The new single ‘Pahat Veräjät’ showcases Sargassus’s versatile and unique blackened sound. Promo picture by Leevi Törnblom Finnish progressive death metal band Sargassus is set to release their debut album ‘Vitruvian Rays’, out in June 13th 2025 via Inverse Records.
The third and last single ‘Pahat Veräjät’ is unleashed today and it’s available on all essential streaming services: https://push.fm/fl/sargassus-pahat
The Band Comments: “”Pahat Veräjät’ is the third and final single before the release of the ‘Vitruvian Rays’ album. The song is both a departure from the band’s usual modus operandi, as it is sung in Finnish, as well as a return to the roots, featuring long atmospheric passages with progressive chord structures. As the song kicks off with ultra-fast blast beats, there is a definite nod towards extreme metal as well. ‘Pahat Veräjät’ (‘The Bad Gates’ in english) references the gates of Tuonela, the cold underworld of Finnish mythology. It tells the story of a journey through the wilderness between the living and the dead, asking the listener if a life’s worth can (or should) be measured in wealth, as all material possession will eventually be left behind”
Track list: 01. Spirit of Gravity 02. Carving the Veins of God 03. The Lone Idunn Grows in Shade 04. Judgement of the Four 05. Pahat veräjät 06. On the Shoulders of Atlas 07. Vitruvian Rays 08. Zealot
Progressive Metalcore entered my diverse music catalog in 2020 during COVID. I was introduced to Periphery upon suggestion by the one and only Devin Townsend. Devin had worked with Perriphery’s studio bassist and songwriter Nolly Getgood for the DTP’s Transcenjdence. Periphery came up on Twitter, and Devin said they were one of the best Prog bands today, if my memory serves me right. I was immersed in the world of Prog Metalcore, and never looked back. This led me to discover some of my favorite songs and albums. Spiritbox’s Eternal Blue entered my radar and utterly took over my listening habits for three months. I also became a huge fan of ERRA, Volumes, Currents, Make Them Suffer, and eventually the French band Novelists in 2021. Novelists was a huge discovery for me. They seemed to stand out, much like Spiritbox, but had this Jazz tone to the guitars and song structure that mentally clicked. The clean vocals weren’t my favorite in the genre, but the musicianship in Novelists was and is undeniable. You can imagine that when they debuted “Okapi” in 2024, my love for this band skyrocketed to new heights. I didn’t expect to love Novelists like this, but they became one of my most played bands of all time. The addition of Camille Contreras has brought this band to the peak of excellence for me. There are a lot of bands in the genre, but Novelists dare to be different with Pop genre blending and gorgeous Jazz and Blues guitar solos.
Coda is one of my most anticipated albums in 2025, and also just in my entire life. After so many years of reviewing albums and having expectations or preconceived notions, I have abandoned it completely. My bias is turned off. I aim to experience each album individually without comparison or objectivity. Coda lends itself to blowing all expectations and ideals about modern music out of the water. Abandon everything you expect from Novelists. Abandon everything you think about Modern Metal. It is part Progressive Metalcore, it’s part Radio Rock, and it’s part Ariana Grande in all the best ways. Experiencing this album for the first two times while I’m writing this review is one of the most titillating and enlightening experiences I’ve had. This album isn’t defined by past releases. It is not defined by genre or comparison. This album could and should be on any listening or sales chart. It is heart-wrenching, pulse-pounding, moody, aggressive, and beautiful. It’s full of catchiness and cool nuances that make it feel sleek and modern, but the vocals are so classic in a ’90s R&B tone. It’s an eclectic mix of sounds and influences. It has a Spiritbox feel with the atmospheric airiness and the layered guitar tracks for texture. But the song structure and vocals are unlike anything I have ever heard in my life. Coda stands out from any album I have heard, while remaining relevant to the Metal scene.
Coda abandons constructed genres. Say My Name is a punchy Prog Rock track with light and airy vocals and smooth guitars, definitely a welcome breath to be played on any radio station. The guitar work on this song is visionary, as well as on every song on Coda. The title track is a Metalcore-centric piece which fits the classic Novelists sound, but with the most gorgeous soaring vocals they’ve ever had. This track is genial to me, it just works so well in structure and hooks the listener in. All For Nothing is more atmospheric, more extreme, from soft to hard. It shows the incredible range of this band and the expansiveness of Camille’s voice. Her screams and cleans have exponentially improved and add much-needed dynamics to the record. Maldición de la Bruja is a Spanish track in your face with sass, attitude, and a Rap breakdown exquisitely delivered by multi-lingual Camille. This song is a surprising gem of heaviness and groove. In Heaven is a very heartfelt, atmospheric track with a million layers to dissect. This is such a departure from previous albums. I have never heard vocals this open or toned in Metal. The vocals combined with the djenty rhythmic guitar and bass remind me so much of Voyager and Periphery. This may be one of their best songs to date. Flo and Pierre are two of the best guitarists in Modern Metal, and Coda is a gigantic testament to that.
My favorite track on the album is Sleepless Nights. The way this song flows is fantastic. It is one of the most satisfying songs with a build-up. It feels like the burdens and pain are lifting off your shoulders. The guitar work is sublime, especially all the tasty bends and runs. It scratches my brain, but it is also chicken soup for the soul. It is a perfect blend of a breakup song and Prog and Modern Metal. The guitar parts are just so addictive on this song, as well as Camille’s impossibly smooth vocals. The bridge has one of the longest-held pitch-perfect notes I have ever heard in my life. The build into the solo is one of the finest pieces of music of 2025. The final chorus opens up, and Camille just belts with pure emotion. God, I love her voice, and I love this song. And, I love how it continues with 78 rue to send the theme of ends with the album. This is smart songwriting. The album’s closer K.O., sends the message home of being torn into pieces and thrust into the darkest moments of your life, and then trying to come back out of it. This is another favorite of mine on the record, and it’s just such an emotional track about having to let go. Novelists do build-ups like no other, and K.O. is such a great example.
Coda is a fantastically personal album from a band that is reinventing itself. Novelists have come out of their shells. The purity is as crisp as music gets. The technicality is mind-blowing. The song structure keeps you guessing at every turn. Regardless of genre, this is one of my favorite albums of the year and of the 2020s. This is a must-hear album for Metal lovers and Pop music lovers alike. This could be an album that runs people onto completely new music, and that is an incredible feat. I think Novelists have achieved everything they wanted to do with this album. It is a treat to hear such diverse and fantastic vocals in Metalcore, which sometimes lacks in vocal range for me. The band’s technicality is truly like anything I’ve ever heard. The speed of these musicians while maintaining clarity is unmatched. It’s not Djent with muddy tones or down-tuned just for the heaviness. Coda is crisp, clean, heavy, and vastly interesting compared to 99% of everything I’ve heard this year. I love this record and hope people give it a fair chance, as it deserves.
This installment of the list is eight more albums of the thirty I picked as my all-time favorite Heavy Metal albums. There may be another part where I talk about the next ten or twenty on my list. I’m not sure where I’m going to go with list-making. It hasn’t been as much of a conversation starter as I’d hoped. But it’ll be a permanent page on the site, so people can go roast or review my taste. So, please share your favorite albums in the comments, and let me know if you like any of the same ones on my list! I want to know people’s tastes in Metal records. As it’s probably all different ones from all over the world, I’d like to add more high-quality Metal albums to my “Must listen” list.
So let me know in the comments what Heavy Metal albums I must hear or just what your favorites are!
As with all my posts, this one is subjective. This list doesn’t aim to categorize “the best albums of Metal” because such a feat is just not feasible to me. This is based on just my taste. They’re not even in order by my favorites because what is considered my favorite is highly based on my mood. I just made a master list and narrowed it down to the 30 that are important to highlight my taste. It should give readers a better sense of what I listen to regularly and just personal taste. Let me know about your favorite Metal albums below in the comments, I would love to see if any of these albums resonated with anyone else the same way they did with me.
Part 3
13. Obsolete- Fear Factory (1998)
I remember listening to Fear Factory when I was probably much too young to understand it. It ranged between fun and scary at times, but I knew I loved it because my brother loved it so unabashedly. When someone you love experiences a band so tangibly, it’s impossible not to share the joy of it for me. Fear Factory became a pinnacle band for my brother and me. We’ve been listening to them together for over twenty years. It’s a band we love unconditionally, no matter how many times they change members. I think they’re one of the most consistently good bands in my repertoire besides Epica. Every album has tracks that have remained with me for years. It’s not just industrial speed metal from the depths of “Skynet” created hell. Fear Factory creates very psychologically deep music. It challenges every topic of human existence and even places it from the view of an automaton. This idea, akin to the visionary Isaac Asimov’s I., Robot, captivates me on a fundamental level. I grew up reading and watching Sci-Fi that was themed around the transferring of a human consciousness into a machine or even a transference of the soul entirely. This trope endlessly fascinates me and terrifies others in the new dawn of AI. Fear Factory’s music explored these ideas long before we had half of the technological advances we have now. It is incredible to realize that a lot of these advances were only fiction then, and that a Metal band was expanding upon them in such a realistic level.
Choosing an album of Fear Factory’s for the list came down to three albums: Obsolete, Digimortal, and Archetype. I went with Obsolete because of its stunning dynamics between machine-like riffs and gorgeous soaring melodies like on Resurrection and epic ender Timelessness. When I want to listen to Fear Factory, this is my first choice. The songwriting on this album is solid and is truly a prime example of what Fear Factory has to offer. They polished their sound from the previous release. This makes for clearer and concise tracks. The clarity is refreshing for an Industrial album of that era. There was nothing quite like this album, and there still isn’t anything comparable. Dino Cazares and Burton C Bell are one of my favorite writing duos of all time. It seems like they came together on this album and made something truly beautiful while not compromising the heaviness. But Burton wrote the lyrics solely for this record, and I think he proved he is a revolutionary lyricist on his own. It’s easy to connect with Burton because of the soul he puts into such a cold sci-fi concept and the emotional depth he shows in his vocals. He may not be the most technically sound singer, but he gives you chills like no other. He was the first growler/screamer I’d ever heard. That led me to a lifelong love of dual-sided vocals that accounts for probably half of what I listen to.
