𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗙𝗥𝗔𝗖𝗧𝗔𝗟 𝗦𝗨𝗡 – 𝗗𝗜𝗩𝗘𝗥𝗚𝗘𝗡𝗧 𝗣𝗔𝗥𝗔𝗗𝗢𝗫
Progressive metal is such a broad genre these days, and that description alone is insufficient to clarify the sound of any specific band within the genre. This is very true for Costan Rican band Fractal Sun, a band I have followed for quite some time and will finally get to see at Progstorm in Montreal in August. They first introduced us to their unique sound and extremely deep lore of main antagonist Orianna with their 2020 release “Turmoil,” featuring a melting pot of djent, progressive metal, and symphonic metal that also brought in some of their own cultural roots. It is unsurprising that key influences included bands like Periphery, Between the Buried and Me, and Epica, though the band revealed to me during an interview just how diverse their influences are. It was three years before they released follow-up single “Ares,” adding a darker feel with more electronic elements without losing the core foundation from “Turmoil.” Things were again quiet, until their next single, “Trail of Hope,” was released in 2025, which also proved to be the first song from their upcoming new album. Fast forward to the end of July 2026, and their second full length, “Divergent Paradox,” is finally seeing the light of day.
This album is so unique, and when asked how to describe it, I have had difficulty doing so. Each band member brings myriad influences to the mix, painting a soundscape that can flex in many different directions, even ones that on paper may be surprising or not make sense. What I love about this album is how the band has managed to stitch all of these influences together in a very cohesive way, allowing each song to meader and chart its own course without losing the listener. For every crazy polyrhythmic explosion, shift into a different musical genre, and progressive bombast, there are accessible melodies, massive vocal lines, and incredible musicality. The guitar work, shared by Isa and Johnny, is fabulous, ranging from more straightforward melodies and riffs to polyphonic duels and crushing soundscapes that can change on a dime. Santiago kills it on the bass, bringing funk and jazz sensibility to his melodic lines that get to shine regularly while also contributing plenty of beefy heft. Sunfyre‘s drums feel very organic and adapt to what the song needs at the time, never feeling overbearing but delivering the right punch when necessary. And Hellen‘s vocals are phenomenal, clearly taking inspiration from the stalwarts of symphonic metal while adding her own character. Her broad range stretches from more straightforward cleans that have the ability to escape the atmosphere, to grisly growls that materialize on a dime, and all sorts of cool vocal mechanics that exude different moods and emotions. There is strong incorporation of electronic elements, influenced by their work with producer Sam Vallen of Caligula’s Horse, which gives both an industrial and futuristic feel to the songs, perfectly appropriate for the story material. The symphonic and orchestral feels are very evident in the keys, piano, and occasional strings, and you even get some relatively nonobvious inclusions, such as brass instruments,
Fractal Sun has taken a split personality approach to the album so to speak, writing a story that branches into “light” and “dark” paths. At a high level, they have crafted a narrative that follows a similar storyline but across 2 divergent timelines, demonstrating how the choices that are made influence what happens next. Watching events unfold differently based on Orianna’s decisions is clever writing, and the band mirrors this in the musical compositions with melodies that feel brighter on the light path and more brooding and even approaching sinister at times on the dark path. One cool connection I discovered is that there are key melody lines that reprise across the album, exemplifying the interconnectedness of the story and music despite the divergent timelines. The more I have dived in, the more impressed I have been with the care and depth put into the writing of each song from a total story perspective. This is the kind of audio book I want!
The first songs, which were also the first 2 singles, take a unique approach of sharing the exact same lyrics, with the first starting us down the light path, while the second catapults us down the dark path. The story picks up right after the closing track “My Demise” from the previous album, with Orianna awakening aboard a spaceship after being pulled into a black hole. A strange voice tells her to “Open her eyes” as each song starts, with the light path feeling more encouraging and hopeful while the dark path version is haunting with an eerie, menacing feel. Starting the album in this way is just as cool of a music mechanic as it is a story telling mechanic, allowing the listener to draw different conclusions and perspectives as each song treads a very different path. Orianna is on a quest to retake control of the ship, having to find and unlock clues she discovers, unknowingly setting off an alarm on Earth that really kicks the story into high gear.
“Trail of Hope” opens things up on the light path, with “Open your eyes” muttered quietly under an electronic tinged piano-driven intro, leading to majestic soaring vocals confidently giving the same command. The bass work on this song is phenomenal, a forceful melding of funk and groove, whether providing nifty fills or providing a strong foundation for the guitars. The song alternates between ethereal electronic saturated textures and more traditional heavy djent, with polyphonic duels featuring guitar, bass, and piano. You eventually make it to a cool electronic interlude which transitions to a relatively relaxed breakdown, Hellen taking command with a growl lurking in the shadows. Another rendition of the chorus and an impassioned guitar solo ends in rumbling bass before an eerie nearly acapella section takes over, light snare and bass providing a rhythmic foundation. Then Hellen is alone in the darkness, her voice captivating, before everything comes back, powerful and anthemic, heavy djent carrying you to the emotional end.
“Trail of Pain” commences the dark path, brutal growls uttering the same starting lyrics of “Open your eyes,” industrial tinged djent in command. The song has a notable darker tambor to it, with an industrial feel in a progressive framework. Hellen’s vocals are more haunting, trading the bright edge from the previous song for something more mysterious that encroaches on sinister. There are a number of musical parallels between the two songs, utilizing a similar mechanic of alternating soft and hard passages as the song progresses. The middle instrumental is more frenetic than “Hope,” with heavy electronica meets myriad guitar leads, leading to blastbeats under soaring vocals. Things slow down significantly and get a little funky, drums and bass getting a moment to shine, before running you over with a sledgehammer of heavy symphonic metal. Operatic vocals pierce the atmosphere, quickly interleaving more growls as the drums thunderously race ahead. The ending build is insane, with the chorus growing into a speedy blasting attack, siren wails in the background while vicious growls slaughter you.
“Blooming Regrets” was the final single and serves as the next entry in the light path. The clues Orianna is attempting to unlock are unknowingly part of the Dark Project, resulting in an apparent message from Earth that provides newfound hope based on her belief that she had previously doomed Earth to extinction. But there is more lying beneath as the story unfolds! A crazy guitar-driven polyrhythmic display of aggression kicks things off, subsiding into a relaxed verse bringing a calm before the fury returns, complete with a transmission pushing the narrative forward. The chorus is powerful and super singable, an earworm that gets my head bopping and resides in my head long after. The song takes its time to build with some cool meandering and incredible vocal layering, delivering a prog explosion in the final third starting near the four minutes mark. Polyrhythmic polyphony takes control, with guitars, keys, and bass all competing in complementary ways. Santiago delivers a slick bass solo that is so smooth and melodic, making way for a brief vocal bridge and guitar interlude that leads into the final rendition of the chorus. Hellen’s vocals are just magnificent, and the ending sees the bass getting to shine once again, with piano getting its own turn right at the end. I love every song, but this may be my favorite.
Though following a similar path, the next dark path entry, “Withering Grace,” sees Orianna being more suspicious and resorting to a game of deception with those from Earth. This game is bidirectional but unbeknownst to each other, setting the stage for later events. Fractal Sun has done such a good job differentiating the two paths even with each pair of songs covering similar aspects of the story. The overall tone is again darker than the preceding song, reflecting the deception being played out. The song begins with a nice TesseracT or Periphery style intro, just with a more industrial feel. The djenty breakdowns hit harder, such as the first one just after two minutes that is bigger, nastier, and not as noodly as what we heard in the previous song. Even the guitar solo immediately following is super moody, as is the next vocal passage. Sunfyre’s drums do a fabulous job driving urgency, with well-placed speed interspersed with the more thunderous hits. And that ending is just sinister sounding, with the piercing wails and pointed ending statement.
“Weaving the Universe” and “Bow Before Me Master” are the final 2 entries in the story, with Orianna finally meeting those who sent the message but taking very divergent paths across each timeline.
“Weaving the Universe” sees her being recognized as a hero rather than a villain, initially bringing hope but ultimately causing suspicion and a search for truth. This leads to a series of events that cause Orianna to form a new alliance and seek out ways to right past wrongs and bring order back to the universe. The song leads off with a massive emotive guitar solo, then keeps the emotion flowing as the vocals enter. This song is a clinic for polyrhythmic instrumentation, with guitars, drums, and piano all getting into the mix, keeping your ears and headbanging guessing as they flow in and out, providing great support for Hellen’s fabulous vocals. She delivers absolutely stunning stuff in this song, with plenty of diversity exuding passion and power. I could point out so many examples, such as the Solarus or Dialith soaring melodic sensibility around the 90 seconds mark, or right after where I almost get Casey Lee Williams or Leigh Nash vibes. Hellen is so versatile with full control of her melodic range, and her ability to maintain cohesion within diversity is impressive. Close to the halfway mark features an almost broadway feel, followed by a super cool djenty ethereal section that gets bigger and nastier, then becomes subdued again with piano polyphony challenging the nasty riffs. I wasn’t kidding when I said this song was a polyrhythmic feast, and yet at no point does it ever not work or feel off. It feels a bit like a musical adventure, not unlike the underlying storyline. I never know whether I am going to be challenged with technical prowess and off time signatures, swept up in atmosphere, captivated by alluring vocals and melodies, or have my head bitten off with a snarl or crushing set of riffs and blastbeats. The early vocal callout I mentioned reprises several times and is just so powerful and majestic, particularly as part of that anthemic ending!
