𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗡𝗘𝗨𝗥𝗢𝗦𝗜𝗦 – 𝗔𝗡 𝗨𝗡𝗗𝗬𝗜𝗡𝗚 𝗟𝗢𝗩𝗘 𝗙𝗢𝗥 𝗔 𝗕𝗨𝗥𝗡𝗜𝗡𝗚 𝗪𝗢𝗥𝗟𝗗
For the majority of their career, few bands of any genre possessed a legacy as enduring and unanimously respected as that of Neurosis. By blending sludge metal with deep atmospherics and the screamingly cathartic vocals of Scott Kelly, Steve Von Till, Noah Landis, and Dave Edwardson, the band invented post-metal. Absolute classics like Through Silver in Blood and Times of Grace purged deep pain from its members’ hearts. Their astonishing use of atmosphere and dynamics instantly separated them from the pack. The band played like a singular organism, a lurching monstrosity both horrifying and beautiful in its singular power.
But with Scott Kelly’s shameful admission of abusing his family for years, that all ended suddenly like a heart attack. Kelly retired from music immediately. The rest of the band denounced his actions and stood by Kelly’s family. Neurosis’s future seemed to be obsolete. One of the most influential bands of their era would bow out on the most appalling of notes.
Then a miracle happened.
On March 20 of this year, suddenly the beast awoke from its long slumber. The band shocked the metal world with the surprise release of their 12th album An Undying Love for a Burning World. In addition to that, the crater-sized absence of Kelly had been filled by none other than Aaron Turner of Isis, Sumac, and Old Man Gloom. Simply put, a better replacement does not exist. As one of the authors of post-metal’s most definitive statements (Isis’s 2002 masterwork Oceanic comes to mind), Turner has channelled massive influence from Neurosis throughout his career. From it, he fully explored the depths of post-metal, utilizing its transportive power and taking the genre to its highest heights. His inclusion as a full time member in Neurosis feels both logical and deeply satisfying.
It would be easy to praise this record for simply existing. But in truth, this album is exceptional. The band journeys ever forward into the heart of darkness with mind blowing results. They audibly destroy and rebuild the senses within the same song, but now with a renewed vigor and sense of purpose. Each member pours their heart and soul into this music. The result is one of the finest records of their career.
Steve Von Till steps up and authoritatively assumes the mantle of primary frontman. It’s a role he was born to play. His volcanic rage burns the ears. He attempts to exorcise the pain he and his close ones have experienced in a world rapidly devolving into madness. The ugly and massive riffing on tracks like “Mirror Deep” and “Blind” segue into passages of tribal, shimmering beauty. Turner’s influence is felt not only through his otherworldly howl in songs like “First Red Rays” but also in these more ruminative sections. “In the Waiting Hours” achieves the cosmic austerity Isis demonstrated on albums like Panopticon.
They even open their sound up a little bit, flirting with some hard rock riffs on “Untethered”. Von Till spouts lines like “Blind, we stagger on/As the hive has lost its fucking mind,” no doubt written about the current abysmal state of American life. The final track “Last Light” careens through every permutation of the band’s sound. In it’s 17 minutes, it hypnotizes the listener into a state of bliss. Turner seemingly takes on the weight of the world, pushing his voice to the point of breaking during the opening electronic pulse. It’s a moment so cathartic, it reminds you how deeply human this music is.
An Undying Love for a Burning World shouldn’t exist. The crumbling of Neurosis’s legacy was supposed to be just another crushing disappointment in an era riddled with crushing disappointments. Instead, the band reemerges from the ashes stronger than ever. They are reborn in what may be the most fully revitalized comeback from a legendary band ever. An Undying Love for a Burning World demonstrates courage in the face of unspeakable darkness and camaraderie in the catharsis of pain. A welcome return doesn’t begin to cover it. Transcendent.
———
𝗙𝗿𝗼𝗺:
newnoisemagazine.com/reviews/album-review-neurosis-an-undying-love-for-a-burning-world/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_lqczdmPXfrVbfrb-9UIl4vEA6fWOpSiuo
neurosis.bandcamp.com/album/an-undying-love-for-a-burning-world
———
#Colderra
#ColderraMusic
#MusicReview
#Neurosis
#AnUndyingLoveForaBurningWorld8 track album
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COLDERRA
Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗪𝗜𝗗𝗘𝗠𝗢𝗨𝗧𝗛 – 𝗡𝗢 𝗚𝗔𝗦𝗢𝗟𝗜𝗡𝗘
Widemouth’s debut record No Gasoline ends where it begins. The warm textures that make up its second track “Pinecone” are stripped away. Ambient background chatter replaces lead vocalists Makena Carnahan and Jamie Eder’s soft and vibrant vocals. What are they saying? It’s of no importance; a lone piano reverberates so vividly that one completely forgets that it’s there. The seemingly impromptu recording of “Pinecone (Reprise),” further exemplified by the various background noises of O’Hare International Airport, is the perfect distillation of Widemouth’s debut: intimate and reflective, sentimental and alive.
In more ways than one, Widemouth are a band that exist in the moment. “The six of us drove down from Chicago on a rainy day, into the woods, and made a record,” says Eder in a press release. “We just tried to play ‘em the way we do at shows. More often than not, the first or second take was the best.” Recorded entirely live in a rural Indiana barn, No Gasoline sets out to capture the vividness of not just Widemouth’s rustic surroundings but the intimate connection they’ve cultivated as a band. Through narratives of love, loss, and friendship, No Gasoline is an experiential document that chronicles the band’s evolution from a four-piece into a singular, powerful entity.
Inspired by the tenderness of the band’s newfound sense of community, Widemouth approaches No Gasoline through a softer, more refined lens than what made up their 2024 EP Well. No longer is the band careening through soft rock ballads and twangy Americana. On their debut, the world around them defines its sound. The various people, places, and emotions the band has experienced is personified on No Gasoline with such tenderness that its authenticity can be felt from its opening notes. Carnahan and Eder’s shared vocals on opener “I Wish You Passed On A Little Anger” draws visual comparisons to a patio hangout lit by warm halogen light bulbs. A subdued guitar and a rumbling bassline lays the foundation. Drummer Lily Mitchell’s minimal kicks allow the band to unravel completely, the track culminating in a euphoric release that fosters an almost universal coming-of-age reflection.
Widemouth conjures memories from their inner world with immense color. Here, time is a looking glass that allows nostalgia, growing pains, and heartbreak to reveal themselves fully. Single “Raincoat” sees Carnahan reflect on early adulthood through a sparse acoustic arrangement. Slowly, banjos, steel guitars, and a soft percussive groove reveal themselves by its climactic end, allowing Carnahan to reflect on her past with all its nuances and differing perspectives. Eder’s deep and crooning vocals undercut moments of mundanity on“Debbie,” “You & Your Girlfriend,” and “Hipstertown,” the latter embodying a folk rock ballad that never loses its wistful atmosphere. “Cattle” rocks like a lullaby, soothing the senses with a cozy-barnyard feel that perfectly encapsulates No Gasoline’s ideological core. It’s easy to pick up on small interactions through retrospection, but it’s hard to appreciate the small things until they’re no longer in view.
At the crux of Widemouth’s debut lies an interconnected story of romantic, platonic, and familial love. It’s all around us for those willing to open their arms to the world, even when, at times, it’s painful to do so. The album itself is dedicated to Moon Blauner, a loved one that passed away from cancer during the making of No Gasoline. “It only ever comes now/When I turn to you/standing in the front door/looking for the Moon,” Carnahan sings on “The Water.” Hushed guitars evolve into a cathartic release, infused with the whirlwind of emotions that come from mourning and acceptance. And so “The Water” in this instance, is a reflection on love and loss. It is the process of taking our love from one room to the next, closing the door yet still being able to look inside through a locked window. On No Gasoline, Widemouth ventures forward in unison, arms locked, knowing that their loved ones are a simple turn away.