The message of each song is more fluent on this record, like Mechanize..They made Fear Factory with a more Metal Radio sense to it, and it turned out brilliantly, I think. While the personal experiences and memories may contribute heavily to why I love this album, I’d still put it atop the greatest. The mix Dino contributed to on this record is an audiophile’s dream. This record sounds good on any format or listening device, but on FLAC quality with Beyerdynamic headphones, it is a true experience. Obsolete is one of the best-sounding records I have heard, regardless of genre. The attack on every note and the mid and bass are so punchy, causing for a more engaging sounding record. The distortion is crisp, not muddy or too low. The vocals sound like they’re taken right off the board with a perfect amount of reverb. You know how much I love reverb on a mix. The engineering is as flawless as it can get for a Metal record.
Fear Factory is one of the key bands that got me into Metal and is my reason for having such a high standard for emotional and sonic depth. They’re a part of some of my earliest music memories and my bond with my older brother. Hopefully, we can see them together in concert one day, even though it’ll never be quite the same without Burton. That contribution to my brother and I’s bond is invaluable. I still think my brother should’ve tried out when they were looking for a new vocalist, but I really enjoy Milo’s tribute to Burton and his precise guttural techniques.
My favorite songs are Shock, Edgecrusher, and Resurrection.
14. Holy Diver- Dio (1981)
Two artists are rarely left off “Best” or “Favorite Metal albums of all time” lists: Iron Maiden and Dio. They are two quintessential Metal artists who forged the genre. Often referred to as the “Heavy Metal God”, Ronnie James Dio created an unmatched legacy in the genre. He is a household name to all that observe Rock and Heavy Metal, and rightfully so. His contributions to the genre foreshadowed many that came before him. His stints with Black Sabbath and Rainbow changed Heavy Metal forever and helped create his everlasting legacy. I don’t need to explain how impactful Ronnie James Dio was on music, it’s a well-known fact that he is the one who made Heavy Metal a movement, a lifestyle, a way of being, and a brotherhood. Without Dio, my most favorite bands would not sound like they do today. His solo work is responsible for influencing my collective favorite genre, Power Metal, which combines Heavy Metal and Classical Music and Fantasy themes. It is impossible to imagine Heavy Metal without Dio. I didn’t always know of his impact on Metal. I just thought he was a singer my dad loved when he was in the Air Force.
Upon delving into the world of Heavy Metal on a more scholarly level, nobody’s name came up more as an influence than Ronnie James Dio. his presence wasn’t just soaring technically perfect vocals, but storytelling, a light in the dark, and a character of acceptance of the children judged by the “Satanic Panic” in the 1980s. RJD was a haven for those who didn’t fit in and were ultimately rejected by the over-glorification of Pop music. That kind of legacy that affects youth first-hand is irreplaceable. Because of him, Heavy Metal became a comfort to those who didn’t fit in: The Fantasy nerds. The dreamers and the Metalheads rebelled against the radio, Christianity, and anything that wished to make them conform. That sentiment still stands today with bands that refuse to give into big corporations’ pressuring them to become something they’re not and go against the formulaic standards of radio. This is a topic I am extremely passionate about and hope to elaborate more in the future. I didn’t know this sentiment was one Ronnie James Dio stood for, and now I love him even more.
Holy Diver is an iconic album that has stood the test of time. Still as crisp and innovative today as it was in 1981, the album is a catchy journey against evil forces. Listening to this album again, I had forgotten how exquisite the writing and guitar work truly are. The songs are driving forces, flowing fluidly together, and captivate with every word and every riff. I don’t think I realized how massive the riffs are on Holy Diver. I forgot how incredible Vivian Campbell’s playing was on this record, a record he didn’t even write. He was just the session guitarist in the studio and played the subsequent tours and albums after. He came in and truly brought this album to life with the screaming solos, speedy riffs, and catchy hooks. With a voice larger than life, Ronnie James Dio overshadows his counterparts, but I think Vivian Campbell is the only guitarist whose voice stands up to Dio’s. Rainbow was an incredible band, too, with the great Ritchie Blackmore and his Proggy Gothic style, but man, there’s something magical about Campbell and Dio on Holy Diver. The guitars he crafted fit the epic fantasy theme emphatically. The lineup on this album truly feels like destiny. I love that Campbell’s guitar solos span a minute or two. I love that it completely breaks up the music to create a flashy solo into another verse. I love how assertively 80s this album sounds, whilst keeping Dio’s 70s Rock roots. It’s soulful, extravagant, hook-oriented, a little Progressive, and rooted in pure Rock. Every time I hear Caught In The Middle and Don’t Talk To Strangers, I am reminded of how much I cherish this album. Caught In The Middle is so heartfelt and punchy, a similar inspiring feel to Holy Diver, but more down to Earth.
This is my favorite album of Ronnie’s vocals, too. I love pretty much anything he sings. He could sing a C++ book and still make me want to listen to every word. He isn’t just a singer, he’s a storyteller. The words he sings are exquisitely picked, and the notes are deliberate and exact. He is the height of technical execution, but he blended the storytelling of the 1970s. His voice could fit any genre, but thank god Ronnie chose Rock and Heavy Metal as his home. Holy Diver is unarguably one of the greatest vocal performances ever recorded, regardless of genre. Every song on this album is an epic or a saga, making it timeless and flawless every time I listen to it, which is impressive after four decades.
I hear this down-to-earth quality echoed in Power Metal albums today, and it makes me emotional to hear the impact this album has on my favorite music. Ronnie’s voice is timeless, and Holy Diver sounds just as revolutionary today as it did in 1981. It’s one thing to experience Dio’s impact grandly, but personally hearing it impact my favorite musicians today just feels like Heavy Metal has come full circle. And I wish Ronnie was around to hear bands like Unleash The Archers, Lords of The Trident, Seven Kingdoms, and more that echo his down-to-earth, heartfelt music.
My favorite songs are Holy Diver, Rainbow in the Dark, Don’t Talk To Strangers, and Straight Through the Heart.
15. Legacy of Kings- Hammerfall (1998)
Yet another classic Power Metal album on my list. I’ve been listening to this album since I was just 12 years old. They are yet another band my older brother introduced me to. It was long before I knew anything about European Metal or genres. This was one album I instantly loved, along with Hammerfall’s debut and another classic, Glory To The Brave. Choosing between these albums for this list was a mighty task, but I had to go with the more anthemic Legacy of Kings. Hammerfall’s impact on my music taste is right up there with Dio and Iron Maiden. They have been consistently in my listening rotation longer than any band on this list. I didn’t realize that fact until delving into my memories associated with this band. I started listening to them when my family first moved back to Colorado and have never stopped listening to them. My brother had their first two records in the car for years to come, and many road trips were soundtracked by Hammerfall and other bands on this list. It’s Joacim Cans’ illustrious voice that keeps me coming back to Hammerfall. He is unlike anyone I have ever heard and will always be one of my favorite male vocalists. When I want solid Power Metal with a nostalgic feel, I turn to Dream Evil or Hammerfall. Hammerfall has been an ever-driving force in the scene and a pinnacle of Power Metal for me.
Legacy of Kings is an experience of historical tales of Templars setting out on their designed quests, 80s Arena sounds, and unbelievably soulful vocals. The album sounds exactly like its name and the cover art. It is a no filler, no bullshit, battle Metal album with lyrics that will stick in your head forever. It captures elements of Dio, Iron Maiden, Scorpions, Def Leppard, and Manowar but with the Brotherhood of the Templars at the helm. I am forever fascinated by the Templars and Crusade history, and Hammerfall brought this to a sonic basis. It’s a cool thematic concept that instantly transports you to a different time and place. Legacy of Kings is an album I put on while gaming, walking, or on road trips, as mentioned earlier. The music is so fast-paced and interesting; it speeds any task up exponentially and makes it a more enjoyable experience. This would be a perfect soundtrack to a miniseries about the Templars, I can just envision the story line and characters with momentous battles every time I listen to it. I may even write an inspired book series one day, in hopes I can capture some of the magic in this album. I love the theme, the guitar tone, the drums, the level of reverb, and the clarity of the vocals. There’s just not an album like Legacy of Kings, and I don’t think there ever will be. While I dislike the use of the word “masterpiece” and find it way overused. I would use it to describe this album in a heartbeat.
What sold me on Hammerfall is their ability to write epic, long, high BPM songs and then drop an absolutely heart-wrenching ballad. Songs like Glory to The Brave, The Fallen One, Second to None, and Remember Yesterday are unbelievably amazing. The songwriting throughout their albums is masterful, but to me, the ability to write great ballads is a prime example of a great band. The Fallen One, being one of my favorite ballads, ends Legacy of Kings in a forlorn way that makes me want to restart the album immediately. Joacim Cans over a Classical Piano part is simply gorgeous and is a must hear concept. This singer is incomparable. Seeing Hammerfall live and experiencing Joacim’s voice in person was indescribable. He doesn’t miss. He doesn’t waver. He is one of the strongest vocalists I’ve ever heard, and Legacy of Kings is a peak example of his unbridled talent.
I can’t imagine my life without ever hearing Hammerfall, and I will continue to listen to them as long as I can hear (Seeing Sonata Arctica or Unleash the Archers again might just do my ears in).
My favorite songs are The Fallen One, Legacy of Kings, Remember Yesterday.
