𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗣𝗘𝗟𝗟 – 𝗪𝗥𝗘𝗧𝗖𝗛𝗘𝗗 𝗛𝗘𝗔𝗥𝗧
Spell were originally formed under the name Stryker,playing Thrash Damaged Metal before changing their name in 2013 to Spell.An Occult and also rock band hailing from Vancouver,Canada they are known for their hypnotic 80's inspired progressive metal sound.The band were originally a duo consisting of founder member Cam Mesmer and his brother Al Lester.Outside of music Mesmer is a teacher and Lester is a Mortician! Their debut album "Full Moon Sessions" was released in 2015,"For None And All" in 2016, "Opulent Delay" released in 2020 which was followed by "Tragic Magic" in 2022.Now 2026 sees the release of their fifth full length album "Wretched Heart".
When I first grabbed this album to review,I didn't know what to expect looking at the album over artwork. As the saying goes "never judge a book by its cover!","Dark Inertia" starts the album with a heavy feel,the rhythm hits hard,the guitar riffs on the heavy side,but as the track progresses,there are tempo changes and the keyboards kick in to give this track an atmospheric edge."Lilac" is a great slice of Gothic Rock,the keyboard layers make the track atmospheric,tinged with a Melodic and Gothic feel."Take My Life" and "Unquiet Graves" are both tracks which visit the darker side of Gothic Metal with their dark & moody feel both in the musically and vocally,which have with the latter having a more weighted tone then NWOBHM."Oubillette" is a more pacey track with more meatier bass touches,with "Iron Teeth" there is a strong thumping bass tone which is the backbone of the track,again heavier in places,screaming backing vocals, with the tempo picking up to end the track with energy,both tracks have strong guitar work throughout,with strong well delivered vocals and great synthesiser work."Exquisite Corpse" packs a punch it is a track which sees Heavy Metal meet AOR,which works very well to deliver a very solid punchy & likeable number."In Duress" is a mainly keyboard & synthesiser atmospheric style instrumental which sounds glorious like a film score piercing through my speakers,this leads into the last track and title track "Wretched Heart" which is another bass driven track which is another strong number with some dynamic duel guitar runs.
This album was a very pleasant surprise,as I said at the start of this review ,I didn't know what to expect.But once I listened to "Wretched Heart" a few times,I really enjoyed the combination of Gothic metal with that melodic edge that Spell delivered.A solid album which was a great listen.Definately one to check out.
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/spell-wretched-heart/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
spellofficial.bandcamp.com/album/wretched-heart
———
#Colderra
#ColderraMusic
#MusicReview
#Spell
#WretchedHeart10 track album
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𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗗𝗘𝗩𝗜𝗟𝗦 𝗖𝗜𝗚𝗔𝗥𝗘𝗧𝗧𝗘 – 𝗠𝗘𝗘𝗧 𝗠𝗘 𝗢𝗡 𝗧𝗛𝗘 𝗙𝗟𝗢𝗢𝗥
Devil's Cigarette is the band reviving rock 'n' roll with raw energy and boldness. Comprising of five teenage boys.Their debut album, *I Wanna Be On TV*, was recorded at the legendary Sunlight Studios, produced and mixed by Tomas Skogsberg,renowned for his work with The Hellacopters & Backyard Babies.Devils Cigarette are influenced by rock icons such as The Stooges, MC5, The Beatles, The Hives, The Soundtrack Of Our Lives, and The Hellacopters . Devil's Cigarette craft a unique blend of energetic, gritty, and fast-paced rock 'n' roll.There has been a recent personnel change with Kasper Brättemark being replaced on drums by Iggy Linden after the album was recorded. Known for their fast and intense performances on Stockholm's rock scene, Devil's Cigarette has successfully translated the explosive energy of their live shows into their studio albums.
The opening track and title track "Meet Me On The Floor" as well as an alternative element,it has a punk element too,distorted guitars,raw rhythm and vocals,which is a short burst which will get u on the club dancefloor."I'm Bored" is a catchy bouncy modern rock number which is far from boring,with some of the bands influences apparent."Dirty Fingers" is a fast paced track with an authentic raw sound,which just sounds like they hit record and just went for it,a solid track,I find this also to be the case with "Come On To Me" which is another strong offering on this album.The longest track on this album "This is A Hippie Killing Device" with several tempo changes,strong riffs with the overall feel,particularly in the chorus is one of rebellion.The track "Ordinary Man" goes back to that punk vibe,the drums hit hard and fast,the vocals are again rebellious and there is some cool guitar riffing."The Greyhound Man" is the last track on the album which has a rather mellow and laid back & cautious delivery,which has a more melodic touch,which shows Devil Cigarette's range of diversity in their sound.
Devils Cigarette "Meet Me On The Floor" is an album which from five teenagers, which is at times rebellious as you would expect it to be!,it's got a lot of textured rhythms,solid guitar riffs.With this album they are making themselves heard with their music.The potential is there for these lads to make their mark on the music scene.A solid offering from these Swedish teenagers.
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/devils-cigarette-meet-me-on-the-floor/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.apple.com/us/album/meet-me-on-the-floor-tonight/1861847825
open.spotify.com/album/4E8fsHhsygtlrfJfPFf7qF
———
#Colderra
#ColderraMusic
#MusicReview
#DevilsCigarette
#MeetMeOnTheFloorDevils Cigarette · album · 2026 · 10 songs
Devil's Cigarette is the band reviving rock 'n' roll with raw energy and boldness. Comprising of five teenage boys.Their debut album, *I Wanna Be On TV*, was recorded at the legendary Sunlight Studios, produced and mixed by Tomas Skogsberg,renowned for his work with The Hellacopters & Backyard Babies.Devils Cigarette are influenced by rock icons such as The Stooges, MC5, The Beatles, The Hives, The Soundtrack Of Our Lives, and The Hellacopters . Devil's Cigarette craft a unique blend of energetic, gritty, and fast-paced rock 'n' roll.There has been a recent personnel change with Kasper Brättemark being replaced on drums by Iggy Linden after the album was recorded. Known for their fast and intense performances on Stockholm's rock scene, Devil's Cigarette has successfully translated the explosive energy of their live shows into their studio albums.