No Gasoline is out May 29 via Urban Scandal Records.
———
𝗙𝗿𝗼𝗺:
newnoisemagazine.com/reviews/album-review-widemouth-no-gasoline/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_lSRmpjW-jJZcXhIV8l6kse71Rw4OqFCFI
———
#Colderra
#ColderraMusic
#MusicReview
#Widemouth
#NoGasoline
Widemouth’s debut record No Gasoline ends where it begins. The warm textures that make up its second track “Pinecone” are stripped away. Ambient background chatter replaces lead vocalists Makena Carnahan and Jamie Eder’s soft and vibrant vocals. What are they saying? It’s of no importance; a lone piano reverberates so vividly that one completely forgets that it’s there. The seemingly impromptu recording of “Pinecone (Reprise),” further exemplified by the various background noises of O’Hare International Airport, is the perfect distillation of Widemouth’s debut: intimate and reflective, sentimental and alive.
In more ways than one, Widemouth are a band that exist in the moment. “The six of us drove down from Chicago on a rainy day, into the woods, and made a record,” says Eder in a press release. “We just tried to play ‘em the way we do at shows. More often than not, the first or second take was the best.” Recorded entirely live in a rural Indiana barn, No Gasoline sets out to capture the vividness of not just Widemouth’s rustic surroundings but the intimate connection they’ve cultivated as a band. Through narratives of love, loss, and friendship, No Gasoline is an experiential document that chronicles the band’s evolution from a four-piece into a singular, powerful entity.
Inspired by the tenderness of the band’s newfound sense of community, Widemouth approaches No Gasoline through a softer, more refined lens than what made up their 2024 EP Well. No longer is the band careening through soft rock ballads and twangy Americana. On their debut, the world around them defines its sound. The various people, places, and emotions the band has experienced is personified on No Gasoline with such tenderness that its authenticity can be felt from its opening notes. Carnahan and Eder’s shared vocals on opener “I Wish You Passed On A Little Anger” draws visual comparisons to a patio hangout lit by warm halogen light bulbs. A subdued guitar and a rumbling bassline lays the foundation. Drummer Lily Mitchell’s minimal kicks allow the band to unravel completely, the track culminating in a euphoric release that fosters an almost universal coming-of-age reflection.
Widemouth conjures memories from their inner world with immense color. Here, time is a looking glass that allows nostalgia, growing pains, and heartbreak to reveal themselves fully. Single “Raincoat” sees Carnahan reflect on early adulthood through a sparse acoustic arrangement. Slowly, banjos, steel guitars, and a soft percussive groove reveal themselves by its climactic end, allowing Carnahan to reflect on her past with all its nuances and differing perspectives. Eder’s deep and crooning vocals undercut moments of mundanity on“Debbie,” “You & Your Girlfriend,” and “Hipstertown,” the latter embodying a folk rock ballad that never loses its wistful atmosphere. “Cattle” rocks like a lullaby, soothing the senses with a cozy-barnyard feel that perfectly encapsulates No Gasoline’s ideological core. It’s easy to pick up on small interactions through retrospection, but it’s hard to appreciate the small things until they’re no longer in view.
At the crux of Widemouth’s debut lies an interconnected story of romantic, platonic, and familial love. It’s all around us for those willing to open their arms to the world, even when, at times, it’s painful to do so. The album itself is dedicated to Moon Blauner, a loved one that passed away from cancer during the making of No Gasoline. “It only ever comes now/When I turn to you/standing in the front door/looking for the Moon,” Carnahan sings on “The Water.” Hushed guitars evolve into a cathartic release, infused with the whirlwind of emotions that come from mourning and acceptance. And so “The Water” in this instance, is a reflection on love and loss. It is the process of taking our love from one room to the next, closing the door yet still being able to look inside through a locked window. On No Gasoline, Widemouth ventures forward in unison, arms locked, knowing that their loved ones are a simple turn away.
No Gasoline is out May 29 via Urban Scandal Records.
———
𝗙𝗿𝗼𝗺:
newnoisemagazine.com/reviews/album-review-widemouth-no-gasoline/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_lSRmpjW-jJZcXhIV8l6kse71Rw4OqFCFI
———
#Colderra
#ColderraMusic
#MusicReview
#Widemouth
#NoGasoline
No Gasoline – Album by Widemouth
music.youtube.com
Listen to No Gasoline by Widemouth on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗔𝗡𝗔 – 𝗠𝗢𝗧𝗜𝗩𝗔𝗧𝗘𝗗 𝗕𝗬 𝗗𝗘𝗔𝗧𝗛
ANA is the solo project of symphonic Metal vocalist Anna Hristenko. Formed in 2023 in Melbourne, Australia, ANA released one EP so far. "Motivated By Death" was recorded and mixed by Chris Themelco (EYE OF THE ENEMY) at Monolith Studios and mastered by Thomas Johansson (GROOVE ARMADA; SOILWORK) at The Panic Room Studios. The album has a length of about 35 minutes. "Motivated By Death" was released via New Jersey Heavy Metal specialists Eclipse Records. The first track of the album starts with a short, tension-building intro, leading into the main riff of the track. While the main riff comes with a fast tempo, the track settles into a measured tempo during the verse parts with strong basslines and melodies, that are orientally inspired. Orchestral arrangements are used to emphasize melodies, otherwise they stay in the background. The vocals are very versatile and vary across the whole vocal range with a lot of tonal shifts. Most often, the vocals follow the melodies. "Hate Me" is the official video release, and the YouTube link is provided below. "Shadow Of Life" is a mid-tempo track. Unlike "Hate Me", "Shadow Of Life" follows a simple verse/bridge/chorus structure. The guitar riffing is powerful, and the vocals stay around the medium end of the vocal range. The orchestral arrangements are again more in the background apart from the break where the strings are more prominent. The melodies are catchy and it makes the song easy to listen to. A second break right at the end of the track delivers a very contributing lead guitar solo.
"You Loved Me More Than I Loved Myself" is introduced with the guitars and the strings. It is a ballad with a lot of symphonic contributions like the piano and the strings during the verse part. The verse part is still building up tension, which is released into a chorus with powerful guitar riffs. The melodies are dark and the break offers an extended and contributing lead guitar solo. "You Loved Me More Than I Loved Myself" is a very powerful song and one of the album highlights. "Following The Wind" starts with a short bass solo, followed by heavy guitar riffs, leading into the verse part at mid-tempo. The verse parts are driven by the guitar riffing and the vocals. The choruses slow down to a measured tempo with dark and melancholic melodies. The break delivers once more an extended and cool lead guitar solo. The orchestral arrangements get more prominent with the strings as the track goes on. "Eyes Of A Child" is introduced by the guitars with the main riff. It is one of the heavier album tracks with powerful guitar riffing at mid-tempo during the verse parts. The track slows down to measured tempo for an extended chorus and here the strings become more prominent. The vocals are very versatile with many tonal shifts, especially during the choruses. While the melodies are catchy throughout the track, they are again orientally inspired during the break. "Sick Love" starts with the piano and the vocals, which develops the track into another ballad. The melodies are melancholic throughout. While most of the track is an affair of the piano and the vocals only, the guitars join in towards the end of the track. "Sick Love" is a track written for the vocalist to shine, and Anna Hristenko grabs the opportunity with a very emotional performance.
