American melodic black/death metal band Polemicist has
announced the release of their latest single, “Medieval Rites.” The track was
recorded at Helvete Studios by S. McCullough and mixed/mastered at Hell Studios
by S. Robitaille.
Formed in 2017 by Josiah Domico and Lydia Giordano,
Polemicist quickly gained recognition with their acclaimed debut, “Zarathustrian
Impressions”. Despite challenges posed by the pandemic, they released “Return
of the Sophist” in 2021, further establishing their presence in the U.S. black
metal scene.
Relocating to Portland in 2022, the band has continued
to evolve and expand their musical horizons. In 2024, they unveiled new
material beginning with the “Polemicist EP”, highlighting their dynamic
artistry and unwavering creative energy.
Fans can look forward to more powerful releases from
Polemicist as they continue to push the boundaries of black and death metal.
Έχοντας
υπηρετήσει τους Stoner πατέρες Spiritual Beggars, ο J.B. Christoffersson μας
παρουσιάζει το σχήμα που τον τράβηξε να συνεχίσει σε αυτό το δεύτερο άλμπουμ,
σε νέες περιπέτειες. Μαζί με τους Fox, στο μπάσο, και Trisse, στα ντραμς, ο
J.B. αναλαμβάνει τη φωνή και την κιθάρα. Εδώ έχουμε ένα πραγματικά άξιο τέκνο
του Stoner Metal.
Η
εποχή που το Doom συναντά το Epic, και παρόλο που δεν αργεί, είναι μονόπλευρη
στη μουσική που θα βρείτε εδώ, κλείνοντας ευλαβικά το γόνιμο μόνο στα σκοτεινά
Doom μονοπάτια!
Χαίρε
βάρος αμέτρητο, "σαμπαθικά" riffs η μουσική, με πολύ μελωδία και
μπόλικο συναίσθημα, και μόνο εφτά κομμάτια.
Summer Solstice, Brotherhood of Sleep, Baptised on
Fire, Food of the Gods καιτέλοςτοδεκάλεπτοέποςHe Who Seeks... Shall Find είναιτοαπόσταγματουδίσκου.
English:
This is not what you might expect.
Having paid homage to the Stoner pioneers Spiritual
Beggars, J.B. Christoffersson introduces us to the band that inspired him to
continue exploring new horizons on this second album. Alongside Fox on bass and
Trisse on drums, J.B. takes on vocals and guitar. What we have here is a truly
worthy offspring of Stoner Metal.
The era where Doom intersects with Epic metal—though
not long in coming—is, in this music, a one-sided journey that reverently
delves into dark Doom pathways.
Embrace the weight of countless riffs, the music’s
soulful essence, filled with melody and raw emotion, all contained within just
seven tracks.
Songs like Summer Solstice, Brotherhood of Sleep, Baptised
on Fire, Food of the Gods, and the epic ten-minute He Who Seeks... Shall Find
are the distilled essence of this record.
Alright, let's take a more down-to-earth look at Lord Vigo's "We
Shall Overcome." This isn't just another metal album; it's a deep dive
into a world that feels strangely familiar, even if it's set far away in a
conceptual universe.
At its heart, "We Shall Overcome" is the second part of a
story Lord Vigo started with "Danse de Noir" in 2020. But here's
where it gets really interesting: it's also a direct follow-up to Rush's
legendary "2112." Imagine stepping into that world 25 years later,
after humanity thought they'd won, only to find themselves grappling with new
problems like a messed-up environment and political chaos. It’s a classic tale
of winning a battle but then facing an even bigger war.
What really strikes me is how this album, despite its fantastical story,
feels so connected to what we've all been through recently. Think about the
pandemic years: the lockdowns, the mandates, the constant debate about personal
freedom versus collective safety. Lord Vigo captures that feeling of a
"forced unification," where individual rights might be pushed aside
for what's perceived as the greater good. The track "A New Dark Age"
isn't just a cool song title; it's a reflection of the widespread fear and
uncertainty many of us felt. The idea that we could be entering a period where
progress regresses, freedoms shrink, and technology becomes a tool for control
– it hits close to home. Even after overcoming one crisis, new forms of
oppression can emerge, a truth the pandemic definitely highlighted for many.