The opening track and title track "Meet Me On The Floor" as well as an alternative element,it has a punk element too,distorted guitars,raw rhythm and vocals,which is a short burst which will get u on the club dancefloor."I'm Bored" is a catchy bouncy modern rock number which is far from boring,with some of the bands influences apparent."Dirty Fingers" is a fast paced track with an authentic raw sound,which just sounds like they hit record and just went for it,a solid track,I find this also to be the case with "Come On To Me" which is another strong offering on this album.The longest track on this album "This is A Hippie Killing Device" with several tempo changes,strong riffs with the overall feel,particularly in the chorus is one of rebellion.The track "Ordinary Man" goes back to that punk vibe,the drums hit hard and fast,the vocals are again rebellious and there is some cool guitar riffing."The Greyhound Man" is the last track on the album which has a rather mellow and laid back & cautious delivery,which has a more melodic touch,which shows Devil Cigarette's range of diversity in their sound.
Devils Cigarette "Meet Me On The Floor" is an album which from five teenagers, which is at times rebellious as you would expect it to be!,it's got a lot of textured rhythms,solid guitar riffs.With this album they are making themselves heard with their music.The potential is there for these lads to make their mark on the music scene.A solid offering from these Swedish teenagers.
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/devils-cigarette-meet-me-on-the-floor/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.apple.com/us/album/meet-me-on-the-floor-tonight/1861847825
open.spotify.com/album/4E8fsHhsygtlrfJfPFf7qF
———
#Colderra
#ColderraMusic
#MusicReview
#DevilsCigarette
#MeetMeOnTheFloorDevils Cigarette · album · 2026 · 10 songs
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗣𝗔𝗖𝗘 𝗖𝗛𝗔𝗦𝗘𝗥 – 𝗥𝗔𝗭𝗢𝗥𝗕𝗟𝗔𝗗𝗘 𝗕𝗔𝗬
Priorities often stir about change even in the landscape of metal artists. German speed/thrash act Space Chaser between albums lost their long-time singer Siegfried Rudzynski, necessitating guitarist Leo Schacht to step up performing double duty now as the vocalist. Moving on from Metal Blade after their impressive Give Us Life record in 2021, Razorblade Bay continues the band’s diverse versatility of headbanging-oriented songwriting, equal to the task of creating crushing riffs, interesting stop/start mechanisms, as well as those smaller melodic / earworm details guaranteed to dig deep into your soul.
A bit more of the crossover punk/hardcore primal force nature enters certain cuts like “Even the Score” and “8 Minutes” where the supplementary gang-vocal shouts embellish those racing riffs, savage bass lines, and battering drum foundational components – although the latter’s slow lurching transition could vault bodies left to right in the best live environments. Leo’s voice has a little more forceful nature in his tenacious, raspy delivery – it’s a great mixture of the Bay Area finesse next to the familiar Teutonic punch sure to elicit rapturous, adrenalized responses through successive passes of the record. The lead break output from Martin Hochsattel next to his compatriot Schacht features all the fluid runs, shredding energy, and thoughtful melodic textures one could hope for in a band of this nature – check out “Mind Melting Machine” and “Blade Serpent” for killer examples sealed for steel approval.
The bookending of the title track and a “Razorblade Bay Reprise” as the opener and closer has an interesting circular component which to these ears ensures more frequent consistent playbacks – the former faster with some open sequences for bassist Sebastian Kerlikowski to shine, while the latter dials back the tempo into more of a groovy, stunted anthem template, allowing drummer Matthias Scheuerer to lay into more of his full arsenal of steady snare/cymbal to double kick tricks. At just over 32 minutes, the songs flow effortlessly with the right intensity and dynamic peaks, stagnation not being in the playbook of Space Chaser where every song could easily slip into the live setlists if necessary.
Razorblade Bay as the fourth studio album for Space Chaser keeps the focus on sturdy hooks, catchy riffs, vicious, relentless roars on the vocal front, and this overall depth of understanding what is necessary to make for timeless thrash. Now down to a quartet, it seems like the ship will be steady for a quality outfit determined to move ahead in the best ways they know how.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/space-chaser-razorblade-bay-testimony-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
spacechaser.bandcamp.com/album/razorblade-bay-2
———
#Colderra
#ColderraMusic
#MusicReview
#SpaceChaser
#RazorbladeBay10 track album
Priorities often stir about change even in the landscape of metal artists. German speed/thrash act Space Chaser between albums lost their long-time singer Siegfried Rudzynski, necessitating guitarist Leo Schacht to step up performing double duty now as the vocalist. Moving on from Metal Blade after their impressive Give Us Life record in 2021, Razorblade Bay continues the band’s diverse versatility of headbanging-oriented songwriting, equal to the task of creating crushing riffs, interesting stop/start mechanisms, as well as those smaller melodic / earworm details guaranteed to dig deep into your soul.
A bit more of the crossover punk/hardcore primal force nature enters certain cuts like “Even the Score” and “8 Minutes” where the supplementary gang-vocal shouts embellish those racing riffs, savage bass lines, and battering drum foundational components – although the latter’s slow lurching transition could vault bodies left to right in the best live environments. Leo’s voice has a little more forceful nature in his tenacious, raspy delivery – it’s a great mixture of the Bay Area finesse next to the familiar Teutonic punch sure to elicit rapturous, adrenalized responses through successive passes of the record. The lead break output from Martin Hochsattel next to his compatriot Schacht features all the fluid runs, shredding energy, and thoughtful melodic textures one could hope for in a band of this nature – check out “Mind Melting Machine” and “Blade Serpent” for killer examples sealed for steel approval.