We have now made it to the final track, “Bow Before Me Master,” which takes a different approach from the previous song despite following similar events. It presents three different perspectives amidst an uprising and a series of deceptions, with Orianna ultimately embracing her villainous nature and plotting revenge and destruction. This song is the longest at just over 11 minutes and, like the three perspectives, almost presents as three separate movements within the song. The movie soundtrack-like intro yields to guest vocalist Chaney Crabb of Entheos ripping your head off with her incredible snarl, ethereal atmosphere and eerie operatic voices swirling around as melodic guitar sweeps fill the empty spaces. Hellen finally comes in, reminding of what Dialith might sound like if they took a more djenty symphonic approach. And wow that chorus, chill-inducing in its execution! Around the three minutes mark, we move into a breakdown that features guitars and….brass? Suddenly Fractal Sun is playing something I have never heard: prog jazz djent swing, complete with hard hitting djent and thunderous blastbeats! I am imagining what Cherry Poppin’ Daddies, Periphery, and Solarus might produce if they did a mind meld. It sounds insane, but it works incredibly well and is one of the cooler interludes I have heard in a metal song in quite some time. Around the five minutes mark, Santiago unleashes a cool djenty bass groove supporting soaring vocals, guitar flourishes and piano. This subsides back to funk bass, slowly layering the guitars and drums back in, and finally adding violins, creating a killer textured polyphonic soundscape. You then get perhaps the most straightforward breakdown Fractal Sun plays in the entire album, gnarly growls smacking your ear drums as the crushing riffs hit, transitioning again into that earworm of a chorus. At this point we have made it to the final third of the song, and when you think the band has exhausted their bag of tricks, they surprise yet again. Blastbeats-driven symphonic djent with haunting siren vocals intermixed with growls, transitioning into…tango? And yet it just works as Fractal Sun is so adept at doing. As the song drives toward its epic conclusion, it slowly builds, more subdued in its vocal and musical approach with a hefty helping of piano, before one final storm of massive vocals and furious blasts that leaves you wanting more and wondering…what is in store next for Orianna? After “Blooming Regrets,” this is my other favorite track on the album.
This is such a unique album in so many ways. Trying to describe it with a simple genre descriptor, other than “progressive metal,” is challenging given the melding of so many diverse influences. The primary flavors are a progressive weaving of djent, symphonic, and industrial metal influences, with plenty of other tasty morsels yet to be found along with some killer melodies and plenty of creativity. Repeat listens enable new discoveries, and believe me, there is so much to discover here. This is a phenomenal album, and one you should definitely check out! It is one of the more unique prog metal albums I have heard in a while, and I cannot get enough of it.
———
𝗙𝗿𝗼𝗺:
www.mymetaloftheday.com/fractal-sun-divergent-paradox-album-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
fractalsun.bandcamp.com/album/divergent-paradox-2
———
#Colderra
#ColderraMusic
#MusicReview
#FractalSun
#DivergentParadox6 track album
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𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗡𝗢𝗧𝗧 – 𝗔𝗦 𝗔𝗟𝗟 𝗜𝗦 𝗨𝗡𝗗𝗢𝗡𝗘
I remember the first time I saw Nott live. I was very familiar with Julia Geaman, the amazing drummer for gothic death doom band Tribunal, but then was a bit surprised to see only one other person on stage, frontman and 8-string guitarist Tyler Campbell. I had listened to Nott’s previous album from 2023, “Hiraeth,” and found it intriguing, but I wondered how it would translate to a live setting. By the time their dizzingly heavy set was complete, I was a believer, and the duo delivered an absolutely incredible show. I enjoyed “Hiraeth” and found its mix of intense brutality and atmosphere well done and a bit unique, but I didn’t find myself returning to it frequently, moreso because I rarely venture into this level of heavy for my regular listening. I saw Nott perform at Armstrong Metal Fest last month, and when I spoke with Tyler after his set, he said he wanted this new release to be even more atmospheric and heavy. With “As All Is Undone,” Nott’s latest full length, not only do I think this duo has accomplished this, but they have crafted a record that I think is a huge step forward from their previous album while also being one of the heaviest things I have heard in a long time.
There are definitely a number of influences here, but if I were to take a shot at a semi simple descriptor, I would label this as atmospheric blackened sludge. The atmosphere is thick and heavy, a cloud hanging over every song providing ominous texture and depth. The pace biases toward the slow side while amping up the brutality, treading a sludgy doom path that flirts with a deathcore crawl feel at times, just without ever feeling very “core.” Tyler wields an 8-string and puts it to good use, delivering nasty down tuned riffs that will bludgeon your skull and induce forced headbanging. The lead guitarwork is minimal, instead relying on the atmosphere and drums to add motion to the wall of sound, allowing it to remain insanely heavy without getting stale. The drums at times feel almost like a lead instrument and a placebo for the lack of lead guitar, with a variety of rhythms and fills that act as an opposing force to the thick guitar riffs. Julia is a phenomenal drummer, and she really shines on this album, whether improvising in the slower sludgier sections or coming unhinged on the blasting sections. I get lost at times just admiring the majesty of the drums on this album, and they are a true difference maker in just how good and listenable this album is. The use of atmosphere and dynamics are also difference makers that keep each song interesting, particularly the false stops and restarts and massive volume shifts. Tyler’s vocals are absolutely beastly, gutteral roars and blackened screams from the pits of hell that will make the hair stand up on your arms, melding perfectly with the sonic assault. This album will hit you like a sledgehammer, pummel until you cannot breathe, relax and lull you into a dream state that quickly turns into nightmare, and then destroy you again.
“I Still Feel You Here” bludgeons you out of the gate with powerful riffs heading into a sludgey doomy crawl soaked in atmosphere as Tyler’s wicked gutterals destroy your ears. After the initial pummeling, things get quiet, entering a dreamy shoegaze section with ethereal vocals that turn ghastly, developing into what I can best describe as “sludgegaze,” maintaining the dreamy atmosphere and juxtaposing it against the gnarliest of riffs. The song maintains this slower pace throughout, letting the drums do the heavy rhythmic lifting while the guitars continue to waylay your ears with crushing chugs. This song works great as an intro, not opening its full bag of tricks just yet while giving you a taste of what is to come.
“Under the Weight” starts with eerie dissonance, then carries that forward into a blackened doom slog over blastbeats and pounding drums. Julia kept the drumming a bit simpler on the first song, but here she absolutely lets loose, acting like a lead instrument against the deafening 8-string assault. She alternates various fills and rhythms and even occasionally blasts, adding extra depth and texture that work well with the brutally ominous melodies. As the song approaches the ending, it slows things way down, making the song even heavier. I dare say the second half of this song is some of the heaviest, gnarliest destruction I have heard in quite some time, particularly the ending. Brutality sandwiches dissonant atmospheric sections, Julia continues keeping you on your toes with her drum calisthenics, and false starts and stops destroy you with deafening precision.
But wait, “Show Me the End” starts and makes me look like a fool. Apocalyptic atmosphere is broken by alternating blastbeats and a long winded beastly growl. A brief sludgey section begets a short reprise of the intro, then gets super nasty before all hell breaks loose, Julia blasting for her life juxtaposed against Tyler’s slower chugs. This song makes great use of start and stop dynamics to build urgency and misdirection, keeping you guessing as to what is next. The final two minutes see the guitars slowly riff amidst bleeding feedback before letting the drums back in slow deliberate fashion, a stark dichotomy to the blastbeat fest we just experienced. It never ceases to amaze me just how heavy Nott can be even at the much slower tempos, and this atmosphere-heavy blackened sludge assault bludgeons you until the end.
The title track, “As All Is Undone,” starts ethereal and ghastly, almost like a horror soundtrack prepping you for the next jump scare, and a brief pause yields 8-string madness. The atmosphere is pervasive, complementing Tyler’s blackened demonic roars, heavy guitar chugs, and powerful drumming. One mechanic I love is how the underlying dark melody acts as a harmony to the harsh vocals, creating an unsettling but cool effect that works quite well as the song progresses. Eventually, the instruments drop out and yield to eerie orchestration, before a beastly sludge crawl destroys you. A reprise of the intro transitions to even heavier chaos, dragging you kicking and screaming to the end.
“Unraveling” is a short instrumental that wouldn’t be out of place in a horror or apocalyptic movie soundtrack, not unlike most of the orchestration on the album. It provides the calm before the storm of “An Eternal Ache,” which practically has a first wave of black metal feel as it blazes ahead at lightning speed from the opening second, massive blastbeats driving a muddled wall of sound accompanying sinister vocals. It slows down while maintaining the brutality, then enters an apocalyptic section of permeating atmosphere with massive guitars and pummeling drums breaking through at different times, eventually converging into sludgey doom. Things quiet and slow, providing the horror movie equivalent of sludgegaze, nightmarish in its ethereal intensity. From here the song lays the atmosphere on thick, Tyler’s brutal gutterals supported by massive chugs and huge drum hits that just feel heavier and more aggressive than the tempo would seem to allow. This singlehandedly may be one of the heaviest songs I have heard in quite some time while being extremely multidimensional. And yes, I realize I have made this claim a few times in this review. Needless to say, this album is HEAVY!
Closer “To Be Without” picks the pace back up, driving drums and guitars within an encompassing dissonance. It has a long minute plus intro before vocals enter the fray, a roar emerging from the depths transitioning into a snarling verse over the same cadence. The song keeps this faster pace, with good use of start and stop dynamics, until the start of the second half when the sludge enters, thickening the pace and upping the heft. Around four minutes the volume drops, light clean guitar strums accompanied by light tribal percussion, before the wall of sound bludgeons you again in a sludgy polymetric crawl, the guitars and drums acting as diametric forces battling to the end.
Nott as a band is very different from my normal musical intake, and yet I cannot get enough of the grisly heft and atmospheric goodness this album delivers. “As All Is Undone” is nasty, gnarly, and utterly brutal, but it remains fresh and interesting with the amazing drumming, eerie melodies, and dissonant atmosphere. If you like heavy and atmospheric that is unique, you should absolutely give this album a listen! And remember when I said I didn’t find myself revisiting the previous album as much? I will definitely be revisiting this one, particularly when I want my dose of super heavy!
