𝗱𝗮𝗻 𝗛𝗮𝘁𝗶 𝘆𝗮𝗻𝗴 𝗣𝗮𝘁𝗮𝗵
("Another World Is Closed For All The Old… Another Heart Is Fall A Hope Go Away")
Kini, terbukalah gerbang dunia yang lain—sebuah dunia yang tertutup rapat bagi segala kenangan lama. Bagi jiwa yang mendamba kebebasan, dunia ini tak ubahnya seperti penjara yang dingin dan berjeruji besi tak kasat mata. Segala yang bebas kini terkunci, termasuk angan-angan kita yang dahulu terbang melambung tinggi.
Aduhai, hati yang lain kini telah membeku. Sukma yang dahulu hangat, kini patah menjadi serpihan-serpihan kecil yang tak mungkin bertaut kembali. Harapan yang selama ini dipupuk dengan air mata kini telah gugur dan terbang terbawa angin lalu, pergi menjauh entah ke mana. Yang tersisa hanyalah sekujur badan yang kaku, meratapi cinta yang telah karam di dasar lubuk hati yang paling kelam.COLDERRA – Desire
youtu.be/d1X9VHpXfZg
www.colderra.com
#Colderra
#ColderraMusic
#PowerMetal
#SpeedMetal
#HeavyMetal
𝗕𝗮𝗯 𝗜: 𝗙𝗮𝗷𝗮𝗿 𝘆𝗮𝗻𝗴 𝗠𝗲𝗻𝘂𝗻𝘁𝘂𝘁 𝗟𝗮𝗻𝗴𝗸𝗮𝗵 𝗕𝗮𝗿𝘂
("This Time Is Start To Find Another Day… This Day Is Born I Feel A Time So Long")
Hatta, tatkala sang fajar menyingsing di ufuk timur, ia tidak membawa kehangatan yang dinanti, melainkan sebuah titah yang kejam dari sang waktu. Waktu telah tiba, aduhai diri yang malang, untuk memutar haluan perahu dan mencari hari yang baru. Tiada lagi guna meratapi malam yang telah larut, sebab hari ini menuntut daku untuk memburu air mata yang lain—air mata yang mungkin akan tumpah di tanah yang asing.
Hari yang baru ini telah lahir, namun mengapa rasanya begitu melelahkan? Setiap detiknya merayap laksana seabad lamanya, menghimpit dada yang kian sesak. Langkah kaki ini dipaksa untuk meretas jalan yang lain, meninggalkan jalan lama yang telah usai kita tapaki bersama. Sungguh, sebuah kelahiran hari yang dirayakan dengan kesayuan jiwa yang teramat dalam.
𝗕𝗮𝗯 𝗜𝗜: 𝗞𝗲𝗯𝗲𝗯𝗮𝘀𝗮𝗻 𝗝𝗶𝘄𝗮 𝘆𝗮𝗻𝗴 𝗧𝗲𝗿𝗯𝗮𝗸𝗮𝗿
("This World Is Open To All Something New… This Heart Is Breath I Feel My Mind So Strong")
Dunia di luar sana konon membentang luas, membuka pintunya lebar-lebar bagi segala hal yang baru. Ia menggamit siapa saja yang sudi datang, menjanjikan kebebasan bagi jiwa-jiwa yang selama ini terkungkung dalam sangkar lara.
"Namun, apalah arti kebebasan itu bagi seorang musafir yang kehilangan arah?"
Di tengah keriuhan dunia yang baru itu, jantung ini berdegup kencang, bagai dibakar oleh api kerinduan yang menyala-nyala. Dalam kehangatan yang menyiksa itu, sukmaku melambungkan doa-doa ke angkasa, memohon ketabahan yang tiada bertepi. Meskipun raga ini limbung, namun di dalam rongga dada yang bergolak, kurasakan pikiranku kian meneguh. Hati ini masih bernapas, menolak untuk mati sebelum masanya tiba.
𝗕𝗮𝗯 𝗜𝗜𝗜: 𝗗𝗲𝗸𝗮𝗽𝗮𝗻 𝗧𝗲𝗿𝗮𝗸𝗵𝗶𝗿 𝗱𝗶 𝗔𝗺𝗯𝗮𝗻𝗴 𝗠𝗮𝗹𝗮𝗺
("Hold Tonight Stay With Me Don’t Go Faraway… Leave All We Will Be Fly")
Maka, duhai jiwaku, kutautkan jemariku pada seulas malam ini. Dengarlah permintaanku yang terakhir: dekaplah malam ini erat-erat, janganlah engkau melangkah terlalu jauh dariku. Mari kita bagi momen yang singkat ini dalam kesunyian, dan kuingatkan kepadamu, usahlah ada air mata yang jatuh menitik di atas kain sutera itu.
Ada satu alasan yang tersimpan rapat di dasar hatimu, yang tak pernah engkau ucapkan dengan lisan, namun dapat terbaca oleh mataku yang lara. Biarlah malam ini menjadi saksi; mari kita tinggalkan segala beban duniawi, segala lara yang menggelayuti pundak. Bersama-sama, dalam khayalan yang fana, kita kan terbang tinggi menembus awan, terlepas dari belenggu takdir yang memisahkan.