"Papa" is introduced by a guitar pre-lude, delivering the main melody of the track. The main guitar riff is very powerful and gets the track started at mid-tempo for the verse part. The melodies are once again dark and partially melancholic. The chorus slows down to measured tempo. They are anthemic and the vocals offer very high notes. The orchestral arrangements are prominent with the strings being the main contributor. The album finishes with "Aerials" and the track is introduced by the orchestral arrangements, leading into a verse part at measured tempo. The guitar riffing is once again powerful and is accompanied by the strings and the vocals. The melodies are grim throughout the track. The choruses are two-parted with all instruments including the arrangements, followed by a repeat with the vocals leading the melodies. "Aerials" is a good way to close the album. ANA release a promising debut album. "Motivated By Death" is a symphonic Metal album with a smart blend of heavy guitar riffing and orchestral arrangements. The arrangements are typically driven by the strings, and they are very purposefully used. The melodic framework of the entire album (perhaps with one exception) is dark and partially melancholic. On top of it are the vocals which keep all the tracks nicely together. I also reviewed the debut EP of ANA and compared to that; the band made a major progress in the songwriting. The album is well produced. With "Motivated By Death", ANA establish themselves in a crowded symphonic Metal market and I am sure, the debut album will help the band to find their place there.
"Motivated By Death" Track-listing:
1. Hate Me
2. Shadow Of Life
3. You Loved Me More Than I Loved Myself
4. Following The Wind
5. Eyes Of A Child
6. Sick Love
7. Papa
8. Aerials
Ana Lineup:
Anna Hristenko – Vocals
Josh Mak – Guitars
Mark Shi – Keyboards
Cleveland Beckford Gonzalez – Drums
Cody Lamb – Bass
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/ana-motivated-by-death/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_kN5ZRq5fcf5iOTdG-Maxyq7vq2FkAfoT0
open.spotify.com/album/1O69HHXABXp7HqC7ByTvxS
———
#Colderra
#ColderraMusic
#MusicReview
#Ana
#MotivatedByDeathANA · album · 2026 · 8 songs
ANA is the solo project of symphonic Metal vocalist Anna Hristenko. Formed in 2023 in Melbourne, Australia, ANA released one EP so far. "Motivated By Death" was recorded and mixed by Chris Themelco (EYE OF THE ENEMY) at Monolith Studios and mastered by Thomas Johansson (GROOVE ARMADA; SOILWORK) at The Panic Room Studios. The album has a length of about 35 minutes. "Motivated By Death" was released via New Jersey Heavy Metal specialists Eclipse Records. The first track of the album starts with a short, tension-building intro, leading into the main riff of the track. While the main riff comes with a fast tempo, the track settles into a measured tempo during the verse parts with strong basslines and melodies, that are orientally inspired. Orchestral arrangements are used to emphasize melodies, otherwise they stay in the background. The vocals are very versatile and vary across the whole vocal range with a lot of tonal shifts. Most often, the vocals follow the melodies. "Hate Me" is the official video release, and the YouTube link is provided below. "Shadow Of Life" is a mid-tempo track. Unlike "Hate Me", "Shadow Of Life" follows a simple verse/bridge/chorus structure. The guitar riffing is powerful, and the vocals stay around the medium end of the vocal range. The orchestral arrangements are again more in the background apart from the break where the strings are more prominent. The melodies are catchy and it makes the song easy to listen to. A second break right at the end of the track delivers a very contributing lead guitar solo.
"You Loved Me More Than I Loved Myself" is introduced with the guitars and the strings. It is a ballad with a lot of symphonic contributions like the piano and the strings during the verse part. The verse part is still building up tension, which is released into a chorus with powerful guitar riffs. The melodies are dark and the break offers an extended and contributing lead guitar solo. "You Loved Me More Than I Loved Myself" is a very powerful song and one of the album highlights. "Following The Wind" starts with a short bass solo, followed by heavy guitar riffs, leading into the verse part at mid-tempo. The verse parts are driven by the guitar riffing and the vocals. The choruses slow down to a measured tempo with dark and melancholic melodies. The break delivers once more an extended and cool lead guitar solo. The orchestral arrangements get more prominent with the strings as the track goes on. "Eyes Of A Child" is introduced by the guitars with the main riff. It is one of the heavier album tracks with powerful guitar riffing at mid-tempo during the verse parts. The track slows down to measured tempo for an extended chorus and here the strings become more prominent. The vocals are very versatile with many tonal shifts, especially during the choruses. While the melodies are catchy throughout the track, they are again orientally inspired during the break. "Sick Love" starts with the piano and the vocals, which develops the track into another ballad. The melodies are melancholic throughout. While most of the track is an affair of the piano and the vocals only, the guitars join in towards the end of the track. "Sick Love" is a track written for the vocalist to shine, and Anna Hristenko grabs the opportunity with a very emotional performance.
"Papa" is introduced by a guitar pre-lude, delivering the main melody of the track. The main guitar riff is very powerful and gets the track started at mid-tempo for the verse part. The melodies are once again dark and partially melancholic. The chorus slows down to measured tempo. They are anthemic and the vocals offer very high notes. The orchestral arrangements are prominent with the strings being the main contributor. The album finishes with "Aerials" and the track is introduced by the orchestral arrangements, leading into a verse part at measured tempo. The guitar riffing is once again powerful and is accompanied by the strings and the vocals. The melodies are grim throughout the track. The choruses are two-parted with all instruments including the arrangements, followed by a repeat with the vocals leading the melodies. "Aerials" is a good way to close the album. ANA release a promising debut album. "Motivated By Death" is a symphonic Metal album with a smart blend of heavy guitar riffing and orchestral arrangements. The arrangements are typically driven by the strings, and they are very purposefully used. The melodic framework of the entire album (perhaps with one exception) is dark and partially melancholic. On top of it are the vocals which keep all the tracks nicely together. I also reviewed the debut EP of ANA and compared to that; the band made a major progress in the songwriting. The album is well produced. With "Motivated By Death", ANA establish themselves in a crowded symphonic Metal market and I am sure, the debut album will help the band to find their place there.
"Motivated By Death" Track-listing:
1. Hate Me
2. Shadow Of Life
3. You Loved Me More Than I Loved Myself
4. Following The Wind
5. Eyes Of A Child
6. Sick Love
7. Papa
8. Aerials
Ana Lineup:
Anna Hristenko – Vocals
Josh Mak – Guitars
Mark Shi – Keyboards
Cleveland Beckford Gonzalez – Drums
Cody Lamb – Bass
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/ana-motivated-by-death/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_kN5ZRq5fcf5iOTdG-Maxyq7vq2FkAfoT0
open.spotify.com/album/1O69HHXABXp7HqC7ByTvxS
———
#Colderra
#ColderraMusic
#MusicReview
#Ana
#MotivatedByDeathANA · album · 2026 · 8 songs
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗩𝗔𝗡𝗜𝗥 – 𝗪𝗬𝗥𝗗
For those of you who know my writing style over the past decade and change, I usually prefer albums that embrace change and offer surprises. In MeloDeath, this can include clean vocals or even keyboards to augment the sound. But here, neither of those things would work. Instead, I embrace their purity. The riffs are massive and towering, the vocals offer no forgiveness, and the drums and bass provide anchors that are unmovable. It’s a statement of pure power and might in Metal. Horns up!
From Bandcamp, "Swords, helmets and shields can be heard in the distance once more, as Danish warriors VANIR return with their new album, "Wyrd." The record revolves around the timeless theme of fate – spun from war, from the choices of humankind, and from the consequences that have shaped our world. As a mirror of our own time, where decisions carry the weight of future destinies, "Wyrd" invites the listener into stories of downfall and triumph, of lives lost and victories won. It is a musical journey into humanity’s struggle with power, destiny, and the eternal conflicts over survival and dominion. VANIR combine melodic death metal with epic storytelling, reminding us of that history always repeats itself, and that the choices we make today hold the seeds of tomorrow’s battles."
