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Death Metal Legends INCANTATION Announce Food Drive on Current North American Tour U.S. death Metal giants Incantation encourage fans to bring non-perishable food to their shows on the Praise the Beast North American tour, happening now! The post Death Metal Legends INCANTATION Announce Food Drive on Current North American Tour appeared first on Decibel Magazine.

Decibel Magazine 🤘 Death Metal Legends INCANTATION Announce Food Drive on Current North American Tour: U.S. death Metal giants Incantation encourage fans to bring non-perishable food to their shows on the Praise the Beast North American tour,… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Rozario – Northern Crusaders Review After removing my clothes, I wade into the promo sump. Yes, nakedness is advised for such a foray, as any loose material can get you ensnared by the bog’s filtration and disposal machinery or by the foul denizens that reside within the sludge. I enter herein with a single purpose in mind: to find a promo that will restore my credibility as a reviewer, if I ever had any to begin with. Since my return to the hall, I’ve written 3.5 after 3.5, and I am in search of something that will bring my average down before I am made to “non-suspiciously” disappear again. I reach down and grasp a promising prospect. Pieces of congealed n00b meat and 16-year-old promo remains fall from the cover, revealing a band name that sounds like some guy’s last name and a photo of several dudes in various tough-guy poses. I smile, allowing myself to hope that I’ve found what I’m looking for. Further investigation reveals Rozario’s Northern Crusaders to be a 50-minute-long heavy/power metal album, and I tell myself that this has 2.5 written all over it. Yep, this’ll do. My confidence grows when I see that these Norwegians have picked the album’s first two songs as singles. “Fire and Ice” starts things off with some energetic power metal-infused heavy metal that brings Dream Evil immediately to mind. After a huge earworm chorus and some killer riffing and leads, the song winds down, and I’m horrified to realize that I’ve been involuntarily smiling and headbanging the whole time. Fear not, I say to myself. The next single can’t be as good. “We are One” takes the momentum of the opener and runs with it. I hear Brainstorm. I hear Dio. I hear more Dream Evil. I hear an even bigger chorus. Shit. Not to worry! I’m sure they’ve simply stacked the singles at the front because they’re the best tunes. A qualitative drop-off is sure to come! Just as those foolish words finish leaving my mind-lips, “Down Low” slaps me across the face with a down-tuned chug that I didn’t see coming. This PED-enhanced version of Rozario, also seen on “Sleepless” and “Betrayed,” fits the Brainstorm mold alluded to above, and even ventures towards Mystic Prophecy levels of heaviness. “Crusader” and “Die Like Warriors” both see the band putting their Saxon pants on, their quality daring me to add them both to my “SWOARDS” playlist of battle-ready metal. I finish Northern Crusaders for the first time and am surprised at just how fast the album’s 50 minutes flew by. I play it again. I like it even more. I am totally fucked. Sure, I can look across the album’s track list and pick out two songs that I don’t absolutely love (“Coming Home” and “The Warning”), but they’re still good songs whose place in the runtime almost totally mitigates any potential impact they could have had on the overall flow. I’m rather pissed that singer David Rosario puts in a journeyman performance with his weathered voice, and I’m even more upset that he’s filled his near-eponymous band with so much talent, particularly on guitar. The duo of Stein Hjertholm and Taran Lister has filled these tracks with muscular riffs, beautiful leads, and face-melting solos, and this is a huge reason that Northern Crusader feels so effortless and easily replayable. Even the production is fantastic. Gah! What a catastrophe! It’s now been several weeks since I plucked this from the sump. As I put the finishing touches on the review and prepare to enter the final rating, I am suddenly aware of a presence in the room with me. I look up from my laptop screen to see 3.5 glaring at me with a sinister smile on its face. “You couldn’t live with your own failure,” it says. “Where did that bring you? Back to me.” I type the score, realizing it is futile to resist, fully aware that I’ve made the mistake of judging Rozario’s Northern Crusaders by its cover. I slam my computer screen down, stand up, and walk away, naked and full of shame.1 --- Rating: 3.5/5.0 DR: 10 | Format Reviewed: 320 kbps mp3 Label: Pride & Joy Music Websites: rozarioofficial.com | facebook.com/rozarioband Releases Worldwide: February 20th, 2026 The post Rozario – Northern Crusaders Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Rozario – Northern Crusaders Review: After removing my clothes, I wade into the promo sump. Yes, nakedness is advised for such a foray, as any loose material can get you ensnared by the bog’s filtration and disposal machinery… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

https://www.metalblade.com/psycroptic/ Psycroptic pulls out a rock CLASSIC with a monster cover of The Little River Band's "Falling"!

Metal Blade Video 🤘 Psycroptic pulls out a rock CLASSIC with a monster cover of The Little River Band's "Falling"!: https://www.metalbla... LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

https://www.metalblade.com/psycroptic/ "Back in 2018 I thought it would be a nice treat to have a hidden bonus track for the “As the Kingdom Drowns” album for the Australian only CD release. I figured doing a cover of a song by an Australian artist or band would be fitting. "When choosing a cover song, we’ve tried to seek out more left of field songs that we’re able to mould into our own. Songs that are well written and that work well with our ‘sound’ without needing much extra than us plugging in and playing. Being a longtime fan of John Farnham and also the work that he did with the Little River Band, I thought it might be interesting to try and tackle one of the songs that were performed during Farnham’s tenure in LRB. "I found that a lot of the songs were quite difficult to make work in our style but the 1983 album “The Net”, and more specifically the song “Falling”, was quite dark in tone and actually translated quite well. We had a lot of fun recording it and we think it turned out great. "But it turned out our version was a little too well hidden when it came to the release of it as it was only available on the physical Australia CD release. It was never released digitally. "Fast forward to 2025 - we were randomly contacted by one of the co-writers of “Falling” - Malcolm Wakeford (via his wife Romola through our online store!) - who was keen to hear our version. Of course we express posted a few copies up for him to hear. Malcolm was very complimentary of our version of the song, which to be honest was a huge relief haha. "This gave us renewed excitement for the song and upon a revisit to the track, and with Malcolm’s blessing, we thought that the song deserved a re-release to all the platforms so that it wouldn’t be just limited to the physical Australian CD release. "So this is one from our vaults, dusted off for all to enjoy." -Joe Haley, Dec 2025 “Falling happened initially with a riff Stephen Housden came up with. At that point in time we were on an outro trip from the ‘punk’ genre so we turned Falling in a straighter, more 'accessible’ direction - one reason it might have appealed to The Little River Band. "The lyrics took on a secret agent / James Bond flavour - a bit like seeing a movie or novel unfold, unavoidably falling into new situations and challenges - like a lot of us I guess. "Psycroptic have taken it into a whole new cosmictic sphere. The intent is still there but they’ve infused it with their signature angst and incredible musicianship.” - Malcolm Wakeford Four songs Malcolm co wrote with Stephen Housden for their post punk band The Imports were picked up by LRB. LRB then rearranged/rewrote parts of them, “Falling” was the only one they kept close to its original form so Malcolm and Stephen remain the sole writers. As you may know Stephen became a permanent member of LRB in 1981, then bought the name from Graeme Goble and toured the band for many years, ending up with a big dispute which I think continues. * As a musician Wakeford has been a member of Little River Band and John Farnham Band. He has composed film scores for many films, including Strictly Ballroom, Australia, The Railway Man, The Water Diviner and The Dressmaker. He was nominated for Academy Awards for his scores for Shine and Elizabeth. Psycroptic - Falling (Cover)