𝗕𝗮𝗯 𝗜𝗩: 𝗞𝗲𝘁𝗶𝗸𝗮 𝗛𝗮𝗿𝗶 𝗠𝗮𝘁𝗶 𝗧𝗲𝗿𝗹𝗮𝗹𝘂 𝗖𝗲𝗽𝗮𝘁
("Another Time Is Stop To Kill The Day… Another Day Is Die So Fast I Feel")
Akan tetapi, impian itu lebur seketika tatkala waktu yang lain datang merenggut paksa. Waktu seolah berhenti hanya untuk membunuh sisa hari yang indah. Air mata yang tadi tertahan, kini dilepaskan tanpa ampun. Tiada lagi jalan yang perlu dicari, sebab segala jalan telah buntu, tertutup oleh dinding takdir yang angkuh.
Betapa cepatnya hari itu mati! Ia luruh bagai kelopak bunga yang diguyur hujan badai sebelum sempat mekar dengan sempurna. Kepergian hari itu menyisakan rasa hampa yang luar biasa di dalam dada. Aku tertegun dalam sepi, merasakan betapa fanyanya kebahagiaan yang baru saja kukecup sedetik yang lalu.
𝗕𝗮𝗯 𝗩: 𝗣𝗲𝗻𝗷𝗮𝗿𝗮 𝗦𝘂𝗻𝘆𝗶 𝗱𝗮𝗻 𝗛𝗮𝘁𝗶 𝘆𝗮𝗻𝗴 𝗣𝗮𝘁𝗮𝗵
("Another World Is Closed For All The Old… Another Heart Is Fall A Hope Go Away")
Kini, terbukalah gerbang dunia yang lain—sebuah dunia yang tertutup rapat bagi segala kenangan lama. Bagi jiwa yang mendamba kebebasan, dunia ini tak ubahnya seperti penjara yang dingin dan berjeruji besi tak kasat mata. Segala yang bebas kini terkunci, termasuk angan-angan kita yang dahulu terbang melambung tinggi.
Aduhai, hati yang lain kini telah membeku. Sukma yang dahulu hangat, kini patah menjadi serpihan-serpihan kecil yang tak mungkin bertaut kembali. Harapan yang selama ini dipupuk dengan air mata kini telah gugur dan terbang terbawa angin lalu, pergi menjauh entah ke mana. Yang tersisa hanyalah sekujur badan yang kaku, meratapi cinta yang telah karam di dasar lubuk hati yang paling kelam.COLDERRA – Desire
youtu.be/d1X9VHpXfZg
www.colderra.com
#Colderra
#ColderraMusic
#PowerMetal
#SpeedMetal
#HeavyMetal
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗣𝗥𝗜𝗠𝗢𝗥𝗗𝗜𝗔𝗟 𝗕𝗟𝗔𝗖𝗞 – 𝗛𝗘𝗧𝗘𝗥𝗢𝗧𝗢𝗣𝗜𝗔
The Tunisian band Primordial Black, following their successful debut “Dark Matter Manifesto”, release their second full-length album, “Heterotopia”. Yasser Mahammedi Bouzina (vocals), joined by Walid Chaaben (guitars) and Selim Bouladi (drums), builds a dark edifice of atmospheric extreme metal, where black metal passages coexist with ritualistic, slow-drawn parts, lyrically framed by references to the occult and philosophy. The guitar and drums bind naturally within this mystical journey, which is also strengthened by the outstanding work of session bassist Walter Rebouna, who gives this excellent musical work the depth and weight it needs.
The album opens with a chilling and harrowing intro, “Caos Guidato”, which foreshadows what is about to follow and defines the musical identity of the record. The next track, “Ruines Suspendues”, is marked by its direct black metal roots and is also the band’s first single. The half-collapsed ruins referenced in the title set the tone for the way the band sees the world around them. “Heterotopia”, through its introduction, its main body and its Greek title, points toward Deathspell Omega, one of the band’s apparent main influences, alongside Rotting Christ and other groups. The guitars enter at high speed, but the track soon shifts into atmospheric, mid-tempo parts. In “Mater Suspiriorum”, the fast parts alternate with slow, drawn-out melodies that fit perfectly with the pain carried by Yasser’s distinctive vocals. The clean vocals somewhere around the middle of the track create a strange contrast, while the song also includes one of the most magical moments of the whole album: the solo that closes “Mater Suspiriorum”, a magical, inspired guitar creation full of Pink Floyd references by Karim Bouazra, a musicologist with deep knowledge of Progressive Metal and Dream Theater’s music. In the Black Metal storm of “Immaculate”, death metal legend Steve DiGiorgio appears as a guest and gives his own touch to this “Immaculate” creation by Primordial Black. In “Begotten”, as in all the previous tracks, the avant-garde and industrial elements play a significant role, fitting flawlessly into the Black/Dark Metal foundation. Especially in the second half of “Begotten”, a very emotional saxophone solo appears, while the keyboards help create the cinematic atmosphere that runs through the entire record. Camilia Bayazi appears here as a guest. In the equally cinematic “Gorrister”, with its recorded parts, the listener moves deeper and deeper into the world of “Heterotopia”, while the album closes with the almost XNUMX-minute “Le Horia”, featuring Gianluca Morelli. It is perhaps the track with the strongest avant-garde elements and industrial passages, with the guitar creating chaotic textures, as though it wants to build a new world over “Caos Guidato”.