It's a reminder that artists often draw from the world around them, even when
creating elaborate fictional narratives.
Now, let's talk about the music itself.
While many would simply label Lord Vigo as "Epic Doom Metal," that
really doesn't tell the whole story. This album stretches way beyond that. You
can clearly hear strong progressive
metal elements. The songs aren't just simple verse-chorus
affairs; they're complex journeys with shifting tempos and multiple sections,
much like a good progressive rock album. The way they use keyboards isn't just
for background; it builds atmosphere, sometimes futuristic, sometimes almost
gothic, making the sound feel much deeper.
In fact, listening to it, I often found
myself thinking of Queensrÿche's
"Operation: Mindcrime." Both albums are built around
powerful, dystopian stories. Vinz Clortho's distinct, high-pitched vocals,
while unique, have a dramatic flair that reminds me of how Geoff Tate delivered
the narrative in "Mindcrime." Both bands create a tangible mood,
whether it's the political intrigue of Queensrÿche or Lord Vigo's bleak, epic
vision. They both push the boundaries of what heavy metal can be, weaving in
intricate arrangements and deeper themes.
But don't think for a second they've
abandoned the classics. There are plenty of moments that are pure,
unadulterated traditional
heavy metal. You'll find those catchy, headbanging riffs and
melodic lines that feel straight out of an Iron Maiden or Manowar album. Many
songs maintain a solid, driving pace, steering clear of the super slow,
crushing doom that sometimes defines the genre. And the guitar solos? They're
impactful and melodic, serving the song perfectly rather than just being
technical show-offs.
So, when you really dig into "We
Shall Overcome," you realize it's a fascinating blend. It's got the heavy
atmosphere of Epic Doom
Metal, the ambitious songwriting of Progressive Metal,
the raw power of Traditional
Heavy Metal, and even some of those cool, atmospheric vibes
from '80s new wave and gothic rock
that we talked about. This seamless mix is what makes "We Shall
Overcome" so compelling and why it stands out. It's truly a testament to a
band that isn't afraid to forge its own path and create something genuinely
original.
Ήταν
η εποχή τότε που το μελλοντικό Power Metal άρχισε να κάνει τα πρώτα του δειλά
βήματα, ειδικά σε χώρες όπως η Γερμανία. Οι Stormwitch έρχονται εδώ μετά το
πολύ καλό «Walpurgis Night», ένα χρόνο πριν, στο δεύτερο άλμπουμ της
ενδιαφέρουσας μουσικής τους καριέρας. Το NWOBHM έχει περάσει από τη Βρετανία,
όπου πλέον σιγά σιγά σβήνει, στην ηπειρωτική Ευρώπη, και μπάντες που το
ενστερνίστηκαν ως οπαδοί κάποτε, το χρησιμοποιούν ως σημείο εκκίνησης για να
προσθέσουν η καθεμία και από κάτι.
Το
συναίσθημα στον δίσκο αυτόν είναι πιο "epic", καθώς και το νεύρο των
συνθέσεων, και η παραγωγή βοηθάει στο να σχηματιστεί αυτή η εικόνα. Θεωρούμενο
ως ένα cult άλμπουμ σχεδόν σαράντα χρόνια μετά, στα εννέα κομμάτια του βρίσκεις
τα πρώτα ψήγματα του σκοτεινού ρομαντισμού, ο οποίος θα χρησιμοποιηθεί αργότερα
ως όρος από τους φίλους του σχήματος.
