𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗞𝗔𝗥𝗡𝗜𝗩𝗢𝗢𝗟 – 𝗜𝗡 𝗩𝗘𝗥𝗦𝗘𝗦
It’s been 12 years since Karnivool released Asymmetry, their ARIA award-winning #1 album. For longtime fans, In Verses represents a homecoming – the culmination of a decade’s worth of life experiences and relentless studio experimentation with longtime collaborator Forrester Savell. But I’m coming to this review from a different angle: as a new fan, unburdened by expectations or comparisons to their platinum-certified past. Having recently spoken with the band about the painstaking process behind this record, I’m approaching In Verses purely on its own merits – what it sounds like, what it makes you feel, and whether these ten tracks justify the wait for those who’ve been paying attention all along.
Ghost opens In Verses with a deceptively quiet, almost synthetic riff that suddenly erupts before settling back into the song’s foundation. The rhythm section here recalls earlier Tool records, particularly in those looming, doomy guitar riffs that create an ominous atmosphere. Ian Kenny wastes no time taking flight, helping the song climb to new heights with potent choruses. This one took a few spins to fully click, but once it does, that thumping rhythm sustains the track beautifully.
Drone leans into moodier, more distorted territory. It starts somewhat unfocused and less immediately catchy, but as the song progresses, the groove and rhythmic shifts tighten everything up considerably. The polyrhythms emerge to give the track the structure and momentum it needs, transforming what initially feels loose into something compelling and locked-in.
Aozora maintains a similar structural approach – built around a solid, memorable chorus with punchy rhythm and bass work driving the track forward. The drums really shine here, sounding particularly potent and giving the song its frenetic energy. Given the song’s theme of escape and yearning for freedom from human complexity (inspired by the Japanese term for ‘blue sky’), the restless, propulsive rhythm section perfectly mirrors that desire to break free.
Conversations reveals a different side of the band, with soft pop undertones in the vocal melodies that feel genuinely soothing – though the lyrics tell a darker story of regret, missed opportunities, and internal voices that won’t be silenced. “It’s too late for conversation / It’s only a mountain I’ve been tryna move” captures that feeling of being paralyzed by overthinking. The bass groove is the glue here, tightening everything together as the song moves through various tempo shifts and changes. It’s easy to get lost in the intricacies – the song is constantly evolving – yet the underlying tonal foundation remains consistent throughout, even as Kenny wrestles with “shadows and figures all around” and that haunting refrain of “we keep digging.” There’s something unsettling about how beautiful the music sounds while delivering such heavy introspection.
All It Takes shifts into darker undertones, with the bass pounding away from the opening moments. The drums take commanding action once more, driving the track with authority. This one has a definite contrast in style compared to some of the earlier songs on the record – there’s a rawness here, with the slap of the bass continuing to cut through and dominate the sonic landscape.
Remote Self Control continues the introspective journey but with a different angle – exploring dissociation and the need to detach from pain. “Switch it over to remote self control” becomes a mantra for surviving difficult transitions, that feeling of separating from your body to cope. Kenny sings “It’s so much fun when you don’t feel anything” with what sounds like bitter irony. Musically, the song balances tension and release, matching the lyrical theme of waking up from a dream state – “Time to wake up / We’re not dreaming anymore.” There’s an urgency here, a push toward confronting reality rather than remaining numb.
Opal slows things down considerably, offering a more personal and introspective moment. The lyrics cut deep – “I’m sorry for your loss, please come back to us” – addressing someone who’s lost themselves, perhaps to addiction or mental illness (“under the will of these chemicals so easily”). There’s a haunting quality to the question “How far will you go to finish / This desperate attempt to revive / Somethin’ you buried long ago / Where sleeping giants should lie?” It’s about the futility of trying to resurrect dead dreams or past selves. The pace allows Kenny’s vocals to sit in a vulnerable space, and lines like “quiet like death was around” linger with you. What makes “Opal” particularly effective is how the rhythms take flight throughout the song without ever sounding overbearing – it builds and climaxes naturally, feeling like the emotional centerpiece of the album.
In Verses is a dense, demanding record that rewards patience and repeated listens. Coming to Karnivool without the baggage of their previous work, what strikes me most is how the band balances technical proficiency with genuine emotional vulnerability. This isn’t prog for prog’s sake – every polyrhythm, every tempo shift, every bass slap serves the larger narrative of psychological struggle and survival.
The production, courtesy of Forrester Savell, gives each instrument room to breathe while maintaining a cohesive sonic identity. The bass work throughout is particularly noteworthy, often serving as the anchor that holds together the band’s more adventurous rhythmic explorations. Kenny’s vocals navigate between soothing melodicism and urgent intensity, never overshadowed by the instrumental complexity around him.
Thematically, In Verses charts a journey through frustration, regret, dissociation, and the difficult work of confronting buried pain. The recurring motifs of digging, escaping, and waking up create a conceptual thread that ties the album together without beating you over the head with it. These are songs about the complications of being human, about mountains that feel impossible to move, about conversations that come too late.
For a band returning after 12 years, In Verses doesn’t feel like it’s trying to recapture past glory or prove anything to anyone. Instead, it’s a meticulously crafted document of where Karnivool are now – older, perhaps more world-weary, but still committed to pushing progressive music into emotionally resonant territory. For longtime fans, this is the payoff for years of patience. For newcomers like myself, it’s a compelling entry point into a band that clearly has something vital to say.
In Verses may have taken over a decade to arrive, but it sounds like a band that took exactly the time they needed.
Tracklist:
1. Ghost
2. Drone
3. Aozora
4. Animation
5. Conversations
6. Reanimation
7. All It Takes
8. Remote Self Control
9. Opal
10. Salva
Line Up:
Drew Goddard – guitar
Mark Hosking – guitar
Steve Judd – drums
Ian Kenny – vocals
Jon Stockman – bass guitar
———
𝗙𝗿𝗼𝗺:
myglobalmind.com/2026/02/06/karnivool-in-verses-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_nD-J7p8-JXctZ45dX-XeeI1YU0NTL9sXM
———
#Colderra
#ColderraMusic
#MusicReview
#AlternativeNetal
#ProgressiveRock
#Karnivool
#InVerses
Colderra Social Media Feeds
1,319
COLDERRA
Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
IN VERSES – Album by Karnivool
music.youtube.com
In Verses is the upcoming fourth studio album by the Australian rock band Karnivool. The album will be released on 6 February 2026. It is their first release in thirteen years, since Asymmetry. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗣𝗨𝗦𝗖𝗜𝗙𝗘𝗥 – 𝗡𝗢𝗥𝗠𝗔𝗟 𝗜𝗦𝗡’𝗧
The newest project from Puscifer and their eccentric musicverse, Normal Isn’t, is out today in collaboration with Alchemy Recordings, BMG, and their very own production house and record label Puscifer Entertainment, founded by none other than Maynard James Keenan himself. Like everything the band have put out over the past couple decades, this record isn’t playing by the rules … It’s music made by expert musicians who just want to have fun experimenting with their lifelong craft. The title of the album is telling you exactly what you’re in for before you begin listening.
Each album that came before Normal Isn’t carried with it a theme. The band intricately builds out the lore to accompany each theme, fit with characters and a storyline to bring the listener along with them and offer a taste of what its like inside the minds of these three creatives. The core members of Puscifer for these last few albums have been Maynard on vocals and lore development, Mat Mitchell wielding the guitar, bass, and synths, and Carina Round adding her own vocal flair and backup synths. These three are a nasty trio who fit all the pieces of the music into place, but they can’t bring the vision to life all on their own. For this album they also brought in bassist Greg Edwards, drummer Sarah Jones, and their other seasoned drummer Gunner Olsen.
With this release, the world behind the music goes much deeper than any have before it. To accompany the album, Maynard has brought his new characters to life in the form of a graphic comic series entitled Tales From The Pusciverse. In it, we are introduced to Bellendia Black, who acts as a central figure within both the comic series and the ongoing narrative being rolled out with the album. Bellendia also seems to appear as one of Maynard’s many alter ego’s that have emerged. Mitchell and Round also have alternative presences within the world of Normal Isn’t, with Mitchell taking on the identity of The Synth Whisperer and Round appearing as Fanny Grey; all of whom will be embodied live on stage during Puscifer’s spring tour run this March.