The subject matter of the tracks spills into occult and philosophical territory. A clear example is the title track itself, which takes its name from Michel Foucault’s neologism and refers to a place where difference prevails, a place that exists outside conventional social norms. “Mater Suspiriorum” (“Mother of Sighs”) is based on Thomas De Quincey’s 1845 work “Suspiria de Profundis”, which was later adapted by Dario Argento in his horror trilogy: “Mater Suspiriorum” (“Mother of Sighs”), “Mater Tenebrarum” (“Mother of Darkness”) and “Mater Lacrymarum” (“Mother of Tears”), with “Mater Lacrymarum” also appearing as a title on their debut album “Dark Matter Manifesto”. Finally, another characteristic example of the thematic world of “Heterotopia” is “Gorrister”. Gorrister is a character from Harlan Ellison’s prophetic dystopian short story “I Have No Mouth, and I Must Scream”, published in 1967. In the story, Gorrister is one of the five survivors eternally tortured by the malicious AI “AM”.
Ultimately, “Heterotopia” really does come from another world. It is a blend of avant-garde and industrial elements with a genuine black metal background, steeped in occultism and philosophy. It is the natural evolution of their previous album, confirming the uniqueness of Primordial Black’s sound and now placing them among the most influential bands in the scene.
———
𝗙𝗿𝗼𝗺:
www.metalourgio.com/en/primordial-black-heterotopia-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_mtWYAjdWKTpSYyIRWqc7g-BICpNdz8c9U
primordialblackband.bandcamp.com/album/heterotopia
———
#Colderra
#ColderraMusic
#MusicReview
#PrimordialBlack
#Heterotopia8 track album
The Tunisian band Primordial Black, following their successful debut “Dark Matter Manifesto”, release their second full-length album, “Heterotopia”. Yasser Mahammedi Bouzina (vocals), joined by Walid Chaaben (guitars) and Selim Bouladi (drums), builds a dark edifice of atmospheric extreme metal, where black metal passages coexist with ritualistic, slow-drawn parts, lyrically framed by references to the occult and philosophy. The guitar and drums bind naturally within this mystical journey, which is also strengthened by the outstanding work of session bassist Walter Rebouna, who gives this excellent musical work the depth and weight it needs.
The album opens with a chilling and harrowing intro, “Caos Guidato”, which foreshadows what is about to follow and defines the musical identity of the record. The next track, “Ruines Suspendues”, is marked by its direct black metal roots and is also the band’s first single. The half-collapsed ruins referenced in the title set the tone for the way the band sees the world around them. “Heterotopia”, through its introduction, its main body and its Greek title, points toward Deathspell Omega, one of the band’s apparent main influences, alongside Rotting Christ and other groups. The guitars enter at high speed, but the track soon shifts into atmospheric, mid-tempo parts. In “Mater Suspiriorum”, the fast parts alternate with slow, drawn-out melodies that fit perfectly with the pain carried by Yasser’s distinctive vocals. The clean vocals somewhere around the middle of the track create a strange contrast, while the song also includes one of the most magical moments of the whole album: the solo that closes “Mater Suspiriorum”, a magical, inspired guitar creation full of Pink Floyd references by Karim Bouazra, a musicologist with deep knowledge of Progressive Metal and Dream Theater’s music. In the Black Metal storm of “Immaculate”, death metal legend Steve DiGiorgio appears as a guest and gives his own touch to this “Immaculate” creation by Primordial Black. In “Begotten”, as in all the previous tracks, the avant-garde and industrial elements play a significant role, fitting flawlessly into the Black/Dark Metal foundation. Especially in the second half of “Begotten”, a very emotional saxophone solo appears, while the keyboards help create the cinematic atmosphere that runs through the entire record. Camilia Bayazi appears here as a guest. In the equally cinematic “Gorrister”, with its recorded parts, the listener moves deeper and deeper into the world of “Heterotopia”, while the album closes with the almost XNUMX-minute “Le Horia”, featuring Gianluca Morelli. It is perhaps the track with the strongest avant-garde elements and industrial passages, with the guitar creating chaotic textures, as though it wants to build a new world over “Caos Guidato”.