16. The Congregation- Leprous (2015)
This is one of the most unique albums on the list, I think. When I first discovered Leprous in 2018, it was difficult to dissect what I was hearing. Leprous is a listening experience that simply cannot be described. They’re an eclectic, avant-garde sound that can’t be categorized. It’s Metal, it’s Prog, it’s Trip Hop, it’s Symphonic, tastes of Meshuggah, it’s a little Broadway Musical; It’s Leprous, the only Leprous. There’s nothing like this band in my 31 years of music listening. Everything they do challenges genre, the usual notation and chord progression, and the typical range of music. The talent in this band is incomparable. Their music is weird but in a good way. They create some of the strangest mind-bending soundscapes that are so visceral. No matter what they create, you can always expect an album that takes many listens to digest and sink your teeth into the meaning of. I think Leprous creates a piece of deeper music. This isn’t just music for the sake of making sound or a shock factor, it’s exclusively meaningful. This band gives 110% on every single song, performance, and album. You can hear the immense effort they put into every detail and every note. A band that works intricately and organically in the dawn of AI, copy and paste, and overproduced music cannot go unnoticed by me. They uniquely blend Pink Floyd, King Crimson, Devin Townsend, Tool, and Meshuggah chugs to create music more than worthy of a lifetime-achievement award. Leprous has created an innovative sound that has been immensely influential in everything that I create and made a new standard for Progressive Metal that isn’t just “Djenty” guitars.
The Congregation is an album that sums up their dark, moody, intense, and progressive-oriented sounds whilst combining singer Einar Solberg’s love of Massive Attack. This creates a sound that captures me instantly. I also love Massive Attack and Trip Hop since I was introduced to the genre on The Matrix Reloaded Soundtrack in 2003. This album could be taken right out of that Soundtrack. So, there’s a nostalgic element to it as well as a fresh take for me. The Congregation is full of mind-bending sounds, beautiful and haunting melodies, and exquisite drum-work. This was the first album they’d done with drummer Baard Kolstad. You can hear the enormous impact he had on the band. His drum beats melded with Tor’s funky off-time guitar riffs. This album is a time signature nightmare, and I love it. It’s completely unpredictable. The Price, Third Law, and Moon highlight the beast that is Baard on drums. He is one of the hardest-hitting drummers. The attack he puts into every beat grabs your attention immediately. You have no idea where the song structure is going to go next. It’s like improvisational Jazz put into Heavy Metal, and I think it’s utterly brilliant. I love the drum work on this album, but the vocals are what put Leprous on the map for me.
Einar Solberg’s vocal performance on The Congregation defies all boundaries of male vocals and genre constraints. He has the most beautiful voice I’ve ever heard in male vocals. He can move mountains with his voice, even in a whisper falsetto. His unbridled vocal power carries every song in an emotional gut-wrenching journey that is irreplicable. Songs like Rewind, The Flood, and the absolute soul-bursting Slave illustrate his immense range and explosive vocals. The dynamics he shows are unlike anything I have ever heard. It’s as though he is the love child of Devin Townsend, Ihsahn, Colm Wilkinson, and Daniel Tompkins. He is one of my favorite vocalists of all time, and The Congregation is the opus for me. His performance on The Flood is a top favorite of all time for me. The emotional impact this song has is everlasting. It is a cry for help when no one is listening, a release of unimaginable pain into the void, and the clouds inevitably parting on the constant storm life torments us with. I’ve created art pieces to try to capture how deeply The Flood and other songs off the album impacted me, but it’ll never be enough to truly iterate the supreme catharsis this album bestows.
Leprous is an all-time favorite artist of mine and will remain forever on this list with The Congregation.
My favorite songs: The Flood, Third Law, and Moon
17. Eternal Blue- Spiritbox (2021)
I know I’ve talked about this band before, and everyone’s probably getting tired of hearing about them. However, leaving them off this list is not an option. Spiritbox is one of my all-time favorite bands. They reignited my love for Metalcore whilst introducing me to a new genre that would become one of most listened to: Progressive Metalcore. This genre has been vitally important to my mental health and musical journey. Not only did it provide Spiritbox, a band that got me inspired to pick up drums again, but it also gave me Periphery, Whitechapel, ERRA, Novelists, Jinjer, and most especially Ankor. This band not only gave me some of my most personal connections with music, but they also gave me other bands I would connect with even deeper. They opened a window to a whole new world of music for me, and I found new parts of myself scattered within the same genre bubble. I discovered the band with their massive breakout single Holy Roller, and I admit it took a long time to grow on me. The other singles from Eternal Blue emphatically won me over to the immense talent of vocalist/lyricist Courtney LaPlante and guitarist/writer/producer Mike Stringer. Like Burton and Dino, they’re one of my favorite writing duos of all time. Spiritbox’s writing is superb. It is easy to hear why they’re one of the biggest Metal bands on the planet because Eternal Blue is perfectly crafted. I think this band deserves every amount of the hype they receive.
Eternal Blue is a beautiful and tragic journey through COVID isolation, depression, nightmares and night terrors, self-hatred, and fighting societal pressures of conformity. This album’s lyrical content sounds exactly like 2020-2021 was for me. It was fast, a blur of emotion constantly changing, and a calm amongst the storm. It’s a devastatingly heavy album in both instrumentation and emotional continuity. Each track flows together, but no two tracks sound the same. Somehow, it’s all in an idea bubble and sounds like the same theme, but it is completely different. It’s a crazy feat in songwriting to achieve that continuity without repeating or following the same formula. I think it’s because of the shifting in dynamics and wall-of-sound production. It immerses you in a vibe, for lack of a better word, and keeps you there for days, much like Courtney’s described nightmares that inspired this album. I love immersive, deep, huge sounding records, and this is a best effort in a decade. It exists in the same space in my mind and heart as Strapping Young Lad records. There’s brutality, airiness, relief, gigantic guitars, and soulfulness in complete desperation. This album emotionally wrecked me for months, but in a good way. It took me out of my comfort zone while giving me a haven amongst the chaos.
Songs like The Summit, Secret Garden, and Halcyon are lighter and a breath of fresh air amongst a stale, isolated lifestyle during COVID-19 times. These are tracks I would often go to sleep to or practice musical meditation to. There’s something profoundly spiritual about this record for me. It’s a cleansing of the spirit, which isn’t surprising considering the name of the band. Eternal Blue surprised me with how deeply it impacted me. I didn’t expect such a heavy guitar record with djent tropes to be so cathartic and emotional. I think Courtney’s vocals give their music that relatable quality. You can hear every word she says and clearly understand how it makes her feel. That emotional resonance is what makes this band special. A lot of singers are fantastic at singing and conveying a story or emotion because that is the job of a vocalist to audily convey the meanings of the song. What Courtney does is another level of crushingly soul-bearing vocals that dig into you and stay there for a long time.
A powerful quote about pain inspiring art is, “Great art comes from great pain,” which comes from Tortured Artists by Christopher Zara. I think Spiritbox resembles this message in a good way. Spiritbox’s impact on music is unarguably profound, but the emotional connection they’ve made with their fans, including me, is rarely talked about or honored. Spiritbox allows a haven for the anger, pain, and self-doubt we all may deal with throughout our lives. That is such a beautiful kind of catharsis.
My favorite songs are: We Live In A Strange World, The Summit, and Constance.
18. Victims of A Modern Age- Star One (2010)
I was already in love with European Metal early on because of Hammerfall and Within Temptation. Epica is the band that hooked me on Euro Metal and the pursuit of finding more Symphonic Metal and Death Metal. But, Arjen Lucassen and his many Prog projects were also a huge influence to my quest of the Euro Metal discovery. It became a passion to pick out each contributing artist from Arjen’s projects and deep dive into their subsequent bands and albums. It was like the “Six Degrees of Separation” but with incredible Metal. Once my brother and I went down this rabbit hole (Star One pun), we discovered many of our favorite artists of all time. I feel like we should write an extensive thank-you letter to the streaming service, Pandora. This service exposed us to most of the European artists we know and love today. They had the best collection of this kind of underground Metal we could access in America in the 2000s and 2010s. I fear to think what my life would be like without this music, especially without Arjen Lucassen. I remember my brother and I freaking out and “fangirling” to Victims of A Modern Age and all of Arjen’s discography together in his living room. It was a liberating experience that I think strengthened our bond even more and made me the metalhead that I am today.
Victims of a Modern Age is a nerdfest of Progressive Metal and geeky themes like The Matrix, Planet of the Apes, A Clockwork Orange, and Blade Runner. Arjen is heavily inspired by Sci-Fi to create Space Metal through project Star One. I have loved Sci-Fi series, books, and TV Series since I was young enough to sit and read or watch them. This love of sci-fi combined with Metal is such a personal niche. Especially since opening bombastic hook track Digital Rain is based on my favorite movie series of all time, The Matrix. This is, in my opinion, one of his best works because of its more band-like feel with Dan Swano, Damian Wilson, Russel Allen, Floor Jansen, Ed Warby, Peter Vink, and Joost Van De Broek. It was a lot easier to perform live shows and put together solid Metal records. This album is evidence that progressive metal doesn’t need 50 musicians and 5000 notes in a measure to be good. This album is hook-laden, anthemic, and bombastic. It is unapologetically nerdy and cheesy, and I love it immensely. Arjen Lucassen’s music writing is some of the best of our modern times, and his ability to compile the absolute best singers and musicians is a stroke of brilliance. Victims of A Modern Age is an album I wish I wrote and created. It is a Metal ode to Sci-Fi in the biggest way ever achieved, with some of the greatest vocalists of all time to tell the story.