The tracklist leads with a more electronic approach than they have in the past, while also being very guitar-forward. The opening track, “Thrust,” kicks off with a savvy bass line and trance-inducing guitar riff. The guitar is given a podium throughout the album due, in part, to the new high watt amplifiers which create much cleaner tones and more controlled frequencies. They also got to play around with drums during the recording process of the album, and you can hear throughout many songs that there are multiple kits going at once. There are always a lot of instruments being toyed with in a Puscifer record, but Normal Isn’t feels like each musician really got the opportunity to step up their game and maximize the sounds being incorporated into each track. The dynamic between them is self-evident *wink wink,* and as they have become increasingly enmeshed with one another, they can very well feed off each other’s strengths.
One of heaviest tracks on the album, “A Public Stoning” is also the most unassuming at first because of its minute-long, slow-tempoed bass intro that then quickly leaps into a hurried and shouting chorus. Many of Round’s backup vocals throughout the track sound like frantic bird calls, albeit lovely as always. The track slows to a calmer electronic beat with Maynard’s vocals softening on the exit, creating an expert shift as the song transitions into “The Quiet Parts.” Funny enough, the latter track is the most reserved track in terms of its tone and accompaniment, but it’s message speaks volumes. “Well aware that Power poisons./ And absolute consumes … Zealots are tugging the strings feeding the Id and starving the Ego.”
“The Quiet Parts” is by no means the only track that seeks to relay a poignant message; there are many blatant messages and themes woven throughout each song that seem intent to spark consideration by the listener. Many of these themes include the repercussions of ill-intended government regimes, a looming technological age, and what may very well be the inevitable crash of yet another once-great civilization. While all of these concepts seem very cynical, they are wrapped in the illusion created by the Pusciverse, and by presenting it this way, they are able to transmit these messages but cloak them in a more palatable manner. This is something that Maynard has always been so skillful at as a lyricist and Puscifer seems to be the outlet where he is able to have the most fun doing it.
———
𝗙𝗿𝗼𝗺:
newnoisemagazine.com/reviews/album-review-puscifer-normal-isnt/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_k0WtjXh9Yc-cVg2A3GotnlEkyDgxRrSxc
———
#Colderra
#ColderraMusic
#MusicReview
#ExperimentalRock
#AlternativeRock
#Puscifer
#NormalIsnt
The newest project from Puscifer and their eccentric musicverse, Normal Isn’t, is out today in collaboration with Alchemy Recordings, BMG, and their very own production house and record label Puscifer Entertainment, founded by none other than Maynard James Keenan himself. Like everything the band have put out over the past couple decades, this record isn’t playing by the rules … It’s music made by expert musicians who just want to have fun experimenting with their lifelong craft. The title of the album is telling you exactly what you’re in for before you begin listening.
Each album that came before Normal Isn’t carried with it a theme. The band intricately builds out the lore to accompany each theme, fit with characters and a storyline to bring the listener along with them and offer a taste of what its like inside the minds of these three creatives. The core members of Puscifer for these last few albums have been Maynard on vocals and lore development, Mat Mitchell wielding the guitar, bass, and synths, and Carina Round adding her own vocal flair and backup synths. These three are a nasty trio who fit all the pieces of the music into place, but they can’t bring the vision to life all on their own. For this album they also brought in bassist Greg Edwards, drummer Sarah Jones, and their other seasoned drummer Gunner Olsen.
With this release, the world behind the music goes much deeper than any have before it. To accompany the album, Maynard has brought his new characters to life in the form of a graphic comic series entitled Tales From The Pusciverse. In it, we are introduced to Bellendia Black, who acts as a central figure within both the comic series and the ongoing narrative being rolled out with the album. Bellendia also seems to appear as one of Maynard’s many alter ego’s that have emerged. Mitchell and Round also have alternative presences within the world of Normal Isn’t, with Mitchell taking on the identity of The Synth Whisperer and Round appearing as Fanny Grey; all of whom will be embodied live on stage during Puscifer’s spring tour run this March.
The tracklist leads with a more electronic approach than they have in the past, while also being very guitar-forward. The opening track, “Thrust,” kicks off with a savvy bass line and trance-inducing guitar riff. The guitar is given a podium throughout the album due, in part, to the new high watt amplifiers which create much cleaner tones and more controlled frequencies. They also got to play around with drums during the recording process of the album, and you can hear throughout many songs that there are multiple kits going at once. There are always a lot of instruments being toyed with in a Puscifer record, but Normal Isn’t feels like each musician really got the opportunity to step up their game and maximize the sounds being incorporated into each track. The dynamic between them is self-evident *wink wink,* and as they have become increasingly enmeshed with one another, they can very well feed off each other’s strengths.
One of heaviest tracks on the album, “A Public Stoning” is also the most unassuming at first because of its minute-long, slow-tempoed bass intro that then quickly leaps into a hurried and shouting chorus. Many of Round’s backup vocals throughout the track sound like frantic bird calls, albeit lovely as always. The track slows to a calmer electronic beat with Maynard’s vocals softening on the exit, creating an expert shift as the song transitions into “The Quiet Parts.” Funny enough, the latter track is the most reserved track in terms of its tone and accompaniment, but it’s message speaks volumes. “Well aware that Power poisons./ And absolute consumes … Zealots are tugging the strings feeding the Id and starving the Ego.”
“The Quiet Parts” is by no means the only track that seeks to relay a poignant message; there are many blatant messages and themes woven throughout each song that seem intent to spark consideration by the listener. Many of these themes include the repercussions of ill-intended government regimes, a looming technological age, and what may very well be the inevitable crash of yet another once-great civilization. While all of these concepts seem very cynical, they are wrapped in the illusion created by the Pusciverse, and by presenting it this way, they are able to transmit these messages but cloak them in a more palatable manner. This is something that Maynard has always been so skillful at as a lyricist and Puscifer seems to be the outlet where he is able to have the most fun doing it.
———
𝗙𝗿𝗼𝗺:
newnoisemagazine.com/reviews/album-review-puscifer-normal-isnt/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_k0WtjXh9Yc-cVg2A3GotnlEkyDgxRrSxc
———
#Colderra
#ColderraMusic
#MusicReview
#ExperimentalRock
#AlternativeRock
#Puscifer
#NormalIsnt
Normal Isn’t – Album by Puscifer
music.youtube.com
Listen to Normal Isn’t by Puscifer on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗠𝗔𝗬𝗛𝗘𝗠 – 𝗟𝗜𝗧𝗨𝗥𝗚𝗬 𝗢𝗙 𝗗𝗘𝗔𝗧𝗛
The most infamous band to ever emerge from black metal, Mayhem, have returned with another pummeling record to completely consume your senses. Liturgy of Death is out today via Century Media Records. The album title translates to “worship,” and with this new record, they are paying homage to death itself and the darkness that often consumes us before death even comes knocking on your door because sometimes the pain of life can be harsher than the relief that comes with death.
For those who aren’t familiar, death has been a focal point of the band since their formation over 40 years ago in 1984. While it may have started as a fascination, death quickly became a harrowing reality for the early members of the band. But no matter the tragedies confronted, they have stayed true to their craft and kept the band alive for all these years. In fact, now more than possibly ever, the band and their current lineup are thriving … doing what they do best.
Vocalist and frontman Attilla has been at the helm of Mayhem now for just over two decades, and with their most recent addition, guitarist Ghul, back in 2012, the band have positioned themselves to be at the top of their game. The longer they continue to tour and put out new music, the more they solidify their reigning and unrelenting saga. Their other three current members include founding member and bassist Necrobutcher, drummer Hellhammer, and guitarist Morten Bergeton Iversen. Together, they continue to rupture the world of metal with their deeply distraught and cathartic deliverances.
Liturgy of Death is yet another in their career-spanning onslaught, with Attila projecting his eclectic vocal variances including sinister whispers, wretched guttural growls and in rare moments, showing us his operatic ballads. The constant escalation of the instrumentals throughout each track make you feel like a storm is brewing, dark clouds always on the horizon. The songs are grandiose and dramatic, but not in an attention-driven manner, more so in a way that feels like they’ve ascended to their peak primal performance. As the album climbs to its nothing short of epic conclusion, “The Sentence of Absolution” is an out-of-body experience, cautiously drawing the listener in just to quickly cast them into a revolving door of pelting drums and hasty guitar strums.