The subject matter of the tracks spills into occult and philosophical territory. A clear example is the title track itself, which takes its name from Michel Foucault’s neologism and refers to a place where difference prevails, a place that exists outside conventional social norms. “Mater Suspiriorum” (“Mother of Sighs”) is based on Thomas De Quincey’s 1845 work “Suspiria de Profundis”, which was later adapted by Dario Argento in his horror trilogy: “Mater Suspiriorum” (“Mother of Sighs”), “Mater Tenebrarum” (“Mother of Darkness”) and “Mater Lacrymarum” (“Mother of Tears”), with “Mater Lacrymarum” also appearing as a title on their debut album “Dark Matter Manifesto”. Finally, another characteristic example of the thematic world of “Heterotopia” is “Gorrister”. Gorrister is a character from Harlan Ellison’s prophetic dystopian short story “I Have No Mouth, and I Must Scream”, published in 1967. In the story, Gorrister is one of the five survivors eternally tortured by the malicious AI “AM”.
Ultimately, “Heterotopia” really does come from another world. It is a blend of avant-garde and industrial elements with a genuine black metal background, steeped in occultism and philosophy. It is the natural evolution of their previous album, confirming the uniqueness of Primordial Black’s sound and now placing them among the most influential bands in the scene.
———
𝗙𝗿𝗼𝗺:
www.metalourgio.com/en/primordial-black-heterotopia-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_mtWYAjdWKTpSYyIRWqc7g-BICpNdz8c9U
primordialblackband.bandcamp.com/album/heterotopia
———
#Colderra
#ColderraMusic
#MusicReview
#PrimordialBlack
#Heterotopia8 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗔𝗠𝗢𝗡𝗚𝗥𝗨𝗜𝗡𝗦 – 𝗔𝗗𝗩𝗘𝗡𝗧 𝗢𝗙 𝗖𝗛𝗔𝗢𝗦
AmongRuins are one of the best Greek melodeath bands right now and, with their new album, “Advent of Chaos”, they justify that description. Beyond the very clean production and dynamic guitar tone, the album treats us to some very good songs.
The album’s opening track, "Frozen to the Core", , starts with a haunting and melancholic melody, building tension before the first riff comes in with force, a riff that throws you against the wall before the vocals kick in. The vocals sound noticeably better than they did on the previous album. The lyrics are equally melancholic, as is vocalist Sverd’s delivery, while symphonic elements are used behind the chorus. The song closes with an equally haunting guitar solo.
The album continues with the track “Advent of Chaos”, the title track, with some incredible riffs that blend beautifully with piano, which, truth be told, I was not expecting. Then, in the chorus, some beautiful clean vocals come in. The track also shows the drummer’s talent, with the double kicks giving the song the necessary power and helping the album continue strongly.
In a similar vein to the previous tracks comes the album’s lead single, “Red Divine”, which becomes a little repetitive in places, with a style that brings At the Gates and Children of Bodom to mind. The best thing about this track is by far the guitars, which tear through the whole song.
The fourth track, “Into the Flame”, also features Christinna from Elysion, who, after the opening riff, opens the song with a stunning alto voice. Vocally, she recalls Cristina Scabbia from Lacuna Coil and, together with the melodic elements of the track, creates a beautiful atmosphere.
“Symphony of Loss” is a personal highlight of the album, as it combines beautifully sad lyrics with a melodically angry musical section. Greek lyrics also appear in this particular song, a pleasant touch for Greek listeners.
The next track, “Open Wounds”, is quite distinctive and beautiful, perhaps the most emotionally heavy song on the album, with a wonderful intro and an unbearable feeling of despair. The solo is also melancholic and dark, and it fits the overall mood of the song.
Before the album reaches its end, we get “Chained”, which is quite reminiscent of bands such as Lamb of God and Gojira, but it does not particularly stand out, in the sense that it does not differ much from the rest of the album’s tracks. And the final song, “Night Mother”, has similar energy to the rest of the album up to the middle, with an interesting middle section and a melodic outro, but, like the previous track, nothing impressive. The truth is that I was expecting something more impressive for the final song on this album. It is not bad, it just does not differ much from the rest.
In general, the album is a very good version of AmongRuins. A nice melodeath album, although for someone who listens to this genre a lot, certain tracks may seem a little predictable, while some specific songs stand out more.
———
𝗙𝗿𝗼𝗺:
www.metalourgio.com/en/amongruins-advent-of-chaos-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_nYSW9RpXsj7HxQ2k1yPhWLBikM3vI9HnY
theogoniarecords.bandcamp.com/album/advent-of-chaos
———
#Colderra
#ColderraMusic
#MusicReview
#AmongRuins
#AdventofChaos8 track album
AmongRuins are one of the best Greek melodeath bands right now and, with their new album, “Advent of Chaos”, they justify that description. Beyond the very clean production and dynamic guitar tone, the album treats us to some very good songs.
The album’s opening track, "Frozen to the Core", , starts with a haunting and melancholic melody, building tension before the first riff comes in with force, a riff that throws you against the wall before the vocals kick in. The vocals sound noticeably better than they did on the previous album. The lyrics are equally melancholic, as is vocalist Sverd’s delivery, while symphonic elements are used behind the chorus. The song closes with an equally haunting guitar solo.
The album continues with the track “Advent of Chaos”, the title track, with some incredible riffs that blend beautifully with piano, which, truth be told, I was not expecting. Then, in the chorus, some beautiful clean vocals come in. The track also shows the drummer’s talent, with the double kicks giving the song the necessary power and helping the album continue strongly.