"Against the Storm" leads off the album, and it come out of the gate with a mighty roar of intricate, harmonized guitar work and harsh vocals. The sound is rich, full, and energetic, and you can feel a sense of resolve in the music…a sense of doing what is right. "Never Surrender" was the first video released ahead of the album, and you can see why it was chosen. Tightly woven guitar harmonies provide the structure that the rest of the song is built around. Drums pound mercilessly, and the vocals never waver. It has a magnanimous feeling to it…almost as if we are part of a much larger agenda. "Boudica" is the longest on the album, and the clean opening tones give you a chance to catch your breath…for a few moments, anyway. The arrangement that follows is sweeping, and the chorus catchy. It’s like a cold wind that blows in from nowhere and levels structures and landscapes.
"Da Lammet Brod 6. Segl" begins with spoken words that tell a tale of everything we know has fallen. The music comes rushing in like a heavy river of water swollen over its banks and hell bent on destruction. "Helgrinidir" is pure power. The riff approaches like giants coming out of the hills to destroy villages. First, you watch the horror as they materialize our of the cover of fog, and then you listen to the screams of the villagers when they are upon them. "De Forbandede Aere" is steadfast in its delivery…take it or leave it…the power comes from their consistency on the album. "Nine" brings the album to a close, but not without some final fanfare and pyro. It’s like a new march of victors who just defeated the regime and are celebrating a new world order. Use caution, however, because as the saying goes, "absolute power corrupts…absolutely.
For those of you who know my writing style over the past decade and change, I usually prefer albums that embrace change and offer surprises. In MeloDeath, this can include clean vocals or even keyboards to augment the sound. But here, neither of those things would work. Instead, I embrace their purity. The riffs are massive and towering, the vocals offer no forgiveness, and the drums and bass provide anchors that are unmovable. It’s a statement of pure power and might in Metal. Horns up!
"Wyrd" Track-listing:
1. Against The Storm
2. Never Surrender
3. Braavalla
4. Boudica
5. Da Lammet Brød det 6. Segl
6. Helgrinidir
7. Mod & Ære
8. De Forbandede År
9. Nine
Vanir Lineup:
Lasse Heiberg – Guitars
Martin Holmsgaard Håkan – Vocals
Kirk Backarach – Guitars
Stefan Dujardin – Keyboards
Mikael Christensen – Bass
Jon Elmquist – Drums
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/vanir-wyrd/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_khuOI-Ub2enaFgMiEYW0PmzcFUSx8Gxkg
vanirdk.bandcamp.com/album/wyrd
———
#Colderra
#ColderraMusic
#MusicReview
#Vanir
#Wyrd9 track album
For those of you who know my writing style over the past decade and change, I usually prefer albums that embrace change and offer surprises. In MeloDeath, this can include clean vocals or even keyboards to augment the sound. But here, neither of those things would work. Instead, I embrace their purity. The riffs are massive and towering, the vocals offer no forgiveness, and the drums and bass provide anchors that are unmovable. It’s a statement of pure power and might in Metal. Horns up!
From Bandcamp, "Swords, helmets and shields can be heard in the distance once more, as Danish warriors VANIR return with their new album, "Wyrd." The record revolves around the timeless theme of fate – spun from war, from the choices of humankind, and from the consequences that have shaped our world. As a mirror of our own time, where decisions carry the weight of future destinies, "Wyrd" invites the listener into stories of downfall and triumph, of lives lost and victories won. It is a musical journey into humanity’s struggle with power, destiny, and the eternal conflicts over survival and dominion. VANIR combine melodic death metal with epic storytelling, reminding us of that history always repeats itself, and that the choices we make today hold the seeds of tomorrow’s battles."
"Against the Storm" leads off the album, and it come out of the gate with a mighty roar of intricate, harmonized guitar work and harsh vocals. The sound is rich, full, and energetic, and you can feel a sense of resolve in the music…a sense of doing what is right. "Never Surrender" was the first video released ahead of the album, and you can see why it was chosen. Tightly woven guitar harmonies provide the structure that the rest of the song is built around. Drums pound mercilessly, and the vocals never waver. It has a magnanimous feeling to it…almost as if we are part of a much larger agenda. "Boudica" is the longest on the album, and the clean opening tones give you a chance to catch your breath…for a few moments, anyway. The arrangement that follows is sweeping, and the chorus catchy. It’s like a cold wind that blows in from nowhere and levels structures and landscapes.
"Da Lammet Brod 6. Segl" begins with spoken words that tell a tale of everything we know has fallen. The music comes rushing in like a heavy river of water swollen over its banks and hell bent on destruction. "Helgrinidir" is pure power. The riff approaches like giants coming out of the hills to destroy villages. First, you watch the horror as they materialize our of the cover of fog, and then you listen to the screams of the villagers when they are upon them. "De Forbandede Aere" is steadfast in its delivery…take it or leave it…the power comes from their consistency on the album. "Nine" brings the album to a close, but not without some final fanfare and pyro. It’s like a new march of victors who just defeated the regime and are celebrating a new world order. Use caution, however, because as the saying goes, "absolute power corrupts…absolutely.
For those of you who know my writing style over the past decade and change, I usually prefer albums that embrace change and offer surprises. In MeloDeath, this can include clean vocals or even keyboards to augment the sound. But here, neither of those things would work. Instead, I embrace their purity. The riffs are massive and towering, the vocals offer no forgiveness, and the drums and bass provide anchors that are unmovable. It’s a statement of pure power and might in Metal. Horns up!
"Wyrd" Track-listing:
1. Against The Storm
2. Never Surrender
3. Braavalla
4. Boudica
5. Da Lammet Brød det 6. Segl
6. Helgrinidir
7. Mod & Ære
8. De Forbandede År
9. Nine
Vanir Lineup:
Lasse Heiberg – Guitars
Martin Holmsgaard Håkan – Vocals
Kirk Backarach – Guitars
Stefan Dujardin – Keyboards
Mikael Christensen – Bass
Jon Elmquist – Drums
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/vanir-wyrd/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_khuOI-Ub2enaFgMiEYW0PmzcFUSx8Gxkg
vanirdk.bandcamp.com/album/wyrd
———
#Colderra
#ColderraMusic
#MusicReview
#Vanir
#Wyrd9 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗣𝗔𝗟𝗘𝗡𝗘𝗢 – 𝗨𝗡𝗜𝗦𝗢𝗡
Approaching their third anniversary as a band, PaleNeØ continue to ride a wave of successes, both in the band’s rising popularity as well as from a musical standpoint. Indeed, at this point they are one of the first Japanese metal acts that comes to mind when it comes to ever-evolving their sound. While UNISON only contains three new songs, it still provides ample proof that PaleNeØ aren’t about to become stagnant in their sound anytime soon.
The first song, “Prologue,” starts us off with a sound that takes PaleNeØ into a more epic and thoroughly metallic feel than what they’ve put forth before. It feels equally rooted in both modern metalcore as well as power metal. The chorus is sprawling with some futuristic power metal vibes, but the amped up grooves and riffing patterns keep them rather modern, as does the usual combination of barked and sung vocals from Hohomi (with occasional help from guitarist Reoto). The second song, “Chocolat Maudit,” is the most peculiar of the bunch. Not in a bad way, but in the sense that it feels like the song is heavily influenced by their Japanese peers Ave Mujica. There’s a very distinctly gothic vibe that hangs over the song, with playful and theatrical synths accompanying a beautiful blend of both Hohomi and Reoto’s vocal harmonies that makes it feel quite unlike much of PaleNeØ’s current discography. It’s a very interesting track that does seem to really acknowledge the influence of anisong on current musicians (and certainly the vice versa to that).
Lastly is “Starlight Voyage,” which leans back more into PaleNeØ’s usual wheelhouse. There’s some big, almost dance party-esque synths at times that make the song really ‘pop’ in more than one sense. It’s got a solid metallic underbelly to it, but it’s also the most soaring and upbeat of the bunch. The chorus is quite emotive with the way the vocals and guitar melody accent each other, and it does a nice job of exploding into some heavier territory later on. It’s a very effective closing song that both energizes and puts a smile on your face.