———
𝗙𝗿𝗼𝗺:
www.mymetaloftheday.com/nott-as-all-is-undone-album-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
nottmusicofficial.bandcamp.com/album/as-all-is-undone
———
#Colderra
#ColderraMusic
#MusicReview
#Nott
#AsAllIsUndone7 track album
I remember the first time I saw Nott live. I was very familiar with Julia Geaman, the amazing drummer for gothic death doom band Tribunal, but then was a bit surprised to see only one other person on stage, frontman and 8-string guitarist Tyler Campbell. I had listened to Nott’s previous album from 2023, “Hiraeth,” and found it intriguing, but I wondered how it would translate to a live setting. By the time their dizzingly heavy set was complete, I was a believer, and the duo delivered an absolutely incredible show. I enjoyed “Hiraeth” and found its mix of intense brutality and atmosphere well done and a bit unique, but I didn’t find myself returning to it frequently, moreso because I rarely venture into this level of heavy for my regular listening. I saw Nott perform at Armstrong Metal Fest last month, and when I spoke with Tyler after his set, he said he wanted this new release to be even more atmospheric and heavy. With “As All Is Undone,” Nott’s latest full length, not only do I think this duo has accomplished this, but they have crafted a record that I think is a huge step forward from their previous album while also being one of the heaviest things I have heard in a long time.
There are definitely a number of influences here, but if I were to take a shot at a semi simple descriptor, I would label this as atmospheric blackened sludge. The atmosphere is thick and heavy, a cloud hanging over every song providing ominous texture and depth. The pace biases toward the slow side while amping up the brutality, treading a sludgy doom path that flirts with a deathcore crawl feel at times, just without ever feeling very “core.” Tyler wields an 8-string and puts it to good use, delivering nasty down tuned riffs that will bludgeon your skull and induce forced headbanging. The lead guitarwork is minimal, instead relying on the atmosphere and drums to add motion to the wall of sound, allowing it to remain insanely heavy without getting stale. The drums at times feel almost like a lead instrument and a placebo for the lack of lead guitar, with a variety of rhythms and fills that act as an opposing force to the thick guitar riffs. Julia is a phenomenal drummer, and she really shines on this album, whether improvising in the slower sludgier sections or coming unhinged on the blasting sections. I get lost at times just admiring the majesty of the drums on this album, and they are a true difference maker in just how good and listenable this album is. The use of atmosphere and dynamics are also difference makers that keep each song interesting, particularly the false stops and restarts and massive volume shifts. Tyler’s vocals are absolutely beastly, gutteral roars and blackened screams from the pits of hell that will make the hair stand up on your arms, melding perfectly with the sonic assault. This album will hit you like a sledgehammer, pummel until you cannot breathe, relax and lull you into a dream state that quickly turns into nightmare, and then destroy you again.
“I Still Feel You Here” bludgeons you out of the gate with powerful riffs heading into a sludgey doomy crawl soaked in atmosphere as Tyler’s wicked gutterals destroy your ears. After the initial pummeling, things get quiet, entering a dreamy shoegaze section with ethereal vocals that turn ghastly, developing into what I can best describe as “sludgegaze,” maintaining the dreamy atmosphere and juxtaposing it against the gnarliest of riffs. The song maintains this slower pace throughout, letting the drums do the heavy rhythmic lifting while the guitars continue to waylay your ears with crushing chugs. This song works great as an intro, not opening its full bag of tricks just yet while giving you a taste of what is to come.
“Under the Weight” starts with eerie dissonance, then carries that forward into a blackened doom slog over blastbeats and pounding drums. Julia kept the drumming a bit simpler on the first song, but here she absolutely lets loose, acting like a lead instrument against the deafening 8-string assault. She alternates various fills and rhythms and even occasionally blasts, adding extra depth and texture that work well with the brutally ominous melodies. As the song approaches the ending, it slows things way down, making the song even heavier. I dare say the second half of this song is some of the heaviest, gnarliest destruction I have heard in quite some time, particularly the ending. Brutality sandwiches dissonant atmospheric sections, Julia continues keeping you on your toes with her drum calisthenics, and false starts and stops destroy you with deafening precision.
But wait, “Show Me the End” starts and makes me look like a fool. Apocalyptic atmosphere is broken by alternating blastbeats and a long winded beastly growl. A brief sludgey section begets a short reprise of the intro, then gets super nasty before all hell breaks loose, Julia blasting for her life juxtaposed against Tyler’s slower chugs. This song makes great use of start and stop dynamics to build urgency and misdirection, keeping you guessing as to what is next. The final two minutes see the guitars slowly riff amidst bleeding feedback before letting the drums back in slow deliberate fashion, a stark dichotomy to the blastbeat fest we just experienced. It never ceases to amaze me just how heavy Nott can be even at the much slower tempos, and this atmosphere-heavy blackened sludge assault bludgeons you until the end.
The title track, “As All Is Undone,” starts ethereal and ghastly, almost like a horror soundtrack prepping you for the next jump scare, and a brief pause yields 8-string madness. The atmosphere is pervasive, complementing Tyler’s blackened demonic roars, heavy guitar chugs, and powerful drumming. One mechanic I love is how the underlying dark melody acts as a harmony to the harsh vocals, creating an unsettling but cool effect that works quite well as the song progresses. Eventually, the instruments drop out and yield to eerie orchestration, before a beastly sludge crawl destroys you. A reprise of the intro transitions to even heavier chaos, dragging you kicking and screaming to the end.
“Unraveling” is a short instrumental that wouldn’t be out of place in a horror or apocalyptic movie soundtrack, not unlike most of the orchestration on the album. It provides the calm before the storm of “An Eternal Ache,” which practically has a first wave of black metal feel as it blazes ahead at lightning speed from the opening second, massive blastbeats driving a muddled wall of sound accompanying sinister vocals. It slows down while maintaining the brutality, then enters an apocalyptic section of permeating atmosphere with massive guitars and pummeling drums breaking through at different times, eventually converging into sludgey doom. Things quiet and slow, providing the horror movie equivalent of sludgegaze, nightmarish in its ethereal intensity. From here the song lays the atmosphere on thick, Tyler’s brutal gutterals supported by massive chugs and huge drum hits that just feel heavier and more aggressive than the tempo would seem to allow. This singlehandedly may be one of the heaviest songs I have heard in quite some time while being extremely multidimensional. And yes, I realize I have made this claim a few times in this review. Needless to say, this album is HEAVY!
Closer “To Be Without” picks the pace back up, driving drums and guitars within an encompassing dissonance. It has a long minute plus intro before vocals enter the fray, a roar emerging from the depths transitioning into a snarling verse over the same cadence. The song keeps this faster pace, with good use of start and stop dynamics, until the start of the second half when the sludge enters, thickening the pace and upping the heft. Around four minutes the volume drops, light clean guitar strums accompanied by light tribal percussion, before the wall of sound bludgeons you again in a sludgy polymetric crawl, the guitars and drums acting as diametric forces battling to the end.
Nott as a band is very different from my normal musical intake, and yet I cannot get enough of the grisly heft and atmospheric goodness this album delivers. “As All Is Undone” is nasty, gnarly, and utterly brutal, but it remains fresh and interesting with the amazing drumming, eerie melodies, and dissonant atmosphere. If you like heavy and atmospheric that is unique, you should absolutely give this album a listen! And remember when I said I didn’t find myself revisiting the previous album as much? I will definitely be revisiting this one, particularly when I want my dose of super heavy!
———
𝗙𝗿𝗼𝗺:
www.mymetaloftheday.com/nott-as-all-is-undone-album-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
nottmusicofficial.bandcamp.com/album/as-all-is-undone
———
#Colderra
#ColderraMusic
#MusicReview
#Nott
#AsAllIsUndone7 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗝𝗨𝗗𝗜𝗖𝗔𝗧𝗢𝗥 – 𝗧𝗛𝗘 𝗘𝗟𝗘𝗖𝗧𝗢𝗥
If you have followed the North American power metal scene for any period of time, you are likely already familiar with Utah-based progressive power metallers Judicator (and if not, what rock have you been hiding under?). Started by guitarist Alicia Cordisco and vocalist John Yelland, they had a run of albums featuring plenty of speed, melody, and soaring vocals, culminating in personal favorite “Let There Be Nothing” in 2020. At this point Alicia decided to leave the band, with 2022’s “Majesty of Decay” deviating greatly from the previous sound, dropping almost all the power dynamics and doubling down on the prog, functioning like a solo album for John under the Judicator banner. 2025’s “Concord” saw a return to power while maintaining more of the prog elements. At this year’s Mad with Power Fest, it was announced that Judicator would be playing the 10th edition next year with Alicia making her return to the band. I had the exclusive first opportunity to interview John and Alicia to discuss the reunion and some of the history behind it, and it was quite enlightening.
And that brings us to “The Elector” EP, a teaser of sorts that includes Alicia for the first time since the 2020 album and acts as a small appetizer ahead of what the band has next, currently planned for 2027. It features a completely refreshed rerecording or an old Judicator song, a rerecording of a much more recent and my personal favorite song (and apparently near the top for Alicia as well), and a pretty fun cover song. I don’t actually know how indicative these 3 songs will be of future material, but they pack a nice punch and whet the appetite just a bit for those longing for the melding of speed and power metal of classic Judicator.
Things kick off with the title track “The Elector,” a speed fest with dueling guitar harmony shredding, heavy chugs, blazing drums (courtesy of Alex Bosson of Lunar and The Reticent), and of course big powerful vocals from John Yelland. The song is definitely very power / speed forward, but it also mixes in some prog elements as the band is known for. For example, check out the middle section that slows things down, starting with a narrator over acoustic guitar that transitions into a choir like atmosphere, with John being joined by Alyssa Chamberlain, ultimately getting you prepared for a killer duel guitar solo. The guitar work is phenomenal and hearkens back to the pre-Majesty era of Judicator, with no hesitation to slay your ears with myriad solos, deft fretwork, and power riffing. Alex is one of my favorite drummers, and though he doesn’t completely let loose here as he does on a project like Lunar, his technical command provides a killer underbelly to both the blazing speed and more subdued sections. And I can’t say enough about John’s vocals, which are always first class, bringing an anthemic and theatrical vibe that adapts to the song at the time, while delivering soaring vocals that are just phenomenal. This refreshed track brings back memories of Judicator from yesteryear with a beautiful modern polish.