The bookending of the title track and a “Razorblade Bay Reprise” as the opener and closer has an interesting circular component which to these ears ensures more frequent consistent playbacks – the former faster with some open sequences for bassist Sebastian Kerlikowski to shine, while the latter dials back the tempo into more of a groovy, stunted anthem template, allowing drummer Matthias Scheuerer to lay into more of his full arsenal of steady snare/cymbal to double kick tricks. At just over 32 minutes, the songs flow effortlessly with the right intensity and dynamic peaks, stagnation not being in the playbook of Space Chaser where every song could easily slip into the live setlists if necessary.
Razorblade Bay as the fourth studio album for Space Chaser keeps the focus on sturdy hooks, catchy riffs, vicious, relentless roars on the vocal front, and this overall depth of understanding what is necessary to make for timeless thrash. Now down to a quartet, it seems like the ship will be steady for a quality outfit determined to move ahead in the best ways they know how.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/space-chaser-razorblade-bay-testimony-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
spacechaser.bandcamp.com/album/razorblade-bay-2
———
#Colderra
#ColderraMusic
#MusicReview
#SpaceChaser
#RazorbladeBay10 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗠𝗔𝗨𝗡𝗔𝗛 – 𝗛𝗝𝗔𝗥𝗧𝗔
Bandcamp has the following to say about the band and their album: ‘Rarely has a debut album sounded as complete and sophisticated as Hjarta from Maunah. Although the roots of Hjarta reach deep into the melodic Scandinavian doom tradition, there is so much more happening on this album. A dash of Nordic folk here, and a pinch of modern metal there. In the Danes’ own poetic words: ‘Maunah is the sound of despair and open skies. Maunah is leaves crunching underfoot, the cold of the forest floor seeping through the soles. And Maunah is the warmth of the sun on the face and oxygen filling the lungs.’ With Hjarta, Maunah offers a remarkable debut that goes well beyond the average and exceeds expectations. How far can these Danes go?’ The “tags” on Bandcamp are pretty standard, with items such as “doom,” “progressive,” and even “Nordic.” Lately, these mash-ups have become my go to for music, in my quest to find something out of the box.
I have said this before…there is literally a band out there for everyone who walks on the planet. You like pop? Take your pick. Rap, also, metric tons are out there. R&B, golden oldies? The same. Rock? That genre is about as massive as any other. Country? Jazz? Gospel? Well, I question your tastes, but who am I? Also, a ton of each, including old school country twang and new school country, which also crosses over into the pop genre. Metal? Now we’re talking. Interestingly, the genre of metal, which was pretty narrow in the old days, has expanded greatly over the past few decades. Metal runs the gamut from goregrind and pornogrind on one end, which arguably barely meet the definition of ‘music,’ to more traditional metal, like thrash, glam, doom, and classic heavy metal on the other. But there is also everything in between, and I am hoping that Maunah explores that space within the vast sea of metal.
“Heimaland” is up first. It’s a slow mover…gentle at times, biting hard at others. The guitar chords shift from major to minor, mirroring a shifting sky in the middle of a storm. The vocals are harmonized at times, singular at other times, and there is a heavy weight in the room that you can feel The song does not sit still nor follow a linear pattern…instead, it moves through a variety of melancholy emotions. “Solin Vaugna” begins like a morning where the fog still hangs in the air, and although the tones are gentle, they are also tense. You can feel the big drop coming, and it drops with absolute force, then retreats as quickly as it arose. The album is all about emotional impact for me, both in the vocals and in the music. The song swells and recedes like the ocean tides, and there is just enough melody to hook the listener. Continuing with an emotionally resonant sound, comes “Theinajua.” One thing is for sure in this song…and that’s surprising and unexpected turns. They come at every angle, rousing your listening experience with gentler tones butting up against pure weight. The best part is you never know when the shifts come.
“Saivor” is like something massive rising from the ocean depths. First you see bubbles, then you can feel it moving in the waves. When it finally rises, it’s massive. The vocals are just so damn expressive here, and their power goes well with the heavier side of the music. “Vtna” has heavy drums, and weighted bass, and together they make a commanding bottom end to the song. It’s a slow mover, in the traditions of Doom, and you can feel each note, and each drum strike deep in your stomach. They pile up and sit like rocks, adding more and more pain with each deposit. The title track is last, and they unload a final ton of dirt over top of your head. In addition to the heaviness that sits on your back like a boulder, there are also gentler elements, but they still retain their signature weight. It’ not just a few years, or a good cry that may last for half an hour, it’s like a whole bucket of pain and tears.
This was indeed a sophisticated twist on the umbrella term called doom. What struck me most was the overload of emotion and feelings that came from both the vocals and the music. They undulated heavily throughout the album, reaching mountain peaks in height from swelling crescendos, while other times they ducked down under the clouds. Each of the peaks were felt even stronger because of the undulating. They also seemed to work in a perfect rhythm with impeccable timing, and I haven’t heard vocals this expressive in a while…they were fantastic.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/maunah-hjarta-prophecy-productions/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
maunah.bandcamp.com/album/hjarta
———
#Colderra
#ColderraMusic
#MusicReview
#Maunah
#Hjarta6 track album
Bandcamp has the following to say about the band and their album: ‘Rarely has a debut album sounded as complete and sophisticated as Hjarta from Maunah. Although the roots of Hjarta reach deep into the melodic Scandinavian doom tradition, there is so much more happening on this album. A dash of Nordic folk here, and a pinch of modern metal there. In the Danes’ own poetic words: ‘Maunah is the sound of despair and open skies. Maunah is leaves crunching underfoot, the cold of the forest floor seeping through the soles. And Maunah is the warmth of the sun on the face and oxygen filling the lungs.’ With Hjarta, Maunah offers a remarkable debut that goes well beyond the average and exceeds expectations. How far can these Danes go?’ The “tags” on Bandcamp are pretty standard, with items such as “doom,” “progressive,” and even “Nordic.” Lately, these mash-ups have become my go to for music, in my quest to find something out of the box.