In a similar vein to the previous tracks comes the album’s lead single, “Red Divine”, which becomes a little repetitive in places, with a style that brings At the Gates and Children of Bodom to mind. The best thing about this track is by far the guitars, which tear through the whole song.
The fourth track, “Into the Flame”, also features Christinna from Elysion, who, after the opening riff, opens the song with a stunning alto voice. Vocally, she recalls Cristina Scabbia from Lacuna Coil and, together with the melodic elements of the track, creates a beautiful atmosphere.
“Symphony of Loss” is a personal highlight of the album, as it combines beautifully sad lyrics with a melodically angry musical section. Greek lyrics also appear in this particular song, a pleasant touch for Greek listeners.
The next track, “Open Wounds”, is quite distinctive and beautiful, perhaps the most emotionally heavy song on the album, with a wonderful intro and an unbearable feeling of despair. The solo is also melancholic and dark, and it fits the overall mood of the song.
Before the album reaches its end, we get “Chained”, which is quite reminiscent of bands such as Lamb of God and Gojira, but it does not particularly stand out, in the sense that it does not differ much from the rest of the album’s tracks. And the final song, “Night Mother”, has similar energy to the rest of the album up to the middle, with an interesting middle section and a melodic outro, but, like the previous track, nothing impressive. The truth is that I was expecting something more impressive for the final song on this album. It is not bad, it just does not differ much from the rest.
In general, the album is a very good version of AmongRuins. A nice melodeath album, although for someone who listens to this genre a lot, certain tracks may seem a little predictable, while some specific songs stand out more.
———
𝗙𝗿𝗼𝗺:
www.metalourgio.com/en/amongruins-advent-of-chaos-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_nYSW9RpXsj7HxQ2k1yPhWLBikM3vI9HnY
theogoniarecords.bandcamp.com/album/advent-of-chaos
———
#Colderra
#ColderraMusic
#MusicReview
#AmongRuins
#AdventofChaos8 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗧𝗨𝗥𝗡 𝗕𝗔𝗖𝗞 𝗧𝗜𝗠𝗘 – 𝗠𝗔𝗬𝗕𝗘 𝗧𝗢𝗠𝗢𝗥𝗥𝗢𝗪
Some albums immediately remind you why the AOR and melodic rock genres continue to inspire such loyalty among their devotees. Turn Back Time‘s ‘Maybe Tomorrow‘ is one such release; a beautifully crafted collection of songs that captures everything that made the golden age of melodic rock so enduring while still sounding fresh and vibrant in the present day.
Turn Back Time is the musical partnership of lifelong friends Christer Green and Henrik Svedberg, two musicians from Borås whose shared love of classic ’80s AOR ultimately led to the creation of the project. Having played together since the early 1990s, the pair found themselves, like so many musicians, facing an unexpected pause when the 2020 lockdown brought live performances with their cover band to a halt. Rather than viewing the situation as a setback, they seized the opportunity to focus on original material, revisiting the melodic influences that had shaped their musical upbringing.
The results were immediate. Christer began writing and recording new songs, and by the spring of 2021 the duo had completed their debut single, ‘High’. Since then, Turn Back Time has evolved into a vehicle for their shared musical vision, with Christer handling the vast majority of the instrumentation while Henrik contributes vocals, keyboards, and invaluable creative input. Although the project remains fundamentally a duo, they are not afraid to call upon a select group of collaborators when the music demands it. On “Maybe Tomorrow”, vocal contributions from Ronnie Hagstedt, Peder Lundgren, and Henrik himself add further depth and variety to an already impressive collection of songs.
What immediately strikes the listener is the sheer quality of the musicianship on display. Smooth, sophisticated, elegant, and immaculately produced, ‘Maybe Tomorrow‘ feels like a love letter to the very best traditions of melodic rock. Every arrangement has been carefully considered, every instrumental passage serves the song, and the production possesses a warmth and clarity that allows the music to breathe naturally.
Fans of artists such as Toto, Higher Ground, and the more refined end of the melodic rock spectrum will find themselves instantly at home here. The album is filled with soaring melodies, tasteful keyboard textures, sumptuous harmonies, and guitar work that consistently impresses without ever becoming self-indulgent. In particular, Christer Green emerges as a remarkable talent. Not only is he an accomplished guitarist and keyboard player, but his ability to handle virtually every aspect of the music recalls the classic one-man-band approach pioneered by figures such as Tom Scholz during Boston’s formative years.
Ultimately, ‘Maybe Tomorrow‘ succeeds because it never mistakes polish for personality. Beneath the immaculate production and accomplished musicianship lies a collection of genuinely heartfelt songs performed by musicians who clearly understand and love the genre they inhabit. The result is an album that feels authentic, uplifting, and effortlessly enjoyable from beginning to end – a reminder that melodic rock, when executed this well, remains one of the most rewarding styles of music around.