Mayhem have undoubtedly earned their stripes and continue to command stages all over the world, inviting their cult-like followers with them and never failing to draw in new leagues of fans each step of the way. This band have never strayed from their core identity and refused to compromise the music for superficial gain. The technicalities and nuances involved in every single track speaks volumes to their skills as musicians and an unrelenting hunger to push themselves. They have always had a maximalist vision, pushing as hard as they can go and incorporating the most complex arrangements possible. In this way, they deliver their truest form of black metal they know how, time and time again, and it never disappoints.
———
𝗙𝗿𝗼𝗺:
newnoisemagazine.com/reviews/album-review-mayhem-liturgy-of-death/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
centurymedia.bandcamp.com/album/liturgy-of-death-24-bit-hd-audio
———
#Colderra
#ColderraMusic
#MusicReview
#BlackMetal
#Mayhem
#LiturgyofDeath8 track album
The most infamous band to ever emerge from black metal, Mayhem, have returned with another pummeling record to completely consume your senses. Liturgy of Death is out today via Century Media Records. The album title translates to “worship,” and with this new record, they are paying homage to death itself and the darkness that often consumes us before death even comes knocking on your door because sometimes the pain of life can be harsher than the relief that comes with death.
For those who aren’t familiar, death has been a focal point of the band since their formation over 40 years ago in 1984. While it may have started as a fascination, death quickly became a harrowing reality for the early members of the band. But no matter the tragedies confronted, they have stayed true to their craft and kept the band alive for all these years. In fact, now more than possibly ever, the band and their current lineup are thriving … doing what they do best.
Vocalist and frontman Attilla has been at the helm of Mayhem now for just over two decades, and with their most recent addition, guitarist Ghul, back in 2012, the band have positioned themselves to be at the top of their game. The longer they continue to tour and put out new music, the more they solidify their reigning and unrelenting saga. Their other three current members include founding member and bassist Necrobutcher, drummer Hellhammer, and guitarist Morten Bergeton Iversen. Together, they continue to rupture the world of metal with their deeply distraught and cathartic deliverances.
Liturgy of Death is yet another in their career-spanning onslaught, with Attila projecting his eclectic vocal variances including sinister whispers, wretched guttural growls and in rare moments, showing us his operatic ballads. The constant escalation of the instrumentals throughout each track make you feel like a storm is brewing, dark clouds always on the horizon. The songs are grandiose and dramatic, but not in an attention-driven manner, more so in a way that feels like they’ve ascended to their peak primal performance. As the album climbs to its nothing short of epic conclusion, “The Sentence of Absolution” is an out-of-body experience, cautiously drawing the listener in just to quickly cast them into a revolving door of pelting drums and hasty guitar strums.
Mayhem have undoubtedly earned their stripes and continue to command stages all over the world, inviting their cult-like followers with them and never failing to draw in new leagues of fans each step of the way. This band have never strayed from their core identity and refused to compromise the music for superficial gain. The technicalities and nuances involved in every single track speaks volumes to their skills as musicians and an unrelenting hunger to push themselves. They have always had a maximalist vision, pushing as hard as they can go and incorporating the most complex arrangements possible. In this way, they deliver their truest form of black metal they know how, time and time again, and it never disappoints.
———
𝗙𝗿𝗼𝗺:
newnoisemagazine.com/reviews/album-review-mayhem-liturgy-of-death/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
centurymedia.bandcamp.com/album/liturgy-of-death-24-bit-hd-audio
———
#Colderra
#ColderraMusic
#MusicReview
#BlackMetal
#Mayhem
#LiturgyofDeath8 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗟𝗔𝗚𝗠𝗔𝗨𝗥 – 𝗛𝗨𝗟𝗗𝗘𝗥𝗦 𝗥𝗜𝗧𝗨𝗔𝗟
This was a delightfully commanding album that just didn’t settle for taking prisoners. Indeed, the sound was rich, full, frightening, and even combative at times.
From Bandcamp, "With their fourth studio album "Hulders Ritual" (Ritual of the Huldra), SLAGMAUR break the chains of repetition and nostalgia by rewriting the rules of black metal. This does not mean abandoning the foundations of the genre. Although "Hulders Ritual" continues, refines, and widens the daring stylistic balance of SLAGMAUR’s previous works, it adds an extra dimension of sardonic mania to its collection of sharp and vicious sonic instruments. "Hulders Ritual" is for those, who are seeking musical darkness, magic, and the relentless breaking of limitations from black metal. SLAGMAUR push forward among the select few that are leading the way to the future of the genre."
The album has six songs, and "Ritual Dogs" is first. Out of the gates comes a dark and aggressive sound, akin to seeing the Dark Lord himself emerging from the shadows. The vocals are horrid, and the music has that familiar "one-two" step of Black Metal, used primarily to impart a harrowing sound. "Wildkatze" begins with scratchy, trebly guitars and leads to a mid-tempo riff that repeats the patter in a hypnotic fashion. A heated intensity is maintained throughout the song as well. "Huldergeist" also beings with scratchy rhythm guitars that are thrust right into your face. Also sporting a slow to mid-tempo pace, hypnotic qualities remain strong. I feel like the band is subliminally trying to call the listener over to the dark side, and some trippy elements are added to disorient you.
"Hexen Herjer" features a nice surprise in the form of haunting piano notes. The riffs that follow are swelled with might and power, and the vocals are sung in a ritualistic fashion. I feel like I have wandered into a torture chamber. "Warlok" comes out of the gates swinging, and it’s all about a slightly restrained aggression that swells like a damned river after a flood. It is also dark…as dark as the sky at the stroke of midnight. "Rathkings" is the final offering, and it’s as if the band saved a deep pocket full of hatred and rage for the ending song. It wastes no time establishing a thick, overgrown sound, complete with powerful riffs and horrid vocals. This was a delightfully commanding album that just didn’t settle for taking prisoners. Indeed, the sound was rich, full, frightening, and even combative at times.
"Hulders Ritual" Track-listing:
1. Ritual Dogs
2. Wildkatze
3. Huldergeist
4. Hexen Herjer
5. Warlok
6. Rathkings
Slagmaur Lineup:
Lt. Wardr – Drums, Keyboards
General Gribbsphiiser – Guitars, Bass
Dr. Von Hellreich – Vocals
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/slagmaur-hulders-ritual/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_n2JCZyfbVOeBuT9MtwvQOTy-yyCGn7o1s
———
#Colderra
#ColderraMusic
#MusicReview
#AvantGardeBlackMetal
#Slagmaur
#HuldersRitual
This was a delightfully commanding album that just didn’t settle for taking prisoners. Indeed, the sound was rich, full, frightening, and even combative at times.
From Bandcamp, "With their fourth studio album "Hulders Ritual" (Ritual of the Huldra), SLAGMAUR break the chains of repetition and nostalgia by rewriting the rules of black metal. This does not mean abandoning the foundations of the genre. Although "Hulders Ritual" continues, refines, and widens the daring stylistic balance of SLAGMAUR’s previous works, it adds an extra dimension of sardonic mania to its collection of sharp and vicious sonic instruments. "Hulders Ritual" is for those, who are seeking musical darkness, magic, and the relentless breaking of limitations from black metal. SLAGMAUR push forward among the select few that are leading the way to the future of the genre."
The album has six songs, and "Ritual Dogs" is first. Out of the gates comes a dark and aggressive sound, akin to seeing the Dark Lord himself emerging from the shadows. The vocals are horrid, and the music has that familiar "one-two" step of Black Metal, used primarily to impart a harrowing sound. "Wildkatze" begins with scratchy, trebly guitars and leads to a mid-tempo riff that repeats the patter in a hypnotic fashion. A heated intensity is maintained throughout the song as well. "Huldergeist" also beings with scratchy rhythm guitars that are thrust right into your face. Also sporting a slow to mid-tempo pace, hypnotic qualities remain strong. I feel like the band is subliminally trying to call the listener over to the dark side, and some trippy elements are added to disorient you.