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US Store: https://metalblade.indiemerch.com/collections/cryptic-shift EU Store: https://shop.metalblade.de/collections/cryptic-shift Cryptic Shift's new album, 'Overspace & Supertime' is OUT NOW! #metalblade #thrashmetal #deathmetal

Metal Blade Video 🤘 Cryptic Shift's new album, 'Overspace & Supertime' is OUT NOW! #metalblade #thrashmetal #deathmetal: US Store: https://metalblade.i...
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Buy here: http://www.metalblade.com/crypticshift https://www.facebook.com/crypticshift https://www.instagram.com/crypticshift.ufo "In Hyperspace Topography we imagine the structure of the next dimension; what geological features it could be made up of and the contradicting idea of what it would be like to physically explore that location. "Featuring powerful performances all round from riffs to rhythms to solos, not to mention the return of robo-vocals! Our foundations here are partly built from techniques more usually at home in an alternative rock or shoegaze setting. But smashing those colours against the framework of extreme metal creates futuristic flavours scarcely explored before. Conveyed here with consonant chord structures, gliding cleans, single note leads and actual use of effects pedals! "Placed at the mid-point of the album, it's a piece with less stakes than the figurative acts 1 and 3, so this song can cruise along with the maybe the most catchy melodic ideas." While not commonly known as an extraterrestrial hotspot, Leeds faced an encounter of another kind in 2015 when Bradley and drummer Ryan Sheperson set out to accomplish a project embodying their joint passion for the art of science fiction and heavy metal music. The band unveiled their debut full-length, Visitations From Enceladus, in 2020. The offering received critical acclaim for its adventurous, progressive technical death thrash compositions, a twisted form of extreme metal simply referred to as the “Phenomenal Technological Astrodeath.” "Overspace & Supertime" continues the conceptual and musical themes of their debut and delivers a new standard of technical thrash/death metal showmanship, including returning influences of progressive writing, harmonized with their fantastical storytelling. “The concept of Overspace & Supertime plays as an alternative reality to the happenings of Visitations From Enceladus, taking our character into new dimensions filled with both greater adventures and more bizarre encounters,” notes Sheperson. “Whilst the concept themes of our sci-fi tale have grown, so have our efforts in synthesizing it with the ultimate Astrodeath soundscape. The record takes the listener on a deeper journey through the fusion of our influences, with some exciting twists and turns along the way.” Alexander Bradley – Vocals, Guitars Joss Farrington – Guitars John Riley – Bass Ryan Sheperson – Drums Cryptic Shift - Hyperspace Topography (Official)

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The Sebastian Bach Vocal Warm-Up Axl Rose Does All The Time "In effect, I'm keeping my voice where it was when I was 19," the singer says. Continue reading…

Noiecreep 🤘 The Sebastian Bach Vocal Warm-Up Axl Rose Does All The Time: "In effect, I'm keeping my voice where it was when I was 19," the singer says. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

Why Guns N' Roses Track Didn't Make It Into 'Melania' Documentary A producer who worked on "Melania" claims some band members were for the idea but others wouldn't allow it. Continue reading…

Noiecreep 🤘 Why Guns N' Roses Track Didn't Make It Into 'Melania' Documentary: A producer who worked on "Melania" claims some band members were for the idea but others wouldn't allow it. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

Buy here: http://www.metalblade.com/thezenithpassage Lyrics: Born into a carniformed abomination Wherein echoes and destiny intersect Peer unto the desolation Witness self preservation lead to consuming detriment Planetary boundaries lead to deleterious schemes - mortal abandonment Aura unbound, shedding the flesh of the self Life - biomechanically unrecognizable Skin stretched across land Perverse unnatural blending A sick landscape marks man Apotheosis in unobtainable conditions Dark transmissions from a future abyss Machines forged in the shape of a higher consciousness Membranes shed No longer needed All beings convey decay Reproduce acts that the idol depicts – shame Blend devalued fascia with fresh entropy Speech, carcinogenic hallucinations Silence, a potent truth forever unerred Hear the dying concepts of earth Signals interpolated from a civilization interred Planetary boundaries lead to deleterious schemes - mortal abandonment Aura unbound, shedding the flesh of the self Life - biomechanically unrecognizable Skin stretched across land Perverse unnatural blending A sick landscape marks man Apotheosis in unobtainable conditions Forms rendered grotesque Processed mythic excess Mental appendages reach toward oblivion As the physical veil falls to obsoletion Derek Rydquist of The Zenith Passage SLAYING a vocal playthrough of "Fleshbound Reliquary"!

Metal Blade Video 🤘 Derek Rydquist of The Zenith Passage SLAYING a vocal playthrough of "Fleshbound Reliquary"!: Buy here: http://www.metalblad...