The performances on this record are unbelievable. The first time I’d ever heard Russel Allen was on this album, and it blew me away more than 99% of singers I’d ever heard. It also introduced me to the mighty Floor Jansen, and that forever changed my life. I didn’t know women sang Power Metal, so when I heard her powerful vocals stand up to Russel and Damian Wilson, it had me hooked for life. Hearing Floor for the first time forever changed my view of female vocals and sent me to loving After Foreer, then Revamp, and then Nightwish. Arjen getting Floor Jansen heard on a larger scale in 2010 is probably one of the most significant moments in music for me. I think his loaded projects lead to a lot of discoveries for a lot of metalheads. Because of Ayreon and Star One, many of these artists have gone on to bigger projects and collaborations. I have no idea how Arjen does it, but he keeps crafting the best progressive music this generation has to offer, with the absolute best lineups. If I could ever achieve one percent of what he has, I’d be happy with my music career. The man is an absolute genius and wizard, and just knows how to bring the best out of the best musicians.
Victims of A Modern Age is yet another transformative release in my Metal History. It inspired me to plunge into the world of Metal head first and soak up Euro Metal like my life depended on it. Through this discovery, I found bands like Threshold, Adrenaline Mob, Porcupine Tree, After Forever, Stream of Passion, Symphony X, Between the Buried and Me, and so many other artists that impacted my taste in music writing. I think Arjen is a great writer, musician, collaborator, producer, and all-around nice guy. I don’t believe he gets the worldwide recognition, sales, or credit he deserves for being such a consistent contributor to music.
My favorite songs; Digital Rain, Cassandra Complex, 24 Hours
19. Audio Secrecy- Stone Sour (2010)
Of all the albums on this list, this might be the most influential to me personally. Devin Townsend, Brittney Slayes, Amy Lee, Joacim Cans, Simone Simons, and more top my favorite singers of all time list. But, before I dived into the Progressive and Power world, it was Corey Taylor who topped my list. The range, diversity, emotional diction, and character in Corey’s vocals made him stand out for me. Corey Taylor’s unique style is still unlike anything I have ever heard. Many have been inspired and replicate the style of rap, Metal gutturals, and soaring anthemic cleans that could organize a thousand people. His power is unbelievable to me. Even to this day, his live performances are staggeringly good. His vocals with Stone Sour are somehow different altogether. They’re softer, more nuanced, and more thought out to give a tonal quality. This makes Stone Sour stand out, blending the 60s and 70s with the Alternative Rock and Metal of the 2000s. I’ve been listening to Stone Sour since 2007 or so. I’ve always loved Jim Root’s guitar playing. Roy Mayorga is also a very underrated drummer. But, when Audio Secrecy came out, it changed my entire world as a music listener. This album was going to be on my list of “Favorite Rock Albums of all time”, but the drums and chugging guitars made this album fit Metal a little bit more to me. It’s just one of my favorites, regardless of genre.
I was listening to Turbo and Sirius XM recently, and Brent /Smith from Shinedown told the story of singing Guns N’ Roses’s Appetite For Destruction every Friday night in his garage as a kid. That’s how he got his start as a Rock vocalist. I related to that story because when Audio Secrecy came out, I practiced singing through it at least twenty times a week. It came out in September, and I think I was still practicing it the next October 2011. This strengthened my voice immensely and gave me so much confidence overall. While I’ve never sung in public or front of a band, at least I know I could sing some of those songs in a bad imitation. Those are the memories you hold onto forever with albums. When music makes you feel like you’re at your best, it leaves a permanent imprint on the deepest parts of you. That’s a powerful connection that makes music a unique experience. Regardless of whether I ever become a singer or not, I’ll always remember what album made me feel like I could be a rock star.
Audio Secrecy is sonically perfect; Stone Sour at their absolute apex of writing and song construction. This record is so well mastered, so well composed and engineered, it sounds like a late 1970s release. It sounds uncompressed, unfiltered, and so open and airy. It’s a massive-sounding album that combines Arena Rock with Deftones-inspired riffs and melodic vocals. It is hard-hitting. Every song is an attack. Every one of Roy’s hits punches you in the chest. The driving explosive choruses hook you in. Mayorga’s cataclysmic drumming on this record captivates me every time I listen to it. The bass line on Say You’ll Haunt Me would make Paul McCartney cry, it’s so damn good and smooth. The ballads cool off the tension, especially the power ballad Hesitate which is among my favorite songs of all time. The vocals are utterly perfect on every song, but I think Heisitate and Imperfect are two of Corey’s best clean performances of his entire career. This is undeniably the most relatable album in Stone Sour’s catalog, and I think that’s what makes it so beautiful. Corey put his whole heart into this album, as Slipknot had just lost bassist Paul Gray. Corey’s life has been full of loss, pain, and making it out by the skin of his teeth, and those parts of him are bare on Audio Secrecy. This accentuates the deep connection fans like me have made with him. It is Stone Sour’s best album, and I don’t think it will ever be replicated in the slightest.
Audio Secrecy is a once-in-a-generation album, and I will always remember it as my favorite album to sing along to. Seeing this album played almost entirely live was a highlight of my life that I’ll never forget.
My Favorite songs are: Digital (Did YouTell), Hesitate, Threadbare
20. All Hope Is Gone- Slipknot (2008)
Slipknot is one of my favorite bands of all time. Slipknot is what originally got me into Heavy Metal when I was 12 to 14 years old. Maybe it’s cliche at this point because Slipknot is one of the biggest metal bands of all time, but their impact is undeniable. They’ve inspired countless artists and young metalheads, exposing them to a whole new world of American Death Metal and Metalcore. I heard Slipknot as a kid because my brother and one of his friends were into Metal and shared albums, but it was probably too much for me at eight years old. I can imagine that, as sensitive as I was, the masks and the aggression would’ve freaked me out. But, as I got older, this aggressive music became essential to me. As a typical American teenager, Slipknot was heavy in my rotation long before the era of streaming. Though, I did have Youtube, and I would religiously watch Slipknot’s videos and attempt to decipher the visual subtleties Shawn Crahan hid in every video. Every aspect of Slipknot was endlessly fascinating to me. The fact that they hid their identities for so long, the horror-themed music videos, and all the strange sounds they used in their music were captivating and confusing at the same time.
All Hope Is Goneis an indescribable album of aggressive sound, piercing screams and DJ effects, and incredibly heavy drums. This is undoubtedly one of the best drum albums in Metal. Joey Jordison blended Progressive and Death Metal influences with solid Rock beats to complete the almost tribal backbone of Slipknot. He is a household name all over the world for his incomparable contributions to the world of Metal drumming. This album is my favorite of all his works, despite it being slightly lighter and more radio-friendly than others in the Slipknot arsenal. I also think this has some of the best guitar work of any Slipknot record. It sounds like Jim Root and Mick Thomson at their best to me. The mix of melodic hooks and depth with the pummeling speed riffs is something we don’t hear often in American Metal. The riffs remind me of early In Flames and At the Gates on this album, which, to me, is an upgrade in pedigree. There’s a musical depth to this album that intrigues me more than most Metal albums ever released. In some respects, it is so European and Death Metal oriented, and then there are anthemic sing-song parts in between. It’s a unique and eclectic mix that was very surprising for 2008. It sounds like this album could’ve been released in 2024, but on the other hand, it could’ve been an early 90s Thrash record. It’s hard for me to pin it down, and that’s what Slipknot always goes for. That’s what I love about them; they literally don’t sound like anyone or anything else, and they don’t try to be anything but themselves.
Slipknot creates some of the most unique Metal ever released with a staggering amount of influences and different musicians. I love bands who dare to be different, don’t aim to create radio rock, and are eclectic. Slipknot manages to be strange as hell and yet sell millions of records. This proves the idea of “mainstream” is an elitist construct of misinformation and old-fashioned thinking. Nothing Slipknot does is conforming to the radio or record company conglomerates, yet Sulfur, Before I Forget, Dead Memories, and Duality are some of the most played Metal tracks on the air. I love that they’ve flipped off all the doubters and all the elitists and stayed true to their chaotic and angry roots after all this time. While they’ve stayed true to this vacuum pretty much the whole time, besides recent release The End So Far (seriously, what the fuck was that album?), I think All Hope is Gone is going to remain my favorite Slipknot album of all time.
While I’ve moved on from Slipknot to completely different music, I will always love the nostalgia of hearing them on the radio. They are still a band my mom and I share every once in a while, and I will never forget the surprise of my mom loving Slipknot and everything Corey Taylor. I hope to see them together one day.
My Favorite songs are; Dead Memories, Snuff, Butcher’s Hook, Sulfur
There it is, my top 20 favorite Heavy Metal albums of all time! What are your favorites? Did you like or dislike any of the albums I listed? Start a conversation in the comments below!
Get ready for a firestorm of hard rock fury! Fierce Austrian hard rockers VULVARINE are set to shake things up with their new single and album opener, “The Drugs, the Love and the Pain”, taken from their upcoming studio album, Fast Lane, out on March 28, 2025 via Napalm Records!
“The Drugs, the Love and the Pain” kicks off VULVARINE’s album with an electrifying fusion of punk attitude, hard rock grit, and heavy metal intensity. Bursting with raw energy and rebellious spirit, the track delivers soaring melodies and hard-hitting riffs that embody the highs and lows of euphoria, chaos, and resilience. With its anthemic hooks and relentless drive, this powerhouse sets the tone for an adrenaline-fueled ride through the band’s bold and unapologetic sound.
The track debuts just in time for VULVARINE to bring their signature rock’n’roll to cities across Europe on the second leg of Thundermother’s Dirty & Divine tour, also featuring Napalm Records label mates Cobra Spell.
VULVARINE on their new single “The Drugs, the Love and the Pain”: “The song takes you on a ‘rock ‘n’ roller coaster ride’ between euphoria and chaos, exploring where these emotions come from – be it substance abuse, heartbreak, or inner struggles. It resolves with a message of hope, reminding us that all feelings are temporary and will eventually lead to a brighter, clearer state of mind.”
Check out “The Drugs, the Love and the Pain” HERE:
Influenced by bands such as Girlschool, The Runaways and The Donnas, VULVARINE defines their own sound as “vulvarock”: a unique fusion of high energy rock’n’roll, heavy metal and glam, topped up with punk and blues elements. Following their debut album, Unleashed (2020), and the 2023’s Witches Brew EP, on Fast Lane, VULVARINE head full speed into a new adventure filled with adrenaline and authenticity.