"Hexen Herjer" features a nice surprise in the form of haunting piano notes. The riffs that follow are swelled with might and power, and the vocals are sung in a ritualistic fashion. I feel like I have wandered into a torture chamber. "Warlok" comes out of the gates swinging, and it’s all about a slightly restrained aggression that swells like a damned river after a flood. It is also dark…as dark as the sky at the stroke of midnight. "Rathkings" is the final offering, and it’s as if the band saved a deep pocket full of hatred and rage for the ending song. It wastes no time establishing a thick, overgrown sound, complete with powerful riffs and horrid vocals. This was a delightfully commanding album that just didn’t settle for taking prisoners. Indeed, the sound was rich, full, frightening, and even combative at times.
"Hulders Ritual" Track-listing:
1. Ritual Dogs
2. Wildkatze
3. Huldergeist
4. Hexen Herjer
5. Warlok
6. Rathkings
Slagmaur Lineup:
Lt. Wardr – Drums, Keyboards
General Gribbsphiiser – Guitars, Bass
Dr. Von Hellreich – Vocals
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/slagmaur-hulders-ritual/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.youtube.com/playlist?list=OLAK5uy_n2JCZyfbVOeBuT9MtwvQOTy-yyCGn7o1s
———
#Colderra
#ColderraMusic
#MusicReview
#AvantGardeBlackMetal
#Slagmaur
#HuldersRitual
Hulders Ritual – Album by Slagmaur
music.youtube.com
Listen to Hulders Ritual by Slagmaur on YouTube Music – a dedicated music app with official songs, music videos, remixes, covers, and more. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗕𝗔𝗡𝗜𝗦𝗛𝗘𝗥 – 𝗠𝗘𝗧𝗔𝗠𝗢𝗥𝗣𝗛𝗢𝗦𝗜𝗦
Overall, the album didn’t pull any punches or stray too far from the path and the seemingly uncompromising vision of the band. If you are in the mood for continued shots of aggression and deep beatings, this is for you.
From Bandcamp, "the new album marks BANISHER’s most mature and diverse work to date, serving both as a summary of the band’s 20-year journey and a reflection on the turbulent world that shaped it. While deeply rooted in the band’s own history, the record also responds to broader themes of isolation, uncertainty, transformation, and collapse that have defined recent years." It has eight songs, and "Manifest of Justice" is first. Out of the gate, comes a lot of aggression, rage, and hatred, and the vocals are beyond intense. At times, they dive down to horrid gutturals, and the music is tight. "Daymare" is another slab of fast moving, hardened, and aggressive metal. It moves forward with a deep intensity, and barely ever lets up. There are also some harrowing elements, as if you are reliving a nightmare.
"Aftermath" continues the fast pacing and contentious sounds, and it’s obvious through the first three songs that the band is intent on driving this sound down your throat with a rocket launcher. Behind some of the riffs, are eerie lead breaks, and they pepper the song with more darkness. The title track is divided into two parts. The first begins with spoken word, and thick bass notes, seguing into a slower moving song that is all about a commanding power. There are also some Thrash elements at work. The second part has some cadenced rhythms that border on electronica or even rap. There are also some clean vocals, and the band’s "take no prisoners" approach is still very evident. "Born to Die" has another punishing sound. I am not trying to take anything away from this homogeneous approach, but it doesn’t allow for much diversity.
"Demons" is a three-minute pummeling of fists in your face and kicks to your ass. The drums move with lightning speed and accuracy, and one has to wonder how he can keep up. "Soul Deformed" is the final song, and you guessed it, it’s another bruiser. In fact, the bruises keep piling up and become more and more painful, to the point that you just have to stay in bed and not risk more injury. Overall, the album didn’t pull any punches or stray too far from the path and the seemingly uncompromising vision of the band. If you are in the mood for continued shots of aggression and deep beatings, this is for you.
"Metamorphosis" Track-listing:
1. Manifest of Justice
2. Daymare
3. Aftermath
4. Metamorphosis
5. Metamorphosis pt. 2
6. Born to Die
7. Demons
8. Soul Deformed
Banisher Lineup:
Hubert Więcek – Guitars
Piotr Kołakowski – Bass
Jorgi Vanhees – Vocals
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/banisher-metamorphosis/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
banisher.bandcamp.com/album/metamorphosis
———
#Colderra
#ColderraMusic
#MusicReview
#TechnicalDeathMetal
#ExperimentalDeathMetal
#Banisher
#Metamorphosis8 track album
Overall, the album didn’t pull any punches or stray too far from the path and the seemingly uncompromising vision of the band. If you are in the mood for continued shots of aggression and deep beatings, this is for you.
From Bandcamp, "the new album marks BANISHER’s most mature and diverse work to date, serving both as a summary of the band’s 20-year journey and a reflection on the turbulent world that shaped it. While deeply rooted in the band’s own history, the record also responds to broader themes of isolation, uncertainty, transformation, and collapse that have defined recent years." It has eight songs, and "Manifest of Justice" is first. Out of the gate, comes a lot of aggression, rage, and hatred, and the vocals are beyond intense. At times, they dive down to horrid gutturals, and the music is tight. "Daymare" is another slab of fast moving, hardened, and aggressive metal. It moves forward with a deep intensity, and barely ever lets up. There are also some harrowing elements, as if you are reliving a nightmare.
"Aftermath" continues the fast pacing and contentious sounds, and it’s obvious through the first three songs that the band is intent on driving this sound down your throat with a rocket launcher. Behind some of the riffs, are eerie lead breaks, and they pepper the song with more darkness. The title track is divided into two parts. The first begins with spoken word, and thick bass notes, seguing into a slower moving song that is all about a commanding power. There are also some Thrash elements at work. The second part has some cadenced rhythms that border on electronica or even rap. There are also some clean vocals, and the band’s "take no prisoners" approach is still very evident. "Born to Die" has another punishing sound. I am not trying to take anything away from this homogeneous approach, but it doesn’t allow for much diversity.
"Demons" is a three-minute pummeling of fists in your face and kicks to your ass. The drums move with lightning speed and accuracy, and one has to wonder how he can keep up. "Soul Deformed" is the final song, and you guessed it, it’s another bruiser. In fact, the bruises keep piling up and become more and more painful, to the point that you just have to stay in bed and not risk more injury. Overall, the album didn’t pull any punches or stray too far from the path and the seemingly uncompromising vision of the band. If you are in the mood for continued shots of aggression and deep beatings, this is for you.
"Metamorphosis" Track-listing:
1. Manifest of Justice
2. Daymare
3. Aftermath
4. Metamorphosis
5. Metamorphosis pt. 2
6. Born to Die
7. Demons
8. Soul Deformed
Banisher Lineup:
Hubert Więcek – Guitars
Piotr Kołakowski – Bass
Jorgi Vanhees – Vocals
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/banisher-metamorphosis/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
banisher.bandcamp.com/album/metamorphosis
———
#Colderra
#ColderraMusic
#MusicReview
#TechnicalDeathMetal
#ExperimentalDeathMetal
#Banisher
#Metamorphosis8 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗛𝗔𝗧𝗧𝗘𝗥𝗛𝗘𝗔𝗥𝗧 – 𝗜𝗡𝗙𝗘𝗥𝗡𝗔𝗟 𝗦𝗬𝗠𝗣𝗛𝗢𝗡𝗬
A relative newcomer in the symphonic metal scene, Swedish quintet Shatterheart came into existence in 2023, releasing their Ground Turns Into Dust EP in May of 2025. They signed with Art Gates Records and now have their debut album Infernal Symphony ready to land a bigger footprint in a very crowded marketplace. The lineup contains members who have already gathered experience in other styles like guitarist Johan Bergman through melodic heavy metal / hard rock group Aerodyne and vocalist Aliki Kostopoulou’s singing in heavy metal act Scarblade – so it shouldn’t be surprising that a bit of those melodic heavy/power aspects filter into the songwriting next to a symphonic/gothic foundation.
Johan along with keyboardist Daniel Lyngsaa Larsson form a strong musical union to these songs where they play off of each other brilliantly – giving ample space for both when required without losing the plot of where they want these songs to go direction-wise. “No Rest” is an immediate standout to this regard, it’s epic textures more like older Dio against some Kamelot vibes, while the follow-up “A Shattered Heart” injects a bit more driving power riffs to the mix, Aliki hitting some piercing upper melodies in the chorus next to adventurous groove to double kick tempo support from drummer Olle Bengtsson. “The Ghosts Remain” is a playful symphonic number featuring Xandria’s Ambre Vourvahis, the dual female voices dancing seamlessly in the aural landscape against the circular keyboard / guitar runs to join together in melodic glory during the chorus. Overall the band lands in more of the commercial side of symphonic metal, not necessarily as adventurous as others but leaning towards acts with a bit more of 70s/early 80s flair for the drama. Beyond the conventional songs the record ends on the almost twelve-minute title cut. The opening sequence has a Celtic/folky atmosphere between the layers of keyboards, soothing background choirs, and marching guitars, the mid-section taking things into semi-classical opera twists before the momentum picks up, Johan ripping out some sinister lick as the stellar vocal melodies and keyboard parts reach a logical finish.