Lyrics:
Born into a carniformed abomination
Wherein echoes and destiny… LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Templar – Conquering Swords Review There’s a burgeoning old school 80s trve metal movement growing these days, with more and more young bands longing to sound really olde. Steel is there for that, as it speaks directly to his ancient bones. A good number of these retro sword-swinging acts seem to be coming out of Sweden of late. We covered Century’s Sign of the Storm last year, and here comes Templar with their Conquering Swords debut, which was produced by Century’s Staffan Tengnér. As a fan of conquest and swords (and that awesome van-worthy cover art), I’m the target audience for this early 80s throwback insanity, which steals from cult acts like Manilla Road, Cirith Ungol, and Brocas Helm as well as NWoBHM heroes like Satan and Witchfinder General. All this is to be expected, but what I didn’t see coming was the hefty Mercyful Fate influence that Templar throw around like a 50-pound sack of wet concrete. On paper, that should not work, but does it work in your tin ear? Let’s take a peek. After a rousing, table-setting intro, you’re launched into “Witchking” and greeted by classic 80s guitar lines with a burly trve vibe sure to get your lust for battle growing. When Isak Neffling starts singing, those familiar with the Mercyful Fate demos and the original EP will hear a notable similarity to an early-day King Diamond. I don’t mean the high-pitched falsettos, but the ominous baritones he used regularly before he became a faux-evil cartoon character. One could also say Isak also reminds of The Night Eternal’s Ricardo Baum, who borrowed a lot from Mr. Diamond vocally himself. Either way, it makes for an interesting listen as Isak sings of Tolkien baddies, swords, and sorcery. “Excalibur” is all beef and chest-pounding bravado with a galloping pace, scrotal power to spare, and a chorus that feels just epic enough. It hits all the nostalgia bells and feels ancient as fook, but it can still beat your ass like a back-alley thug. Elsewhere, “Exiled in Fire” is fast, fist-pumping classic metal with sweet guitar work and a rowdy, rough edge that takes me back to the dirty, unpolished NWoBHM days. “Shipwreck” is another riffy good time with a vague In Solitude vibe, and “White Wolf” is about as epic 80s metal as it gets without lapsing into Spinal Tap levels of parody. At a tight 40 minutes and with all songs contained in the 4-5 minute window, there’s not much fluff or blubber on the compositions. The only drawback is that the writing routinely sits in that “good and almost very good” pocket, never fully reaching that next level of badassery. It’s an easy, entertaining spin, but it won’t blow anyone’s mind or make many end-of-year lists. The production is painstakingly designed to sound rough and vintage, and it does hit that 1980-1982 aura with a warmth and texture that modern recordings often lack. Gustav Harrysson and Teddy Edoff bring the sounds of proto and epic 80s metal to the Great Hall, cleaving closely to the NWoBHM blueprint but always injecting that grand and glorious edge to their playing. I hear many hints of early Mercyful Fate and Satan in their choices, and the Manilla Road-isms are there too. I don’t know if Isak Neffling was trying to channel King Diamond, but he certainly does, and that adds to the nostalgic appeal. Listen to “White Wolf,” and you hear the earliest days of Mercyful Fate, and that’s undeniably cool. His vocals don’t always work, though, and things get especially weird and awkward on “The Sorceress.” In toto, Isak gives Templar an X factor the band wouldn’t have otherwise, and that certainly works in their favor despite a few misfires. Conquering Swords is an interesting and engaging debut from a band that have the potential to be much more. There are moments scattered across the album that hint at greatness, and maybe with more time and effort, those parts lead someplace special. As things stand, Templar are a good throwback band with one foot in the past and the other looking for the next place to stomp. Where they go from here will prove interesting. Worth checking out for the love of Diamond and rust(ed swords).  --- Rating: 3.0/5.0 DR: 9 | Format Reviewed: 320 kbps mp3 Label: Jawbreaker Websites: facebook.com/templarsweden | instagram.com/templar.band Releases Worldwide: February 27th, 2026 The post Templar – Conquering Swords Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Templar – Conquering Swords Review: There’s a burgeoning old school 80s trve metal movement growing these days, with more and more young bands longing to sound really olde. Steel is there for that, as it speaks directly to his… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

NO/MÁS to Release Exclusive Cover of Bad Brains’ “Banded in D.C.” via the Decibel Flexi Series! You’ve got until Saturday, February 28 to secure an active deluxe Decibel subscription to ensure that a copy of NO/MÁS's cover the Bad Brains classic "Banned in D.C." is yours on limited edition floppy vinyl. The post NO/MÁS to Release Exclusive Cover of Bad Brains’ “Banded in D.C.” via the Decibel Flexi Series! appeared first on Decibel Magazine.

Decibel Magazine 🤘 NO/MÁS to Release Exclusive Cover of Bad Brains’ “Banded in D.C.” via the Decibel Flexi Series!: You’ve got until Saturday, February 28 to secure an active deluxe Decibel subscription to ensure that a copy of NO/MÁS's cover… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Track Premiere: Family Medicine – “You Can Keep Your Edible Arrangements” St. Louis post-hardcore band Family Medicine are premiering their catchy new song “You Can Keep Your Edible Arrangements” with us today. It’s a track from their upcoming album Very Nice and Good set for release on March 13 via Little Elephant Records/Friend Club Records. Very Nice and Good by Family MedicineSt. “(This song is about)... The post Track Premiere: Family Medicine – “You Can Keep Your Edible Arrangements” appeared first on Decibel Magazine.