There are moments throughout the album when you find yourself shaking your head in disbelief, simply to remind yourself that you are not listening to a long-lost Toto recording from the band’s golden era. Take ‘Girl Goodbye’ as an example; the resemblance is quite uncanny, and entirely delightful as a result. Elsewhere, ‘Turn Back Time’ arrives powered by a muscular riff, a huge chorus, and some superb lead guitar work, making it one of the album’s most immediate highlights. The title track settles into a wonderfully lilting groove, delivering the kind of effortless AOR magic that burrows into your subconscious and refuses to leave.
‘Faith’ is another standout moment, so authentically Toto-esque that you can almost imagine Steve Lukather himself fronting the song. It is a beautifully crafted piece of melodic rock that captures everything that made the genre so enduring in the first place. ‘Jennie In Love’ takes things in a slightly different direction, embracing a smooth West Coast feel that is effortlessly cool, subtly funky, and utterly irresistible. Finally, album closer ‘Josephine’ provides a fitting conclusion to the record, its understated elegance and melodic warmth bringing the album to a close in truly exquisite fashion. It is the perfect ending to a collection of songs that consistently reminds us why we fell in love with AOR in the first place.
In summary, ‘Maybe Tomorrow‘ is a magnificent celebration of everything that makes AOR and melodic rock such enduring genres. Combining impeccable musicianship, superb songwriting, glorious melodies, and production that positively sparkles, Turn Back Time have delivered an album that feels both lovingly nostalgic and refreshingly vital. Fans of Toto, Street Talk, Higher Ground, and the classic West Coast sound will find themselves instantly captivated. Elegant, sophisticated, and overflowing with musical class, this is not merely an enjoyable album – it is one of the finest melodic rock releases you are likely to hear this year.
Track list:
1. Dancing In The Rain
2. Turn Back Time
3. Maybe Tomorrow
4. Faith
5. Into The Light
6. Jennie In Love
7. High
8. Girl Goodbye
9. Don’t Offend Me
10. Josephine
Line-up:
Ronnie Hagstedt – Lead vocals (Tracks 1, 4, 5, 6, 8, 10)
Peder Lundgren – Lead Vocals (Tracks 2, 3, 7, 9)
Henrik Svedberg – Lead Vocals (Track 7)
Christer Green – guitars, bass, keyboards
Henrik Svedberg – keyboards
Morgan Lansford – bass
Mr. Easy – drums
Backing Vocals:
Henrik Svedberg, Christer Green, Ronnie Hagstedt, Kicki Malm, Peder Lundgren, Terese Arturen, Anna Birgenius, Josefine Green, Stephan Dahlin, Morgan Lansford, Robin Green.
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/06/03/review-turn-back-time-maybe-tomorrow/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/1riELybquuqtuLEjyVRAZQ
music.youtube.com/playlist?list=OLAK5uy_mng9n1Az8-xTu5USpmSl6l2Zd9XR-lWNo
———
#Colderra
#ColderraMusic
#MusicReview
#TurnBackTime
#MaybeTomorrow
Some albums immediately remind you why the AOR and melodic rock genres continue to inspire such loyalty among their devotees. Turn Back Time‘s ‘Maybe Tomorrow‘ is one such release; a beautifully crafted collection of songs that captures everything that made the golden age of melodic rock so enduring while still sounding fresh and vibrant in the present day.
Turn Back Time is the musical partnership of lifelong friends Christer Green and Henrik Svedberg, two musicians from Borås whose shared love of classic ’80s AOR ultimately led to the creation of the project. Having played together since the early 1990s, the pair found themselves, like so many musicians, facing an unexpected pause when the 2020 lockdown brought live performances with their cover band to a halt. Rather than viewing the situation as a setback, they seized the opportunity to focus on original material, revisiting the melodic influences that had shaped their musical upbringing.
The results were immediate. Christer began writing and recording new songs, and by the spring of 2021 the duo had completed their debut single, ‘High’. Since then, Turn Back Time has evolved into a vehicle for their shared musical vision, with Christer handling the vast majority of the instrumentation while Henrik contributes vocals, keyboards, and invaluable creative input. Although the project remains fundamentally a duo, they are not afraid to call upon a select group of collaborators when the music demands it. On “Maybe Tomorrow”, vocal contributions from Ronnie Hagstedt, Peder Lundgren, and Henrik himself add further depth and variety to an already impressive collection of songs.
What immediately strikes the listener is the sheer quality of the musicianship on display. Smooth, sophisticated, elegant, and immaculately produced, ‘Maybe Tomorrow‘ feels like a love letter to the very best traditions of melodic rock. Every arrangement has been carefully considered, every instrumental passage serves the song, and the production possesses a warmth and clarity that allows the music to breathe naturally.
Fans of artists such as Toto, Higher Ground, and the more refined end of the melodic rock spectrum will find themselves instantly at home here. The album is filled with soaring melodies, tasteful keyboard textures, sumptuous harmonies, and guitar work that consistently impresses without ever becoming self-indulgent. In particular, Christer Green emerges as a remarkable talent. Not only is he an accomplished guitarist and keyboard player, but his ability to handle virtually every aspect of the music recalls the classic one-man-band approach pioneered by figures such as Tom Scholz during Boston’s formative years.