I have said this before…there is literally a band out there for everyone who walks on the planet. You like pop? Take your pick. Rap, also, metric tons are out there. R&B, golden oldies? The same. Rock? That genre is about as massive as any other. Country? Jazz? Gospel? Well, I question your tastes, but who am I? Also, a ton of each, including old school country twang and new school country, which also crosses over into the pop genre. Metal? Now we’re talking. Interestingly, the genre of metal, which was pretty narrow in the old days, has expanded greatly over the past few decades. Metal runs the gamut from goregrind and pornogrind on one end, which arguably barely meet the definition of ‘music,’ to more traditional metal, like thrash, glam, doom, and classic heavy metal on the other. But there is also everything in between, and I am hoping that Maunah explores that space within the vast sea of metal.
“Heimaland” is up first. It’s a slow mover…gentle at times, biting hard at others. The guitar chords shift from major to minor, mirroring a shifting sky in the middle of a storm. The vocals are harmonized at times, singular at other times, and there is a heavy weight in the room that you can feel The song does not sit still nor follow a linear pattern…instead, it moves through a variety of melancholy emotions. “Solin Vaugna” begins like a morning where the fog still hangs in the air, and although the tones are gentle, they are also tense. You can feel the big drop coming, and it drops with absolute force, then retreats as quickly as it arose. The album is all about emotional impact for me, both in the vocals and in the music. The song swells and recedes like the ocean tides, and there is just enough melody to hook the listener. Continuing with an emotionally resonant sound, comes “Theinajua.” One thing is for sure in this song…and that’s surprising and unexpected turns. They come at every angle, rousing your listening experience with gentler tones butting up against pure weight. The best part is you never know when the shifts come.
“Saivor” is like something massive rising from the ocean depths. First you see bubbles, then you can feel it moving in the waves. When it finally rises, it’s massive. The vocals are just so damn expressive here, and their power goes well with the heavier side of the music. “Vtna” has heavy drums, and weighted bass, and together they make a commanding bottom end to the song. It’s a slow mover, in the traditions of Doom, and you can feel each note, and each drum strike deep in your stomach. They pile up and sit like rocks, adding more and more pain with each deposit. The title track is last, and they unload a final ton of dirt over top of your head. In addition to the heaviness that sits on your back like a boulder, there are also gentler elements, but they still retain their signature weight. It’ not just a few years, or a good cry that may last for half an hour, it’s like a whole bucket of pain and tears.
This was indeed a sophisticated twist on the umbrella term called doom. What struck me most was the overload of emotion and feelings that came from both the vocals and the music. They undulated heavily throughout the album, reaching mountain peaks in height from swelling crescendos, while other times they ducked down under the clouds. Each of the peaks were felt even stronger because of the undulating. They also seemed to work in a perfect rhythm with impeccable timing, and I haven’t heard vocals this expressive in a while…they were fantastic.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/maunah-hjarta-prophecy-productions/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
maunah.bandcamp.com/album/hjarta
———
#Colderra
#ColderraMusic
#MusicReview
#Maunah
#Hjarta6 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗔𝗥𝗖𝗛𝗚𝗢𝗔𝗧 – 𝗡𝗜𝗚𝗛𝗧𝗕𝗥𝗜𝗡𝗚𝗘𝗥, 𝗟𝗜𝗚𝗛𝗧𝗕𝗥𝗜𝗡𝗚𝗘𝗥
Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.
Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.
Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.
Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.
Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/archgoat-nightbringer-lightbringer-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
archgoat666.bandcamp.com/album/nightbringer-lightbringer
———
#Colderra
#ColderraMusic
#MusicReview
#Archgoat
#NightbringerLightbringer11 track album
Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.
Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.
Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.
Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.
Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/archgoat-nightbringer-lightbringer-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
archgoat666.bandcamp.com/album/nightbringer-lightbringer
———
#Colderra
#ColderraMusic
#MusicReview
#Archgoat
#NightbringerLightbringer11 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗞𝗜𝗟𝗟𝗘𝗥 – 𝗧𝗛𝗘 𝗚𝗥𝗔𝗡𝗗 𝗙𝗜𝗡𝗔𝗟𝗘
A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.
On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz. Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World” has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.
Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.
Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes, it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.
They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/killer-the-grand-finale-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Killer/The_Grand_Finale/1454692
open.spotify.com/album/4R5ZCpHZZwC8Q7ylLNtBmN
———
#Colderra
#ColderraMusic
#MusicReview
#Killer
#TheGrandFinaleKiller · album · 2026 · 10 songs
A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.
On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz. Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World” has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.
Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.
Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes, it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.
They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/killer-the-grand-finale-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Killer/The_Grand_Finale/1454692
open.spotify.com/album/4R5ZCpHZZwC8Q7ylLNtBmN
———
#Colderra
#ColderraMusic
#MusicReview
#Killer
#TheGrandFinaleKiller · album · 2026 · 10 songs
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗨𝗡𝗞𝗡𝗢𝗪𝗡 – 𝗚𝗥𝗔𝗩𝗘𝗬𝗔𝗥𝗗 𝗢𝗙 𝗘𝗠𝗣𝗜𝗥𝗘𝗦
Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?
Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.
Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.
Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.
Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/unknown-graveyard-of-empires-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
unknownmetalct.bandcamp.com/album/graveyard-of-empires-2
———
#Colderra
#ColderraMusic
#MusicReview
#Unknown
#GraveyardofEmpires10 track album
Cemented upon rebellious ideals that consistently buck the currents of popularity, the very nature of metal demands change. Yet some bedrocks of metal weather the winds of time and endure: thrash’s inevitable association with denim and cheap beer, OSDM’s obdurate immutability, and power metal’s lactose dependence persist. Yet perhaps none are as eternal as the legacy of traditional heavy metal bearing the banner of trve, and it’s under this standard that Fairfield, Connecticut’s Unknown marches. These Nutmeggers harbor loyalty for the olde school, and although they spice up sophomore full-length Graveyard of Empires with flavors of power and thrash, the overwhelming core of their concoction is one of classic heft. In the end, is it a draught worth quaffing, or a brew better left Unknown?