Decibel Magazine 🤘 Track Premiere: Family Medicine – “You Can Keep Your Edible Arrangements”: St. Louis post-hardcore band Family Medicine are premiering their catchy new song “You Can Keep Your Edible Arrangements” with us today. It’s a… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Their upcoming record, 'In Death Throes' drops April 10th! Pre-order HERE: https://www.metalblade.com/vomitory/ Vomitory unleashes their new single, "For Gore And Country" - dive into the shred! #deathmetal

Metal Blade Video 🤘 Vomitory unleashes their new single, "For Gore And Country" - dive into the shred! #deathmetal: Their upcoming record, 'In Death Throes' drops April 10th!
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Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. - YouTube

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Lovebites – Outstanding Power Review Returning with their over-the-top, moar is moar philosophy of fun and shred, on Outstanding Power Lovebites cooks up a sugarbomb so explosive it’ll blow your teeth out your earholes. Minted in 2016, Lovebites has been slinging their brand of power metal for a decade, dropping five full-lengths over that time.1 Outstanding Power marks the band’s fifth full-length release and the first since 2023’s Judgement Day, and these women from Tokyo used the intervening three years to cast a platter that shatters any illusion of restraint. With kicks and licks galore, does Lovebites cram in too much of a good thing, or can their latest LP stand the power? Anyone unfamiliar with Lovebites can approximate their sound as an all-female version of Galneryus,2 although Lovebites is much more than a clone of a great band. Their full-length debut Awakening from Abyss dropped in 2017, with subsequent albums Clockwork Immortality and Electric Pentagram released in 2018 and 2020, respectively. Both follow-ups impressed, but nothing quite reached the heights of their debut until fourth album Judgement Day hit shelves in 2023. Introducing new bassist Fami,3 Judgement Day honed Lovebites’ attack to a lethal edge, and with even more time spent sharpening their craft, Outstanding Power cuts deeper than ever. Outstanding Power by Lovebites Lovebites’ stable lineup exudes an electrifying chemistry throughout Outstanding Power. Each component of the band’s auditory milieu complements the others, whether it’s the blazing guitar tandem of Midori and Miyako, Haruna’s meticulously mechanical drumming, or Fami’s low-end purr and incredibly hooky countermelodies. Musically, Lovebites has never been this exacting. From the calculated rhythms in “Silence the Void” to the galloping rolls in “Blazing Halo,” Haruna’s drumming goads songs with an unflappable urgency that’s simultaneously composed and tempestuous. Meanwhile, Fami’s bass flexes mondo swagger that recalls Geddy Lee’s aggressive plucks and twangs (“The Castaway”) as well as Flea-bitten flourishes (the intro to “Blazing Halo”). In fact, the bass’s expanded role on Outstanding Power defines what elevates the album above the rest of Lovebites’ already first-rate output. Besides trading vicious solos and captivating riffs with fellow axe-bearer Midori, Miyako supplies the keys, channeling duel-lead, arpeggiated runs à la Children of Bodom (“The Castaway”) as nimbly as she blankets moods with Sonata Arctica-informed synth and piano (“Eternally,” “One Will Remain”). Atop it all, singer Asami coos, belts, and wails with a voice that some may find an acquired taste with her heavy use of vibrato, but is powerful and unique. Overall, the songwriting on Outstanding Power synchronizes into lock-step bombast, where each track dazzles with its own fully-fleshed identity and laser-honed melodies. Though not without fault, Outstanding Power unequivocally claims the top spot in Lovebites’ catalog (so far). No small part of this is thanks to Fami and Haruna, who bring the rhythm section to the fore with undeniable performances that match the high-flying axe-work besieging previous releases. The biggest strike against Outstanding Power is the album’s sixty-four-minute runtime, which the sharp songwriting mitigates with infectious melodies and perfectly executed instrumentation. Even Outstanding Power’s weakest cut, seven-minute ballad “Eternally,” contains good moments despite fumbling Lovebites’ momentum down the home stretch. Add in the surprisingly spacious mix4 that gives the band ample space to pop and you’ve got yourself a bona fide power metal classic on your hands. Power metal presents a challenge to rate, as its natural optimism and oft-cheesy tropes can be at odds with what typically engenders high scores and opinions, and makes Outstanding Power the most difficult score I’ve assessed up to this point. Throughout, Lovebites exemplifies power metal ethos, unleashing high-octane shredded cheese with a flagrant nonchalance that is shamelessly irresistible. With Outstanding Power, Lovebites not only delivers their greatest achievement so far, but the best power metal release I’ve heard in over a year. Relentless riffs, grooves, and fills assail listeners with flamboyant moxie and technical ecstasy, defining an album I haven’t been able to put down since I got my grubby mitts on the damned thing. If fun won’t kill you, give Lovebites’ opus a spin. Or maybe give it a listen anyway, because what’s life without a little Love? Rating: Great DR: 7 | Format Reviewed: 256 kbps mp3 Label: Napalm Records Websites: Bandcamp | Facebook Releases Worldwide: February 18th, 2026 --- Maddog Much to her chagrin, Thus Spoke and I share many things in common. Chief among them is our anaphylactic allergy to major scales; being the two resident vegans, we struggle with cheesy music.5 While this has made power metal a difficult subgenre, Lovebites is an exception. Our coverage of this Japanese juggernaut has been scarce, but I gave 2023’s Judgement Day a tempered positive filter review. Outstanding Power has the same foundation as Lovebites’ prior work, but with a beefier rhythm section, more variety, better riffs, hookier hooks, and more cohesive songwriting. It’s a fantastic record. Outstanding Power is textbook power metal, in the same sense that Rust in Peace is textbook thrash. The centerpiece is Asami’s vocal performance, which is appropriately over-the-top but steps back to let the instruments shine. Lovebites’ most visible weapon is their dual-guitar assault. Across theatrical leads, deathy riffs, and unrestrained solos, guitarists Midori and Miyako display a mastery of melody. Even with such stiff competition, Lovebites’ rhythm section stands out. Fami’s bass plays every part it can, with blistering riffs, playful lines that recall a young Steve Harris, and explosive additions to choruses. Haruna’s drumming is a gem, especially when her lavish fills and opening salvos help stitch the album together. Both the bass and the drums peak when their respective musicians take the songwriting reins; Fami’s collaborative composition “Blazing Halo” features irresistible dueling bass and guitar solos, while Haruna’s “Forbidden Thirst” highlights her grooviest drum work. No member of Lovebites ever fades into obscurity. Outstanding Power holds me rapt throughout. Across their hyperactive leads, 1980s virtuoso shredfests (“One Will Remain”), and fanciful Mark Knopfler-style (Dire Straits) joyrides (“Wheels on Fire”), guitarists Midori and Miyako don’t miss a beat. Their dominance becomes clearest when they join forces. Lovebites’ harmonies recall Iron Maiden, and the guitarists’ knack for separating and rejoining makes “The Castaway” an early contender for Song o’ the Year. Asami’s vocals aren’t bulletproof, particularly in her higher register. Still, the vocals and the guitars forge an ironclad alliance that raises Outstanding Power to new heights. The guitars’ imitation of the vocal shouts on “[Grin] Reaper’s Lullaby” makes me grin every time, while the orgiastic leads that accompany the final chorus of “Out of Control” remind me of Madonna’s classic “Burning Up.” Even the ballad “Eternally” is a triumph. While its vocal melodies are memorable, “Eternally” takes a cue from Gamma Ray’s “Lake of Tears” in delegating much of the heavy lifting to the weepy guitars. These ingredients make Outstanding Power a wellspring of enormous climaxes. The guitar solos are at once emotive and explosive (“The Eve of Change”), and each song ends with pizzazz (“Silence the Void”). In short, Outstanding Power is a goddamn pleasure. Outstanding Power is such a spectacle that I can’t even begrudge its excess. I hear Sunburst in the chugging riffs of “Blazing Halo.” I hear Riot in the downright rowdy “Silence the Void.” I hear 1980s electronica interspersed with chest-thumping power metal in “The Eve of Change.” I hear Symphony X in the vocal melodies and the atmosphere of “Forbidden Thirst.” I hear Kryptos’ heavy metal revival in the rockin’ ruffian riffs of “Out of Control.” I hear blackened melodeath in the vicious “Reaper’s Lullaby,” contrasting with the heart-rending ballad “Eternally.” Most importantly, I hear Lovebites in every moment. All five band members sustain the album’s shifts while sticking to their signature styles. With its balance of variety and continuity, Outstanding Power feels half as long as its 64-minute runtime. Due to the album’s wide emotional range, I even grew to love its more upbeat tracks. Criticizing Lovebites for sounding cheerful seems akin to criticizing Monet because you don’t like yellow water lilies; sometimes flowers are yellow, you twit! Outstanding Power tries to do a lot, and it nails every piece. As I struggle to process this album, I’m reminded of Eldritch Elitist’s review of Imperial Circus Dead Decadence. Yes, Outstanding Power is self-indulgent; what’s your point? Lovebites paints their variegated image of power metal with five brushes and five million colors, and the result is astounding. It isn’t perfect, and the crushed master makes it harder to appreciate the album’s finer features. But Outstanding Power easily won over my shriveled heart. While major scales make me gag, these ones just feel like the crest of a wave. While I tend to balk at hour-long albums, this one goes by in a heartbeat. Power metal isn’t my usual fare, but Lovebites has created a masterwork.  --- Rating: 4.5/5.0 The post Lovebites – Outstanding Power Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Lovebites – Outstanding Power Review: Returning with their over-the-top, moar is moar philosophy of fun and shred, on Outstanding Power Lovebites cooks up a sugarbomb so explosive it’ll blow your teeth out your earholes.… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Blast Worship: Detriment It's to the Detriment of any grind fan who misses out on External Expiration. The post Blast Worship: Detriment appeared first on Decibel Magazine.