Ultimately, ‘Maybe Tomorrow‘ succeeds because it never mistakes polish for personality. Beneath the immaculate production and accomplished musicianship lies a collection of genuinely heartfelt songs performed by musicians who clearly understand and love the genre they inhabit. The result is an album that feels authentic, uplifting, and effortlessly enjoyable from beginning to end – a reminder that melodic rock, when executed this well, remains one of the most rewarding styles of music around.
There are moments throughout the album when you find yourself shaking your head in disbelief, simply to remind yourself that you are not listening to a long-lost Toto recording from the band’s golden era. Take ‘Girl Goodbye’ as an example; the resemblance is quite uncanny, and entirely delightful as a result. Elsewhere, ‘Turn Back Time’ arrives powered by a muscular riff, a huge chorus, and some superb lead guitar work, making it one of the album’s most immediate highlights. The title track settles into a wonderfully lilting groove, delivering the kind of effortless AOR magic that burrows into your subconscious and refuses to leave.
‘Faith’ is another standout moment, so authentically Toto-esque that you can almost imagine Steve Lukather himself fronting the song. It is a beautifully crafted piece of melodic rock that captures everything that made the genre so enduring in the first place. ‘Jennie In Love’ takes things in a slightly different direction, embracing a smooth West Coast feel that is effortlessly cool, subtly funky, and utterly irresistible. Finally, album closer ‘Josephine’ provides a fitting conclusion to the record, its understated elegance and melodic warmth bringing the album to a close in truly exquisite fashion. It is the perfect ending to a collection of songs that consistently reminds us why we fell in love with AOR in the first place.
In summary, ‘Maybe Tomorrow‘ is a magnificent celebration of everything that makes AOR and melodic rock such enduring genres. Combining impeccable musicianship, superb songwriting, glorious melodies, and production that positively sparkles, Turn Back Time have delivered an album that feels both lovingly nostalgic and refreshingly vital. Fans of Toto, Street Talk, Higher Ground, and the classic West Coast sound will find themselves instantly captivated. Elegant, sophisticated, and overflowing with musical class, this is not merely an enjoyable album – it is one of the finest melodic rock releases you are likely to hear this year.
Track list:
1. Dancing In The Rain
2. Turn Back Time
3. Maybe Tomorrow
4. Faith
5. Into The Light
6. Jennie In Love
7. High
8. Girl Goodbye
9. Don’t Offend Me
10. Josephine
Line-up:
Ronnie Hagstedt – Lead vocals (Tracks 1, 4, 5, 6, 8, 10)
Peder Lundgren – Lead Vocals (Tracks 2, 3, 7, 9)
Henrik Svedberg – Lead Vocals (Track 7)
Christer Green – guitars, bass, keyboards
Henrik Svedberg – keyboards
Morgan Lansford – bass
Mr. Easy – drums
Backing Vocals:
Henrik Svedberg, Christer Green, Ronnie Hagstedt, Kicki Malm, Peder Lundgren, Terese Arturen, Anna Birgenius, Josefine Green, Stephan Dahlin, Morgan Lansford, Robin Green.
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/06/03/review-turn-back-time-maybe-tomorrow/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/1riELybquuqtuLEjyVRAZQ
music.youtube.com/playlist?list=OLAK5uy_mng9n1Az8-xTu5USpmSl6l2Zd9XR-lWNo
———
#Colderra
#ColderraMusic
#MusicReview
#TurnBackTime
#MaybeTomorrow
Maybe Tomorrow – Album by Turn Back Time
music.youtube.com
Listen to Maybe Tomorrow by Turn Back Time on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗘𝗩𝗘𝗥𝗚𝗥𝗘𝗬 – 𝗔𝗥𝗖𝗛𝗜𝗧𝗘𝗖𝗧𝗦 𝗢𝗙 𝗔 𝗡𝗘𝗪 𝗪𝗘𝗔𝗩𝗘
So many things can be said about EVERGREY regarding just how good they are musically, but for me it comes down to this, they are Masters of their craft. To produce album after album for the guts of 30 years and remain fresh, innovative and sound like it all just comes so easily to them. ‘Architects Of A New Weave‘ is the 15th studio album and eleven songs on offer deliver such power, an epic feel and stories that breath for themselves.
The themes involved in their music are so often formed from the depths of despair and the darkness around people, yet the music they create for me personally can very often be so uplifting, always powerful and thought provoking. And the songs on this album are no different.
There is no filler here, no duds, songs that drag you back for more and something I’ve always loved about Evergrey is that you have to go back to songs over and over again to hear things for the first time through the different layers of the music. One song I find very interesting on this album is ‘Leaving The Emptiness’ which has such an upbeat tempo and feel to it. Very different, almost a pop style which belies the lyrics and story of the song, but it sounds great. It’s really pointless to pick out favourite songs on this one, you need to listen to the album over time and different songs raise the heartbeat as you listen more. At the moment the brilliant ‘The World’s On Fire’, ‘A Burning Flame’ that features another exceptional singer in Mikael Stanne (Dark Tranquility) and cuts and chops across melodies with so many layers weaved in the background, it’s a cracking song. The album closer ‘The Prophecy’ is a beast of a song which at it’s most powerful is just piano and Tom’s vocal power, it’s beautiful.