Though bits of other genres creep into Graveyard of Empires, Unknown’s comparators remain solidly rooted in classic heavy metal. Fans of Iron Maiden will uncover plenty of familiar qualities, especially from their aughts-era output, while Manilla Road and Jag Panzer offer further reference points. Mainly, Unknown operates in soaring mid-tempos that conjure sweeping vistas and epic atmospheres (“Ardennes Offensive,” “Guns of August”). A fair amount of Saxon reveals itself as well, particularly with how Unknown’s guitar work seamlessly oscillates between valiant, lofty leads and straightforward power chords that drive momentum and musical tension. Even amongst these towering touchstones, though, Unknown crafts an identity outside their influences.
Unknown’s music ferries listeners to vibrant landscapes on Graveyard of Empires. Whiffs of Ancient Egypt (“Graveyard of Empires”), galloping western melodrama (“Warrior Ascension”), and tribal paradise (“Land of the Pure”) enrich the record with a wealth of backdrops that feel fleshed out and distinct. The opening triad of “Ardennes Offensive,” “Graveyard of Empires,” and “Guns of August” brim with fiery twin guitars that flit between beautifully built sustains gleaming with majesty and burly riffs that crunch and punch. “Reverie Code” and “Warrior Ascension” likewise crackle with evocative six-string action, and credit to Aamir Syed and Michael Dale for their savvy guitar work on Graveyard. Meanwhile, bassist Andic Salcedo and session drummer Nick Bellmore supply a rock-solid rhythm section, rarely calling attention to themselves but ably girding Unknown’s melodic nucleus while unleashing subtle performances that are easy to miss unless attuned to them.
Despite the many things Unknown does well on Graveyard of Empires, I often find the vocal decisions and deliveries too distracting to enjoy. Given vocalist Matt Fisher’s compelling performance on Unknown’s debut Vanishing Point, the shift in direction is puzzling. Where Fisher’s range mostly dwelt in a comfortable mid-register on Vanishing Point, Graveyard of Empires sees him deploy many more falsettos across the album (“Guns of August,” “I Am Death,” “On the Edge of Peace”). Fisher clearly has talent, but his upper reaches undercut performances when he pushes his deliveries past the brink of his ability to control them, which is a real shame because when he drops into a lower range or growls, things work much better (“Ardennes Offensive,” “Graveyard of Empires”). On Vanishing Point, Fisher did a swell job with the top rungs of his vocal range, particularly on tracks “Where Men Find Glory” and “Mission No. 84”, so the miss here is especially perplexing. More positively the bright mix sparkles, enabling guitars and drums to strut their stuff. Additionally, the runtime packs an avalanche of riffs and aural panoramas into just forty minutes.
Broadly speaking, there tend to be two types of Mixed albums in my mind. The first can be characterized by records that are generally fine and do most things right without kindling enough interest for higher engagement. The second involves LPs that boast a higher ceiling but accommodate a flaw too glaring to look past. Graveyard of Empires falls squarely into this latter camp with a baffling foible that eluded Unknown’s debut. Still, the band does so much right on every other front that I have faith they’ll smooth out the kinks next time around. Until then, I’ll revisit some of these tracks on occasion and leave the rest in the Graveyard.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/unknown-graveyard-of-empires-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
unknownmetalct.bandcamp.com/album/graveyard-of-empires-2
———
#Colderra
#ColderraMusic
#MusicReview
#Unknown
#GraveyardofEmpires10 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗩𝗨𝗟𝗚𝗔𝗥 𝗠𝗘𝗣𝗛𝗜𝗧𝗜𝗦 – 𝗙𝗥𝗢𝗠 𝗗𝗨𝗦𝗧
With great influences like Unfathomable Ruination, Defeated Sanity, and Unbirth to draw from, the modern brutal tech death scene is highly competitive, powerfully muscular, and ridiculously fun. Pittsburgh brutal death quartet Vulgar Mephitis sit comfortably in this space, throwing sickening grooves in between squealing pinches, writhing riffs, and thrashy freakouts at lightning speed. With a simple but effective formula such as this, debut LP From Dust promises all of the same high-octane pleasures the household names in the space set as the standard.
Those aforementioned brutal tech death influences are aforementioned for a reason, as Vulgar Mephitis presents their style as an ideal amalgamation therein. Huge, off-center grooves and disgusting vocal utterances splice muscular Unfathomable Ruination DNA all throughout these lean 26 minutes. Complex time signature manipulations scaffolded by an unrelenting habit of moving from motif to motif without rest recall Defeated Sanity’s MO. Filthy, serrated riffs built on brutal chug sequences and scraping triplet and quadruplet flourishes reek of a potent Unbirth stench sure to saturate my olfactory senses. These are the building blocks of Vulgar Mephitis’ sound, and while I could argue that calls into question how distinct a voice they achieve, it simultaneously verifies their merit as purveyors of worthy brutalities.
One big element that differentiates From Dust from its closest relatives is the vice-like tightness of their songwriting. Save for the first and last songs proper, every track here clocks in between 2 and 3-and-a-half minutes, and the content therein is relentlessly fast, vicious, and uncompromising. Not unlike some of Dormant Ordeal’s material, this animalistic method of attack affords songs like “Exterminating Profane” and “Scorn of My Flesh” a certain tangible sense of danger and of malice that makes hearing them terrifying and exciting. Nick Bentzel in particular exhibits the energy required to make these tracks feel like they’re about to fly off the rails. His acrobatic cymbal work and laser-precise blasts and grooves give “Martyr,” “Peer into the Abyss,” and “Gorging Greed” an elevated scale and an explosive impact that punches with terrible force. That’s no slight to the rest of the band, who deliver destructive payloads with scorching, sharp riffs, eerie leads, and a grotesque vocal array on a constant basis—sure to scare off poseurs and weaklings on a global scale.
Over time, however, I started to notice with progressively greater clarity how much Vulgar Mephitis owes to its influences. A fantastically engaging and brutal assault though From Dust obviously is, it’s also remarkably similar to the high water marks of its peers. In some areas, like the tightly fitted riffs and grooves of “Peer into the Abyss,” “From Dust,” and “Wounds,” I can almost hear both Defeated Sanity’s and Unbirth’s main riff-crafters questioning if they wrote some of what I’m hearing. It’s not quite plagiarism as much as it is a lack of identity that creates that effect, and it holds From Dust back from higher esteem. Additionally, the occasional instance of soft 808 drops, while undoubtedly very stimulating in a live environment, is extremely distracting for me in an album context. This is mainly due to the fact that it takes a while (at least a couple of seconds) for the rest of the instruments to recover from the blast, leaving a patch of muted and muffled measures made muddy by the density of instrumentation trying to breach the surface. As a final critique from a greedy sponge, I wish From Dust was at least ten minutes longer. With an instrumental intro and an extended outro on the final song, 26 minutes is reduced to a paltry 22 minutes of active content, which leaves me starving and malnourished for MOAR br00tality.
Of course, these complaints don’t take too much away from my enjoyment of the existing material, and for most listeners are easy enough to ignore. What remains is an intimidating tear of vicious songs that any brutal tech death band should be proud to have produced. It’s too short, and a touch too derivative. On the other hand, the percussion in particular is insane, and the sheer unchecked energy presented is infectious. Ultimately, there’s no reason From Dust shouldn’t check a significant number of boxes for any fan of brutal fare, and it has near-infinite replay value for its brevity and densely packed detailing. More telling, it’s just the beginning for Vulgar Mephitis. If this is their opening salvo, I shudder to think what will happen once they mature. Gird your loins!
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/vulgar-mephitis-from-dust-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
vulgarmephitis.bandcamp.com/album/from-dust
———
#Colderra
#ColderraMusic
#MusicReview
#VulgarMephitis
#FromDust8 track album
With great influences like Unfathomable Ruination, Defeated Sanity, and Unbirth to draw from, the modern brutal tech death scene is highly competitive, powerfully muscular, and ridiculously fun. Pittsburgh brutal death quartet Vulgar Mephitis sit comfortably in this space, throwing sickening grooves in between squealing pinches, writhing riffs, and thrashy freakouts at lightning speed. With a simple but effective formula such as this, debut LP From Dust promises all of the same high-octane pleasures the household names in the space set as the standard.
Those aforementioned brutal tech death influences are aforementioned for a reason, as Vulgar Mephitis presents their style as an ideal amalgamation therein. Huge, off-center grooves and disgusting vocal utterances splice muscular Unfathomable Ruination DNA all throughout these lean 26 minutes. Complex time signature manipulations scaffolded by an unrelenting habit of moving from motif to motif without rest recall Defeated Sanity’s MO. Filthy, serrated riffs built on brutal chug sequences and scraping triplet and quadruplet flourishes reek of a potent Unbirth stench sure to saturate my olfactory senses. These are the building blocks of Vulgar Mephitis’ sound, and while I could argue that calls into question how distinct a voice they achieve, it simultaneously verifies their merit as purveyors of worthy brutalities.
One big element that differentiates From Dust from its closest relatives is the vice-like tightness of their songwriting. Save for the first and last songs proper, every track here clocks in between 2 and 3-and-a-half minutes, and the content therein is relentlessly fast, vicious, and uncompromising. Not unlike some of Dormant Ordeal’s material, this animalistic method of attack affords songs like “Exterminating Profane” and “Scorn of My Flesh” a certain tangible sense of danger and of malice that makes hearing them terrifying and exciting. Nick Bentzel in particular exhibits the energy required to make these tracks feel like they’re about to fly off the rails. His acrobatic cymbal work and laser-precise blasts and grooves give “Martyr,” “Peer into the Abyss,” and “Gorging Greed” an elevated scale and an explosive impact that punches with terrible force. That’s no slight to the rest of the band, who deliver destructive payloads with scorching, sharp riffs, eerie leads, and a grotesque vocal array on a constant basis—sure to scare off poseurs and weaklings on a global scale.
Over time, however, I started to notice with progressively greater clarity how much Vulgar Mephitis owes to its influences. A fantastically engaging and brutal assault though From Dust obviously is, it’s also remarkably similar to the high water marks of its peers. In some areas, like the tightly fitted riffs and grooves of “Peer into the Abyss,” “From Dust,” and “Wounds,” I can almost hear both Defeated Sanity’s and Unbirth’s main riff-crafters questioning if they wrote some of what I’m hearing. It’s not quite plagiarism as much as it is a lack of identity that creates that effect, and it holds From Dust back from higher esteem. Additionally, the occasional instance of soft 808 drops, while undoubtedly very stimulating in a live environment, is extremely distracting for me in an album context. This is mainly due to the fact that it takes a while (at least a couple of seconds) for the rest of the instruments to recover from the blast, leaving a patch of muted and muffled measures made muddy by the density of instrumentation trying to breach the surface. As a final critique from a greedy sponge, I wish From Dust was at least ten minutes longer. With an instrumental intro and an extended outro on the final song, 26 minutes is reduced to a paltry 22 minutes of active content, which leaves me starving and malnourished for MOAR br00tality.
Of course, these complaints don’t take too much away from my enjoyment of the existing material, and for most listeners are easy enough to ignore. What remains is an intimidating tear of vicious songs that any brutal tech death band should be proud to have produced. It’s too short, and a touch too derivative. On the other hand, the percussion in particular is insane, and the sheer unchecked energy presented is infectious. Ultimately, there’s no reason From Dust shouldn’t check a significant number of boxes for any fan of brutal fare, and it has near-infinite replay value for its brevity and densely packed detailing. More telling, it’s just the beginning for Vulgar Mephitis. If this is their opening salvo, I shudder to think what will happen once they mature. Gird your loins!
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/vulgar-mephitis-from-dust-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
vulgarmephitis.bandcamp.com/album/from-dust
———
#Colderra
#ColderraMusic
#MusicReview
#VulgarMephitis
#FromDust8 track album
𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗧𝗘𝗠𝗣𝗘𝗥𝗔𝗡𝗖𝗘 – 𝗧𝗛𝗘 𝗧𝗢𝗪𝗘𝗥: 𝗟𝗘𝗔𝗡 𝗜𝗡𝗧𝗢 𝗙𝗘𝗔𝗥
Italian modern melodic and symphonic metal outfit TEMPERANCE will release its new album, Arcani, on October 16 via Napalm Records. Today, their brand new single, “The Tower: Lean Into Fear,” kicks right in, diving deeper into the album’s overall Tarot-driven line. “The Tower: Lean Into Fear” hits with rocking riffs and the roaring vocal power of vocalist Kristin Starkey, showcasing an entirely new facet of the band’s musical universe and making it a standout addition to their discography.
Since forming, the band has released seven studio albums and toured with the incomparable Tarja Turunen. In 2026, TEMPERANCE are set to embark on a European tour with labelmates KAMELOT and EXIT EDEN, starting November 1 in London, UK.
Kristin Starkey about “The Tower: Lean Into Fear”:
“‘The Tower’ is one of the more feared cards to draw in a tarot reading, which can be summarized as the soul needing to go through great trial and tribulation to grow and flourish. Sometimes the right path is the most painful one, and sometimes we need to lean into that fear to become the best versions of ourselves. We try to avoid these pains, but once one realizes that these pains, scars, and trials are necessary for learning life’s lessons, we flourish. Lean into fear.”
Structured around the divinatory practice of Tarot, each of the new songs on Arcani (October 16, 2026 via Napalm Records) follows a different card of the Major Arcana deck. Pouring their passion into 13 spellbinding songs with even catchier symphonic melodies than before, TEMPERANCE’s bright future takes shape on Arcani.
Though not a direct concept album, TEMPERANCE position themselves as masters of narrative with their Tarot-themed album, Arcani. Their symphonic grandeur rising to new heights on their memorable seventh album, the Italian five-piece knows how to make their trademark alternating vocalists stand out. With the most personal lyrics of their career, the lines recorded in group sessions binding the band together even more, TEMPERANCE present a strong melodic piece of work, filled with power, passion, and perspective.
Marco Pastorino about Arcani:
“We are finally here to announce our new album Arcani! 13 incredible new songs that we have worked tirelessly on over the past year, and we are confident they will become an essential part of our live show. Epic symphonic arrangements, harmonies woven through our three distinctive voices, huge metal guitar solos, and a fantastic production! After our adventures around the globe supporting the magical world of Hermitage, we have returned with something magical once again. Welcome to the world of Arcani.”
Their first trump comes in the shape of “The Fool.” Just like the card has uniqueness in Tarot through being unnumbered or assigned 0, Arcani’s opening song takes a special role through the lack of a subtitle. Paving the way for the album, TEMPERANCE have their trademark grand sound take shape in uplifting melodies and powerful duet vocals. For “The Magician: Into the Fire,” male vocals take the lead, the blazing anthem further unfolding the potential of the magical record. The emotive mid-tempo track “Death: Right Before We Die,” introduced by gentle keyboard melodies and fleshed out by impressively high notes, draws from a personal experience the band members shared. “The Tower: Lean Into Fear” takes the form of a hard rock song — an entirely new facet in TEMPERANCE’s musical universe. Its Tarot paragon being a symbol of chaos and catastrophe as well as liberation, it is the perfect song for Kristin Starkey to show her roaring versatility. “The Devil: Sin, Sin, Sin” picks up on its predecessor’s dark undertone, using it for a dramatic composition with an incomparably rousing chorus in which the Italian masters of modern melodic metal truly shine. Following, the quintet unveils a quasi-self-titled track with “Temperance: Forgiveness.”
TEMPERANCE turn the virtue card into a well-balanced, encouraging song, claiming, “Another day is coming,” before presenting theirs with the triumphant “The Chariot: Alla Ricerca dell’America” (Engl. “in search of America”), which adds both Italian lyrics, and a Swedish line honoring Starkey’s chosen home, as well as more operatic singing to Arcani. The collectively catchy “Justice: Balance” portrays a similarly victorious sentiment, before the hopeful “The Star: Surrender Control” has TEMPERANCE move back to contrasting their vocalists. Introduced by electronic melodies, “Wheel of Fortune: Come and Call Me” comes in fast and forceful — fierce change once again matching the symbolism behind the eponymous card. Much calmer, “The Moon: The Man of Moonlight” harmonizes hidden danger through enticing instrumentation and strong vocals, before the intense “The Hanged Man: Petrichor” turns from acoustic guitars to heavy extraordinaire, from metal to opera, pulling together the numerous different styles the five-piece is capable of executing without the “pitture infamante’s sacrifice. “The World,” much like “The Fool,” stands out in its title, but also as a song itself: The closing track is an acoustic guitar track with predominantly female vocals, mirroring the Major Arcana’s final card in its feeling of success. With it, TEMPERANCE wrap up Arcani with a special feeling of overarching finality while still looking ahead.
———
𝗙𝗿𝗼𝗺:
deadcentremedia.com/2026/09/11/temperance-unleash-new-single-the-tower-lean-into-fear-ahead-of-ar…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=Q8a59n-IgrU
———
#Colderra
#ColderraMusic
#MusicReview
#TEMPERANCE
#TheTower
#LeanIntoFear
Italian modern melodic and symphonic metal outfit TEMPERANCE will release its new album, Arcani, on October 16 via Napalm Records. Today, their brand new single, “The Tower: Lean Into Fear,” kicks right in, diving deeper into the album’s overall Tarot-driven line. “The Tower: Lean Into Fear” hits with rocking riffs and the roaring vocal power of vocalist Kristin Starkey, showcasing an entirely new facet of the band’s musical universe and making it a standout addition to their discography.
Since forming, the band has released seven studio albums and toured with the incomparable Tarja Turunen. In 2026, TEMPERANCE are set to embark on a European tour with labelmates KAMELOT and EXIT EDEN, starting November 1 in London, UK.
Kristin Starkey about “The Tower: Lean Into Fear”:
“‘The Tower’ is one of the more feared cards to draw in a tarot reading, which can be summarized as the soul needing to go through great trial and tribulation to grow and flourish. Sometimes the right path is the most painful one, and sometimes we need to lean into that fear to become the best versions of ourselves. We try to avoid these pains, but once one realizes that these pains, scars, and trials are necessary for learning life’s lessons, we flourish. Lean into fear.”
Structured around the divinatory practice of Tarot, each of the new songs on Arcani (October 16, 2026 via Napalm Records) follows a different card of the Major Arcana deck. Pouring their passion into 13 spellbinding songs with even catchier symphonic melodies than before, TEMPERANCE’s bright future takes shape on Arcani.
Though not a direct concept album, TEMPERANCE position themselves as masters of narrative with their Tarot-themed album, Arcani. Their symphonic grandeur rising to new heights on their memorable seventh album, the Italian five-piece knows how to make their trademark alternating vocalists stand out. With the most personal lyrics of their career, the lines recorded in group sessions binding the band together even more, TEMPERANCE present a strong melodic piece of work, filled with power, passion, and perspective.
Marco Pastorino about Arcani:
“We are finally here to announce our new album Arcani! 13 incredible new songs that we have worked tirelessly on over the past year, and we are confident they will become an essential part of our live show. Epic symphonic arrangements, harmonies woven through our three distinctive voices, huge metal guitar solos, and a fantastic production! After our adventures around the globe supporting the magical world of Hermitage, we have returned with something magical once again. Welcome to the world of Arcani.”
Their first trump comes in the shape of “The Fool.” Just like the card has uniqueness in Tarot through being unnumbered or assigned 0, Arcani’s opening song takes a special role through the lack of a subtitle. Paving the way for the album, TEMPERANCE have their trademark grand sound take shape in uplifting melodies and powerful duet vocals. For “The Magician: Into the Fire,” male vocals take the lead, the blazing anthem further unfolding the potential of the magical record. The emotive mid-tempo track “Death: Right Before We Die,” introduced by gentle keyboard melodies and fleshed out by impressively high notes, draws from a personal experience the band members shared. “The Tower: Lean Into Fear” takes the form of a hard rock song — an entirely new facet in TEMPERANCE’s musical universe. Its Tarot paragon being a symbol of chaos and catastrophe as well as liberation, it is the perfect song for Kristin Starkey to show her roaring versatility. “The Devil: Sin, Sin, Sin” picks up on its predecessor’s dark undertone, using it for a dramatic composition with an incomparably rousing chorus in which the Italian masters of modern melodic metal truly shine. Following, the quintet unveils a quasi-self-titled track with “Temperance: Forgiveness.”
TEMPERANCE turn the virtue card into a well-balanced, encouraging song, claiming, “Another day is coming,” before presenting theirs with the triumphant “The Chariot: Alla Ricerca dell’America” (Engl. “in search of America”), which adds both Italian lyrics, and a Swedish line honoring Starkey’s chosen home, as well as more operatic singing to Arcani. The collectively catchy “Justice: Balance” portrays a similarly victorious sentiment, before the hopeful “The Star: Surrender Control” has TEMPERANCE move back to contrasting their vocalists. Introduced by electronic melodies, “Wheel of Fortune: Come and Call Me” comes in fast and forceful — fierce change once again matching the symbolism behind the eponymous card. Much calmer, “The Moon: The Man of Moonlight” harmonizes hidden danger through enticing instrumentation and strong vocals, before the intense “The Hanged Man: Petrichor” turns from acoustic guitars to heavy extraordinaire, from metal to opera, pulling together the numerous different styles the five-piece is capable of executing without the “pitture infamante’s sacrifice. “The World,” much like “The Fool,” stands out in its title, but also as a song itself: The closing track is an acoustic guitar track with predominantly female vocals, mirroring the Major Arcana’s final card in its feeling of success. With it, TEMPERANCE wrap up Arcani with a special feeling of overarching finality while still looking ahead.
———
𝗙𝗿𝗼𝗺:
deadcentremedia.com/2026/09/11/temperance-unleash-new-single-the-tower-lean-into-fear-ahead-of-ar…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=Q8a59n-IgrU
———
#Colderra
#ColderraMusic
#MusicReview
#TEMPERANCE
#TheTower
#LeanIntoFear
TEMPERANCE – The Tower: Lean Into Fear (Official Video) | Napalm Records
www.youtube.com
New Album, Arcani, Out October 16, 2026!Pre-Order: lnk.to/T…
When the world feels too hard and dark, remember: life is too short to sit and cry. Fight for what you believe in, be the superhero for your world, and wait for magic in the sky!
Amidst a past full of pain and lies, finding each other brought light into the darkness. Together, they promised to protect each other's hearts with love forever.
Hold this night and stay with me, share this intimate moment without tears. Let our burning hearts and souls unite, flying away together into our deepest desires.
I am deeply sorry for the pain and tears I caused you. Without your smile, everything is gone. Please forgive me, and give me one more chance.
Never dismiss depression and anxiety. Pain in the dark is real; be gentle, stay strong, and always look out for each other.
Though demons storm the heavens, let not thy courage wane. Within thy soul lies an eternal kingdom; rise, valiant knight, and conquer the night.
Stop acting like a fool waiting for a sign in the dark. If you're truly 'Colderra,' quit running like a coward. Burn your spirit, show some real power and catch the future—unless you want to die!
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Happy metal weekend.. for all of you who still exist in this mortal world!
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