Decibel Magazine 🤘 Blast Worship: Detriment: It's to the Detriment of any grind fan who misses out on External Expiration.


The post Blast Worship: Detriment appeared first on Decibel Magazine. LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Buy here: http://www.metalblade.com/web W.E.B.’s music has earned high praise for its “drama, extremity and bloodthirst in equal parts… energetic and unhinged.” The formidable symphonic extreme metal lineup is best experienced at one of their many crushing live gigs. Enter Darkness Alive, their first-ever live album, recorded in the quartet’s hometown of Athens on September 22nd, 2024. “We shared the stage that night with Dark Funeral, and since we were making changes within the band, that had us excited. We made the decision to mark this day with a special release, hence our first official live album,"says vocalist/guitarist Sakis Prekas. Choosing the nine songs for Darkness Alive was simple. “We can tell almost immediately which songs work for a concert and we always keep the audience in mind,” Prekas explains. “We want the people who come to see W.E.B. perform to have a good time, to get our message, to grasp them and make a damn memorable metal show, as it should be.” Darkness Alive truly captures the band at the top of their game. Standout tracks include “Dragona,” blasting black metal with an epic finale that forever will be a staple in W.E.B.’s live setlist, “Into Hell Fire We Burn,” which Prekas describes as a, “thunderous marriage of black and heavy metal with a chorus that literally orders you to sing along,” and today’s single, “Dark Web,” an intense melodic death and modern metal onslaught off their 2021 Colosseum LP. “Dark Web” spits out the way people with power and money treat others: in the most brutal manner. Darkness Alive Track Listing: 1. Crimson Dawn (Live) 2. Pentalpha (Live) 3. Dark Web (Live) 4. Into Hell Fire We Burn (Live) 5. Murder Of Crows (Live) 6. Necrology (Live) 7. Morphine for Saints (Live) 8. Dragona (Live) 9. Eligos (Live) W.E.B. is currently composing material for their next full-length album that will see them hitting the road once again. “It is by far the best material we;ve ever had on a record. I intend to keep the promise to myself regarding W.E.B. that all new material must be better material, otherwise there is no reason to release it,” Prekas concludes. “Stay Dark.” W.E.B.: Sakis Prekas – vocals, guitar Hel Pyre – vocals, bass, keys Alex Despotidis – guitar Babis Kapageridis – bass Vasilis Nanos – drums https://webmetalband.com https://www.facebook.com/webdarkness https://www.instagram.com/webdarkmetal https://www.youtube.com/@WEBbandOfficial https://x.com/webdarkmetal https://www.metalblade.com https://www.facebook.com/metalbladerecords https://www.instagram.com/metalbladerecords https://x.com/MetalBlade https://www.metalblade.com/museum W.E.B. - Morphine for Saints (Live @ Gagarin 205)