All of the music is exceptional throughout on top of which Tom’s vocals are just perfect. There is no doubt this album will be stuck on repeat for me for a long time and will return to the player over and over. So far this is my album of the year and it will have to be something very special indeed to knock it off that spot. Thank you once again EVERGREY for always delivering and always striving to bring something different, bring light to the darkness and create brilliant music.
For me the most consistent band in Meta/Rock of any genre, the compositions are stunning and they have an ability to be able to transport you into the songs story, nothing short of magical. It may be album number 15 but the quality never drops, another brilliant creation and I can’t wait to hear some of these songs live. If you like Progressive Metal this is a must. Live with and love this one as I am doing.
Track list:
1. Welcome To The Pattern
2. The Shadow Self
3. Architects Of The New Weave
4. The World Is On Fire
5. Heaven
6. The Script
7. Leaving The Emptiness
8. Longing
9. A Burning Flame
10. Call Off Your Lions
11. Chains Of Shame
12. The Prophecy
Line-up:
Tom S. Englund – Vocals, Guitar
Henrik Danhage – Guitar
Rikard Zander – Keyboard
Simen Sandnes – Drums
Johan Niemann – Bass
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/06/06/review-evergrey-architects-of-a-new-weave/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Evergrey/Architects_of_a_New_Weave/1409407
music.youtube.com/playlist?list=OLAK5uy_nrBnr9EuvsbE-6e3aWby70PDaoIO4OlMk
evergrey.bandcamp.com/album/architects-of-a-new-weave
———
#Colderra
#ColderraMusic
#MusicReview
#ProgressiveMetal
#PowerMetal
#EVERGREY
#ArchitectsOfANewWeave12 track album
So many things can be said about EVERGREY regarding just how good they are musically, but for me it comes down to this, they are Masters of their craft. To produce album after album for the guts of 30 years and remain fresh, innovative and sound like it all just comes so easily to them. ‘Architects Of A New Weave‘ is the 15th studio album and eleven songs on offer deliver such power, an epic feel and stories that breath for themselves.
The themes involved in their music are so often formed from the depths of despair and the darkness around people, yet the music they create for me personally can very often be so uplifting, always powerful and thought provoking. And the songs on this album are no different.
There is no filler here, no duds, songs that drag you back for more and something I’ve always loved about Evergrey is that you have to go back to songs over and over again to hear things for the first time through the different layers of the music. One song I find very interesting on this album is ‘Leaving The Emptiness’ which has such an upbeat tempo and feel to it. Very different, almost a pop style which belies the lyrics and story of the song, but it sounds great. It’s really pointless to pick out favourite songs on this one, you need to listen to the album over time and different songs raise the heartbeat as you listen more. At the moment the brilliant ‘The World’s On Fire’, ‘A Burning Flame’ that features another exceptional singer in Mikael Stanne (Dark Tranquility) and cuts and chops across melodies with so many layers weaved in the background, it’s a cracking song. The album closer ‘The Prophecy’ is a beast of a song which at it’s most powerful is just piano and Tom’s vocal power, it’s beautiful.
All of the music is exceptional throughout on top of which Tom’s vocals are just perfect. There is no doubt this album will be stuck on repeat for me for a long time and will return to the player over and over. So far this is my album of the year and it will have to be something very special indeed to knock it off that spot. Thank you once again EVERGREY for always delivering and always striving to bring something different, bring light to the darkness and create brilliant music.
For me the most consistent band in Meta/Rock of any genre, the compositions are stunning and they have an ability to be able to transport you into the songs story, nothing short of magical. It may be album number 15 but the quality never drops, another brilliant creation and I can’t wait to hear some of these songs live. If you like Progressive Metal this is a must. Live with and love this one as I am doing.
Track list:
1. Welcome To The Pattern
2. The Shadow Self
3. Architects Of The New Weave
4. The World Is On Fire
5. Heaven
6. The Script
7. Leaving The Emptiness
8. Longing
9. A Burning Flame
10. Call Off Your Lions
11. Chains Of Shame
12. The Prophecy
Line-up:
Tom S. Englund – Vocals, Guitar
Henrik Danhage – Guitar
Rikard Zander – Keyboard
Simen Sandnes – Drums
Johan Niemann – Bass
———
𝗙𝗿𝗼𝗺:
rockposer.com/2026/06/06/review-evergrey-architects-of-a-new-weave/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Evergrey/Architects_of_a_New_Weave/1409407
music.youtube.com/playlist?list=OLAK5uy_nrBnr9EuvsbE-6e3aWby70PDaoIO4OlMk
evergrey.bandcamp.com/album/architects-of-a-new-weave
———
#Colderra
#ColderraMusic
#MusicReview
#ProgressiveMetal
#PowerMetal
#EVERGREY
#ArchitectsOfANewWeave12 track album
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