VULVARINE on the new album: “Fast Lane captures the whirlwind of creativity and energy that has driven us as a band. The album came together in an intense but exciting process, where we pushed our limits, worked with incredible people, and poured everything we had into the music. Signing with Napalm Records is a huge milestone, and we’re ready to hit the fast lane and dive headfirst into this new adventure.”
While remaining uncompromising and real, VULVARINE impresses with a variety of soundscapes on Fast Lane. The explosive opening track “The Drugs, the Love and the Pain” sets the scene for the rest of the album: rebellious, action-packed, raw, punky – and irresistibly catchy. “Ancient Soul” shows the softer side of VULVARINE while “Demons” dives into darker waters. VULVARINE’s strong rhythm section shines especially bright on “Alright Tonight”, and “Equal, Not the Same” is particularly refreshing and empowering. “Fool”, co-written with German producer Felix Heldt (Dominum, Feuerschwanz, Visions Of Atlantis), surprises with a different tone while remaining true to the sound and spirit of the band. “Polly the Trucker” is an ode to the highway, a classic rock’n’roll anthem with a modern touch, featuring raspy vocals and incredible guitars. VULVARINE brings in yet another highlight with an electrifying cover of Modern Talking’s “Cheri Cheri Lady”, featuring a powerful guitar solo from Thundermother’s Filippa Nässil, before wrapping the album up with pensive track “She’ll Come Around”.
On Fast Lane, VULVARINE soars to the next level with both songwriting and high-quality production without losing their edge. The album was produced in Vienna and Wiener Neustadt as a collaboration of three different producers: Thomas Zwanzger of Stressstudio, Dietmar Baumgartner of Sonar Music Productions and Engel Mayr (formerly of Russkaja) of Studio Mäusepalast, resulting in a cohesive work and VULVARINE’s strongest album yet. Fast Lane is a multifaceted and honest high-octane rock’n’roll extravaganza with no filler: the 11-track offering is packed with the very best of one of the most promising bands in the scene. Fast Lane tracklisting: 1. The Drugs, the Love and the Pain 2. Ancient Soul 3. Heads Held High 4. Demons 5. Alright Tonight 6. Equal, Not the Same 7. Fool 8. Polly the Trucker 9. Dark Red 10. Cheri Cheri Lady (feat. Filippa Nässil) 11. She’ll Come Around
Fast Lane will be available in the following formats: 1-LP Translucent Orange – ltd. to 400 copies worldwide 1-CD Digisleeve Digital Album
As with all my posts, this one is subjective. This list doesn’t aim to categorize “the best albums of Metal” because such a feat is just not feasible to me. This is based on just my taste. They’re not even in order by my favorites because what is considered my favorite is highly based on my mood. I just made a master list and narrowed it down to the 20 that are important to highlight my taste. It should give readers a better sense of what I listen to regularly and just personal taste. Let me know about your favorite Metal albums below in the comments, I would love to see if any of these albums resonated with anyone else the same way they did with me.
In part one of the series, the first six albums were all by Devin Townsend. Part two highlights a favorite album from my favorite Metal bands. It was incredible to go back and listen to these. I listen to them often, but not in this context. Active listening has always been my preferred writing method, but I’ve never done it so personally in depth. Listening to these albums whilst actively picking out why I love them cemented my admiration. The whole process was very cathartic and interesting. I don’t think I ever thought about these albums on such an introspective level. Each album and its songs have distinct meanings to me. They even have vivid memories attached to them. Writing this proved to me how integral music is in our lives.
7. Apex- Unleash the Archers (2017)
I refer to Unleash the Archers as my favorite band of all time. I’ve been listening to them since about 2015. Growing up with Iron Maiden, Metallica, Whitesnake, Dokken, and Judas Priest, I look for similar music. High octane, dueling guitars, speed Metal, and killer power vocals never fail to grab my attention. No surprise to me that I’ve become such a fan of Unleash the Archers. They have all the qualities of those Power Metal/Heavy Metal 80s bands and ooze with the magic of Iron Maiden. The guitarists Andrew Kingsley and Grant Truesdell are masters of dueling guitars, Thrash riffs, and Melodic Power licks. They are two of the best technical guitarists I have ever seen. The sheer speed and accuracy with which they play are miraculous to me. It’s like Adrian Smith and Dave Murray on a massive amount of Monster Energy drinks. It is insane to watch them play live and in the studio. The same goes for drummer Scott Buchanan, who I think is the most underrated drummer of all time. This guy seemingly effortlessly plays at 150 beats per minute and faster for an hour and a half. Buchanan looks as if he’s barely moving behind what looks to be a basic Rock drum kit. I do not understand why he is not recognized as a fantastic drummer. Nick Miller is also a fantastic bassist, showing his strong presence on the last two UTA albums. He chugs the hell out of the bass. As a bass player, his tone and speed captivate me. He is just so good without being too loud, too low, or too flashy.
And then, there’s Brittney Slayes: Where do I even start with the incomparable and iconic vocals of UTA? It’s hard to sum up her contribution to the band and the Power Metal genre in a paragraph. She is larger than life in vocal presence. Her range truly defies everything I knew about vocals. She can sing in many styles and voice types, but it fits perfectly with the music. The brilliance of her note choices, her ability to sing in the pocket, and her storytelling are the strongest aspects I love about Brittney. In some ways, I feel like she’s the closest vocalist to Ronnie James Dio in spirit, style, and range, but she also stands on her own. All of these virtuoso musicians make perfect chemistry in UTA, and are what make the band so special. There’s nothing out there like them that I’ve heard. They pull from a plethora of genres and influences to create meaningful, energetic, and technical Power Metal.
Apex is undoubtedly my favorite album from UTA. Apex is a once-in-a-lifetime concept album. It is incredibly emotionally compelling in different ways on each track. The story of Apex is heart-wrenching. It follows the story of “The Immortal” and his curse to serve whoever wakes him on Earth. Over 1000 years, The Immortal sleeps and wakes multiple times. This time, the evil tyrannical witch queen “Matriarch” wakes him for an evil task. Her evil knows no limit, and she has power over the entire planet. She orders the Immortal to bring her four sons back to her to sacrifice them for her own immortality. Through the story, The Immortal shows his immense power to summon an army of ten thousand to subdue and chase out the sons. He also shows morality and introspection, trying to decide if it’s all for nothing or if the ends justify the means, and he considers what the good in it all is. This concept is interesting because, to me, it reflects the acceptance of Good and Evil in the world and the balance it upholds in the right hands. Everything about Apex astounds me. The story, the instrumentation, the composition, the structure of each song, and how it flows together seamlessly. I love everything about this album, especially the guitars and vocals.
I connect so personally with Apex. The aspect of The Immortal slumbering in a mountain with this curse and his acceptance of his curse struck me. I was born and raised in Colorado, and the end of Apex with the title track tells my story in a way. The curse I view as my disability, Cerebral Palsy, and my acceptance of this thing I cannot change. , being born and raised in Colorado, “The mountain, my home” reminds me that the mountains are my haven. Apex, the song, is truly one of the most beautiful things I’ve ever heard in my life. The whole album echoes this beauty to me. Apex is a masterpiece in both written and sonic form to me. It’s music that means something deeper. You can interpret the story to mean different things and take what you want from it. This is why I think Brittney is brilliant. It’s a well-composed story, but its meaning is ambiguous and mysterious in a way. This allows fans to attach to it personally on a possibly deep level, like so many of the best Fantasy novels. I don’t think Brittney gets enough credit for creating and crafting the stories and concepts of their three-album run. Apex deserves much more credit for its concept and musicianship. It is truly unmatched and will always remain an important album to me.
My favorite songs are Apex, False Walls, Earth, and Ashes
8. Ategnatos- Eluveitie (2019)
I’m going to be honest: I wasn’t entirely sold on this album initially. The heaviness was a drastic change from “Evocation II”, and I wasn’t ready for how hard this band came with Ategnatos. I’d been listening to Swiss Folk Death Metal band Eluveitie since 2012, so I knew they were pretty heavy in the past. Some albums take time to grow on me. After I sat down and was in the mood for something heavy, I listened to this album three times back to back. The experience was intense, spiritual, and tear-jerking. This album is an experience from start to finish and is larger than life. It combines old-Eluveitie with Death Thrash riffs and their signature blend of Folk Instruments and Celtic/Gaulish sounds. It’s Melodeath meets Ancient Pagan music, and I love it so very much. If a Metal album could ever sound Alpine, Ategnatos is the prime example. It’s like walking among your ancestors in the valleys of the Swiss Alps. It’s so unique and specific to Eluveitie. While many Metal bands are incorporating Folk inspiration into their heavy music, Eluveitie stands out from the rest to me. Maybe it’s because I experienced this in concert when I saw them in March of 2023, but they just feel so different from any other band to me. The first time I’d ever heard of a hurdy-gurdy was in Eluveitie. It’s such an unlikely instrument for Metal, and it’s almost a comic and unbelievable mix, but it works so well. They’ve crafted a truly unique sound that is all their own. With Chrigel’s signature harsh vocals, the Folk instruments, the speedy fiddle riffs, and epic guitar riffs and breakdowns, it’s undeniable that this band is one of a kind.
Ategnatos is a difficult album to stop listening to once you start. There’s an addictive “Beauty and the Beast” quality that I’ve been hooked on since 2008. The riffs are catchy on any instrument. Like on Blackwater Dawn, the pipes intro has been in my head off and on since it came out. Somehow, they packed in heavy chunky riffs, Speed Metal drums, Folky diddies, and Nightwish-like choruses sung by the incomparable Fabienne Erni. I will never get over her powerful voice and incredible range. She is yet another Metal singer who can sing anything. Her performance on Ategnatos is sensational with every note. She is one of my favorite vocalists of all time. Ambiramus is the Eluveitie song to date. It was a last-minute addition to the album, and yet it fits the anthemic nature so well. This song is unbelievably beautiful. Experiencing it live was a truly spiritually cleansing moment of my life. How she delivers such notes and Alpine calls with volume and clarity is mystifying. The whole album is a spiritual trip. Her voice is a pivotal aspect I love about the album. The riffs and the chanting on The Raven Hill are so epically catchy, along with the unique groove. It’s like listening to an ancient Celtic celebration with a death growler. It scratches my brain and satisfies the Scot-Irish in me like I’ve never expected. I grew up listening to Celtic music, but Ategnatos raised the bar. The darkness of The Slumber and Worship imprints on me. The acceptance of one’s fate comes into play, the Death Metal and depth of these songs are eerie, and it’s an interesting feeling. Breathe is another track where Fabienne’s range shines on, and it shows why she’s considered the heart of Eluveitie. She sings her heart out on every song, but especially on ” Breathe. This song reminds me of long road trips out of Colorado and being severely homesick for the safety of the mountains.
I can’t talk about this album without fanning over Rebirth. Rebirth rounds out the journey of someone who converts to a tribe, becomes a powerful figure, and ascends. This is one of the best Metal tracks I have ever heard in my life. Alainn Ackerman is a favorite drummer of mine, and his speed, use of flam, and interesting fills are the backbone of this album. But my god, his blast beats on Rebirth paired with the shredding of Jonas Wolf and Rafael Salzmann is a stroke of brutal virtuosity. The first time I heard this song, I was genuinely blown away. I restarted the song over before it even ended because the intro is insane. I thought my YouTube playback speed was up by two clicks, but it wasn’t. I will never forget the first time I heard this song as long as I live.
This album is also personal to me because it spawned quite the saga of dreams. I began having these dreams in the Spring of 2020. They were the most interesting dreams I’d ever had. One dream in particular remains. The dream began with walking through a valley of the Alps, lush with green native grasses and herds of sheep below. It was in Switzerland, and it was, of course, beautiful. I was walking along with members Fabienne Erni and Jonas Wolf. Fabienne explained to me in detail about the tribes of people from a millennium ago that walked the same path that we walked. She told of riches, tragedy, triumph against armies, and how Celts and the Gauls were related. The two led me to a waterfall with a sizable pond below it. In the pond, they performed a ceremony of sorts, and I was baptized back into my Celtic roots. When they had me plunge into the pond that was barely deep enough to stand in, I saw seven “beings”. These seven beings were grey and green, with cloaks. They had no face or discerning features. They repeated the words of Ambiramus to me. I was then pulled out of the pond and was cleansed of bad energy. It was a “Rebirth” you could say. The dream was very cinematic and beautiful. I am known to have very detailed and epic dreams, but this has to be one of my best. I will always remember it and think of it when listening to this album.
My favorite songs are Ambiramus, Breathe, Rebirth
9. Delirium- Lacuna Coil (2016)
I have been a fan of Lacuna Coil since I was around thirteen or fourteen years old. My older brother discovered them on the College radio station after we moved to Colorado. While I remember seeing the Heaven’s A Lie video on a music channel, it was two or three years after I started listening to them. “Comalies” lived in our car CD player for a good three years after that. Experiencing the 20th anniversary of Comalies was the biggest wave of nostalgia. This album has impacted the Metal market in the US and influenced Metal more than people realize. Before this album, “Beauty and the Beast” style vocals weren’t exclusively done on an entire album, I don’t think. This concept was only done in passing on songs. Now, it’s one of the most interesting music concepts that shaped Symphonic Metal and more bands than I can count. Comalies is an album that will be immortal, much like the Evanescence album that brought female vocals in heavy music into the mainstream. I’ve loved everything Lacuna Coil has released since (Yes, even Shallow Life). The moment I became a mega fan of LC was upon the release of “Delirium”. This is when LC became one of my favorite Heavy Metal bands of all time and Maki became one of my favorite bassists.
“Delirium” is a deep delve into the human psyche with all its dark manifestations. It’s heavy, moody, cinematic, atmospheric, catchy, beautiful, and brutal all at the same time. It could easily be a soundtrack to a miniseries about a serial killer, and I mean that in a good way. The thematic elements swallow you up and take you into the eerie depths of catharsis. Delirium is incredibly deliberate and perfectly constructed. It flows from each song and doesn’t break the tension and dark elements. It’s an experience as much as it is an album. It takes you to the literal edge of sanity where you’re losing control of yourself, your relationships, and the perception of things around you. This album is brilliant in how spot-on it captures its theme. Rarely does an album concept hit as hard as Delirium does for me. It’s so literal, which is refreshing in Metal. I don’t find a lot of albums that speak about a subject so clearly, and I commend LC’s dive into the dark world of Mental Health issues. Delirium takes me back to toxic relationships, anxiety, and feeling as if my reality was going dark, but in a good way. It reminds you of how you can live through all the darkest parts in your life and rise above the darkness in your mind. I love that message.
The sounds on this album are unlike anything I have ever heard. I don’t like comparing artists too much, and this album is incomparable. Despite not having an official guitarist at the time, Maki, the bassist and a founding member of the band, constructed some of the hardest-hitting riffs on both bass and guitar. It’s a rhythmic onslaught of heaviness, but it also drops out to highlight the insanely beautiful tone of Cristina Scabbia. Cristina is one of the most unique singers in Metal. This dark and light balance is evident on “Live To Tell”, a solo track for Scabbia’s unique, soulful soaring vocals. The riffs offset so perfectly, and yet pummel your senses to a pulp on “Blood, Tears, Dust” and “The House of Shame”. Maki and guest guitarist Myles Kennedy of Alter Bridge created Nu-Metal nostalgia with a punchier bass sound, and I love it. The drums are also technically perfect. Every hit matches the riffs so exactly, it sounds like a machine. The musical chemistry on this album is spectacular. Everything just flows so well together, A sign of a band that’s been together for so long; they work in exquisite harmony. Andrea’s screams are a highlight of the album., To me, his transformation into a death growler is one of the best decisions ever made in music. He went from an “okay singer” to me to an absolute guttural god on this album. It’s the extreme of “Beauty and the Beast” vocals, and I love it so much.
Lacuna Coil keeps defying the constructs of Rock and Metal and extremifying their concept. They evolve, change, and grow while remaining unique to them, but I don’t think the perfection of Delirium will ever be topped for me.
Favorite songs: Ultima Ratio, You Love Me Cause I Hate You, and The House of Shame
10. Seventh Son of A Seventh Son- Iron Maiden (1988)
I’ve mentioned this album in previous posts but never delved into it quite like this. Iron Maiden is undoubtedly one of my favorite bands of all time. They are one of the most influential bands in Metal history. I have memories as far back as I can remember of this band. They’re a band my family loves and has loved since long before I was born. My late uncle was responsible for my love for Iron Maiden. He was a traditional Metalhead that brought these bands to my Mom and eventually my brother and me. Bands like Iron Maiden, Metallica, Rush, Pantera, Van Halen, and more came from my Mom and my Uncle. That sharing of music was crucial to me. That’s probably why I have a compulsive need to share music with everyone I know. Sharing music was the purest form of love I had from my uncle, who was otherwise a problematic person in our family’s lives. That sentiment is one I wish to pass on to other people. I’d like to be known by the bands I share and whether that discovery meaningfully impacted someone else’s life the way Iron Maiden impacted mine. Without my Mom and Uncle exposing me to this music, I probably wouldn’t be a Metalhead and a pretty different person. There are many weekend memories tied to this album: Packing up the house, going on a road trip, working on a car, or just sitting out on the back patio. I remember listening to this album. Music is a powerful thing when it is tied to happy memories. It can remind you of who you are when you’re at your best or happiest. This album always does that for me.
I haven’t always been a huge Metalhead. In my childhood, I was exposed to Rock and Metal and generally liked it. During my childhood, I chose Britney Spears, Whitney Houston, The Cranberries, Fleetwood Mac, and Celine Dion more than anything. As a teen, I rebelled for a while against what other people were listening to and chose more pop-punk like Paramore, Fall Out Boy, New Found Glory, Incubus, and more of that mid-2000s style. It’s normal to go through phases, but I think, deep down, I always truly loved Metal. Iron Maiden was one of the bands that cemented my dedication to Metal when I was 18. While I credit Iron Maiden, it was more specifically Sam Dunn’s Metal Evolution that made me realize I had an innate passion for Metal. Watching this anthology in full on VH1 made me realize how deep and scholarly Metal could be. The theme of the Metal anthology was The Trooper. I had heard the song many times before, but hearing it on this documentary truly reignited my love for Metal. All of Iron Maiden’s albums are impactful and nearly masterpieces, but I had to go back in time. The Trooper may be my favorite song of all time, but my favorite Maiden album is undoubtedly Seventh Son of a Seventh Son.
Some consider it a miss or just a mini album of 80s ideas, but it impacted me more than any album. I will never understand the discontentment for this album. This album was an experiment, and I love experimental music. While people perceived it as Maiden trying to go Mainstream, I think they were trying to do the opposite and rebel against the Sunset Strip of Hair Metal. Iron Maiden took what Fates Warning was doing and combined NWOBHM with Progressive Metal. This combo engrained itself into my brain forever. It is the most influential album to my music taste. I think many albums on this list have a taste of this record at heart in some way. Unleash the Archer’s albums remind me so much of this record, and that’s probably why I love them so much. Seventh Son is a mix of soaring atmospheric synths, melodic dueling guitars, and insanely Proggy drums from the incomparable Nicko Mcbrain. It sounds like a mix of King Crimson, Deep Purple, Manowar, and Vangelis while still keeping the Iron Maiden grit and epicness. The technicality of it is staggering. They keep their anthemic sing-along style but add time changes and syncopated rhythms and flashy ’80s sounds. In my book, it’s one of their best works and my absolute favorite album from them. Every song is just so memorable without relying on hooks. It’s creative, emotional, cinematic, and badass in its guitar work and aggressiveness on songs like the title track, Evil That Men Do, and The Clairvoyant. Oh man, and Steve Harris’s bass playing on this record is just sublime. The bass could’ve been much louder on this album, but it still impacted my playing, as all Maiden albums have.