Metal Blade Video 🤘 W.E.B. - Morphine for Saints (Live @ Gagarin 205): Buy here: http://www.metalblad...
W.E.B.’s music has earned high praise for its “drama, extremity and bloodthirst in equal parts… energetic and unhinged.” The… LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2025] The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and abstract algebra, which I understand are very complicated mathses, in order to get you the highest quality extreme music this side of the Hudson or Atlantic or Yangtze or wherever the hell you are. The trouble is, you bastards don’t listen to math (i.e. “hurr durr, Wilderun is so much better than this shit.”). So I listen to math because I’m a contributing citizen and patriot – I listen to mathcore for you. I wade through the cesspools of skronk and sass – RYM and Reddit – for the best of the best. I do it for the, like, three of you who dig it and the, like, eight billion of you who yell at teens to turn it off before shuffling back inside for a bowl of Great Grains. What I do is super mathematical, so you know it’s mega serious. Mathcore is about as unlistenable and scathing as it is a total sellout – so you can offend nearly everyone who hears it. Random rhythms, migraine-inducing tempo shifts, painful squeals, no sense of melody or counting, vocals a la cheese grater to the throat – it’s skronk. So enjoy my bounties, you three. The rest of you can fuck right off. Commence panic chords!! --- Deadguy // Near-Death Travel Services – While the mathcore world is deeply indebted to the likes of Converge, The Dillinger Escape Plan, and Botch, New Jersey’s Deadguy is your favorite mathcore band’s favorite mathcore band, and Near-Death Travel Services picks up right where 1995 stylistic landmark Fixation on a Coworker left off. It feels like a throwback to the 90’s, a rough and raw edge and bass-heavy thickness adding to the chaotic hardcore attack, desperate and vicious rhythms (“Kill Fee,” “Barn Burner”) as well as dwelling in the simmering cacophonies (“The Forever People,” “All Stick and No Carrot”). Near-Death Travel Services is a hardcore anthem at heart, with the madness of mathcore’s earliest innovators – it’s a return to form for Deadguy as if thirty years of silence never happened. Near-Death Travel Services by Deadguy The Callous Daoboys // I Don’t Want to See You in Heaven – Everyone loves The Callous Daoboys. If you don’t fuck wit’ Carson Pace, Jackie Buckalew, and company, fuck right off. Compared to its sassy catalog, I Don’t Want to See You in Heaven is much more aggressive and in-your-face. The collective still embraces the wonky jazz- and flamenco-influenced movements and clean vocals (“Tears on Lambo Leather,” “Body Horror for Birds”), 2025 finding more of a traditional emo influence than ever (“Lemon,” “Two-Headed Trout”), the real meat of this album is a kick in the teeth, with a nearly deathcore heaviness assaulting the ears with blistering intensity (“Schizophrenic Legacy,” “III. Country Song in Reverse”). I Don’t Want to See You… feels like pure weaponization, yet it’s undeniably The Callous Daoboys in the best ways. I Don’t Want to See You in Heaven by The Callous Daoboys Pupil Slicer // Fleshwork – Something was missing in Pupil Slicer’s 2023 album Blossom. Whether it be the vulnerable alt-rock influence or more experimental songwriting, it felt like a distinct step down from the mechanical mathgrind insanity of Mirrors. Fleshwork fills that missing piece. Vocalist/guitarist Kate Davies and company, including new bassist Luke Booth, balance the surgical with the accessible through a thick haze of noise rock atmosphere and warm rumbling bass, tracks achieving a striking warmth and disorienting psychedelia through more subdued techniques (“Fleshwork,” “Nomad,” “Cenote”) and a savage blistering saturation in others (“Gordian,” “Black Scrawl”). It’s a simple trick to balance industrial precision with noisy warmth but it pays dividends for the London trio: Pupil Slicer releases its best album yet. Fleshwork by PUPIL SLICER Kaonashi // I Want to Go Home. – TikTok mathcore feels oxymoronic, but Philly’s Kaonashi gained more traction on the platform than any other band of the same ilk.1 Gaining notoriety from Peter Rono’s controversial vocals – more howl than scream – the act injects a far more prominent dose of post-hardcore, punk, and emo into its story-driven approach. Mathcore’s stinging panic chords and off-kilter arrhythmic chugs are present, but given the vocals and lyrical focuses on mental health, childhood traumas, and relationships, it’s a controversial act to begin with, having more in common in melody and theme with Midwest emo or City of Caterpillar-esque screamo. I Want to Go Home. is a jagged, inspiring, awkward, powerful, and overlong product of a truly unique act with a divisive style. I Want To Go Home. by Kaonashi Theophonos // Allegheny Rains – The man behind the concluded Serpent Column project, Detroit’s Jimmy Hamzey, fuses a scathingly dissonant black metal attack reminiscent of Ceremony of Silence with the hardcore attitude and jagged rhythms of Converge, resulting in a more chaotic, mathier Plebeian Grandstand. Allegheny Rains, his third full-length, continues the distinctly American industrialist soundscape established in Ashes in the Huron River, combining the all-out assaults of pitch-black chaos with whirlwinds of panic chords and pick sweeps (“Death in the Current Year,” “Gray Shovels”) to punky hardcore romps (“When the Future Arrived,” “Fragility of Spring”), and ominous crawls through densely dark textures (“The Fulcrum,” “Edelweiss, My Love”). AI art aside, Allegheny Rains is a dark blaster that serves to get the avant-garde black metal fans some rhythmic chaos and to compel mathcore fans to get some culture for once. Allegheny Rains by Theophonos fallfiftyfeet // Counterfeit Recollections – fallfiftyfeet is all about variety. Establishing their sound quietly through a debut full-length four years ago and scattered splits, the West Virginia trio’s foundation of metalcore – yes, the sellout kind – is built upon by post-hardcore vocals, screamo grinds, and mathcore’s warped melodics. Featuring crushing breakdowns and poppy choruses that feel straight outta Hot Topic in 2009 (“Counterfeit Recollections,” “Best Revenge”), ominous clashes of the brutal chugs and dissonant melodics (“Disarrangement,” “Phantom Growing Pains”), and mathy beatdowns (“The Kingsport Curse,” “Horror Tropes”). What’s notable is that fallfiftyfeet doesn’t necessarily fall into the late-2000s metalcore stereotype because their melodic template is rooted in the Botch, even if their songs sound like B-sides of Asking Alexandria. The result is a metalcore album you can feel slightly better about blaring wit’ ur homiez. Counterfeit Recollections by fallfiftyfeet Adobe Homes // Años – Albuquerque quartet Adobe Homes is more the screamo side of mathcore you see in bands like Frail Body, Ostraca, or the tragically Dolph-neglected Massa Nera – the line between chaos and yearning is blurred. To be fair, you’d be remiss to turn on a few tracks and hear a screamier rendition of math rock shiftiness in Cap’n Jazz or Pianos Become the Teeth (“Return”), complete with emotional chord progressions, complex layered plucking, desperate shrieks, and melancholy singing. Doin’ my home state proud with the skramz a la mathy rhythms and manic drumming (“Tennamis,” “Satandelay Me¡ White Empress,”2 “Pals”), emo anthems fed through the Delta Sleep machine (“Pacheco,” “File Under ‘Heartache’ for 2010-12”) and placid and heartfelt instrumental pieces (“Return,” “Translated into Flesh”). Adobe Homes is gentle and yearning, its mathcore attack more like a pillow fight, but its emotion more than compensates. Años by ADOBE HOMES The post Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2025]: The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