Ensuring a proper final sound with Fredrik Nordström’s mixing and mastering prowess at Studio Fredman, Infernal Symphony should give Shatterheart an adequate record to build upon for a solid career. Nothing flashy, just solid in its mechanics, performances, and thoughtful, catchy songwriting – we shall see what the future holds for this European symphonic metal band.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/shatterheart-infernal-symphony-art-gates-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.apple.com/us/album/infernal-symphony/1849405846
———
#Colderra
#ColderraMusic
#MusicReview
#SymphonicMetal
#Shatterheart
#InfernalSymphony
A relative newcomer in the symphonic metal scene, Swedish quintet Shatterheart came into existence in 2023, releasing their Ground Turns Into Dust EP in May of 2025. They signed with Art Gates Records and now have their debut album Infernal Symphony ready to land a bigger footprint in a very crowded marketplace. The lineup contains members who have already gathered experience in other styles like guitarist Johan Bergman through melodic heavy metal / hard rock group Aerodyne and vocalist Aliki Kostopoulou’s singing in heavy metal act Scarblade – so it shouldn’t be surprising that a bit of those melodic heavy/power aspects filter into the songwriting next to a symphonic/gothic foundation.
Johan along with keyboardist Daniel Lyngsaa Larsson form a strong musical union to these songs where they play off of each other brilliantly – giving ample space for both when required without losing the plot of where they want these songs to go direction-wise. “No Rest” is an immediate standout to this regard, it’s epic textures more like older Dio against some Kamelot vibes, while the follow-up “A Shattered Heart” injects a bit more driving power riffs to the mix, Aliki hitting some piercing upper melodies in the chorus next to adventurous groove to double kick tempo support from drummer Olle Bengtsson. “The Ghosts Remain” is a playful symphonic number featuring Xandria’s Ambre Vourvahis, the dual female voices dancing seamlessly in the aural landscape against the circular keyboard / guitar runs to join together in melodic glory during the chorus. Overall the band lands in more of the commercial side of symphonic metal, not necessarily as adventurous as others but leaning towards acts with a bit more of 70s/early 80s flair for the drama. Beyond the conventional songs the record ends on the almost twelve-minute title cut. The opening sequence has a Celtic/folky atmosphere between the layers of keyboards, soothing background choirs, and marching guitars, the mid-section taking things into semi-classical opera twists before the momentum picks up, Johan ripping out some sinister lick as the stellar vocal melodies and keyboard parts reach a logical finish.
Ensuring a proper final sound with Fredrik Nordström’s mixing and mastering prowess at Studio Fredman, Infernal Symphony should give Shatterheart an adequate record to build upon for a solid career. Nothing flashy, just solid in its mechanics, performances, and thoughtful, catchy songwriting – we shall see what the future holds for this European symphonic metal band.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/shatterheart-infernal-symphony-art-gates-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
music.apple.com/us/album/infernal-symphony/1849405846
———
#Colderra
#ColderraMusic
#MusicReview
#SymphonicMetal
#Shatterheart
#InfernalSymphony
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗕𝗟𝗢𝗦𝗦𝗢𝗠𝗦 𝗙𝗔𝗟𝗟 – 𝗟𝗔 𝗔𝗟𝗠𝗔
The evolution of metalcore and its offshoots have taken the appeal from a slightly above underground phenomenon into large theater to arena-oriented numbers, the diverse influences beyond social / normal media opportunities two of many key benchmarks that provide vitality to the scene. Blossoms Fall is a three-piece outfit that embraces this metalcore (and beyond) output through this newest EP La Alma. Six tracks of modern metalcore where hints of computerized/cyber effects filter in through a post-hardcore, clean to extreme attack – all parts working towards an infusion of chaotic bliss, colors of bright light to shimmer darkness intertwine to a crushing sonic presence most will never forget.
Pitch-shifting accents bring “Luna” into rarified air, guest Wasted Potency adding a bit of distant contrast to the otherwise shape shifting staccato-oriented meets clean guitar parts. Channeling her deepest frustrations, angst, and other emotional elements, main vocalist Shay Raelynn rips with savage screams plus occasional deeper growls (against some alternative, almost emo-laden clean spots from Matt Torres) to take her voice to those dark recesses that extreme metalcore embraces. Songs like “Prophecy” and “Affliction” illustrate the band’s ease of going full force in one measure, then letting off the gas to be more ethereal or atmospheric the next, keeping listeners on the edge even with the breakdown sequences. The mix of programming from guitarist/bassist Matt with drummer Dion Elloitt keeps the rhythm aspect hook-oriented in many areas, but also gives a bit of room for some progressive/djent propulsion within the title track, the vocals dancing from whispers to viciousness depending on the mood the music conveys.
Although brief in its 18-minute run time, La Alma positions Blossoms Fall in a great area to take their various genre influences into a modern scene hungry for this creative crossing to thrive. These musicians aim to take a swirl of textures into an energetic, satisfying outcome – be prepared to see this New Mexico group claw their way up the ranks.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/blossoms-fall-la-alma-eclipse-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/6bZQPuuK5tbjW3UQ95RLHU
———
#Colderra
#ColderraMusic
#MusicReview
#Metalcore
#BlossomsFall
#LaAlmaBlossoms Fall · EP · 2026 · 6 songs
The evolution of metalcore and its offshoots have taken the appeal from a slightly above underground phenomenon into large theater to arena-oriented numbers, the diverse influences beyond social / normal media opportunities two of many key benchmarks that provide vitality to the scene. Blossoms Fall is a three-piece outfit that embraces this metalcore (and beyond) output through this newest EP La Alma. Six tracks of modern metalcore where hints of computerized/cyber effects filter in through a post-hardcore, clean to extreme attack – all parts working towards an infusion of chaotic bliss, colors of bright light to shimmer darkness intertwine to a crushing sonic presence most will never forget.
Pitch-shifting accents bring “Luna” into rarified air, guest Wasted Potency adding a bit of distant contrast to the otherwise shape shifting staccato-oriented meets clean guitar parts. Channeling her deepest frustrations, angst, and other emotional elements, main vocalist Shay Raelynn rips with savage screams plus occasional deeper growls (against some alternative, almost emo-laden clean spots from Matt Torres) to take her voice to those dark recesses that extreme metalcore embraces. Songs like “Prophecy” and “Affliction” illustrate the band’s ease of going full force in one measure, then letting off the gas to be more ethereal or atmospheric the next, keeping listeners on the edge even with the breakdown sequences. The mix of programming from guitarist/bassist Matt with drummer Dion Elloitt keeps the rhythm aspect hook-oriented in many areas, but also gives a bit of room for some progressive/djent propulsion within the title track, the vocals dancing from whispers to viciousness depending on the mood the music conveys.
Although brief in its 18-minute run time, La Alma positions Blossoms Fall in a great area to take their various genre influences into a modern scene hungry for this creative crossing to thrive. These musicians aim to take a swirl of textures into an energetic, satisfying outcome – be prepared to see this New Mexico group claw their way up the ranks.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/blossoms-fall-la-alma-eclipse-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
open.spotify.com/album/6bZQPuuK5tbjW3UQ95RLHU
———
#Colderra
#ColderraMusic
#MusicReview
#Metalcore
#BlossomsFall
#LaAlmaBlossoms Fall · EP · 2026 · 6 songs
𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗜𝗡𝗗𝗨𝗖𝗧𝗜𝗢𝗡 – 𝗦𝗧𝗥𝗔𝗡𝗚𝗘𝗥𝗦 𝗧𝗢 𝗟𝗢𝗩𝗘 (𝗙𝗘𝗔𝗧. 𝗖𝗟𝗘𝗠𝗘𝗡𝗧𝗜𝗡𝗘 𝗗𝗘𝗟𝗔𝗨𝗡𝗘𝗬 𝗙𝗥𝗢𝗠 𝗩𝗜𝗦𝗜𝗢𝗡𝗦 𝗢𝗙 𝗔𝗧𝗟𝗔𝗡𝗧𝗜𝗦)
Modern power metal force, Induction, have released their new studio album, Love Kills!, via Reigning Phoenix Music.
With Love Kills!, Induction present their most focused and mature record to date, sharpening their signature mix of heavy power metal, strong hooks, and emotionally driven songwriting. The album shows a band operating with confidence, clarity, and a clear artistic direction.
To celebrate their album release in glorious style, Induction unleash a powerful new music video for the epic track “Strangers To Love”, featuring none other than Clémentine Delauney from Visions Of Atlantis.
“I am honored to feature on Induction’s new album, especially on this song ‘Strangers To Love’ that carries a very nostalgic yet energetic vibe,“ the Visions Of Atlantis singer says. “I feel like I’m back in the vibrant eighties, singing about a love that is as impossible as it is to travel back in time… I had a lot of fun interpreting this song alongside the great Gabriele Gozzi.”
Guitarist Tim Kanoa Hansen comments on the collaboration: “The second that I had the demo of ‘Strangers To Love’ done, I knew it needed a second voice. With Clémentine from Visions of Atlantis, we found the perfect match to bring the story to life. Clémi and Gabri complement each other beautifully! ‘Strangers To Love’ is probably the closest thing to a ballad that you will find on Love Kills!, and it’s also probably one of my personal favorite hits. I believe everyone will somehow relate to this song, because it captures the essence of human experience at its core, and fits perfectly to the album’s message: Love Kills…but it’s never gonna die.”
Stream / download “Strangers To Love” here induction.rpm.link/strangersvoaPR
Following a storm of milestones — including a series of live dates supporting the legendary Savatage, a frenetically acclaimed debut at Wacken Open Air, and the release of fan-favorite singles “Beyond Horizons” and “Dark Temptation” — Induction are firing on all cylinders.
Crafted at Chameleon Studios and Boogie Park Studios in Hamburg, the album was produced by Tim Kanoa Hansen and mixed and mastered by Eike Freese in collaboration with the guitarist. Love Kills! marks the beginning of a new era for Induction, defined by musical evolution, emotional depth, and a fearless drive to push the boundaries of modern power metal!
Save / order the album at this location induction.rpm.link/lovekillsPR
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/induction-release-new-single-video-strangers-to-love-featuring-vision-of-atla…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=LSGC0ksIQOs
———
#Colderra
#ColderraMusic
#MusicReview
#PowerMetal
#Speedmetal
#INDUCTION
#StrangersToLove
Modern power metal force, Induction, have released their new studio album, Love Kills!, via Reigning Phoenix Music.
With Love Kills!, Induction present their most focused and mature record to date, sharpening their signature mix of heavy power metal, strong hooks, and emotionally driven songwriting. The album shows a band operating with confidence, clarity, and a clear artistic direction.
To celebrate their album release in glorious style, Induction unleash a powerful new music video for the epic track “Strangers To Love”, featuring none other than Clémentine Delauney from Visions Of Atlantis.
“I am honored to feature on Induction’s new album, especially on this song ‘Strangers To Love’ that carries a very nostalgic yet energetic vibe,“ the Visions Of Atlantis singer says. “I feel like I’m back in the vibrant eighties, singing about a love that is as impossible as it is to travel back in time… I had a lot of fun interpreting this song alongside the great Gabriele Gozzi.”
Guitarist Tim Kanoa Hansen comments on the collaboration: “The second that I had the demo of ‘Strangers To Love’ done, I knew it needed a second voice. With Clémentine from Visions of Atlantis, we found the perfect match to bring the story to life. Clémi and Gabri complement each other beautifully! ‘Strangers To Love’ is probably the closest thing to a ballad that you will find on Love Kills!, and it’s also probably one of my personal favorite hits. I believe everyone will somehow relate to this song, because it captures the essence of human experience at its core, and fits perfectly to the album’s message: Love Kills…but it’s never gonna die.”
Stream / download “Strangers To Love” here induction.rpm.link/strangersvoaPR
Following a storm of milestones — including a series of live dates supporting the legendary Savatage, a frenetically acclaimed debut at Wacken Open Air, and the release of fan-favorite singles “Beyond Horizons” and “Dark Temptation” — Induction are firing on all cylinders.
Crafted at Chameleon Studios and Boogie Park Studios in Hamburg, the album was produced by Tim Kanoa Hansen and mixed and mastered by Eike Freese in collaboration with the guitarist. Love Kills! marks the beginning of a new era for Induction, defined by musical evolution, emotional depth, and a fearless drive to push the boundaries of modern power metal!
Save / order the album at this location induction.rpm.link/lovekillsPR
———
𝗙𝗿𝗼𝗺:
bravewords.com/news/induction-release-new-single-video-strangers-to-love-featuring-vision-of-atla…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=LSGC0ksIQOs
———
#Colderra
#ColderraMusic
#MusicReview
#PowerMetal
#Speedmetal
#INDUCTION
#StrangersToLove
INDUCTION – Strangers To Love (feat. Clémentine Delauney from Visions of Atlantis) (Official Video)
www.youtube.com
Taken from the album "Love Kills!" (February 6th, 2026)🎧 Stream, get it here: induction.rpm.link/lovekillsYT"The second that I had the demo of ‘Stra… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗘𝗫𝗢𝗗𝗨𝗦 – 𝟯𝟭𝟭𝟭 (𝗖𝗘𝗡𝗦𝗢𝗥𝗘𝗗 𝗩𝗘𝗥𝗦𝗜𝗢𝗡)
Just last week, San Francisco Bay Area thrash legends EXODUS announced their twelfth studio album, "Goliath". Their first LP with singer Rob Dukes since 2010, the band’s Napalm Records debut, and the follow-up to their highest-charting record ever will be out March 20, 2026. Along with it, the band revealed the massive opening track "3111", whose accompanying music video couldn’t be released due to the footage being too brutal for YouTube.
EXODUS guitarist Gary Holt comments: "So here it is, time to share the full, uncensored version of the video for ‘3111’! If you put it in movie terminology, we have the PG, PG13 and with this one, the rated-R version! With YouTube flagging what we consider the PG13 version repeatedly with threats of losing our page permanently (which, to be honest, contains nothing you can’t find on YouTube already) we decided to really push it and include all the scenes we KNEW they would not allow! So here’s the full video, with its own web site to view! Enjoy!"
Set around the drug war in Mexico’s Ciudad Juárez, sinister "3111" is an intense song showcasing not only EXODUS’s ever-increasing dynamic approach, even decades into their historic reign, but also their willingness to go exactly where it hurts. Therefore, the band spared no effort to make the video accessible to fans. A censored version is now up on YouTube, while a new web site has been set up to show the merciless brutality of "3111" in its true form: exodus3111.com.
Emerging hungrier than ever in 2026, with "Goliath", EXODUS reinforces their eternal foothold at the top of thrash metal’s hierarchy with 10 of their most diverse, anthemic emissions to date. Further fueled by the widely embraced return of iconic late-era frontman Rob Dukes — first appearing on 2005’s "Shovel Headed Kill Machine" — the album boasts what the band describes as the performance of his life. "Goliath" is EXODUS’s most collaborative record in their four decade-plus history, featuring songs written by several band members and guest contributions from Peter Tägtgren (HYPOCRISY, PAIN) and violinist Katie Jacoby.
EXODUS on "3111": "We decided to go hard with the leadoff single ‘3111’. The song is about the narco killings in Juarez, and 3111 is the estimated number of murders for 2010 alone."
"Goliath" wastes no time proving as massive as its name, with a sinister introduction opening "3111". Ode to owning one’s own volatility "Hostis Humani Generis" features a palpable lyrical delivery from Dukes that cuts like crystal amid frenetic riffs, before rolling into "The Changing Me". The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings — blending menace and melody with the cleans of guest Tägtgren together with Tom Hunting and at the end both Peter and Rob scream off the song. Harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. "Promise You This" incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt and Altus, prior to colossal title track "Goliath" simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars. The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like "Beyond The Event Horizon" and "2 Minutes Hate" provide EXODUS’s trademark deadly dose of thrash theatricality — the latter boasting one of the album’s most grimacing, grooving pit primers — while undeniably ’90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like "Violence Works". The nearly eight-minute epic "Summon Of The God Unknown" turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power-packed closer "The Dirtiest Of The Dozen" wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. Flurried dueling solos, an isolated bass excursion, rigorous drum dexterity and a blend of both gritty vocal passages and cutting chants combine to serve as yet another prime example of the band’s ever-evolving musical mastery.
Produced by EXODUS, mixed and mastered by Mark Lewis (WHITECHAPEL, NILE, UNDEATH),"Goliath" beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint "Bonded By Blood". 40 years later, EXODUS are steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition.
EXODUS on the new album "Goliath": "Are we excited for this record? That’s an understatement. We put everything we had into this record (and it’s 80 percent complete follow-up, but we’ll save that conversation for another day!) and it’s one of our proudest accomplishments. Wildly collaborative, the most band centric album to date with four songs written by Lee, lyrics by Gary, Rob, Lee and Tom, and just killer all the way around. The time to let the monster loose is coming! Bow Down!"
"Goliath" track listing:
01. 3111
02. Hostis Humani Generis
03. The Changing Me (feat. Peter Tägtgren)
04. Promise You This
05. Goliath (feat. Katie Jacoby)
06. Beyond The Event Horizon
07. 2 Minutes Hate
08. Violence Works
09. Summon Of The God Unknown
10. The Dirtiest Of The Dozen
Last month EXODUS filmed music videos for three songs from "Goliath", including "3111". The clips were helmed by Jim Louvau, a musical and visual creative artist based in Phoenix, Arizona, who previously worked on EXODUS’s music video for the song "The Fires Of Division" from the band’s previous LP, 2021’s "Persona Non Grata".
In November, EXODUS guitarist Gary Holt told Robb Chavez of Robbs MetalWorks about "Goliath": "It’s fucking awesome. I mean, it’s so awesome. We’re so proud of this record."
According to Holt, EXODUS completed nearly two albums’ worth of material during the latest recording sessions, with a view toward releasing the second collection of songs when the first touring cycle is finished.
"80 percent of the follow-up [to EXODUS’s next album] is done already," Holt explained. "We just kept working. We never stopped. We were in the studio for two months. And we tend to record by… We all live together in a house, or sometimes we build a studio in a house, and it’s like heavy metal summer camp. But we like each other enough to live together still. A lot of bands — that’s a rarity. And so we write the whole process. When we started recording, we only had four songs done and a million ideas. And Lee wrote a ton of stuff; he wrote four out of 10 songs on the new album."
Gary also talked about the return of Dukes, who replaced Steve "Zetro" Souza in January 2025. He said: "It’s fucking been amazing. When you hear [Rob’s] vocals on this new record, you’re gonna shit your pants."
Elaborating on what fans can expect from the new EXODUS material, Holt said: "The new album is so killer, dude. And everybody says that — I know that — but, dude, this album’s so good. Me and [EXODUS drummer] Tom Hunting call each other and [I tell him], when I listen to it, it makes me wanna cry, it’s so good. It’s that fucking good. We made something special."
Asked what it is about the new EXODUS album that is so good, Gary explained: "It’s just the songs, dude. It’s all about the songs. I mean, it’s crushing, but it’s all anthems. And it’s so varied, this record. So many different aspects of EXODUS are in there, from the blinding speed to the slowest, heaviest shit we’ve ever done. And Rob’s vocals are, like, at the top of the pyramid on this shit."
As for the status of the second collection of new songs EXODUS had written during the most recent sessions, Gary said: "We still gotta record a little bit more to complete it. Our goal, we fell a little bit short. We have eight songs done. It was hard picking which ones go on this, ’cause I still, to this day, I have panic attacks, like, ‘I should have put that one on it. That song is so sick.’ But you’re trying to balance a record. And we just picked what we thought were the best ones for this album."
"Goliath" marks the first time in nearly three decades that an EXODUS album hasn’t been mixed by Andy Sneap, who has acted as JUDAS PRIEST’s producer and touring guitarist for eight years.
In a recent interview with Chicago’s Rebel Radio 92.5 FM as part of the station’s 31st-anniversary celebration, Dukes praised the material on EXODUS’s upcoming effort, saying: "It’s killer. It’s the best thing I’ve ever done with EXODUS. I thought [2010’s] ‘Exhibit B: [The Human Condition]’ was probably some of my best work, and I think this tops it. It’s so different than what we’ve done. We’ve added so many little different things that it’s still EXODUS, but we’ve definitely stepped outside the box a little bit and tried a few different things and it worked well… It’s fast. it’s dark, it’s awesome, man. It’s gonna be a lot of fun to go play these songs live."
Souza joined EXODUS in 1986 after previously fronting the band LEGACY (which later became TESTAMENT). He remained in the band until their hiatus in 1993, but rejoined them for two years from 2002 to 2004. Dukes had joined EXODUS in 2005 (following Souza’s departure) and remained until 2014, when Souza rejoined.
Dukes previously joined EXODUS in January 2005 and appeared on four of the band’s studio albums — "Shovel Headed Kill Machine" (2005),"The Atrocity Exhibition… Exhibit A" (2007),"Let There Be Blood" (2008, a re-recording of EXODUS’s classic 1985 LP, "Bonded By Blood") and "Exhibit B: The Human Condition" (2010).
EXODUS played its first concert with Dukes in nearly 11 years on April 5, 2025 at the Decibel Magazine Metal & Beer Fest: Philly at the Fillmore in Philadelphia, Pennsylvania.
Although EXODUS rarely gets mentioned alongside the so-called "Big Four" of 1980s thrash metal — METALLICA, MEGADETH, SLAYER and ANTHRAX — the aforementioned "Bonded By Blood" LP inspired the likes of TESTAMENT, DEATH ANGEL, VIO-LENCE and many others to launch their careers and is considered one of the most influential thrash metal albums of all time.
———
𝗙𝗿𝗼𝗺:
blabbermouth.net/news/exodus-shares-censored-and-uncensored-versions-of-3111-music-video
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=kmZXGb6MtF8
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#Exodus
#3111
Just last week, San Francisco Bay Area thrash legends EXODUS announced their twelfth studio album, "Goliath". Their first LP with singer Rob Dukes since 2010, the band’s Napalm Records debut, and the follow-up to their highest-charting record ever will be out March 20, 2026. Along with it, the band revealed the massive opening track "3111", whose accompanying music video couldn’t be released due to the footage being too brutal for YouTube.
EXODUS guitarist Gary Holt comments: "So here it is, time to share the full, uncensored version of the video for ‘3111’! If you put it in movie terminology, we have the PG, PG13 and with this one, the rated-R version! With YouTube flagging what we consider the PG13 version repeatedly with threats of losing our page permanently (which, to be honest, contains nothing you can’t find on YouTube already) we decided to really push it and include all the scenes we KNEW they would not allow! So here’s the full video, with its own web site to view! Enjoy!"
Set around the drug war in Mexico’s Ciudad Juárez, sinister "3111" is an intense song showcasing not only EXODUS’s ever-increasing dynamic approach, even decades into their historic reign, but also their willingness to go exactly where it hurts. Therefore, the band spared no effort to make the video accessible to fans. A censored version is now up on YouTube, while a new web site has been set up to show the merciless brutality of "3111" in its true form: exodus3111.com.
Emerging hungrier than ever in 2026, with "Goliath", EXODUS reinforces their eternal foothold at the top of thrash metal’s hierarchy with 10 of their most diverse, anthemic emissions to date. Further fueled by the widely embraced return of iconic late-era frontman Rob Dukes — first appearing on 2005’s "Shovel Headed Kill Machine" — the album boasts what the band describes as the performance of his life. "Goliath" is EXODUS’s most collaborative record in their four decade-plus history, featuring songs written by several band members and guest contributions from Peter Tägtgren (HYPOCRISY, PAIN) and violinist Katie Jacoby.
EXODUS on "3111": "We decided to go hard with the leadoff single ‘3111’. The song is about the narco killings in Juarez, and 3111 is the estimated number of murders for 2010 alone."