Κλασικό
παράδειγμα αποτελεί το "Masque of Red Death" (ένας ακόμη δημοφιλής
τίτλος για αρκετά metal κομμάτια διαχρονικά), έμπνευση για το οποίο είναι
προφανώς το ομότιτλο βιβλίο του Έντγκαρ Άλαν Πόε. Τα "Point of No
Return", "Arabian Nights", "Hell's Still Alive",
"Sword of Sagon", "Night Stalker" και "When the Bat
Bites" είναι τα υπόλοιπα κομμάτια που ξεχωρίζουν στον δίσκο, και ακόμα δεν
έχουμε δει τα καλύτερα που έρχονται στις επόμενες κυκλοφορίες τους.
English:
Steady Progression.
It was during this time that the future of Power Metal
began to take its first tentative steps, especially in countries like Germany.
Stormwitch come here after the very good “Walpurgis Night”, released a year
earlier, on the second album of their interesting musical career. The NWOBHM
had passed from Britain, where it was gradually fading, into continental
Europe, and bands that once embraced it as fans now used it as a springboard to
add their own elements.
The feeling on this album is more "epic," as
well as the energy of the compositions, and the production helps shape this
overall image. Considered as a cult album nearly forty years later, its nine
tracks contain the earliest signs of the dark romanticism that would later
become a term used by fans of the band.
A classic example is "Masque of Red Death"
(another popular title for various metal songs over the years), which is
obviously inspired by the eponymous book by Edgar Allan Poe. The other standout
tracks include "Point of No Return," "Arabian Nights,"
"Hell's Still Alive," "Sword of Sagon," "Night
Stalker," and "When the Bat Bites." And even now, we haven't
seen the best that lies ahead in their future releases.
Power metal legends DRAGONFORCE have released an
official music video for an alternate version of “Burning Heart,” featuring
Alissa White-Gluz. Originally a bonus track on select editions of their 2024
album “Warp Speed Warriors”, this version is now available as a single.
Formed in 1999, DRAGONFORCE is known for their
fast-paced riffs and hits like “Through the Fire and Flames.” Several tracks
from the new album have already surpassed a million Spotify streams.
Alissa White-Gluz shared her excitement: “It was a fun
challenge to keep up with DragonForce’s speed!” Guitarist Herman Li added,
“Alissa’s vocals took ‘Burning Heart’ to another level.”
New Zealand metal band Alien Weaponry has released a
new music video for “Taniwha” from their third album "Te Rā", featuring guest
vocals from Randy Blythe of Lamb Of God. The video shows the band confronting
puppet masters of greed and overconsumption, highlighting the song’s aggressive
tone.
The band is set to support Avatar on their upcoming
U.S. tour starting November 5, 2025, in Phoenix, Arizona, with SpiritWorld
opening.
“We’re stoked with how the video turned out and
thrilled to work with Randy Blythe,” the band said. Watch the video below and
catch them live soon!
Berlin, October 2023 — German metal giants POWERWOLF
will release their new live album, “Wildlive (Live at Olympiahalle)”, on March
6, 2026, via Napalm Records. Recorded during their sold-out Munich show on the
Wolfsnächte Tour 2024, the album captures their epic, theatrical performance
with pyrotechnics, storytelling, and crowd energy.
Available in various formats—including Blu-Ray, DVD,
Vinyl, and special editions—fans who preorder by July 31 can have their name
printed in the booklet of select editions.
POWERWOLF describes the release as more than a
concert, calling it “a tribute to the magic we shared during the tour.” The
album features stunning visual effects and powerful renditions of hits like
“Army Of The Night” and “Alive or Undead,” celebrating their unstoppable
journey and theatrical metal artistry.
German black/death metal band Aegror has launched
their latest album, “Reign of Disease”, recorded at Abgrund Studios by Torben
Lazar.
Founded in 2009 in Kerken, Aegror combines
horror-themed metal with lyrics about disease and psychological torment. After
a near breakup, core members Narthaas and Abyssus revived the band to release
this dark, conceptual record centered on the sinister “Plaguebreeder.”
The album explores madness and crises through
aggressive riffs and atmospheric storytelling, offering a powerful, apocalyptic
experience.