15 Rock + Metal Artists Newly Eligible for the Rock Hall in 2026 These rock and metal artists became newly eligible for induction into the Rock and Roll Hall of Fame in 2026 but weren't nominated. Continue reading…

Noiecreep 🤘 15 Rock + Metal Artists Newly Eligible for the Rock Hall in 2026: These rock and metal artists became newly eligible for induction into the Rock and Roll Hall of Fame in 2026 but weren't nominated. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

The Dave Grohl Riff He Wrote for Ozzy, But Kept for Himself Dave Grohl once wrote a piece of music for Ozzy, but he later used it for himself after the metal legend passed. Continue reading…

Noiecreep 🤘 The Dave Grohl Riff He Wrote for Ozzy, But Kept for Himself: Dave Grohl once wrote a piece of music for Ozzy, but he later used it for himself after the metal legend passed. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

Full House Brew Crew – Glasgow Grin Review What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek groove metal. Since Vagelis Karzis (former live bassist for Rotting Christ) formed Full House Brew Crew in 2009, the band has had a fairly consistent lineup. They’ve also been somewhat consistent with album releases, as Glasgow Grin marks their fifth, though there was a seven-year gap between their second, Bet it All (2011), and third, Me Against You (2018). Karzis appears to have formed the band in order to channel an inner rage, which comes out through the lyrics and aggressive performances. In Texas hold ’em, you love to have a full house in hand—let’s see if a Full House Brew Crew brings the same joy. Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness. Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land. The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note. Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.  --- Rating: 1.5/5.0 DR: 4 | Format Reviewed: 320 kbps mp3 Label: Roar! Rock of Angels Records Websites: Bandcamp | Facebook | Official Site Releases Worldwide: February 6th, 2026 The post Full House Brew Crew – Glasgow Grin Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Full House Brew Crew – Glasgow Grin Review: What do you get when you mix a popular American ’80s sitcom, a ragtag group of brewers, and the Scottish term for the cut to the face of Heath Ledger’s Joker?1 Apparently, some Greek… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Track Premiere: Harboured – “Dead Ringer” Hear the new single, "Dead Ringer," from Denver post-black metal trio Harboured, featuring members of Allegaeon and Oak, Ash & Thorn. The post Track Premiere: Harboured – “Dead Ringer” appeared first on Decibel Magazine.

Decibel Magazine 🤘 Track Premiere: Harboured – “Dead Ringer”: Hear the new single, "Dead Ringer," from Denver post-black metal trio Harboured, featuring members of Allegaeon and Oak, Ash & Thorn.


The post Track Premiere: Harboured – “Dead… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Track Premiere: Ordh – “Apis Bull” Hear the first single from Blind In Abyssal Realms, the debut from progressive death metallers Ordh, whose Pulverised debut drops April 17. The post Track Premiere: Ordh – “Apis Bull” appeared first on Decibel Magazine.

Decibel Magazine 🤘 Track Premiere: Ordh – “Apis Bull”: Hear the first single from Blind In Abyssal Realms, the debut from progressive death metallers Ordh, whose Pulverised debut drops April 17.


The post Track Premiere: Ordh – “Apis Bull”… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