The second song sees the band rerecording my personal favorite song “Gloria” from 2020 album “Let There Be Nothing.” When I wrote my mini-review of this album for my Instagram account a few years ago, I had this to say: “Gloria” has the most infectious and anthemic vocal melodies on the album (including some splendid female vocals), all over a nice power metal gallop full of great riffing and soloing. I stand by this, and the crisper production (particularly the mastering) of this new version makes it sound even more grandiose. The song is pretty identical musically, and besides the better production, the only big difference I noticed is that the female vocalist is different (Alyssa Chamberlain on the rerecording vs Mercedes Victoria on the original). I did back and forth comparisons and ultimately decided I cannot determine if I prefer one over the other, as both sound amazing. If Judicator is going to rerecord an older song, then this is absolutely the one!
The EP closes with a cover of ABBA favorite “Dancing Queen.” It is honestly not a song I had ever considered getting the metal treatment, and Judicator does great by it. I recall on my first listen of the EP, hearing this track begin, and being like, “Wait, is this ABBA?” when it played for the first time. Once I realized it was, I played it multiple times in a row to really soak it in. John told me it was a hoot to record, and that really comes through on the recording. You can just hear the fun as the band pays homage while melding in plenty of Judi flavor. It is definitely a fun way to end this EP.
This appetizer definitely accomplished something: it got my metabolism going! As mentioned before, I don’t have an indication of what is next sound wise, but this EP has me excited, and it is great to hear new Judicator material with Alicia back in the fold!
———
𝗙𝗿𝗼𝗺:
www.mymetaloftheday.com/judicator-the-elector-ep-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
judicatormetal.bandcamp.com/album/the-elector
———
#Colderra
#ColderraMusic
#MusicReview
#Judicator
#TheElector3 track album
If you have followed the North American power metal scene for any period of time, you are likely already familiar with Utah-based progressive power metallers Judicator (and if not, what rock have you been hiding under?). Started by guitarist Alicia Cordisco and vocalist John Yelland, they had a run of albums featuring plenty of speed, melody, and soaring vocals, culminating in personal favorite “Let There Be Nothing” in 2020. At this point Alicia decided to leave the band, with 2022’s “Majesty of Decay” deviating greatly from the previous sound, dropping almost all the power dynamics and doubling down on the prog, functioning like a solo album for John under the Judicator banner. 2025’s “Concord” saw a return to power while maintaining more of the prog elements. At this year’s Mad with Power Fest, it was announced that Judicator would be playing the 10th edition next year with Alicia making her return to the band. I had the exclusive first opportunity to interview John and Alicia to discuss the reunion and some of the history behind it, and it was quite enlightening.
And that brings us to “The Elector” EP, a teaser of sorts that includes Alicia for the first time since the 2020 album and acts as a small appetizer ahead of what the band has next, currently planned for 2027. It features a completely refreshed rerecording or an old Judicator song, a rerecording of a much more recent and my personal favorite song (and apparently near the top for Alicia as well), and a pretty fun cover song. I don’t actually know how indicative these 3 songs will be of future material, but they pack a nice punch and whet the appetite just a bit for those longing for the melding of speed and power metal of classic Judicator.
Things kick off with the title track “The Elector,” a speed fest with dueling guitar harmony shredding, heavy chugs, blazing drums (courtesy of Alex Bosson of Lunar and The Reticent), and of course big powerful vocals from John Yelland. The song is definitely very power / speed forward, but it also mixes in some prog elements as the band is known for. For example, check out the middle section that slows things down, starting with a narrator over acoustic guitar that transitions into a choir like atmosphere, with John being joined by Alyssa Chamberlain, ultimately getting you prepared for a killer duel guitar solo. The guitar work is phenomenal and hearkens back to the pre-Majesty era of Judicator, with no hesitation to slay your ears with myriad solos, deft fretwork, and power riffing. Alex is one of my favorite drummers, and though he doesn’t completely let loose here as he does on a project like Lunar, his technical command provides a killer underbelly to both the blazing speed and more subdued sections. And I can’t say enough about John’s vocals, which are always first class, bringing an anthemic and theatrical vibe that adapts to the song at the time, while delivering soaring vocals that are just phenomenal. This refreshed track brings back memories of Judicator from yesteryear with a beautiful modern polish.
The second song sees the band rerecording my personal favorite song “Gloria” from 2020 album “Let There Be Nothing.” When I wrote my mini-review of this album for my Instagram account a few years ago, I had this to say: “Gloria” has the most infectious and anthemic vocal melodies on the album (including some splendid female vocals), all over a nice power metal gallop full of great riffing and soloing. I stand by this, and the crisper production (particularly the mastering) of this new version makes it sound even more grandiose. The song is pretty identical musically, and besides the better production, the only big difference I noticed is that the female vocalist is different (Alyssa Chamberlain on the rerecording vs Mercedes Victoria on the original). I did back and forth comparisons and ultimately decided I cannot determine if I prefer one over the other, as both sound amazing. If Judicator is going to rerecord an older song, then this is absolutely the one!
The EP closes with a cover of ABBA favorite “Dancing Queen.” It is honestly not a song I had ever considered getting the metal treatment, and Judicator does great by it. I recall on my first listen of the EP, hearing this track begin, and being like, “Wait, is this ABBA?” when it played for the first time. Once I realized it was, I played it multiple times in a row to really soak it in. John told me it was a hoot to record, and that really comes through on the recording. You can just hear the fun as the band pays homage while melding in plenty of Judi flavor. It is definitely a fun way to end this EP.
This appetizer definitely accomplished something: it got my metabolism going! As mentioned before, I don’t have an indication of what is next sound wise, but this EP has me excited, and it is great to hear new Judicator material with Alicia back in the fold!
———
𝗙𝗿𝗼𝗺:
www.mymetaloftheday.com/judicator-the-elector-ep-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
judicatormetal.bandcamp.com/album/the-elector
———
#Colderra
#ColderraMusic
#MusicReview
#Judicator
#TheElector3 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗙𝗢𝗚 𝗪𝗔𝗟𝗟 – 𝗚𝗟𝗢𝗢𝗠𝗪𝗘𝗔𝗩𝗘𝗥
Drawing from metal’s perennial fantasy touchstone—Lord of the Rings—with the genre’s new favorite fantasy—the Fromsoftware game catalog—Fog Wall make their independent death metal debut with Gloomweaver. Formed by two lifelong friends and Sandvvitch bandmates, vocalist Zak Brady and vocalist/bassist/overall-sound-guy Alex Malmquist (ex-Warbringer) wove Gloomweaver out of “their love of crushing evil riffs and heavy bass tones,” a fondness I’m sure is common among the greater AMG readership. Joined by guitarist Shagrat “Quincy” Gorbag and drummer Logan Griggs, Fog Wall aim to whip up heck with this passion project. But is this a passing thing, Gloomweaver, or does its soul have the strength to keep the fire lit?
If you decide to step through the Fog Wall, you’d best steel yourself; Gloomweaver hits hard and sticks deep. Striking with the old-school grit of Morbid Angel, muscle and immediacy of The Black Dahlia Murder, and the snarling ferocity of Necropanther, Fog Wall punch well above their weight. Many of Gloomweaver’s riffs feel irresponsible. The neanderthalic, brown-noted bulldozer grooves of “Knife, Sting, Tooth,” “Mazarbul (Desolation),” and “Manor of Ensnarement” tap into a primal need for heavy things to hit other heavy things. When “Fleshpot Ritual” hits its breakdown or “Frantic Orb Wielder” reaches its post-sample groove, heads will roll. Brady and Malmquist’s vocals make for a slobbering two-headed beast, wetly belching screams, gurgles, and growls matched in savagery only by Malmquist’s grotesque, capital-PH PHat bass wreaking havoc across Gloomweaver. Fog Wall is a band that just gets the minutiae of what makes death metal devastating, and are poised to use said minutiae to rip new ones with great urgency via Gloomweaver.
Fog Wall are no mere conjurors of cheap brutality, but come armed with plentiful eccentricity. There’s a blackened edge to Fog Wall—see the twin tremolos of “The Accursed” or the icy synths and blast-beated turn in “Strangling Gloom”—lending a density and sinister bent that’s supercharged by their superb death metal heft. But more surprisingly, the sleazy swing of Type O Negative manifests in musty doom riffing on “Manor of Ensnarement,” muscular group vocal “hoo”s on “Fleshpot Ritual,” and—no duh—the entirety of the Type O cover “The Profit of Doom (Medley).” Gloomweaver can verge into tech-death on speedy, tweedily-dweedily cuts like “Mazarbul (Desolation)” and “Frantic Orb Wielder,” and their Necropantheresque snarl lends a thrashy bite to everything. Finally, Fog Wall know how to sample. Clips from the LotR movie trilogy and Fromsoftware games briefly and succinctly establish setting and tone (“Manor of Ensnarement,” “Traverse”) and cue mid-song shifts with serious aplomb [“Mazarbul (Desolation),” “Frantic Orb Wielder”] bolstering Gloomweaver as an artful and thematically rich record as well as a delightfully heavy one.
Fog Wall’s songwriting is tight and thoughtful, but it’s not without its hiccups. Gloomweaver is a well-edited record, with every song focused and impactful and nothing running unbearably long. They even cut “The Profit of Doom (Medley)” almost in half from its original runtime. More importantly, nothing’s cut too short either, as even quick cuts like “Frantic Orb Wielder” and “Strangling Gloom” sound full and fully realized. But both “The Accursed” and “Belching Black Vapors” start strong and somewhat lose steam by the end, with the former lacking as many twists as usual and the latter seemingly entering into its ending phase halfway through. Gloomweaver’s weakest moment unfortunately comes with its finale in “Traverse,” where its slower pace loses much of the album’s previous vitality, and a tastefully doomy bass line and name-dropping “FOG WALL” chorus can’t bring the fire back as hot as on prior tracks. These few pacing issues are worth noting, though in no way do they detract from Fog Wall’s electrifying presence and smartly-written tunes.