Swedish band KATATONIA has unveiled "Wind of no
Change," the final single from their upcoming album “Nightmares as
Extensions of the Waking State”, out this Friday via Napalm Records. The track
features a mix of electronic textures and enigmatic soundscapes, accompanied by
a music video.
Following their top-five chart success with “Sky Void
of Stars”, the band will tour Europe and the UK this fall with support from
EVERGREY, ending in Stockholm on December 20.
Vocalist Jonas Renkse says, “Receive our last single.
The album’s build-up is at its peak—sing praise!”
Power metal band WARKINGS drop their fierce new track
“Kings of Ragnarök,” the third single from their upcoming album “Armageddon”,
out July 4, 2025 via Napalm Records. The song tells tales of mythic destruction
with thunderous riffs and heroic chants, serving as a rallying cry for metal
fans.
Fans can catch WARKINGS live on the 2026 Pirates &
Kings tour across Europe with Visions of Atlantis.
Their Spartan frontman says, “When the world burns,
our warriors will stand together!”
Four years after their acclaimed album “Rage Of War”,
Belgian combat metal band FireForce is back with a fierce new song, “Battle of
Ramadi.” The thunderous track showcases the band’s signature blend of epic,
heavy power metal inspired by historical conflicts, war, and mythology.
Accompanied by a gripping music video, “Battle of
Ramadi” explores the chaos and frustration faced by soldiers during intense
combat. FireForce explains, “This one is about the battle between a regular
army and opponents who act like ghosts between the ruins, and don't fight by
the normal rules of engagement. And the frustration and emotions of the
soldiers involved.”
With their return, FireForce continues to deliver powerful
storytelling through heavy metal, capturing the brutality and heroism of war.
Fans can anticipate more electrifying releases from the Belgian band in the
near future.
Ted Nugent’s self-titled debut album, released in
September 1975, isn’t just the start of his solo career—it’s a full-throttle
declaration of independence. Coming on the heels of the breakup of The Amboy
Dukes, this record wastes no time in establishing Nugent as a force of nature.
From the first notes, it’s clear this isn’t a cautious debut—it’s loud, fast,
unapologetically aggressive, and proud of it.
This album didn’t just do well—it hit #28 on the US
charts and eventually went double platinum, with a gold certification in
Canada. That commercial success is only part of the story, though. What’s more
enduring is the reputation it built over time. Today, it’s considered a classic
of 70s hard rock, often mentioned in the same breath as early Van Halen,
Aerosmith, and AC/DC. And rightfully so. It’s raw, riff-heavy, and brimming
with the kind of sweaty, unfiltered energy that defined the decade.
“Stranglehold” is the standout—the centerpiece,
really. It’s nearly nine minutes long, but it never overstays its welcome.
Built on a hypnotic riff and a slow-burning groove, it lets Nugent stretch out
with a solo that’s part blues sermon, part psychedelic freefall. His use of
feedback, sustain, and dynamics feels alive, almost conversational. That he
played a Gibson Byrdland—an odd choice for hard rock—through Fender amps makes
his tone all the more unique. It’s sharp and biting, but also full and
expressive, rooted deeply in the blues.
That’s what often gets overlooked about Nugent:
beneath the wild man persona, the fur, the antics—there’s a blues guitarist
with real soul. Listen closely to his solos and you’ll hear it: the bends, the
phrasing, the vibrato. It’s there on “Stranglehold,” of course, but also
throughout the record, woven into the fabric of heavier songs like
“Stormtroopin’” and “Just What the Doctor Ordered.” These aren’t just vehicles
for showing off—they’re built around tight grooves and structured in a way that
still lets the guitar sing.
There’s a real connection between this album and the
early sound of heavy metal. It was 1975, and the borders between hard rock and
metal were still being drawn. You can hear Nugent stepping over those lines,
often within the same track. The riffs are heavier than what most hard rock
bands were doing at the time, the vocals are grittier, and the energy is
relentless. It’s not metal in the way Sabbath or Priest were doing it, but it’s
close—like a wild cousin who refuses to follow rules.