PaleNeØ continue to push forward in genre-bending ways with UNISON. While it’s a short trip this time, it’s a fascinating attempt for the band to continue to branch out in new directions. There’s a reason that they’ve been able to catch more buzz internationally, and they double-down on their ability to generate excitement in their unique approach to driving their metallic sound forward here. It likely won’t be too long until we hear from them again, given their short turnaround with releases, but this is a very worthwhile release for all fans and newcomers to the group.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/paleneo-unison-vaa/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_myJRYoy_3bK3W4Fl_dQIfYvF51mPWLHJo
———
#Colderra
#ColderraMusic
#MusicReview
#PaleNeØ
#UNISØN
Approaching their third anniversary as a band, PaleNeØ continue to ride a wave of successes, both in the band’s rising popularity as well as from a musical standpoint. Indeed, at this point they are one of the first Japanese metal acts that comes to mind when it comes to ever-evolving their sound. While UNISON only contains three new songs, it still provides ample proof that PaleNeØ aren’t about to become stagnant in their sound anytime soon.
The first song, “Prologue,” starts us off with a sound that takes PaleNeØ into a more epic and thoroughly metallic feel than what they’ve put forth before. It feels equally rooted in both modern metalcore as well as power metal. The chorus is sprawling with some futuristic power metal vibes, but the amped up grooves and riffing patterns keep them rather modern, as does the usual combination of barked and sung vocals from Hohomi (with occasional help from guitarist Reoto). The second song, “Chocolat Maudit,” is the most peculiar of the bunch. Not in a bad way, but in the sense that it feels like the song is heavily influenced by their Japanese peers Ave Mujica. There’s a very distinctly gothic vibe that hangs over the song, with playful and theatrical synths accompanying a beautiful blend of both Hohomi and Reoto’s vocal harmonies that makes it feel quite unlike much of PaleNeØ’s current discography. It’s a very interesting track that does seem to really acknowledge the influence of anisong on current musicians (and certainly the vice versa to that).
Lastly is “Starlight Voyage,” which leans back more into PaleNeØ’s usual wheelhouse. There’s some big, almost dance party-esque synths at times that make the song really ‘pop’ in more than one sense. It’s got a solid metallic underbelly to it, but it’s also the most soaring and upbeat of the bunch. The chorus is quite emotive with the way the vocals and guitar melody accent each other, and it does a nice job of exploding into some heavier territory later on. It’s a very effective closing song that both energizes and puts a smile on your face.
PaleNeØ continue to push forward in genre-bending ways with UNISON. While it’s a short trip this time, it’s a fascinating attempt for the band to continue to branch out in new directions. There’s a reason that they’ve been able to catch more buzz internationally, and they double-down on their ability to generate excitement in their unique approach to driving their metallic sound forward here. It likely won’t be too long until we hear from them again, given their short turnaround with releases, but this is a very worthwhile release for all fans and newcomers to the group.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/paleneo-unison-vaa/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_myJRYoy_3bK3W4Fl_dQIfYvF51mPWLHJo
———
#Colderra
#ColderraMusic
#MusicReview
#PaleNeØ
#UNISØN
music.youtube.com
Listen to UNISØN by PaleNeØ on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗨𝗡𝗟𝗨𝗖𝗞𝗬 𝗠𝗢𝗥𝗣𝗛𝗘𝗨𝗦 – 𝗚𝗔𝗧𝗘 𝗢𝗙 𝗛𝗘𝗟𝗟
A quick turn around and companion piece to late 2025’s Gate of Heaven, Unlucky Morpheus is back for Gate of Hell. Given the power metal act’s shifts in more recent years, with Evolution and the aforementioned Gate of Heaven, some could be forgiven to thinking their more bombastic and shred-forward days were behind them. But with just one listen to Gate of Hell, there’s no denying the band has embraced a darker and aggressive version of their neo-classical bombast once more with all of it’s glory intact.
Certainly some comparisons could be drawn to Ankimo’s earlier discography, such as Unfinished, and Gate of Hell really comes out of the door firing on all cylinders with a blistering combination of strings and shred. The opening title track paints the image of a thoroughly epic and thrilling experience as it slowly moves from chanted voices and rising instrumentation to allow “The Raven” to burst forth with an almost Epica-like quality to it. Potent growls, heavy grooves, and plenty of riffage to chew on makes it an early favorite as the chorus thrusts it into fully symphonic glory with Fuki’s voice soaring at the top of it. It’s a stomping cut that is bound to grab the band some eyes if they give it some individual attention with a single. But that’s not to discount another strong contender for the album’s centerpiece, “L’offrande au néant.” This one is full of upfront violin and stringwork to add to the galloping track’s epic qualities, as well as a fantastic lead that builds into the front of a guitar solo later in the song.
For all of the darker energy of Gate of Hell, it’s not as if the band has abandoned some of the more modern qualities they’ve been employing more as of late. “∞” effectively melds some of the darker edges of this album with some more modern electronics and rapid-fire vocal delivery at times to give it a fresh twist. “鬼首 [ONIKOBE]” revels in an almost nu-metal level of groove at times, offering plenty of stomp to accompany Jill’s playful violin. Pairing it with some tribal moments of drumming also gives this song a bit more of an interesting spin on the formula that feels quite effective. “善悪の彼岸 [Zennaku no higan]” dives fully into power metal mode with a soaring chorus and plenty of melodic hooks that lead the song a bit further away from the darker feeling of the rest of the songs, giving it a suitable ‘finale’ vibe (though the release ends with two re-recordings that follow).
Unlucky Morpheus feels completely at ease in their wheelhouse of frantic, neo-classical power metal once more with Gate of Hell. It’s refreshing to hear them lean into some darker material once more, particularly without eschewing some of the progress they’ve made in the last few years. A solid album that should prove to be a winner for all of those who have crossed paths with the band previously, and a great outlet to grab some new listeners with their technical finesse.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/unlucky-morpheus-gate-of-hell-self-released/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Unlucky_Morpheus/Gate_of_Hell/1435238
music.youtube.com/playlist?list=OLAK5uy_n7qYB7rVllpkTdwtEnuYuahNkySjXhESw
———
#Colderra
#ColderraMusic
#MusicReview
#PowerMetal
#UnluckyMorpheus
#GateofHell
A quick turn around and companion piece to late 2025’s Gate of Heaven, Unlucky Morpheus is back for Gate of Hell. Given the power metal act’s shifts in more recent years, with Evolution and the aforementioned Gate of Heaven, some could be forgiven to thinking their more bombastic and shred-forward days were behind them. But with just one listen to Gate of Hell, there’s no denying the band has embraced a darker and aggressive version of their neo-classical bombast once more with all of it’s glory intact.
Certainly some comparisons could be drawn to Ankimo’s earlier discography, such as Unfinished, and Gate of Hell really comes out of the door firing on all cylinders with a blistering combination of strings and shred. The opening title track paints the image of a thoroughly epic and thrilling experience as it slowly moves from chanted voices and rising instrumentation to allow “The Raven” to burst forth with an almost Epica-like quality to it. Potent growls, heavy grooves, and plenty of riffage to chew on makes it an early favorite as the chorus thrusts it into fully symphonic glory with Fuki’s voice soaring at the top of it. It’s a stomping cut that is bound to grab the band some eyes if they give it some individual attention with a single. But that’s not to discount another strong contender for the album’s centerpiece, “L’offrande au néant.” This one is full of upfront violin and stringwork to add to the galloping track’s epic qualities, as well as a fantastic lead that builds into the front of a guitar solo later in the song.
For all of the darker energy of Gate of Hell, it’s not as if the band has abandoned some of the more modern qualities they’ve been employing more as of late. “∞” effectively melds some of the darker edges of this album with some more modern electronics and rapid-fire vocal delivery at times to give it a fresh twist. “鬼首 [ONIKOBE]” revels in an almost nu-metal level of groove at times, offering plenty of stomp to accompany Jill’s playful violin. Pairing it with some tribal moments of drumming also gives this song a bit more of an interesting spin on the formula that feels quite effective. “善悪の彼岸 [Zennaku no higan]” dives fully into power metal mode with a soaring chorus and plenty of melodic hooks that lead the song a bit further away from the darker feeling of the rest of the songs, giving it a suitable ‘finale’ vibe (though the release ends with two re-recordings that follow).
Unlucky Morpheus feels completely at ease in their wheelhouse of frantic, neo-classical power metal once more with Gate of Hell. It’s refreshing to hear them lean into some darker material once more, particularly without eschewing some of the progress they’ve made in the last few years. A solid album that should prove to be a winner for all of those who have crossed paths with the band previously, and a great outlet to grab some new listeners with their technical finesse.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/unlucky-morpheus-gate-of-hell-self-released/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Unlucky_Morpheus/Gate_of_Hell/1435238
music.youtube.com/playlist?list=OLAK5uy_n7qYB7rVllpkTdwtEnuYuahNkySjXhESw
———
#Colderra
#ColderraMusic
#MusicReview
#PowerMetal
#UnluckyMorpheus
#GateofHell
Gate of Hell – Album by Unlucky Morpheus
music.youtube.com
Listen to Gate of Hell by Unlucky Morpheus on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗘𝗩𝗘𝗡 𝗠𝗘𝗧𝗔𝗟 𝗦𝗜𝗡𝗦 – 𝗟𝗘𝗚𝗔𝗖𝗬 𝗢𝗙 𝗖𝗛𝗔𝗢𝗦
Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made famous by Accept and Gravedigger. On their Legacy of Chaos debut, they bring a ton of retro enthusiasm to the table, trying their level best to cobble together an album’s worth of headbanging, fist-pumping metal with loads of macho machismo and every traditional metal trope imaginable. The closest comparison is Gravedigger, as Seven Metal Sins base their sound around big, beefy riffs and warbling, semi-harsh vocals. This makes the material on Legacy of Chaos sit somewhere between Gravedigger classics like Excalibur and especially Rheingold. That’s a fine place to aim for, but unfortunately, it’s not so easy to stick the landing and come up equal to those particular platters. It also leaves those who attempt it exposed to sounding like an earnest but watered-down copy of the original. And in the worst-case scenario, a mere copy of a copy. Can Seven Metal Sins avoid these lethal pitfalls?
There’s no shortage of meatheaded metal exuberance on opening proper cut “Scars of Injustice.” It’s got everything someone who grew up in the 80s blasting Teutonic metal could want. Frontman Clovis Gay sounds a whole lot like Gravedigger’s Chris Boltendahl crossbred with Rebellion’s Michael Seifert, and he gleefully goes WAY over the top with a hoarse squeal and roar. As Clovis does his thing, Antton Iriat and Frédéric Auclerc flatten resistance with road-grading, burly riffs, and entertaining harmonies designed to bring out your inner ape. There’s a big whiff of Rheingold here, and I can’t huff enough of that Germanic wonderdust. The template thus set, Seven Metal Sins set out to build on it whilst beating your ass from chimpanz-A to pimpanzeE. Cuts like “Hypocrisy” eschew nuance in favor of head-on, full-speed collision dynamics, using riffacades and raw aggression to drive the point home, and it works for them in the same way it worked for Gravedigger on their best albums. Album highlight “Feel the Steel” takes this formula and runs with it for 4 minutes of brain-shaking classic metal fury that gets even an elder primate like me up and throwing heavy objects. It’s a warhammer of a tune, and it reminds me a lot of the better Rebellion material, including their mighty paean, “Taste of Steel.”
Legacy of Chaos is the rare album that improves as it rolls along, gathering momentum and crucial energy, and the songwriting becomes more and more memorable too. Later tracks like “Wolves of the Last Dawn” and “Sun Eaters” are old-timey heavy metal burners, high on energy, low on subtlety, and they’re great for a tough cardio session. “Rise of the Phoenix” has one of the best choruses, and even the closing power ballad “King of Sorrow” works, both as a change of pace and a suitably epic finale. At just under 47 minutes, Legacy of Chaos is a fast-moving, jacked-up spin through the glory days of heavy metal, and no song outstays its welcome or bogs down the meat parade.
Clovis Gay has the kind of voice that was made for metal. He can sing, but often opts to roar, shout, warble, and caterwaul, and that’s the golden ticket for this kind of fare. Like Chris Boltendahl, he will be a love or hate proposition for some, but I dig his rough ‘n’ ready style and his silent film era villain moustache. That said, it’s Antton Iriat and Frédéric Auclerc who really anchor the sound with their mighty riffs and the way they use them to hammer at you until you give in and enjoy the ride. This is a tried-and-true formula, and it works in 2026 as it did in 1985.
When I first started spinning Legacy of Chaos, I felt like Seven Metal Sins were like Gravedigger from Temu or a “we have Gravedigger at home” situation. Both are somewhat true, but the band is stout enough to deliver an entertaining platter of metal nonetheless. There’s nothing here you haven’t heard a million times before, and no one will put this on end-of-year lists, but it’s a fun, brainless release with enough nut wattage to warm the cockles of the 80s metal fan. Now let’s commence to metal sinning.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/seven-metal-sins-legacy-of-chaos-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Seven_Metal_Sins/Legacy_of_Chaos/1443505
music.youtube.com/playlist?list=OLAK5uy_k9Olb9VNbyjwwcijFCdQVv1qQ7dcz38_o
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#PowerMetal
#SevenMetalSins
#LegacyofChaos
Seven Metal Sins are a new act from France dedicated to the classic 80s heavy metal sound made famous by Accept and Gravedigger. On their Legacy of Chaos debut, they bring a ton of retro enthusiasm to the table, trying their level best to cobble together an album’s worth of headbanging, fist-pumping metal with loads of macho machismo and every traditional metal trope imaginable. The closest comparison is Gravedigger, as Seven Metal Sins base their sound around big, beefy riffs and warbling, semi-harsh vocals. This makes the material on Legacy of Chaos sit somewhere between Gravedigger classics like Excalibur and especially Rheingold. That’s a fine place to aim for, but unfortunately, it’s not so easy to stick the landing and come up equal to those particular platters. It also leaves those who attempt it exposed to sounding like an earnest but watered-down copy of the original. And in the worst-case scenario, a mere copy of a copy. Can Seven Metal Sins avoid these lethal pitfalls?
There’s no shortage of meatheaded metal exuberance on opening proper cut “Scars of Injustice.” It’s got everything someone who grew up in the 80s blasting Teutonic metal could want. Frontman Clovis Gay sounds a whole lot like Gravedigger’s Chris Boltendahl crossbred with Rebellion’s Michael Seifert, and he gleefully goes WAY over the top with a hoarse squeal and roar. As Clovis does his thing, Antton Iriat and Frédéric Auclerc flatten resistance with road-grading, burly riffs, and entertaining harmonies designed to bring out your inner ape. There’s a big whiff of Rheingold here, and I can’t huff enough of that Germanic wonderdust. The template thus set, Seven Metal Sins set out to build on it whilst beating your ass from chimpanz-A to pimpanzeE. Cuts like “Hypocrisy” eschew nuance in favor of head-on, full-speed collision dynamics, using riffacades and raw aggression to drive the point home, and it works for them in the same way it worked for Gravedigger on their best albums. Album highlight “Feel the Steel” takes this formula and runs with it for 4 minutes of brain-shaking classic metal fury that gets even an elder primate like me up and throwing heavy objects. It’s a warhammer of a tune, and it reminds me a lot of the better Rebellion material, including their mighty paean, “Taste of Steel.”
Legacy of Chaos is the rare album that improves as it rolls along, gathering momentum and crucial energy, and the songwriting becomes more and more memorable too. Later tracks like “Wolves of the Last Dawn” and “Sun Eaters” are old-timey heavy metal burners, high on energy, low on subtlety, and they’re great for a tough cardio session. “Rise of the Phoenix” has one of the best choruses, and even the closing power ballad “King of Sorrow” works, both as a change of pace and a suitably epic finale. At just under 47 minutes, Legacy of Chaos is a fast-moving, jacked-up spin through the glory days of heavy metal, and no song outstays its welcome or bogs down the meat parade.
Clovis Gay has the kind of voice that was made for metal. He can sing, but often opts to roar, shout, warble, and caterwaul, and that’s the golden ticket for this kind of fare. Like Chris Boltendahl, he will be a love or hate proposition for some, but I dig his rough ‘n’ ready style and his silent film era villain moustache. That said, it’s Antton Iriat and Frédéric Auclerc who really anchor the sound with their mighty riffs and the way they use them to hammer at you until you give in and enjoy the ride. This is a tried-and-true formula, and it works in 2026 as it did in 1985.
When I first started spinning Legacy of Chaos, I felt like Seven Metal Sins were like Gravedigger from Temu or a “we have Gravedigger at home” situation. Both are somewhat true, but the band is stout enough to deliver an entertaining platter of metal nonetheless. There’s nothing here you haven’t heard a million times before, and no one will put this on end-of-year lists, but it’s a fun, brainless release with enough nut wattage to warm the cockles of the 80s metal fan. Now let’s commence to metal sinning.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/seven-metal-sins-legacy-of-chaos-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Seven_Metal_Sins/Legacy_of_Chaos/1443505
music.youtube.com/playlist?list=OLAK5uy_k9Olb9VNbyjwwcijFCdQVv1qQ7dcz38_o
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#PowerMetal
#SevenMetalSins
#LegacyofChaos
Legacy Of Chaos – Album by SEVEN METAL SINS
music.youtube.com
Listen to Legacy Of Chaos by SEVEN METAL SINS on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗔𝗥𝗖𝗔𝗦𝗠 – 𝗟𝗜𝗙𝗘𝗙𝗢𝗥𝗖𝗘 𝗢𝗠𝗡𝗜𝗕𝗢𝗨𝗡𝗗
We get a lot of bold claims in the promo pit. It’s understandable; writing advertisements for music sounds like a thankless task, and no one is going to submit an album telling us that it’s a smidgen above mediocrity.1 No, everything death has to be the most moldy, blackened, the most evil, stoner the most groovy, and power the most disposable and ignored album we’ve ever heard in our life. Imagine my eyebrows raising, then, to discover a new offering from Swedish mainstays Sarcasm, who simply described themselves as being more than just Swedeath. Few genres in metal have such imposed and strict limitations, from guitar tones to riff stylings, and one second sampling Feral or Lik and their ilk make the expected sound clear from the get-go. Consequently, such a bold claim of genre transcendence stands out in the face of a sea of self-aggrandizement, and all I could think was the most un-sarcastic “Sold.”
In order to be “more” than Swedeath, you still need the foundation to build on, and Sarcasm drapes their meat and lifeblood on the bones of great fossils of olde. Lifeforce Omnibound kicks off with a balls-out assault sounding composed by Vomitory but with a grasp of leads that seek to Dismember listeners far and wide. The path of the album is one that unfurls its more progressive tendencies the deeper you go, starting like a high-grade tribute to their 90s selves but getting more curious as it unfolds. “Altering the Perception” is a key example; starting off like a cut off of At the Gate’s At War With Reality, and featuring vibrant leads and a Gothenburg flavored stomp in its perpetual revolving assault. Suddenly, bursts of color reminiscent of Dark Tranquility emphasize transitional passages, and an overreliance on the stereotypical snare-and-bass drumbeat plaguing much of Swedeath is mercifully absent, instead featuring sudden aggressive riffing styles more reminiscent of New York-style brawl.
The whole of Lifeforce Omnibound is riddled with such flourishes, working hard to buck genre expectations. “The Reward of Adversity” offers listeners a relaxing Wombbath with a full piano and violin break, which slots excellently between the 6/8 violence, while “Plunged Into a Paradox” channels the more progressive melodic tremolos from Analepsy’s Quiescence. Speaking of tremolos, much of the album comes with a distinctly blackened edge, especially with Jesper Ojala’s Watain-influenced drumming style, and vocalist Heval Bozarslan features a much higher range and sneering shriek compared to the genre’s usual guttural fare. “Wayward Fragments of Infinite Divisibility” flirts briefly with slam tendencies before collapsing into an absolute BOP of a china-and-high-hat centric dissonant riff modern Pestilence would be proud to sign their name to, only to rush into well executed melo-death shred prowess. Sarcasm have offered up an album which is loyal to its genre roots, but under no circumstances allows itself to sit still and be confined to its labels.
All of these names and influences sound like this album could be an unfocused disaster, but nothing could be further from the truth. Compositional excellence allows Sarcasm to slide between moods like they were headbanging between the raindrops, and few elements detract from the overall experience. True, Lifeforce Omnibound does have more than a few spoken word sections, which halt the momentum as all spoken word sections in albums do. Regretfully, it also sounds like Sarcasm ran out of different ideas near the end, coasting to the finish line with a concluding track which is the most traditional sounding song on the album, albeit a quality one. Still, there’s always room for MOAR Swedeath in life, and for an ending to be merely anticlimactic is hardly the worst sin an album can commit.
To my delighted surprise, Sarcasm did it. Lifeforce Omnibound is nominally Swedeath, and yet the sheer glut of sounds I hear pouring through my headphones shows a band not content to spin their wheels and live on the laurels of vintage sounds of yore. An excellent approach to disparaging elements and a seamless fusion of neighboring ones, Sarcasm have created an album that transcends the sum of its parts to be something truly enjoyable. If you’re one of those who have turned away from Swedeath due to a lack of growth in the sound, hop on this immediately. Yes, really.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/sarcasm-lifeforce-omnibound-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Sarcasm/Lifeforce_Omnibound/1417857
hammerheart.bandcamp.com/album/lifeforce-omnibound
———
#Colderra
#ColderraMusic
#MusicReview
#DeathMetal
#BlackenedDeathMetal
#Sarcasm
#LifeforceOmnibound10 track album
We get a lot of bold claims in the promo pit. It’s understandable; writing advertisements for music sounds like a thankless task, and no one is going to submit an album telling us that it’s a smidgen above mediocrity.1 No, everything death has to be the most moldy, blackened, the most evil, stoner the most groovy, and power the most disposable and ignored album we’ve ever heard in our life. Imagine my eyebrows raising, then, to discover a new offering from Swedish mainstays Sarcasm, who simply described themselves as being more than just Swedeath. Few genres in metal have such imposed and strict limitations, from guitar tones to riff stylings, and one second sampling Feral or Lik and their ilk make the expected sound clear from the get-go. Consequently, such a bold claim of genre transcendence stands out in the face of a sea of self-aggrandizement, and all I could think was the most un-sarcastic “Sold.”
In order to be “more” than Swedeath, you still need the foundation to build on, and Sarcasm drapes their meat and lifeblood on the bones of great fossils of olde. Lifeforce Omnibound kicks off with a balls-out assault sounding composed by Vomitory but with a grasp of leads that seek to Dismember listeners far and wide. The path of the album is one that unfurls its more progressive tendencies the deeper you go, starting like a high-grade tribute to their 90s selves but getting more curious as it unfolds. “Altering the Perception” is a key example; starting off like a cut off of At the Gate’s At War With Reality, and featuring vibrant leads and a Gothenburg flavored stomp in its perpetual revolving assault. Suddenly, bursts of color reminiscent of Dark Tranquility emphasize transitional passages, and an overreliance on the stereotypical snare-and-bass drumbeat plaguing much of Swedeath is mercifully absent, instead featuring sudden aggressive riffing styles more reminiscent of New York-style brawl.