Gloomweaver is fire. A gross display of joyously seething deathly goodness, Fog Wall killed it with their debut. Like the stories of their fantasy inspirations, the ordeal of any independent artistic process is long, tiresome, and uphill; this bunch of chums made it look effortless. If you like death metal, you probably like this album. Not all who wander are lost, but if Gloomweaver isn’t where you’re headed, then get it together, step through the Fog Wall, and let them take you to a cold, dark, and decidedly ungentle place today.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/fog-wall-gloomweaver-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
fogwallnv.bandcamp.com/album/gloomweaver
———
#Colderra
#ColderraMusic
#MusicReview
#FogWall
#Gloomweaver10 track album
Drawing from metal’s perennial fantasy touchstone—Lord of the Rings—with the genre’s new favorite fantasy—the Fromsoftware game catalog—Fog Wall make their independent death metal debut with Gloomweaver. Formed by two lifelong friends and Sandvvitch bandmates, vocalist Zak Brady and vocalist/bassist/overall-sound-guy Alex Malmquist (ex-Warbringer) wove Gloomweaver out of “their love of crushing evil riffs and heavy bass tones,” a fondness I’m sure is common among the greater AMG readership. Joined by guitarist Shagrat “Quincy” Gorbag and drummer Logan Griggs, Fog Wall aim to whip up heck with this passion project. But is this a passing thing, Gloomweaver, or does its soul have the strength to keep the fire lit?
If you decide to step through the Fog Wall, you’d best steel yourself; Gloomweaver hits hard and sticks deep. Striking with the old-school grit of Morbid Angel, muscle and immediacy of The Black Dahlia Murder, and the snarling ferocity of Necropanther, Fog Wall punch well above their weight. Many of Gloomweaver’s riffs feel irresponsible. The neanderthalic, brown-noted bulldozer grooves of “Knife, Sting, Tooth,” “Mazarbul (Desolation),” and “Manor of Ensnarement” tap into a primal need for heavy things to hit other heavy things. When “Fleshpot Ritual” hits its breakdown or “Frantic Orb Wielder” reaches its post-sample groove, heads will roll. Brady and Malmquist’s vocals make for a slobbering two-headed beast, wetly belching screams, gurgles, and growls matched in savagery only by Malmquist’s grotesque, capital-PH PHat bass wreaking havoc across Gloomweaver. Fog Wall is a band that just gets the minutiae of what makes death metal devastating, and are poised to use said minutiae to rip new ones with great urgency via Gloomweaver.
Fog Wall are no mere conjurors of cheap brutality, but come armed with plentiful eccentricity. There’s a blackened edge to Fog Wall—see the twin tremolos of “The Accursed” or the icy synths and blast-beated turn in “Strangling Gloom”—lending a density and sinister bent that’s supercharged by their superb death metal heft. But more surprisingly, the sleazy swing of Type O Negative manifests in musty doom riffing on “Manor of Ensnarement,” muscular group vocal “hoo”s on “Fleshpot Ritual,” and—no duh—the entirety of the Type O cover “The Profit of Doom (Medley).” Gloomweaver can verge into tech-death on speedy, tweedily-dweedily cuts like “Mazarbul (Desolation)” and “Frantic Orb Wielder,” and their Necropantheresque snarl lends a thrashy bite to everything. Finally, Fog Wall know how to sample. Clips from the LotR movie trilogy and Fromsoftware games briefly and succinctly establish setting and tone (“Manor of Ensnarement,” “Traverse”) and cue mid-song shifts with serious aplomb [“Mazarbul (Desolation),” “Frantic Orb Wielder”] bolstering Gloomweaver as an artful and thematically rich record as well as a delightfully heavy one.
Fog Wall’s songwriting is tight and thoughtful, but it’s not without its hiccups. Gloomweaver is a well-edited record, with every song focused and impactful and nothing running unbearably long. They even cut “The Profit of Doom (Medley)” almost in half from its original runtime. More importantly, nothing’s cut too short either, as even quick cuts like “Frantic Orb Wielder” and “Strangling Gloom” sound full and fully realized. But both “The Accursed” and “Belching Black Vapors” start strong and somewhat lose steam by the end, with the former lacking as many twists as usual and the latter seemingly entering into its ending phase halfway through. Gloomweaver’s weakest moment unfortunately comes with its finale in “Traverse,” where its slower pace loses much of the album’s previous vitality, and a tastefully doomy bass line and name-dropping “FOG WALL” chorus can’t bring the fire back as hot as on prior tracks. These few pacing issues are worth noting, though in no way do they detract from Fog Wall’s electrifying presence and smartly-written tunes.
Gloomweaver is fire. A gross display of joyously seething deathly goodness, Fog Wall killed it with their debut. Like the stories of their fantasy inspirations, the ordeal of any independent artistic process is long, tiresome, and uphill; this bunch of chums made it look effortless. If you like death metal, you probably like this album. Not all who wander are lost, but if Gloomweaver isn’t where you’re headed, then get it together, step through the Fog Wall, and let them take you to a cold, dark, and decidedly ungentle place today.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/fog-wall-gloomweaver-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
fogwallnv.bandcamp.com/album/gloomweaver
———
#Colderra
#ColderraMusic
#MusicReview
#FogWall
#Gloomweaver10 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗡𝗜𝗡𝗧𝗛 𝗥𝗘𝗔𝗟𝗠 – 𝗗𝗔𝗠𝗡𝗔𝗧𝗜𝗢𝗡’𝗦 𝗩𝗘𝗜𝗟
Maryland’s Ninth Realm has the scales of judgement tipped in their favor from the outset. First, Jerry “Wyrmwalk” Hionis’ stunning cover art is impossible to ignore, resembling a version of Dissection’s Storm of the Light’s Bane turned up to eleven. Then there’s the band’s origin story. Drummer Joey Burke and guitarist Liam McMahon first met in a medieval history class at the University of Maryland, both sporting metal shirts. They sat next to each other, became friends, started making music, and voilà, Ninth Realm was born. Their debut, A Fate Unbroken (2022), introduced the scene to the quintet’s aggressive mix of styles and traditions, until our friends at Transcending Obscurity snatched them up for their sophomore release. With the stage now set, Damnation’s Veil arrives, and if the album is half as mighty as the forces that brought it into being, listeners are in for a treat.
Damnation’s Veil thrives on berserker energy, hurling itself forward with barely any controlled momentum while somehow still holding itself together. Ninth Realm play with the reckless abandon of thrash, but channel it with hardcore hostility. Burke once labeled it “…a band for hardcore kids who are into Iron Maiden or Manowar” and honestly, that isn’t too far from the truth. Still, easy comparisons remain elusive. Throughout Damnation’s Veil, the group ventures into Deceased’s rancid death (“All Hail Treachery,” “Damnation’s Veil”), embraces classic heavy metal heroics (“Twilight’s Blade,” “Wyrd of Strideborne”), and dishes out a heavy dose of pit-inducing Power Trip thrash. Guitarists Liam McMahon and Charles House lead the charge with a barrage of galloping riffs and merciless hooks, while Ben Hageage serves as the battlefield herald, his corrosive roars pronouncing judgment upon the fallen as Damnation’s Veil’s eleven tracks pass in a blur of steel and fire. Burke’s performance on songs like “Beyond the Void,” “Wyrd of Strideborne,” and “Cohorts of the Abyss” feels so untethered at times they could be considered sloppy, yet that untamed quality is also part of Ninth Realm’s charm.
Ninth Realm storm battlements, raze villages and leave little standing, blasting through their overpowering blend of metal with unyielding force. The title track is a battering ram of old-school blackened death and thrash that charges forward like an armored destrier, carrying the ferocity of Dissection and hitting with lethal force as its thunderous drums and swarms of buzzing tremolos ignite the sky with dragonfire. “Cohorts of the Abyss” and “Imbued in Hellfire” immediately take off on a thrash-induced frenzy that drags your defenseless body behind the war wagon without remorse, while “Rituals in Thar’amath” taps into the compressed hardcore violence of Nails. Outside atmospheric opener “Valigeth,” Ninth Realm only lower their guard once across the record’s 37 minutes, offering a brief respite with interlude “Orphaned Throne” before the siege engines roar back to life with “Wyrd of Strideborne.”
And it’s here, in Damnation’s Veil’s back half, where classic metal begins to assert itself. Shifting gears, Ninth Realm embrace a more traditional speed philosophy on “Beyond the Void,” “Wyrd of Strideborne,” and “Twilight’s Blade,” pairing epic intros with galloping riffs. The classic metal influences add variety, but they come at the expense of some of the urgency that fuels the record’s strongest material before “Orphaned Throne.” Although the latter portion of Damnation’s Veil never collapses, the songwriting feels less assured and energetic, occasionally stumbling into clunkier passages that lack the conviction of earlier tracks. Aside from the excellent “All Hail Treachery,” few back-half songs reach the same heights as the material before it. The record also largely adheres to a formula that Ninth Realm are clearly adept at executing and while there’s nothing inherently wrong with that approach, the result feels a bit too one-trick at times, leaving me satisfied in the moment without leading to an immediate urge to revisit it.
With Damnation’s Veil, Ninth Realm have crafted an album that seeks to run listeners through with a broadsword before tossing their remains into the nearest moat, and they certainly succeed. Old-school charm permeates Damnation’s Veil, broadening its appeal across the metal spectrum. Although Ninth Realm’s sound breaks little new ground and their reliance on a familiar formula prevents the record from ascending to greater heights, there is nothing wrong with the approach these Marylanders embrace. Armed with energy, charisma, and plenty of attack, Ninth Realm are destined for bigger battles ahead.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/ninth-realm-damnations-veil-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
ninthrealm-label.bandcamp.com/album/damnations-veil
———
#Colderra
#ColderraMusic
#MusicReview
#NinthRealm
#DamnationsVeil11 track album
Maryland’s Ninth Realm has the scales of judgement tipped in their favor from the outset. First, Jerry “Wyrmwalk” Hionis’ stunning cover art is impossible to ignore, resembling a version of Dissection’s Storm of the Light’s Bane turned up to eleven. Then there’s the band’s origin story. Drummer Joey Burke and guitarist Liam McMahon first met in a medieval history class at the University of Maryland, both sporting metal shirts. They sat next to each other, became friends, started making music, and voilà, Ninth Realm was born. Their debut, A Fate Unbroken (2022), introduced the scene to the quintet’s aggressive mix of styles and traditions, until our friends at Transcending Obscurity snatched them up for their sophomore release. With the stage now set, Damnation’s Veil arrives, and if the album is half as mighty as the forces that brought it into being, listeners are in for a treat.
Damnation’s Veil thrives on berserker energy, hurling itself forward with barely any controlled momentum while somehow still holding itself together. Ninth Realm play with the reckless abandon of thrash, but channel it with hardcore hostility. Burke once labeled it “…a band for hardcore kids who are into Iron Maiden or Manowar” and honestly, that isn’t too far from the truth. Still, easy comparisons remain elusive. Throughout Damnation’s Veil, the group ventures into Deceased’s rancid death (“All Hail Treachery,” “Damnation’s Veil”), embraces classic heavy metal heroics (“Twilight’s Blade,” “Wyrd of Strideborne”), and dishes out a heavy dose of pit-inducing Power Trip thrash. Guitarists Liam McMahon and Charles House lead the charge with a barrage of galloping riffs and merciless hooks, while Ben Hageage serves as the battlefield herald, his corrosive roars pronouncing judgment upon the fallen as Damnation’s Veil’s eleven tracks pass in a blur of steel and fire. Burke’s performance on songs like “Beyond the Void,” “Wyrd of Strideborne,” and “Cohorts of the Abyss” feels so untethered at times they could be considered sloppy, yet that untamed quality is also part of Ninth Realm’s charm.
Ninth Realm storm battlements, raze villages and leave little standing, blasting through their overpowering blend of metal with unyielding force. The title track is a battering ram of old-school blackened death and thrash that charges forward like an armored destrier, carrying the ferocity of Dissection and hitting with lethal force as its thunderous drums and swarms of buzzing tremolos ignite the sky with dragonfire. “Cohorts of the Abyss” and “Imbued in Hellfire” immediately take off on a thrash-induced frenzy that drags your defenseless body behind the war wagon without remorse, while “Rituals in Thar’amath” taps into the compressed hardcore violence of Nails. Outside atmospheric opener “Valigeth,” Ninth Realm only lower their guard once across the record’s 37 minutes, offering a brief respite with interlude “Orphaned Throne” before the siege engines roar back to life with “Wyrd of Strideborne.”
And it’s here, in Damnation’s Veil’s back half, where classic metal begins to assert itself. Shifting gears, Ninth Realm embrace a more traditional speed philosophy on “Beyond the Void,” “Wyrd of Strideborne,” and “Twilight’s Blade,” pairing epic intros with galloping riffs. The classic metal influences add variety, but they come at the expense of some of the urgency that fuels the record’s strongest material before “Orphaned Throne.” Although the latter portion of Damnation’s Veil never collapses, the songwriting feels less assured and energetic, occasionally stumbling into clunkier passages that lack the conviction of earlier tracks. Aside from the excellent “All Hail Treachery,” few back-half songs reach the same heights as the material before it. The record also largely adheres to a formula that Ninth Realm are clearly adept at executing and while there’s nothing inherently wrong with that approach, the result feels a bit too one-trick at times, leaving me satisfied in the moment without leading to an immediate urge to revisit it.
With Damnation’s Veil, Ninth Realm have crafted an album that seeks to run listeners through with a broadsword before tossing their remains into the nearest moat, and they certainly succeed. Old-school charm permeates Damnation’s Veil, broadening its appeal across the metal spectrum. Although Ninth Realm’s sound breaks little new ground and their reliance on a familiar formula prevents the record from ascending to greater heights, there is nothing wrong with the approach these Marylanders embrace. Armed with energy, charisma, and plenty of attack, Ninth Realm are destined for bigger battles ahead.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/ninth-realm-damnations-veil-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
ninthrealm-label.bandcamp.com/album/damnations-veil
———
#Colderra
#ColderraMusic
#MusicReview
#NinthRealm
#DamnationsVeil11 track album
𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗙𝗘𝗥𝗩𝗘𝗡𝗖𝗘 – 𝗭𝗘𝗡𝗜𝗧𝗛
After their recent Metal Blade Records signing, Texas-based progressive metalcore outfit, Fervence, have just dropped their new single, ”Zenith.” Accompanied by an official video, it comes ahead of their Constructs full-length, due out October 16th. Watch it below and read more.
Pre-order Constructs here: www.metalblade.com/fervence/
Produced by Odneal and guitarist Austin Bentley and mixed and mastered by Zack Ohren, Constructs features callbacks to the Ghost album, both inconspicuous and conspicuous. “As we have grown together and individually, so have our views on existence and the concepts discussed. Constructs,” founder Trent Odneal explains, “is a refinement of our ability to convey some of these thoughts in a more generally relatable way, while also adding a bit more insight on other tangential topics.”
Inspired by bands like Deftones, Architects, and Silent Planet, the Fervence sound is an ethereal blend of harsh and lush, navigating between moments of sheer aggression and poignant vulnerability. Formed in 2019 in Reno, Nevada as guitarist Odneal’s solo project, Fervence released its debut full-length, Ghost, in 2020.
The band reemerged in 2023 with vocalist Stevie B. at the helm, bringing her unique brand of aggression to the project. Fervence toured the West Coast, continuing to build their local following in Reno opening for the likes of Otep, Left To Suffer, and Gideon, and releasing four singles that would make up their second offering, an EP titled Realm//One.
On Constructs, the quintet’s Metal Blade debut, Fervence delivers eleven dynamic songs that explore, both musically and lyrically, deeply personal experiences surrounding life, death, emotion, and relationships. Now based in Austin, Texas, the band spent 2025 crafting their most fully realized songs to date. Writing post-Ghost, Odneal made a conscious effort to leave more space for the vocals to explore melodies and focused on composition, mood, song structure, and building up to big choruses.
Songs like lead single, “Zenith,” address the emotions around prolonged health struggles, and feeling like “being a prisoner in your own body.”
Stevie further elaborates, “The lyrics were inspired by the feelings of hopelessness and depression that come with prolonged health struggles. Dealing with health challenges in your own life, seeing people you love struggle, and just feeling like there is no way out and nothing will ever get better.”
Constructs features 3D artwork by Billelis which captures lyrical themes, while standing on its own as an iconic work of art. “The idea that our identities, relationships, ambitions, and experiences, though beautiful, are ultimately constructs that eventually collapse was something we wanted reflected in the imagery itself,” notes Bentley. “Like the songs themselves, the artwork brings an ominous and almost mythological quality to bear.”
Fervence’s Constructs will be released on CD and digital formats as well as vinyl in the following color variants:
Pearl Bone Marble (US)
Shimmer Gold + Black Marble (US)
Constructs tracklisting:
01 Pathways
02 Oculum
03 Interwoven
04 Miasma
05 Maelstrom
06 The Things We Can’t See
07 Zenith
08 Ghost II
09 Ascension
10 Providence
11 Constructs
Fervence:
Stevie B. – Vocals
Trent Odneal – Guitar, programming
Jon Daniels – Bass
Austin Bentley – Guitar, programming
Chris Tufino – Drums
———
𝗙𝗿𝗼𝗺:
ghostcultmag.com/fervence-share-a-single-and-video-for-zenith-new-album-coming-soon/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=CkSmRUJZ328
———
#Colderra
#ColderraMusic
#MusicReview
#Fervence
#Zenith
After their recent Metal Blade Records signing, Texas-based progressive metalcore outfit, Fervence, have just dropped their new single, ”Zenith.” Accompanied by an official video, it comes ahead of their Constructs full-length, due out October 16th. Watch it below and read more.
Pre-order Constructs here: www.metalblade.com/fervence/
Produced by Odneal and guitarist Austin Bentley and mixed and mastered by Zack Ohren, Constructs features callbacks to the Ghost album, both inconspicuous and conspicuous. “As we have grown together and individually, so have our views on existence and the concepts discussed. Constructs,” founder Trent Odneal explains, “is a refinement of our ability to convey some of these thoughts in a more generally relatable way, while also adding a bit more insight on other tangential topics.”
Inspired by bands like Deftones, Architects, and Silent Planet, the Fervence sound is an ethereal blend of harsh and lush, navigating between moments of sheer aggression and poignant vulnerability. Formed in 2019 in Reno, Nevada as guitarist Odneal’s solo project, Fervence released its debut full-length, Ghost, in 2020.
The band reemerged in 2023 with vocalist Stevie B. at the helm, bringing her unique brand of aggression to the project. Fervence toured the West Coast, continuing to build their local following in Reno opening for the likes of Otep, Left To Suffer, and Gideon, and releasing four singles that would make up their second offering, an EP titled Realm//One.
On Constructs, the quintet’s Metal Blade debut, Fervence delivers eleven dynamic songs that explore, both musically and lyrically, deeply personal experiences surrounding life, death, emotion, and relationships. Now based in Austin, Texas, the band spent 2025 crafting their most fully realized songs to date. Writing post-Ghost, Odneal made a conscious effort to leave more space for the vocals to explore melodies and focused on composition, mood, song structure, and building up to big choruses.
Songs like lead single, “Zenith,” address the emotions around prolonged health struggles, and feeling like “being a prisoner in your own body.”
Stevie further elaborates, “The lyrics were inspired by the feelings of hopelessness and depression that come with prolonged health struggles. Dealing with health challenges in your own life, seeing people you love struggle, and just feeling like there is no way out and nothing will ever get better.”
Constructs features 3D artwork by Billelis which captures lyrical themes, while standing on its own as an iconic work of art. “The idea that our identities, relationships, ambitions, and experiences, though beautiful, are ultimately constructs that eventually collapse was something we wanted reflected in the imagery itself,” notes Bentley. “Like the songs themselves, the artwork brings an ominous and almost mythological quality to bear.”
Fervence’s Constructs will be released on CD and digital formats as well as vinyl in the following color variants:
Pearl Bone Marble (US)
Shimmer Gold + Black Marble (US)
Constructs tracklisting:
01 Pathways
02 Oculum
03 Interwoven
04 Miasma
05 Maelstrom
06 The Things We Can’t See
07 Zenith
08 Ghost II
09 Ascension
10 Providence
11 Constructs
Fervence:
Stevie B. – Vocals
Trent Odneal – Guitar, programming
Jon Daniels – Bass
Austin Bentley – Guitar, programming
Chris Tufino – Drums
———
𝗙𝗿𝗼𝗺:
ghostcultmag.com/fervence-share-a-single-and-video-for-zenith-new-album-coming-soon/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=CkSmRUJZ328
———
#Colderra
#ColderraMusic
#MusicReview
#Fervence
#Zenith
Fervence – Zenith (Official Video)
www.youtube.com
Buy here: www.metalblade.com/fervenceTexas-based progressiv… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗘𝗫𝗨𝗠𝗘𝗥 – 𝗕𝗟𝗜𝗡𝗗𝗜𝗡𝗚 𝗦𝗞𝗜𝗘𝗦
German thrash titans, Exumer, are pleased to drop their new video for “Blinding Skies.” The track appears on their pulverizing new full-length, Death Mask Messiah, out now on Metal Blade Records.
Comments co-founding vocalist Mem V. Stein, “Driven by a relentless barrage of riffs, the song’s lyrical content highlights the consequences of political overreach and the influence of the military-industrial complex — pushing society into prolonged conflict that benefits a few at the expense of many. It’s a perspective we feel is important to highlight, given the platform we have and the current climate.”
Death Mask Messiah serves as Exumer’s first new studio output in seven years and further cements the band’s legacy as a dauntless thrash metal institution. A logical and compelling progression from their three previous albums, the 11 ferocious songs, produced by Dominic Paraskevopoulos (Kreator, Caliban) and mixed and mastered by Arthur Rizk (Soulfly, King Diamond), take a more brutal and direct musical approach.
Recorded from December 2025 through January 2026, Death Mask Messiah is also the first Exumer LP recorded with the rhythm section of drummer Jerome Reil and bass player Alex Voss. “You can feel their young energy, coupled with our trademark aggression and experience,” says Mem. “The band sounds more focused and yet raw, thanks to their addition to the lineup.”
The record is inspired conceptually by US politics of the last decade, the pandemic, the use of misinformation to stir up cultural divides, and the like. Mem also mused on the 30-year anniversary of Waco, Texas and the standoff with the Branch Davidians. “David Koresh was a false prophet and wore a death mask, manipulating and leading his followers to certain death,” Mem notes. “Each song picks up an individual theme of these two strains of thought.”
With Death Mask Messiah, Exumer wants to help listeners not feel alone as they struggle with difficult personal or universal times. The audience relates to the band’s lyrical messages and musical delivery. “Fans sing along, they show up and share their thoughts with us on tour,” Mem says. “I feel accomplished when I can reach just one individual and make them feel better or supported.”
As an added bonus, the record includes a guest and a cover song: Nasty Ronnie Galletti from American metal legends Nasty Savage sings on Exumer’s version of his band’s track “Unchained Angel.” Exumer supported the band in 1988 on their first European tour.
Death Mask Messiah, which features front art and layout by Björn Gooßes of Killustrations (Sodom, Vomitory), is available on CD Digipak and digital formats as well as vinyl in the following color variants:
– 180g Black
– “Galaxy” Red/Black
– “Saturn” Grey/Brown Ripple (Ltd. 250)
– “Onyx” Black Ice w/ White Splatter (Ltd. 250)]
Order here www.metalblade.com/Exumer
Exumer:
Mem V. Stein – vocals
Ray Mensh – guitars
Marc B. – guitars
Alex Voss – bass
Jerome Reil – drums
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/exumer-debut-official-blinding-skies-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=EKgdYZYnbuE
———
#Colderra
#ColderraMusic
#MusicReview
#Exumer
#BlindingSkies
German thrash titans, Exumer, are pleased to drop their new video for “Blinding Skies.” The track appears on their pulverizing new full-length, Death Mask Messiah, out now on Metal Blade Records.
Comments co-founding vocalist Mem V. Stein, “Driven by a relentless barrage of riffs, the song’s lyrical content highlights the consequences of political overreach and the influence of the military-industrial complex — pushing society into prolonged conflict that benefits a few at the expense of many. It’s a perspective we feel is important to highlight, given the platform we have and the current climate.”
Death Mask Messiah serves as Exumer’s first new studio output in seven years and further cements the band’s legacy as a dauntless thrash metal institution. A logical and compelling progression from their three previous albums, the 11 ferocious songs, produced by Dominic Paraskevopoulos (Kreator, Caliban) and mixed and mastered by Arthur Rizk (Soulfly, King Diamond), take a more brutal and direct musical approach.
Recorded from December 2025 through January 2026, Death Mask Messiah is also the first Exumer LP recorded with the rhythm section of drummer Jerome Reil and bass player Alex Voss. “You can feel their young energy, coupled with our trademark aggression and experience,” says Mem. “The band sounds more focused and yet raw, thanks to their addition to the lineup.”
The record is inspired conceptually by US politics of the last decade, the pandemic, the use of misinformation to stir up cultural divides, and the like. Mem also mused on the 30-year anniversary of Waco, Texas and the standoff with the Branch Davidians. “David Koresh was a false prophet and wore a death mask, manipulating and leading his followers to certain death,” Mem notes. “Each song picks up an individual theme of these two strains of thought.”
With Death Mask Messiah, Exumer wants to help listeners not feel alone as they struggle with difficult personal or universal times. The audience relates to the band’s lyrical messages and musical delivery. “Fans sing along, they show up and share their thoughts with us on tour,” Mem says. “I feel accomplished when I can reach just one individual and make them feel better or supported.”
As an added bonus, the record includes a guest and a cover song: Nasty Ronnie Galletti from American metal legends Nasty Savage sings on Exumer’s version of his band’s track “Unchained Angel.” Exumer supported the band in 1988 on their first European tour.
Death Mask Messiah, which features front art and layout by Björn Gooßes of Killustrations (Sodom, Vomitory), is available on CD Digipak and digital formats as well as vinyl in the following color variants:
– 180g Black
– “Galaxy” Red/Black
– “Saturn” Grey/Brown Ripple (Ltd. 250)
– “Onyx” Black Ice w/ White Splatter (Ltd. 250)]
Order here www.metalblade.com/Exumer
Exumer:
Mem V. Stein – vocals
Ray Mensh – guitars
Marc B. – guitars
Alex Voss – bass
Jerome Reil – drums
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/exumer-debut-official-blinding-skies-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=EKgdYZYnbuE
———
#Colderra
#ColderraMusic
#MusicReview
#Exumer
#BlindingSkies
Exumer – Blinding Skies (Official Video)
www.youtube.com
Buy here: www.metalblade.com/exumer"Death Mask Messiah," wh… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗔𝗠𝗢𝗡 𝗔𝗠𝗔𝗥𝗧𝗛 – 𝗘𝗜𝗚𝗛𝗧 𝗟𝗘𝗚𝗦 𝗢𝗙 𝗧𝗛𝗨𝗡𝗗𝗘𝗥
Swedish death metallers AMON AMARTH return with “Eight Legs Of Thunder”, a new anthem inspired by Sleipnir, the legendary eight-legged steed of Oden. Its accompanying video transports the tale into an unexpected new world: a gritty, modern American Western of cowboys, pickup trucks and open roads, with the mythical Sleipnir himself emerging in a surreal dream sequence.
Director Dariusz Szermanowicz enthuses: “With ‘Eight Legs Of Thunder’, together with the band, we wanted to break the traditional metal music video mold once again. We fused the raw, dusty vibe of a modern western with the epic, dark mythology of Oden‘s eight-legged steed. It’s a high-octane, cinematic ride packed with cowboy tension, raw action, and a touch of dark humor. We didn’t just want to make a music video-we wanted to deliver a visual knockout.”
“Eight Legs Of Thunder” is the final preview ahead of AMON AMARTH‘s forthcoming album “The Allfather Awakens”, which will arrive on October 2 via Metal Blade Records. The ten-song masterwork marks the beginning of a new world and further cements the legacy of the Swedish metal titans’ spectacularly memorable riffs and unflinching melodic aural power.
For AMON AMARTH, a new album marks the beginning of a new world. As with previous records, Oden, the Norse “all father” who is a deity of war, wisdom, death, magic, and poetry, is the through-line in AMON AMARTH‘s lyrics and artwork. Once again, Oden is the band’s inspiration, but “The Allfather Awakens” is not a concept album, rather a collection of historically inspired epic tales of conflict and sacrifice for a greater good.
To gain wisdom beyond mortal comprehension, Oden made the ultimate sacrifice — gouging out his own eye and casting it into the Well of Wisdom, Mímisbrunnr, in exchange for cosmic insight and foresight that would shape the fate of gods and men alike. Now, AMON AMARTH bring that ancient reckoning to life with “Gjallarhorn” — and they are extending Odin‘s offer to you. Those who received the eye know what must be done. Those who did not: seek it out. Sacrifice your sight. Gain your foresight.
AMON AMARTH took a new songwriting approach for “The Allfather Awakens”, the band’s 13th album since 1998’s “Once Sent From The Golden Hall”. The album came to life across two recording sessions, months apart, at producer Jacob Hansen‘s studio in Denmark. AMON AMARTH began writing songs while touring, rather than waiting until they were off the road. The first session was spring 2025; the final recording was completed in March 2026. The writing and recording process allowed the musicians to intensely focus on each track, resulting in an album where each song was treated as a single.
“We worked on one song at a time and made each song as good as possible,” says guitarist Olavi Mikkonen. “Then we recorded one song at a time until each track was totally finished — drums, guitars, and vocals. Only then did we start on the next one.”