Lyrically, the themes are exactly what you’d
expect—and, in a way, exactly what you want from an album like this. It’s
rebellion, sex, speed, freedom, and volume turned all the way up. Songs like
“Motor City Madhouse” are tributes to a chaotic, loud life of rock and roll,
while “Hey Baby” doesn’t waste time with subtlety. This is Nugent leaning all
the way into his Motor City Madman image, full of swagger, confidence, and a
kind of primal charisma that’s hard to ignore.
And then, just when you think you’ve got the whole
album figured out, he throws in something like “You Make Me Feel Right at
Home.” It’s acoustic, warm, and—surprisingly—gentle. Cliff Davies handles the
vocals here, and it’s a nice shift in tone, both musically and emotionally. In
a weird way, it feels almost Beatles-esque. Not that it sounds exactly like
them, but there’s a kind of melodic grace and softness that recalls their more
introspective moments. It’s the kind of left turn that makes you stop and
reassess what the album is really capable of.
This album is more than a collection of songs—it’s a
statement. It’s the kind of record that captures a moment in time, not just for
Nugent, but for hard rock as a whole. There’s no hiding, no holding back. It’s
loud, brash, occasionally over-the-top, but also full of musicality and heart.
It’s not perfect—and it doesn’t want to be. That’s the point. Like a muscle car
roaring down a Detroit highway, “Ted Nugent” is all about power, attitude, and
the thrill of the ride.
Extreme metal band Cradle of Filth released their 14th
album, “The Screaming Of The Valkyries”, debuting high on charts worldwide.
They’ve now dropped a new music video for "Demagoguery," directed by
Shaun Hodson. The video depicts a puppet controlled by unseen forces,
symbolizing media and political manipulation, with dark, disturbing imagery.
The band kicks off their UK/European tour later this
week, supported by Nervosa. Fans can expect intense music and visuals from this
legendary act.
Virginia black metal band Winter Blood has launched
their new album, “Only Dust Remains”. Recorded and mixed by Manothanas (John)
at his home studio, the album features a dark, melodic blend of aggressive
black metal and classical influences, with layered synths and intense guitars.
Returning in 2023 with synth programming by Fogrim (Jason), Winter Blood
continues to craft a captivating, atmospheric sound. Fans
can stream the album now.
Το
συγκεκριμένο συγκρότημα δεινοσαυρικών διαστάσεων δε χρειάζεται συστάσεις. Ο
αειθάλητος Ian Anderson στη μουσική, τη φωνή και το φλάουτό του μας έχει
χαρίσει άπειρα πράγματα από το 1967.
Η
σκοτεινή περίοδος της δεκαετίας του '90 και για το progressive rock έμελλε να
είναι, με ελάχιστες εξαιρέσεις, ακριβώς αυτό… σκοτεινή! Αυτό το άλμπουμ σε CD,
δεν ξέρω γιατί, το πήρα τότε, στις αρχές του 2007, μαζί με σχεδόν ολόκληρο τον
κατάλογό τους από την EMI/Chrysalis, που κυκλοφόρησε σε remastered έκδοση.
Μάλλον γι' αυτό το λόγο μπήκε στο σπίτι και αυτό, μαζί με τα άλλα πιο κλασικά
τους άλμπουμ.
Ωστόσο,
το αγάπησα πολύ αυτό το άλμπουμ. Τα δύο πρώτα κομμάτια του, ο ομώνυμος
"Roots to Branches" και το ανατολίτικο "Rare and Precious
Chain", έχουν πια καθιερωθεί στη συνείδησή μου. Από εκεί και πέρα, το
άλμπουμ δεν απογοητεύει· αντιθέτως! Τα τραγούδια "Out of the Noise",
"This Free Will", "Valley", "Dangerous Veils",
"Wounded Old and Treacherous" και "Stuck in the August
Rain" αξίζουν και μάλιστα πολύ.
Ο
Martin Barre στην κιθάρα, ο Dave Pegg στο μπάσο, ο Andrew Giddings στα πλήκτρα
και ο Doane Perry στα ντραμς πλαισιώνουν τον Ian Anderson σε αυτό το ανέλπιστα
όμορφο άλμπουμ.
English:
Unstoppable and always interesting.
This particular dinosaur-sized band needs no
introduction. The indefatigable Ian Anderson, with his music, voice, and flute,
has given us countless treasures since 1967.
The dark period of the 1990s for progressive rock was,
with few exceptions, exactly that… dark! For some reason, I bought this CD back
then, in early 2007, along with almost their entire catalog from EMI/Chrysalis,
which was re-released in a remastered edition. Perhaps that’s why it found its way
into my home, alongside their other more classic albums.
Nevertheless, I loved this album very much. The first
two tracks, the title track "Roots to Branches" and the
Eastern-inspired "Rare and Precious Chain," have now become firmly
established in my mind. Beyond that, the album does not disappoint; on the
contrary! Songs like "Out of the Noise," "This Free Will,"
"Valley," "Dangerous Veils," "Wounded Old and
Treacherous," and "Stuck in the August Rain" are truly
excellent.
Martin Barre on guitar, Dave Pegg on bass, Andrew
Giddings on keyboards, and Doane Perry on drums round out Ian Anderson in this
unexpectedly beautiful album.
Το
δεύτερο – μέχρι τότε – ζωντανά ηχογραφημένο άλμπουμ των πολυαγαπημένων Γερμανών
βάρδων του Power Metal. Δεν έχει να κάνει με το αν τα κομμάτια είναι πράγματι
ζωντανά (είναι, σας διαβεβαιώνω), αλλά με το εξής παράδοξο: όσα προέρχονται από
τον πιο πρόσφατο τότε δίσκο τους, το – πραγματικά αχαρακτήριστο – «A Night at
the Opera» (το έχουμε ξαναπεί, τύφλα να 'χουν οι Queen από τον τίτλο!),
ακούγονται καλύτερα απ’ ό,τι στον ίδιο τον στούντιο δίσκο!
Ένα
remix, νομίζω, θα βοηθούσε, έστω και τόσες δεκαετίες μετά...
Τα
υπόλοιπα τραγούδια, από το «Imaginations from the Other Side», το «Nightfall in
Middle-Earth» και το προαναφερθέν – αισχρό, κατά την άποψή μου – τελευταίο τότε
άλμπουμ τους, προστίθενται σε κάποια από τα παλαιότερα, πιο κλασικά, από το «Somewhere
Far Beyond» και πίσω. (Για την πρώτη εποχή, απευθυνθείτε παρακαλώ στο «Tokyo
Tales» – το πρώτο ζωντανό τους άλμπουμ.)
Το
αποτέλεσμα είναι ένα ζωντανό, διπλό best of της καριέρας τους έως τις αρχές του
21ου αιώνα.
English:
Something strange is going on here!
This is the second live album – up to that point –
from Germany’s beloved bards of Power Metal. And no, the issue isn’t whether
the tracks are actually live (they are, I assure you). The real paradox lies
elsewhere: the songs taken from their most recent studio album at the time –
the truly unclassifiable “A Night at the Opera” (as we've said before, Queen
should be jealous of the title!) – actually sound better here than they did on
the original studio release!
A remix, I think, wouldn’t hurt – even decades
later...
The rest of the set pulls from “Imaginations from the
Other Side”, “Nightfall in Middle-Earth”, and the aforementioned – and in my
opinion, dreadful – most recent studio album, mixing them in with older, more
classic material from “Somewhere Far Beyond” and earlier. (For the early era,
please refer to “Tokyo Tales”, their first live release.)
The result? A double live best-of covering their
career up to the early 21st century.