The whole of Lifeforce Omnibound is riddled with such flourishes, working hard to buck genre expectations. “The Reward of Adversity” offers listeners a relaxing Wombbath with a full piano and violin break, which slots excellently between the 6/8 violence, while “Plunged Into a Paradox” channels the more progressive melodic tremolos from Analepsy’s Quiescence. Speaking of tremolos, much of the album comes with a distinctly blackened edge, especially with Jesper Ojala’s Watain-influenced drumming style, and vocalist Heval Bozarslan features a much higher range and sneering shriek compared to the genre’s usual guttural fare. “Wayward Fragments of Infinite Divisibility” flirts briefly with slam tendencies before collapsing into an absolute BOP of a china-and-high-hat centric dissonant riff modern Pestilence would be proud to sign their name to, only to rush into well executed melo-death shred prowess. Sarcasm have offered up an album which is loyal to its genre roots, but under no circumstances allows itself to sit still and be confined to its labels.
All of these names and influences sound like this album could be an unfocused disaster, but nothing could be further from the truth. Compositional excellence allows Sarcasm to slide between moods like they were headbanging between the raindrops, and few elements detract from the overall experience. True, Lifeforce Omnibound does have more than a few spoken word sections, which halt the momentum as all spoken word sections in albums do. Regretfully, it also sounds like Sarcasm ran out of different ideas near the end, coasting to the finish line with a concluding track which is the most traditional sounding song on the album, albeit a quality one. Still, there’s always room for MOAR Swedeath in life, and for an ending to be merely anticlimactic is hardly the worst sin an album can commit.
To my delighted surprise, Sarcasm did it. Lifeforce Omnibound is nominally Swedeath, and yet the sheer glut of sounds I hear pouring through my headphones shows a band not content to spin their wheels and live on the laurels of vintage sounds of yore. An excellent approach to disparaging elements and a seamless fusion of neighboring ones, Sarcasm have created an album that transcends the sum of its parts to be something truly enjoyable. If you’re one of those who have turned away from Swedeath due to a lack of growth in the sound, hop on this immediately. Yes, really.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/sarcasm-lifeforce-omnibound-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Sarcasm/Lifeforce_Omnibound/1417857
hammerheart.bandcamp.com/album/lifeforce-omnibound
———
#Colderra
#ColderraMusic
#MusicReview
#DeathMetal
#BlackenedDeathMetal
#Sarcasm
#LifeforceOmnibound10 track album
𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗔𝗥𝗠𝗢𝗥𝗘𝗗 𝗦𝗔𝗜𝗡𝗧 – 𝗘𝗩𝗘𝗥𝗬 𝗠𝗔𝗡 𝗔𝗡𝗬 𝗠𝗔𝗡
ARMORED SAINT today presents their video for “Every Man-Any Man.” The track comes off the band’s critically-lauded new full-length, Emotion Factory Reset, out now on Metal Blade Records.
“‘Any man has his price‘ is a more familiar phrase and that’s the theme, but we didn’t want to call it that,” recalls vocalist John Bush on the track, “It was too obvious. We said, ‘How about we call the first part of the line ‘every man-any man’ and then stop there.’ The intro guitar part almost has this Andy Summers/Police vibe. Then [Joey Vera] goes into the cool bass groove. That’s vintage Joey; he’s such a grooving bass player, and it sounds super unique; you probably won’t hear a groove like that from too many metal bands.
“Combined with [drummer] Gonzo [Sandoval], sometimes the grooves that they combine on are essential to ARMORED SAINT‘s sound and have been for years. When those two guys are locked in, it’s pretty awesome, because it’s like they could be playing in the Commodores. That’s the feeling that, I think, is the beauty of ARMORED SAINT; it takes it to another place that a lot of bands can’t go to in the metal world. That’s a perfect example of it.”
Adds Vera, “I liked the idea of having the verse, music, and chorus be the same music parts, but with different vocal parts. This idea was inspired by a song by the band The Police. I also wanted to add all the kitchen sink ingredients, so there are nods to Foo Fighters, Thin Lizzy, and it all ends with a crushing ARMORED SAINT riff.”
Emotion Factory Reset, ARMORED SAINT’s ninth studio album, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by bassist Joey Vera and mixed by Jay Ruston (Anthrax, Stone Sour), the record finds the quintet challenging themselves. Songs like “Close To The Bone,” “Hit A Moonshot,” and “Every Man-Any Man” have ARMORED SAINT honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present.
Emotion Factory Reset was recorded across several studios including 606 Studios, Secret Hand Studios, Skullseven Studios, Constantine Studios, and Bridge Recording, engineered by Oliver Roman, Bill Metoyer, Joey Vera, and Jason Constantine, and features cover art by DDKing.
———
𝗙𝗿𝗼𝗺:
abreulipe54-uekfc.wordpress.com/2026/06/02/armored-saint-presents-every-man-any-man-video-emotion…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=uBRQSPql7TM
———
#Colderra
#ColderraMusic
#MusicReview
#ArmoredSaint
#EveryManAnyMan
ARMORED SAINT today presents their video for “Every Man-Any Man.” The track comes off the band’s critically-lauded new full-length, Emotion Factory Reset, out now on Metal Blade Records.
“‘Any man has his price‘ is a more familiar phrase and that’s the theme, but we didn’t want to call it that,” recalls vocalist John Bush on the track, “It was too obvious. We said, ‘How about we call the first part of the line ‘every man-any man’ and then stop there.’ The intro guitar part almost has this Andy Summers/Police vibe. Then [Joey Vera] goes into the cool bass groove. That’s vintage Joey; he’s such a grooving bass player, and it sounds super unique; you probably won’t hear a groove like that from too many metal bands.
“Combined with [drummer] Gonzo [Sandoval], sometimes the grooves that they combine on are essential to ARMORED SAINT‘s sound and have been for years. When those two guys are locked in, it’s pretty awesome, because it’s like they could be playing in the Commodores. That’s the feeling that, I think, is the beauty of ARMORED SAINT; it takes it to another place that a lot of bands can’t go to in the metal world. That’s a perfect example of it.”
Adds Vera, “I liked the idea of having the verse, music, and chorus be the same music parts, but with different vocal parts. This idea was inspired by a song by the band The Police. I also wanted to add all the kitchen sink ingredients, so there are nods to Foo Fighters, Thin Lizzy, and it all ends with a crushing ARMORED SAINT riff.”
Emotion Factory Reset, ARMORED SAINT’s ninth studio album, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by bassist Joey Vera and mixed by Jay Ruston (Anthrax, Stone Sour), the record finds the quintet challenging themselves. Songs like “Close To The Bone,” “Hit A Moonshot,” and “Every Man-Any Man” have ARMORED SAINT honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present.
Emotion Factory Reset was recorded across several studios including 606 Studios, Secret Hand Studios, Skullseven Studios, Constantine Studios, and Bridge Recording, engineered by Oliver Roman, Bill Metoyer, Joey Vera, and Jason Constantine, and features cover art by DDKing.
———
𝗙𝗿𝗼𝗺:
abreulipe54-uekfc.wordpress.com/2026/06/02/armored-saint-presents-every-man-any-man-video-emotion…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=uBRQSPql7TM
———
#Colderra
#ColderraMusic
#MusicReview
#ArmoredSaint
#EveryManAnyMan
Armored Saint – Every Man-Any Man (Official Video)
www.youtube.com
Buy here: www.metalblade.com/armoredsaint"Emotion Factory R…
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