The Magus – Daemonosophia Review The Magus is the eponymous band of The Magus himself. At times known also as ‘Morbid,’ ‘Magus Wampyr Daoloth,’ or even ‘George,’ the entity known as ‘The Magus’ is somewhat of a fixture in the history of Greek black metal. He contributed mightily to the scene by performing on the first two Rotting Christ full-lengths, founding both Necromantia and Thou Art Lord, and owning and producing at Storm Studio in Athens, the recording location for many of Hellenic black/death metal’s seminal records. In 2021, it was announced that Necromantia had “now descended into the Abyss” following the death of its co-founder, Baron Blood. Shortly after releasing that band’s swan song, The Magus announced the birth of The Magus as a vessel to express his Luciferian worldview. Performing vocals, bass, and keyboards, the titular tyrant conscripted Necromantia drummer Maelstrom and Soulskinner guitarist El to carry out this vision, releasing…*checks notes*…Βυσσοδομώντας, the band’s ambitiously varied and theatrical debut, on Halloween of 2023. And now, The Magus has returned with follow-up Daemonosophia, promising to conjure “a more aggressive and dynamic sound.” That promise seems to have been delivered, as Daemonosophia arrives with nary a 9-minute track to be found. The two advance singles land as relatively straightforward black metal tunes but still manage to maintain The Magus’ penchant for horrific theatricality. I was tempted to embed first proper track “Psuedoprophetae,” an absolutely blistering assault that appears on the heels of a version of the Lord’s Prayer that’s a bit different than the one I was taught in Sunday school, but I’ve opted for “Magia Obscura” instead. The latter demonstrates more of the diversity found across Daemonosophia, its snarl augmented by a clean intro and majestic heavy metal guitar leads. Daemonosophia by THE MAGUS But don’t let those two tracks trick you into thinking that Daemonosophia is just another melodic black metal album. The variety on offer within these compositions and their 47 minutes is astounding. The title track made me realize what Iced Earth in their prime might have sounded like if they were a black metal band, “Amelia” is a hauntingly beautiful tribute to the dramatic devilry of King Diamond, and “The Era of Lucifer Rising” sees The Magus reworking a tremolo-laden black metal church-burner from Thou Art Lord’s 1994 debut record into a melodic monstrosity of esoteric might. But perhaps the greatest surprise is album closer, “La Llorona Negra,” an outstanding cover of a classic Latin American folk song. Organ, harpsichord, and piano introduce the song and its first, female, vocalist, and for a moment, it doesn’t sound all that different than the version you heard on the Coco soundtrack. That is, until your hear La Llorona herself screaming in anguish behind the beautiful singing, and before the song evolves into a metal juggernaut with The Magus on the mic near the halfway point. There is very little for me to complain about on Daemonosophia. Its runtime feels vastly shorter than it is, and its compositional flow has made it nearly impossible not repeat over and over again. The Magus demonstrates an incredible gift for songwriting, Maelstrom’s drumming is a tympanic tempest that lives up to his name, and while El might play for Soulskinner, he should probably be called ‘Facemelter,’ as his guitar playing has made it look like I touched the Ark of the Covenant. My one critique would be that the production feels a bit heavy on the low-end tones, and this was initially a barrier to me feeling Daemonosophia’s full impact. The album is saturated with hidden touches that demand to be heard, and I had to minorly tweak my EQ settings to fully excavate them. At the end of the day, this is a small price to pay for an album that has delivered me multiple Song o’ the Year contenders in “The Era of Lucifer Rising,” “Amelia,” and “La Llorona Negra.” In interviews, I’ve seen The Magus boldly claim to make “extraordinary music for extraordinary people.” I’d say he’s half right. I’m just an ordinary dude, but Daemonosophia’s extraordinary music has spoken to me nonetheless. The last year or so has been a bit rough for me physically, and I’m having to face the fact that I can no longer live life the way my pre-40s self could. So when “The Era of Lucifer Rising” closes with (what I believe to be) ‘Above hatred and madness/Beyond weakness and pain/I raise the veil and break the chains/My reign has just begun’, followed by a pair of powerful screams, I can’t help but feel empowered to handle whatever challenges this new era brings me. --- Rating: 4.0/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: The Circle Music Websites: necromantiathemagus.bandcamp.com | facebook.com/themagus666 | www.themagus666.com Releases Worldwide: February 20th, 2026 The post The Magus – Daemonosophia Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 The Magus – Daemonosophia Review: The Magus is the eponymous band of The Magus himself. At times known also as ‘Morbid,’ ‘Magus Wampyr Daoloth,’ or even ‘George,’ the entity known as ‘The Magus’ is somewhat of a fixture in the… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

New album, 'Scream From Beneath The Surface' drops March 13th. Pre-order NOW: https://www.metalblade.com/monstrosity/ Monstrosity amps up your Wednesday with their newest single, "The Atrophied"! #deathmetal #metal

Metal Blade Video 🤘 Monstrosity amps up your Wednesday with their newest single, "The Atrophied"! #deathmetal #metal: New album, 'Scream From Beneath The Surface' drops March 13th. Pre-order NOW: https://www.metalbla... LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Buy here: http://www.metalblade.com/monstrosity Emerging from the shadowy depths of the extreme metal underground, Monstrosity reasserts their unrelenting dominance with their latest opus, "Screams from Beneath the Surface." This ferocious release showcases the band’s signature blend of aggression, technical precision, and intensity. Led by drummer, founder, and primary songwriter Lee Harrison, Monstrosity is reinvigorated with a formidable lineup: long-tenured guitarist Matt Barnes, the triumphant return of original bassist Mark Van Erp, and vocalist Ed Webb, whose guttural, visceral delivery injects electrifying new energy into the band’s sound. "Screams from Beneath the Surface" not only solidifies Monstrosity’s hallmark death metal ferocity but also pushes the genre’s boundaries, forging a path that is both innovative and true to their roots. Follow Monstrosity: https://www.facebook.com/MonstrosityOfficial https://www.instagram.com/monstrosityflorida Monstrosity - The Atrophied (Official)

Metal Blade Video 🤘 Monstrosity - The Atrophied (Official): Buy here: http://www.metalblad...
Emerging from the shadowy depths of the extreme metal underground, Monstrosity reasserts their unrelenting dominance with their… LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Mini-Album Premiere: Hating Life – Revenge From Beyond On debut release Revenge From Beyond, Hating Life meet your HM-2 expectations—while still leaving room for something personal to emerge from the decay. The post Mini-Album Premiere: Hating Life – Revenge From Beyond appeared first on Decibel Magazine.

Decibel Magazine 🤘 Mini-Album Premiere: Hating Life – Revenge From Beyond: On debut release Revenge From Beyond, Hating Life meet your HM-2 expectations—while still leaving room for something personal to emerge from the decay.


The post… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Aeon Gods – Reborn to Light Review When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness. Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light. Reborn To Light by Aeon Gods Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats. On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions. Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood. --- Rating: 3.0/5.0 DR: 6 | Format Reviewed: 256 kbps mp3 Label: Scarlet Records Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS Releases Worldwide: February 20th, 2026 The post Aeon Gods – Reborn to Light Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Aeon Gods – Reborn to Light Review: When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Better Lovers Part Ways With Singer Greg Puciato - See Statement Better Lovers have announced their intent to move forward without singer Greg Puciato in a newly issued statement. Continue reading…

Noiecreep 🤘 Better Lovers Part Ways With Singer Greg Puciato - See Statement: Better Lovers have announced their intent to move forward without singer Greg Puciato in a newly issued statement. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

Sharon Osbourne’s Wild Tactics to Keep Ozzy From Drugs + Alcohol Sharon Osbourne told Bunnie Xo on the 'Dumb Blonde' podcast that she used to rub Ozzy's liquor bottles in the babies' diapers so he wouldn't drink them. Continue reading…

Noiecreep 🤘 Sharon Osbourne’s Wild Tactics to Keep Ozzy From Drugs + Alcohol: Sharon Osbourne told Bunnie Xo on the 'Dumb Blonde' podcast that she used to rub Ozzy's liquor bottles in the babies' diapers so he wouldn't drink them. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal