Italian heavy/power metal band IBRIDOMA has released
the official video for “Sangue Innocente,” the title track of their seventh
full-length album, featuring guest vocalist Giacomo Voli of Rhapsody of Fire.
The song is the first single from the album, which was released digitally on
August 28 and physically on September 25, 2026, through Punishment 18 Records.
According to the band, “Sangue Innocente” addresses
indifference toward war and human suffering, focusing on the tendency to remain
detached from tragedies until they directly affect us. The album contains ten
tracks and also features soprano Chiara Malvestiti of Therion as a guest.
The album was recorded at Ulag Zone by Mauro Ulag
Mancinelli, with vocals recorded at Sound Distillery by Damiano “Killer”
Paoloni. Mancinelli also handled the mixing and mastering, while the cover
artwork was created by Gustavo Sazes and the official video was directed by
Alessandro Moglie
Indian technical death metal band Nihilus, from
Bangalore, have released their new album “Borealis”, now available across major
streaming platforms.
Known for exploring unconventional approaches within
extreme metal, the band continues to push the boundaries of technical death
metal on their latest release. One of the album’s distinctive concepts involves
a song composed to work both forwards and backwards, highlighting Nihilus’
experimental approach to songwriting.
With “Borealis,” Nihilus present a new chapter in
their development, combining technical precision with the intensity and
complexity associated with modern death metal.
BONFIRE have always been one of the more consistent
names in the German hard rock scene, although their contribution to the genre
has arguably received less recognition than it deserves. The band established a
strong reputation during the 1980s, combining melodic hard rock, powerful
guitar work and memorable songwriting, and several of their albums from that
period remain highly regarded by followers of the genre. Their subsequent
career has been equally notable for its persistence, with the band continuing
to release new material and demonstrate that their characteristic sound remains
effective.
Branded finds BONFIRE in particularly good form. From
the opening tracks, the album immediately establishes a familiar but energetic
identity, built around strong hooks, melodic guitar work and a straightforward
hard rock approach. The first three songs, “Deadly Contradiction,” “Just Follow
The Rainbow” and “Save Me,” are especially convincing examples of the band's
strengths. They combine memorable choruses with solid riffs and a sense of
melody that places them comfortably alongside the stronger material in
BONFIRE's catalogue.
The album also benefits from its variety without
losing its musical direction. “Do or Die” brings a faster, more distinctly
Teutonic hard rock character, while “Hold Me Now” provides the obligatory but
well-executed ballad element. “Close to the Edge” is another strong
composition, balancing melody and heavier guitar work in a way that feels
natural rather than forced. Throughout the record, the arrangements remain
focused on songs rather than unnecessary technical displays, allowing the hooks
and vocal melodies to remain at the centre.
Claus Lessmann is particularly effective here. His
vocal performance gives the material the familiar BONFIRE character, while the
guitars provide the weight and melodic definition expected from the band. The
production maintains a polished modern hard rock sound without completely
distancing the album from the band's established identity.
Compared with the preceding The Räuber, Branded comes
across as a slightly stronger and more consistent release. It does not attempt
to reinvent BONFIRE, nor does it need to. Instead, the band concentrates on
what they have traditionally done best: delivering melodic, guitar-driven
German hard rock with strong choruses and accessible songwriting.
Branded is therefore a very solid addition to the
BONFIRE catalogue. It may not radically expand the band's musical boundaries,
but it demonstrates that their songwriting formula remains effective and that
their legacy is still being maintained with conviction. For followers of German
hard rock and for established BONFIRE fans in particular, this is an album well
worth hearing.
Μια
από τις πιο χαρακτηριστικές μπάντες της Ανατολικής Ακτής, μέλος των «μεγάλων
τεσσάρων» του Thrash Metal μαζί με τους Slayer, Megadeth και Metallica.
Προσωπικά, ένα από τα αρχικά συγκροτήματα που ξεκίνησα να ακούω. Τους
πρωτοάκουσα με το Among the Living, το κλασικό άλμπουμ τους, και στη συνέχεια
με το Persistence of Time.
Το
συγκρότημα των πέντε μουσικών από τη Νέα Υόρκη, με ηγετική μορφή τον κιθαρίστα
Scott Ian, άλλαξε πολλές μορφές και μέλη. Το συγκεκριμένο CD αποτελεί το σημείο
της επανένωσης με τον δεύτερο, θεωρητικά τον πιο κλασικό, τραγουδιστή τους,
Joey Belladonna, πίσω από το μικρόφωνο, στη θέση του John Bush (των Armored Saint),
ο οποίος τον είχε αντικαταστήσει το 1994.
Σύγχρονη
παραγωγή και υλικό που παραπέμπει, βεβαίως, στους Anthrax που ξέρουμε, αλλά
περιλαμβάνει και νέες ιδέες. Earth on Hell, The Devil You Know, Fight 'Em 'Til
You Can't, I'm Alive, In the End, The Giant, Judas Priest (ναι, το είδαμε κι
αυτό, η λατρεία δεν κρύβεται!), The Constant και Revolution Screams είναι τα
καλύτερα σημεία ενός πολύ καλού δίσκου.
English:
A Return of Megaton Proportions
One of the most characteristic bands of the East Coast
and one of the “Big Four” of Thrash Metal, alongside Slayer, Megadeth and
Metallica. Personally, they were one of the first bands I ever started
listening to. I was first introduced to them through Among the Living, their
classic album, and then through Persistence of Time.
The five-piece from New York, led by guitarist Scott
Ian, went through numerous lineup changes and different incarnations over the
years. This particular CD marks their reunion with their second — and,
theoretically, their most classic — vocalist, Joey Belladonna, back behind the
microphone in place of John Bush (of Armored Saint), who had replaced him in
1994.
The production is modern, while the material naturally
points back to the Anthrax we know, yet it also incorporates some new ideas.
Earth on Hell, The Devil You Know, Fight 'Em 'Til You Can't, I'm Alive, In the
End, The Giant, Judas Priest (yes, we got that one too — the devotion is
impossible to hide!), The Constant and Revolution Screams are among the
highlights of a very good album.
Swiss project NERUMIA have released a new lyric video
for “Aliénation,” the title track of their forthcoming album Aliénation.
NERUMIA were officially formed in 2001 in the Swiss
mountains by Pasquale “Scual” Rivetti and Philippe “Phil” Privet. The duo
released two albums, The Land of the Black (2003) and I Don’t Understand
(2007), before the project was put on hold following Privet’s death in 2009.
NERUMIA returned in 2020 with a new line-up featuring
Magnus and Juan. Following Juan’s death in 2022, the remaining members
completed Senza Realtà (2023), incorporating guitar solos he had recorded
before his passing.
NERUMIA now continue as a trio with the addition of
Adrien, preparing to enter their next chapter with Aliénation.
The current line-up features Scual (concept, lyrics,
guitars, drums and lead vocals), Adrien (rhythm and lead guitars, vocals), and
Magnus (bass and vocals).
Κι
αυτό (A Lesson Well Learned) είναι τραγούδι, βέβαια, από το ομώνυμο μίνι
άλμπουμ τους, που είχε προηγηθεί το 1983.
Αυτό,
το πρώτο πλήρες τους δημιούργημα, είναι απλώς κλασικό. Αμερικάνικο Heavy Metal
από τα ’80s, με τσαγανό και πάθος. Τα πέντε παιδιά από το Los Angeles, με
επιρροές από το βρετανικό NWOBHM, αλλά και με χαρακτηριστικά αμιγώς
αμερικανικής καταβολής, παλαντζάρουν ανάμεσα στη φαντασία και τον ρεαλισμό.
March Of The Saint, Can U Deliver, Mad House, Seducer,
Mutiny On The World (μιλάμεγιαΤΟΕΠΟΣ!), Stricken By Fate και False Alarm — κιαυτάείναιμόνοτα 3/4 τουδίσκου!
Ένα
ακόμη ντεμπούτο που στιγμάτισε τη δεκαετία του ’80. Το τουλάχιστον
πληθωριστικό, επικών διαστάσεων εξώφυλλο, με τους πέντε ιππότες/αγίους με
πανοπλία, προφανώς υπονοεί τα πέντε μέλη τους: τους κυρίους Phil Sandoval,
Gonzo Sandoval, John Bush, Joey Vera και David Pritchard (RIP).
Απαραίτητος
δίσκος σε κάθε Old School Metal συλλογή.
English:
A Lesson We Learned Well
And this (A Lesson Well Learned) is, of course, a song
from their self-titled mini-album, which preceded it in 1983.
This, their first full-length release, is simply
classic. ’80s American Heavy Metal, full of guts and passion. The five guys
from Los Angeles, drawing influences from the British NWOBHM while also
displaying distinctly American characteristics, move back and forth between
fantasy and reality.
March Of The Saint, Can U Deliver, Mad House, Seducer,
Mutiny On The World (we’re talking about AN EPIC!), Stricken By Fate and False
Alarm — and that’s only three-quarters of the album!
Another debut that left its mark on the ’80s. The
downright extravagant, epic-scale cover, featuring five armored knights/saints,
obviously represents their five members: Phil Sandoval, Gonzo Sandoval, John
Bush, Joey Vera and David Pritchard (RIP).
An essential record in any Old School Metal
collection.
Sometimes a press release can create a misleading
first impression. The bio sheet accompanying VALSANS describes the Austrian
band as an answer to those dissatisfied with MANOWAR's later albums and the
split of RUNNING WILD. Approaching the CD with some scepticism, I was not
particularly convinced by such promotional claims. After ten years of writing
for this zine, I have learned that a bio sheet is rarely a reliable indication
of what a band actually has to offer.
VALSANS play traditional Power Metal, drawing on
familiar influences such as WIZARD, GRAVE DIGGER and, to a lesser extent,
MANOWAR and METALLICA. The band have a capable vocalist, a tight rhythm section
and some good ideas, all of which contribute to an enjoyable listening
experience. However, Sword remains a rather typical release for the genre, with
most of its musical ingredients already explored, often in more distinctive and
inventive ways, by the aforementioned bands.
As someone who genuinely appreciates this particular
style of Metal, I found the album pleasant throughout, but it ultimately failed
to leave a lasting impression or create the desire to return to it. The
musicians are clearly talented and demonstrate a good understanding of
traditional Power Metal, but they still need to develop a more recognisable
musical identity. Alternatively, stronger songwriting and more distinctive
compositions could help them move beyond the familiar territory of their
influences.
Sword is an enjoyable effort for fans of traditional
Power Metal, although those looking for something particularly original may
find little here to distinguish VALSANS from the numerous bands operating in
the same musical territory. Give them a listen before heading to your local
record store.