"Goliath" wastes no time proving as massive as its name, with a sinister introduction opening "3111". Ode to owning one’s own volatility "Hostis Humani Generis" features a palpable lyrical delivery from Dukes that cuts like crystal amid frenetic riffs, before rolling into "The Changing Me". The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings — blending menace and melody with the cleans of guest Tägtgren together with Tom Hunting and at the end both Peter and Rob scream off the song. Harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. "Promise You This" incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt and Altus, prior to colossal title track "Goliath" simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars. The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like "Beyond The Event Horizon" and "2 Minutes Hate" provide EXODUS’s trademark deadly dose of thrash theatricality — the latter boasting one of the album’s most grimacing, grooving pit primers — while undeniably ’90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like "Violence Works". The nearly eight-minute epic "Summon Of The God Unknown" turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power-packed closer "The Dirtiest Of The Dozen" wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments. Flurried dueling solos, an isolated bass excursion, rigorous drum dexterity and a blend of both gritty vocal passages and cutting chants combine to serve as yet another prime example of the band’s ever-evolving musical mastery.
Produced by EXODUS, mixed and mastered by Mark Lewis (WHITECHAPEL, NILE, UNDEATH),"Goliath" beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint "Bonded By Blood". 40 years later, EXODUS are steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition.
EXODUS on the new album "Goliath": "Are we excited for this record? That’s an understatement. We put everything we had into this record (and it’s 80 percent complete follow-up, but we’ll save that conversation for another day!) and it’s one of our proudest accomplishments. Wildly collaborative, the most band centric album to date with four songs written by Lee, lyrics by Gary, Rob, Lee and Tom, and just killer all the way around. The time to let the monster loose is coming! Bow Down!"
"Goliath" track listing:
01. 3111
02. Hostis Humani Generis
03. The Changing Me (feat. Peter Tägtgren)
04. Promise You This
05. Goliath (feat. Katie Jacoby)
06. Beyond The Event Horizon
07. 2 Minutes Hate
08. Violence Works
09. Summon Of The God Unknown
10. The Dirtiest Of The Dozen
Last month EXODUS filmed music videos for three songs from "Goliath", including "3111". The clips were helmed by Jim Louvau, a musical and visual creative artist based in Phoenix, Arizona, who previously worked on EXODUS’s music video for the song "The Fires Of Division" from the band’s previous LP, 2021’s "Persona Non Grata".
In November, EXODUS guitarist Gary Holt told Robb Chavez of Robbs MetalWorks about "Goliath": "It’s fucking awesome. I mean, it’s so awesome. We’re so proud of this record."
According to Holt, EXODUS completed nearly two albums’ worth of material during the latest recording sessions, with a view toward releasing the second collection of songs when the first touring cycle is finished.
"80 percent of the follow-up [to EXODUS’s next album] is done already," Holt explained. "We just kept working. We never stopped. We were in the studio for two months. And we tend to record by… We all live together in a house, or sometimes we build a studio in a house, and it’s like heavy metal summer camp. But we like each other enough to live together still. A lot of bands — that’s a rarity. And so we write the whole process. When we started recording, we only had four songs done and a million ideas. And Lee wrote a ton of stuff; he wrote four out of 10 songs on the new album."
Gary also talked about the return of Dukes, who replaced Steve "Zetro" Souza in January 2025. He said: "It’s fucking been amazing. When you hear [Rob’s] vocals on this new record, you’re gonna shit your pants."
Elaborating on what fans can expect from the new EXODUS material, Holt said: "The new album is so killer, dude. And everybody says that — I know that — but, dude, this album’s so good. Me and [EXODUS drummer] Tom Hunting call each other and [I tell him], when I listen to it, it makes me wanna cry, it’s so good. It’s that fucking good. We made something special."
Asked what it is about the new EXODUS album that is so good, Gary explained: "It’s just the songs, dude. It’s all about the songs. I mean, it’s crushing, but it’s all anthems. And it’s so varied, this record. So many different aspects of EXODUS are in there, from the blinding speed to the slowest, heaviest shit we’ve ever done. And Rob’s vocals are, like, at the top of the pyramid on this shit."
As for the status of the second collection of new songs EXODUS had written during the most recent sessions, Gary said: "We still gotta record a little bit more to complete it. Our goal, we fell a little bit short. We have eight songs done. It was hard picking which ones go on this, ’cause I still, to this day, I have panic attacks, like, ‘I should have put that one on it. That song is so sick.’ But you’re trying to balance a record. And we just picked what we thought were the best ones for this album."
"Goliath" marks the first time in nearly three decades that an EXODUS album hasn’t been mixed by Andy Sneap, who has acted as JUDAS PRIEST’s producer and touring guitarist for eight years.
In a recent interview with Chicago’s Rebel Radio 92.5 FM as part of the station’s 31st-anniversary celebration, Dukes praised the material on EXODUS’s upcoming effort, saying: "It’s killer. It’s the best thing I’ve ever done with EXODUS. I thought [2010’s] ‘Exhibit B: [The Human Condition]’ was probably some of my best work, and I think this tops it. It’s so different than what we’ve done. We’ve added so many little different things that it’s still EXODUS, but we’ve definitely stepped outside the box a little bit and tried a few different things and it worked well… It’s fast. it’s dark, it’s awesome, man. It’s gonna be a lot of fun to go play these songs live."
Souza joined EXODUS in 1986 after previously fronting the band LEGACY (which later became TESTAMENT). He remained in the band until their hiatus in 1993, but rejoined them for two years from 2002 to 2004. Dukes had joined EXODUS in 2005 (following Souza’s departure) and remained until 2014, when Souza rejoined.
Dukes previously joined EXODUS in January 2005 and appeared on four of the band’s studio albums — "Shovel Headed Kill Machine" (2005),"The Atrocity Exhibition… Exhibit A" (2007),"Let There Be Blood" (2008, a re-recording of EXODUS’s classic 1985 LP, "Bonded By Blood") and "Exhibit B: The Human Condition" (2010).
EXODUS played its first concert with Dukes in nearly 11 years on April 5, 2025 at the Decibel Magazine Metal & Beer Fest: Philly at the Fillmore in Philadelphia, Pennsylvania.
Although EXODUS rarely gets mentioned alongside the so-called "Big Four" of 1980s thrash metal — METALLICA, MEGADETH, SLAYER and ANTHRAX — the aforementioned "Bonded By Blood" LP inspired the likes of TESTAMENT, DEATH ANGEL, VIO-LENCE and many others to launch their careers and is considered one of the most influential thrash metal albums of all time.
———
𝗙𝗿𝗼𝗺:
blabbermouth.net/news/exodus-shares-censored-and-uncensored-versions-of-3111-music-video
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=kmZXGb6MtF8
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#Exodus
#3111
EXODUS – 3111 (CENSORED VERSION)
www.youtube.com
Pre-Order "GOLIATH" here: lnk.to/Exodus-GoliathOut on March 20th, 2026 via Napalm RecordsWATCH THE UNCENSORED VERSION HERE: exodus3111.com/vid…
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
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https://goo.su/wBUAKQ
METAL OPERA Chapter 1: The Melodic Metallers
Sudah tersedia & mengudara di @Bandcamp
Info lanjut mengenai kompilasi ini dan jika ada hal lain yang ditanyakan atau disampaikan bisa menghubungi akun berikut:
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METAL OPERA Chapter 1: The Melodic Metallers [T-Shirt]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
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#Update
METAL OPERA Chapter 1: The Melodic Metallers
Details: Compilation | CD | Jewel Case
Label: Gerbang Sembilan
Country: Indonesia
Released: 2023
Classification: First Press | 500 copies
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METAL OPERA Chapter 1: The Melodic Metallers
Type: Compilation
Format: CD
Model: Jewel Case
Release Date: November 27, 2023
Catalog ID: GIX-MO.CD-001
#GIX
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#MusicPublisher
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/mgKdIr
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/hthjjd
#Post3
METAL OPERA & GERBANG IX, collaborated to release a compilation album, with the title “METAL OPERA Chapter 1: The Melodic Metallers”
https://gerbangsembilan.com
https://goo.su/i4yl
#MetalOpera
#MetalOperaWebzine
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#Discography #Update
METAL OPERA Chapter 1: The Melodic Metallers
Compilation Album
Released on November 27, 2023
Distributed & Published by Gerbang Sembilan
https://www.colderra.com/discography/
#Colderra
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#PowerMetal
#SpeedMetal
#HeavyMetal
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#GerbangSembilan