Guitar-wise, AMON AMARTH opted for a slightly less modern approach sonically, moving away from 5150 amps and back to Marshalls. Music is written before lyrics, and often sets the tone for the words. The song that inspired the album title, “The Allfather Awakes”, was the last written for the album. With Oden as the titular “Allfather”, there is no shortage of historical influences heard across new songs like “Eight Legs Of Thunder”, “Kvasir’s Blood” and “Die With A War Cry”, with the brutally beautiful lyrical rallying cry: “Facing destruction / Annihilation / Master your thoughts and mind.” “The Allfather Awakens” cover art is a powerful portrait of Oden by Tom Thiel, who created seven of the quintet’s album covers.
This autumn, “The Allfather Awakens” will take physical form on stage as the band unveils an entirely new production inspired by Oden‘s legendary Golden Hall, transforming their iconic concert experience into a living extension of the new album.
“The Allfather Awakens” track listing:
01. Gjallarhorn
02. Eight Legs Of Thunder
03. Kvasir’s Blood
04. We Rule The Waves
05. Upphaf
06. Die With A War Cry
07. Raven God
08. The Allfather Awakes
09. Oden’s Hunt
10. Ascending Like An Eagle
AMON AMARTH:
Johan Hegg – Vocals
Olavi Mikkonen – Guitar
Johan Söderberg – Guitar
Ted Lundström – Bass
Jocke Wallgren – Drums
———
𝗙𝗿𝗼𝗺:
arrowlordsofmetal.nl/amon-amarth-single-eight-legs-of-thunder/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=LrJjl6FlZ3c
———
#Colderra
#ColderraMusic
#MusicReview
#AmonAmarth
#EightLegsofThunder
Swedish death metallers AMON AMARTH return with “Eight Legs Of Thunder”, a new anthem inspired by Sleipnir, the legendary eight-legged steed of Oden. Its accompanying video transports the tale into an unexpected new world: a gritty, modern American Western of cowboys, pickup trucks and open roads, with the mythical Sleipnir himself emerging in a surreal dream sequence.
Director Dariusz Szermanowicz enthuses: “With ‘Eight Legs Of Thunder’, together with the band, we wanted to break the traditional metal music video mold once again. We fused the raw, dusty vibe of a modern western with the epic, dark mythology of Oden‘s eight-legged steed. It’s a high-octane, cinematic ride packed with cowboy tension, raw action, and a touch of dark humor. We didn’t just want to make a music video-we wanted to deliver a visual knockout.”
“Eight Legs Of Thunder” is the final preview ahead of AMON AMARTH‘s forthcoming album “The Allfather Awakens”, which will arrive on October 2 via Metal Blade Records. The ten-song masterwork marks the beginning of a new world and further cements the legacy of the Swedish metal titans’ spectacularly memorable riffs and unflinching melodic aural power.
For AMON AMARTH, a new album marks the beginning of a new world. As with previous records, Oden, the Norse “all father” who is a deity of war, wisdom, death, magic, and poetry, is the through-line in AMON AMARTH‘s lyrics and artwork. Once again, Oden is the band’s inspiration, but “The Allfather Awakens” is not a concept album, rather a collection of historically inspired epic tales of conflict and sacrifice for a greater good.
To gain wisdom beyond mortal comprehension, Oden made the ultimate sacrifice — gouging out his own eye and casting it into the Well of Wisdom, Mímisbrunnr, in exchange for cosmic insight and foresight that would shape the fate of gods and men alike. Now, AMON AMARTH bring that ancient reckoning to life with “Gjallarhorn” — and they are extending Odin‘s offer to you. Those who received the eye know what must be done. Those who did not: seek it out. Sacrifice your sight. Gain your foresight.
AMON AMARTH took a new songwriting approach for “The Allfather Awakens”, the band’s 13th album since 1998’s “Once Sent From The Golden Hall”. The album came to life across two recording sessions, months apart, at producer Jacob Hansen‘s studio in Denmark. AMON AMARTH began writing songs while touring, rather than waiting until they were off the road. The first session was spring 2025; the final recording was completed in March 2026. The writing and recording process allowed the musicians to intensely focus on each track, resulting in an album where each song was treated as a single.
“We worked on one song at a time and made each song as good as possible,” says guitarist Olavi Mikkonen. “Then we recorded one song at a time until each track was totally finished — drums, guitars, and vocals. Only then did we start on the next one.”
Guitar-wise, AMON AMARTH opted for a slightly less modern approach sonically, moving away from 5150 amps and back to Marshalls. Music is written before lyrics, and often sets the tone for the words. The song that inspired the album title, “The Allfather Awakes”, was the last written for the album. With Oden as the titular “Allfather”, there is no shortage of historical influences heard across new songs like “Eight Legs Of Thunder”, “Kvasir’s Blood” and “Die With A War Cry”, with the brutally beautiful lyrical rallying cry: “Facing destruction / Annihilation / Master your thoughts and mind.” “The Allfather Awakens” cover art is a powerful portrait of Oden by Tom Thiel, who created seven of the quintet’s album covers.
This autumn, “The Allfather Awakens” will take physical form on stage as the band unveils an entirely new production inspired by Oden‘s legendary Golden Hall, transforming their iconic concert experience into a living extension of the new album.
“The Allfather Awakens” track listing:
01. Gjallarhorn
02. Eight Legs Of Thunder
03. Kvasir’s Blood
04. We Rule The Waves
05. Upphaf
06. Die With A War Cry
07. Raven God
08. The Allfather Awakes
09. Oden’s Hunt
10. Ascending Like An Eagle
AMON AMARTH:
Johan Hegg – Vocals
Olavi Mikkonen – Guitar
Johan Söderberg – Guitar
Ted Lundström – Bass
Jocke Wallgren – Drums
———
𝗙𝗿𝗼𝗺:
arrowlordsofmetal.nl/amon-amarth-single-eight-legs-of-thunder/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=LrJjl6FlZ3c
———
#Colderra
#ColderraMusic
#MusicReview
#AmonAmarth
#EightLegsofThunder
Amon Amarth – Eight Legs of Thunder (Official Video)
www.youtube.com
Pre-order our new album "The Allfather Awakens" out October 2 at ht… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗙𝗘𝗔𝗥 𝗙𝗔𝗖𝗧𝗢𝗥𝗬 – 𝗥𝗢𝗕𝗢𝗧𝗜𝗖𝗜𝗦𝗧
For more than three decades, industrial metal pioneers Fear Factory have explored the friction between man and machine, tracing the rise of artificial intelligence and humanity’s loss of control over its own creations.
Now, the band launches a bold new era with “Roboticist”. The latest single, which premiered on Sirius XM Liquid Metal, marks the recording debut of the band’s current lineup featuring vocalist Milo Silvestro, drummer Pete Webber, and bassist Tony Campos. Blending crushing mechanical aggression with a haunting, melodic hook, the track explores a dystopian reality where flesh fails and only consciousness endures.
Produced, engineered, mixed, and mastered by Damien Rainaud, the single arrives alongside a cinematic music video directed by Vincente Cordero and produced by Arion Csihar. System activated: the next chapter of Fear Factory has officially begun.
Fear Factory guitarist Dino Cazares comments, “The future isn’t coming. It’s already here, ‘Roboticist’ is the next evolution of Fear Factory. Man, Machine and the war for what comes next. I can’t wait for everyone to hear the beginning of a new era of Fear Factory.”
Stream “Roboticist” here fearfactory.bfan.link/roboticist Watch the “Roboticist” music video below.
Death is no longer the end, it is the next evolution. The machine no longer needs humanity; it inherits the future.
Stand by, critical intel on the upcoming album is imminent. In the meantime, prepare for the live assault. Experience Fear Factory as they tear across Europe and the US on the Cybernetic Domination and Soul Of A New War Machine Tours.
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/fear-factory-unleashes-machine-driven-new-single-video-roboticist/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=tSU9csON9WE
———
#Colderra
#ColderraMusic
#MusicReview
#FEARFACTORY
#Roboticist
For more than three decades, industrial metal pioneers Fear Factory have explored the friction between man and machine, tracing the rise of artificial intelligence and humanity’s loss of control over its own creations.
Now, the band launches a bold new era with “Roboticist”. The latest single, which premiered on Sirius XM Liquid Metal, marks the recording debut of the band’s current lineup featuring vocalist Milo Silvestro, drummer Pete Webber, and bassist Tony Campos. Blending crushing mechanical aggression with a haunting, melodic hook, the track explores a dystopian reality where flesh fails and only consciousness endures.
Produced, engineered, mixed, and mastered by Damien Rainaud, the single arrives alongside a cinematic music video directed by Vincente Cordero and produced by Arion Csihar. System activated: the next chapter of Fear Factory has officially begun.
Fear Factory guitarist Dino Cazares comments, “The future isn’t coming. It’s already here, ‘Roboticist’ is the next evolution of Fear Factory. Man, Machine and the war for what comes next. I can’t wait for everyone to hear the beginning of a new era of Fear Factory.”
Stream “Roboticist” here fearfactory.bfan.link/roboticist Watch the “Roboticist” music video below.
Death is no longer the end, it is the next evolution. The machine no longer needs humanity; it inherits the future.
Stand by, critical intel on the upcoming album is imminent. In the meantime, prepare for the live assault. Experience Fear Factory as they tear across Europe and the US on the Cybernetic Domination and Soul Of A New War Machine Tours.
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/fear-factory-unleashes-machine-driven-new-single-video-roboticist/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=tSU9csON9WE
———
#Colderra
#ColderraMusic
#MusicReview
#FEARFACTORY
#Roboticist
FEAR FACTORY – Roboticist (OFFICIAL MUSIC VIDEO)
www.youtube.com
Industrial metal pioneers @fearfactorymusic launches a bold new era…
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!
Greetings, dear friends. It's been a long time since we last spoke. We hope the last few seasons have been good for you all. We're back, and we can't wait to reconnect!
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