Seventh Son of A Seventh Son is one of the most unique Metal records I’ve ever heard. I will always cherish its technicality and the memories that go along with it.
My favorite songs; Moonchild, Infinite Dreams, and Seventh Son of A Seventh Son
11. Moonbathers- Delain (2016)
While Symphonic Metal is more of a part of my past, Moonbathers is an album that will forever remain special to me. It’s not the biggest, technically perfect, or cinematic Symphonic album ever made. It’s not the best mix or engineering on a Symphonic Metal album. It defies all the things I normally look for in a great album, and yet here it is on my favorite album list of all time.. Moonbathers is an anthemic, moody, dark, masochistic record with more soul than 99% of any Symphonic album ever made. This album is a whole experience of emotions, thematic sounds, and epic guitar hooks. It’s an eclectic mix of traditional elements of the genre and sounds that are so unique to powerhouse vocalist Charlotte Wessels. It’s like The Cranberries, Within Temptation, Kate Bush, Nick Cave, and The Birthday Massacre combined into one really neat package. It’s the rawest Symphonic Metal album I have ever heard. It’s unapologetically loud, jarring, and campy all at the same time. Moonbathers is a vocal astonishment and put Charlotte Wessels on the map forever, along with her incomparable performance on Burning Bridges, Masters of Destiny, and her solo work The Obsession. Moonbathers feels like Charlotte’s Delain, and it is my favorite version of the band that ever was and that ever will be.
Moonbathers is the moodiest album I’ve ever heard. It’s an explosion of emotions: anger, pain, love, sadness, and elation to be alive to experience it all. It’s a concept album in that it holds the same dramatic theme throughout. It’s more of a vibe than a story for a theme, which is unique in and of itself. It’s a love letter to those suffering in life in such an epic way. It’s a little bit Pirate and Hans Zimmer with Hands of Gold, a little bit of 90s Alt-rock, a little bit of soul Vocals, a little bit Queen, and Poppy hooks like on Fire with Fire, Turn the Lights Out, and Suckerpunch.Pendulum is a Machine Head/Trivium one-two punch with Epica thrown in there. It’s a crazy record. The mix of inspirations is unlike anything I have ever heard. It just hits you right in the chest, like a suckerpunch that stays with you forever. It’s catchy while remaining musically interesting and progressive. I’ve never heard anything like it. Despite all the comparisons I’ve made attempting to describe how this sounds to me, it’s a Mason’s Mark all on its own. Glory and the Scum is one of my favorite tracks of all time. It’s a “Beauty and the Beast” vibe, with Charlotte and bassist Otto combining for the compelling bone-chilling growls. Her voice on this song is one of the most mesmerizing sounds to me. She embodies the idea of a Siren and succeeds in captivating every single time, but especially on this song and power ballad, The Hurricane. These two songs still astound me today and are some of my favorite performances on any album to date.
Moonbathers is special to me for more reasons than I can even say. This record inspired me to write books about my two alter egos. It’s inspired poems, countless riffs, whole songs, short stories, and more dreams than I can even count. This album spoke to me on a philosophical level in ways words cannot articulate. It’s a unique nostalgia, a throwback to one of the only bands I have ever loved with my entire being. It reminds me of all the hard work I put in on myself with meditation, running, soccer practices, and self-actualizing. This album signifies self-acceptance for me. It also is the first album I’ve ever bonded with someone outside of my family. My best friend and I experienced this album for the first time together. I will never forget writing tens of paragraphs foaming over this album. It was a very special time in my life, and it cemented our bond forever, I believe. It’s an album that will always remind me of her and also everything we’ve been through together. She’s the reason I have continued writing, besides the absolute necessity to express words on paper in which she understands and celebrates more than anyone I’ve ever met. Moonbathers helped us solidify this connection, and that is irreplaceable.
Delain with Charlotte will always be one of my favorite eras in music, and Moonbathers is the keystone album for that time to me.
Favorite songs; Glory and the Scum, The Hurricane, Fire With Fire
12. Omega- Epica (2021)
One of the newest albums on this list. I felt odd picking the most recent Epica album. I have listened to Epica since 2011. Hearing this band for the first time was a religious experience. It was as if I was hearing a choir from heaven and an orchestra only fit for cherubs. As cheesy as that sentiment sounds, it’s the best depiction of my connection with Epica. There’s a supreme feeling to their music. It’s all-encompassing and incredibly emotionally moving but also deeply philosophical. There’s no instrument, topic, theme, or height of technical excellence that this band isn’t afraid to tackle. This band creates gargantuan albums.. Tackling them in a critical sense is way above any music reviewer’s pay grade. Talking about the impact this band has had on music and myself is more in the realm of tangible. Epica is what my brother and I like to say, “a band of all time.” They just are what they are, and that is massively, unfathomably talented. People often complain that the days of Classical Composition and the greats such as Bach, Beethoven, Mozart, and Handel are dead. To me, those days of completely perfect and epic music are far from dead. Classical Music isn’t dead or gone; it just evolved into Symphonic Metal. And Epica is the pinnacle of that sentiment. Epica creating an album called “Omega” is possibly the aptest title any band has ever used.
Omega is an expansive record. The album contains all of Epica’s typical sounds and ideas compressed into a well-produced package. It is the omega-ist album they could’ve done, whilst still showing mature restraint. While Quantum Engima was chaotic, unrestrained, and unfiltered, with a wall-of-sound production with a hundred layers of choirs and orchestras, I loved it. Omega is massive, but it’s carefully constructed with more beauty and dynamics than past albums. To me, Epica is at its best when you can hear Simone without constant layers of loud choirs. Simone is too incredible of a singer to overshadow. I think Epica got this message loud and clear on this record. The balance of Metal, choirs, orchestras, keyboards, and vocals is sublime on Omega. It is my absolute favorite album because of this perfect balance. It’s fresh and new for Epica, but echoes back to the days of “Sahara Dust” with Middle Eastern instrumentation and Thrashy-Speed guitars. The melodic inclinations remind me of Design Your Universe and the b-sides of The Quantum Enigma. The drums are straight from the more Fear Factory-influenced The Holographic Principle. Not only do Simone’s perfect Operatic belts and trills shine on this album, but every member is quintessentially audible.
I can finally hear everyone and their styles and influences equally. Each member creates the capacious illusion that Epica has a hundred members, and it’s so great to hear all six of them as individual musicians. The members on their own are genial musicians, and together, it’s a cataclysm of the best Metal this generation has to offer. You need not look further to understand the power of this band than Kingdom of Heaven Prt 3. This song is among the greatest pieces of Music I’ve ever heard. Out of all the composers over the last eight hundred years, I think Coen Jansen is the most underrated. This song is angelic and pristine. You go from crying to feeling as though you’ve faced your judgment. It’s genial in every movement, all 17 times and key changes, and all the moments it switches between Classical and Melodeath to a 70’s Prog keyboard solo. “You get a solo, you get a solo, everybody gets a solo!”.
Epica is the sole reason I began this blog nearly twelve years ago, so it’s a given that this band is sentimental to me. My brother took me to a headlining Epica show in 2012. This show was a turning point in my life. The fact that bands like Epica weren’t huge in America was a travesty to me. I created “Metal Valkyrie” to be a promoter for European bands like Epica. My goal was to greatly increase their fanbase here, but the journey expanded into a review site. It has been a grind, but it has improved my writing, created friendships, and maybe exposed some to these amazing bands. Epica took the minspration that Iron Maiden and Sam Dunn’s Metal Evolution started, and ignited it to the stratosphere for me. I’ve quit reviewing and switched entirely to promotion. While it hasn’t been as successful as I’d hoped in viewership and interaction, it’s a pinnacle journey for me and has benefited my life in ways I’ve not delved into yet. Epica’s music is immensely inspiring. The epic atmospheres they create can truly get me through anything. Their music is forever inspiring.
Because of Epica’s everlasting contribution to music, I will continue this journey with Metal Valkyrie and forever share this band’s incredible music.
My Favorite Songs: The Skeleton Key, Kingdom of Heaven Part 3, Code of Life
THE NIGHT FLIGHT ORCHESTRA Unveils Title Track from Upcoming Album | Check Out the Lyric Video for “Give Us The Moon”HERE!
Cinematic Seventh Album, Give Us The Moon, out January 31, 2025 via Napalm Records | Pre-Order NOW!
[Photo credit: Linda Florin]
Leading AOR force THE NIGHT FLIGHT ORCHESTRA present the title track of their cinematic seventh album, Give Us The Moon, out January 31, 2025 via Napalm Records! “Give Us The Moon” features a catchy singalong chorus, sure to convince fans old and new. The new single arrives with a lyric video.
Founded in 2007 by members of high-profile bands such as Soilwork, Arch Enemy and Mean Streak, over the years, THE NIGHT FLIGHT ORCHESTRA has garnered millions of streams, earned Swedish Grammis nominations and built a reputation for dynamic live performances internationally through touring and massive festival shows such as Wacken Open Air. The band is set to continue winning over international live audiences on their European and Scandinavian headline tours this winter and spring. Grab your tickets now, check out “Give Us The Moon” below and make sure to pre-order your copy of the new album!
THE NIGHT FLIGHT ORCHESTRA comments: “‘Give Us The Moon’ is the title track and guiding star that slides across the dance floor and into the night. It also speaks of our human need and longing to be somewhere else, and our notion that there must be something more out there – something grander, something more gratifying and mysterious.
Give Us The Moon takes the listener on an exciting sonic journey, balancing between uplifting escapism and captivating stories inspired by real life events. The album’s themes span the likes of heroines and temptresses to liberation and romantic nostalgia, set to backdrops of abandoned cities and cosmic tides.
The intro track “Final Call” sets the scene for Give Us The Moon before impressive opening track “Stratus” is followed by the beautifully nostalgic “Shooting Velvet”. The intro of “Like The Beating Of A Heart” captures the listener from its first notes, leading into an irresistibly catchy chorus. Massive “Melbourne, May I?” is a classic THE NIGHT FLIGHT ORCHESTRA anthem, featuring captivating solos that are equally prominent on following track “Miraculous”. THE NIGHT FLIGHT ORCHESTRA slows it down for the emotional “Paloma”, before again diving into different soundscapes on the exciting, uplifting “Cosmic Tide”. The band continues their trademark of name-dropping streets and cities on “A Paris Point Of View”, that features fascinating instrumentation including particularly 80s-inspired keys and groovy bass. Sentimental “Runaways” feels like a part of a movie, only partially because of the attention-grabbing intro track before the first notes. THE NIGHT FLIGHT ORCHESTRA gets the tempo up once more for “Way To Spend The Night” before epic closing track “Stewardess, Empress, Hot Mess (And The Captain Of Pain)” wraps up THE NIGHT FLIGHT ORCHESTRA’s most cinematic masterpiece so far.
Give Us The Moon is free from the limitations of one genre or style, although many of the soundscapes of the album draw inspiration from the 80s, making the album a varied, exciting adventure. Give Us The Moon is produced by THE NIGHT FLIGHT ORCHESTRA and Sebastian Forslund, who also mixed the album, and is mastered by Plec Johansson at award-winning The Panic Room Studios. To celebrate the release of the new full-length, THE NIGHT FLIGHT ORCHESTRA will embark on a full European tour in late January 2025. Boarding is completed – fasten your seatbelts and enjoy the flight!
THE NIGHT FLIGHT ORCHESTRA about their new album: “We have never worked harder on an album before and what a journey it’s been. We feel that this album has it all and there’s no way we could have done any better. It’s an explosion of emotions and cinematic landscapes where you’ll be catapulted into space and then land smoothly while feeling right at home. It will be your haven and your grand escape all at once. We hope you will connect to this album with every fiber of your body and mind, just like we do. Please do enjoy Give Us The Moon!”Pre-Order Your Copy Of Give Us The MoonNOW:
[Cover Art: Giorgia Carteri]
Give Us The Moon tracklisting: 1. Final Call (Intro) 2. Stratus 3. Shooting Velvet 4. Like The Beating Of A Heart 5. Melbourne, May I? 6. Miraculous 7. Paloma 8. Cosmic Tide 9. Give Us The Moon 10. A Paris Point Of View 11. Runaways 12. Way To Spend The Night 13. Stewardess, Empress, Hot Mess (And The Captain Of Pain)
Moon Over Europe 2025 Tour Support: Metalite, Tragedy 30.01.25 NL – Tilburg / 13 31.01.25 FR – Lyon / O Totem Live 01.02.25 UK – London / Garage 02.02.25 FR – Paris / Petit Bain 04.02.25 ES – Bilbao / Sana27 05.02.25 PT – Lisbon / Lisboa Au Vivo 07.02.25 ES – Madrid / Mon 08.02.25 ES – Barcelona / Wolf 11.02.25 IT – Milan / Legend Club 13.02.25 HU – Budapest / Durer Kert 14.02.25 AT – Vienna / Szene 15.02.25 DE – Munich / Backstage 16.02.25 CZ – Prague / Futurum 18.02.25 CH – Aarau / KIFF 19.02.25 DE – Aschaffenburg / Colos Saal 20.02.25 DE – Nuremberg / Hirsch 21.02.25 DE – Karlsruhe / Substage 22.02.25 DE – Berlin / Frannz Club 24.02.25 DE – Hamburg / Bahnhof Pauli
Moon Over Scandinavia 2025 Tour 27.02.25 SE – Uppsala / Katalin 28.02.25 SE – Karlstad / Nöjesfabriken 01.03.25 SE – Gothenburg / Gothenburg Filmstudios* 06.03.25 DK – Copenhagen / Vega 07.03.25 SE – Norrköping / Arbis 08.03.25 SE – Malmö / Plan B *w/ NESTOR
THE NIGHT FLIGHT ORCHESTRA is: Björn Strid – Vocals Sharlee D’Angelo – Bass Jonas Källsbäck – Drums Sebastian Forslund – Guitar, Percussions John Lönnmyr – Keys Rasmus Ehrnborn – Guitar Anna Brygard – Backing Vocals Åsa Lundman – Backing Vocals
I am so insanely excited about this release! Temperance is one of my all time favorite bands. Italian masters of modern melodic metal TEMPERANCE have spellbound their symphonic magic into a thrilling live album, From Hermitage To Europe, out March 14, 2025 via Napalm Records! Captured during the band’s latest extended tour supporting their album Hermitage – Daruma’s Eyes Pt. 2 (2023), the new live recording brings the magical village of Hermitage and fan favorites to life!
Now featured for the first time in live recording form, this story was first explored on the aforementioned full-length studio album, which has since also been released in its orchestral version, featuring many renowned guests such as Fabienne Erni (Eluveitie) and Laura Fella (Faun).
Known for their vocal harmonies, the first single, “Daruma”, is a gift to symphonic lovers, where melodic guitar passages collide with a galloping drum beat. TEMPERANCE’s Michele Guaitoli takes us into their magical world, while his vocal comrade-in-arms Kristin Starkey heats up the tension with her dark timbre. This live recording serves as the perfect prelude to their highly anticipated 2025 European tour, with melodic death metal giants Ignea and symphonic powerhouse Induction.
Marco Pastorino on “Daruma”: “It’s been years since our only live release, and the time has come to publish material with our current lineup. For the first time, you’ll be able to listen to some of our most renowned tracks in their live versions – such as “Of Jupiter And Moons,” “Diamanti,” and “The Last Hope In A World Of Hopes,” while also including some of the most beloved songs from our latest album, Hermitage, after spending a year on the road supporting it.
For this reason, we have chosen to release ‘Daruma’ as the first single, marking the first track released with our Kristin Starkey.
We will celebrate the release of From Hermitage To Europe alongside our European headlining tour!”
A symphonic adventure of power, passion and melodies: TEMPERANCE Live! Rousing guitar riffs, epic orchestrations and powerful vocal duets are a welcome gift for symphonic metal lovers, now captured for the afterworld. While “The Last Hope in a World of Hopes” combines gripping melodies and choral vocals, their stunning live performance can also be witnessed in “Darkness Is Just a Drawing” – fans will experience one of the band’s most magical compositions, shining with masterful vocal harmonies. The palpable energy on fan-favorites like “Diamanti” and “Of Jupiter And Moons“ showcase the band’s extraordinary musical atmosphere.
Michele Guaitoli about the album: “The last years have been a rollercoaster of emotions. TEMPERANCE have grown on every level and have been traveling the world, having the honor of performing in Europe, the UK, the US and South America.
Those who follow us are well aware that from “Of Jupiter and Moons” to “Hermitage”, we’ve faced a relevant line-up change. We felt it was fundamental to let our listeners understand who TEMPERANCE is nowadays, as the arrival of Kristin during the EU tour as special guests for Tarja had a strong impact on the sound of the band, thanks to her unique (and outstanding) voice.
From Hermitage To Europe gives justice to what you are going to witness live in March during our headline run, and most importantly, sets in stone the essence of this new cycle of TEMPERANCE, which we want to be a cycle of rebirth.”
From Hermitage To Europe tracklisting: 1. Intro (live) 2. Daruma (live) 3. The Last Hope in a World of Hopes (live) 4. No Return (live) 5. A Hero Reborn (live) 6. Welcome To Hermitage (live) 7. Glorious (live) 8. Start Another Round (live) 9. Darkness Is Just A Drawing (live) 10. Into The Void (live) 11. Diamanti (live) 12. Of Jupiter And Moons (live) 13. Pure Life Unfolds (live)
TEMPERANCE Live 2025:
From Hermitage To Europe Tour w/ Ignea and Induction 06.03.24 PL – Warsaw / VooDoo 07.03.24 PL – Poznan / Pod Minoga 08.03.24 PL – Skarżysko-Kamienna / Semafor 09.03.24 HU – Budapest / Barba Negra 10.03.24 DE – Munich / Backstage 11.03.24 AT – Vienna / Szene 12.03.24 IT – Bologna / Alchemica 13.03.24 CH – Lenzburg / Met Bar 14.03.24 DE – Aschaffenburg / Colos Saal 15.03.24 DE – Leipzig / Hellraiser 16.03.24 DE – Berlin / Orwo 17.03.24 DE – Hamburg / Logo 18.03.24 NL – Tilburg / 013 19.03.24 DE – Hanover / Musikzentrum 20.03.24 DE – Bochum / Matrix 21.03.24 BE – Kortrijk / DVG 22.03.24 NL – Drachten / Iduna
Austrian Symphonic Metal band Serenity have been an underrated cornerstone of their genre for nearly two decades. They’ve crafted beautiful melodies, catchy battle tunes, bombastic rhythmic sections, and historical Metal and reached new heights with previous album “The Last Knight” which hit #25 on German album charts. I have loved every release since, but the expectations for this album are extremely high with the addition of Marco Pastorino of Temperance, Fallen Sanctuary, and his solo work, it seems like this guy is everywhere right now. Pastorino is known for elevating music to its maximum potential and Serenity working with him and Ancient Bards’ orchestral composer, Daniele Mazza, this album can’t be anything but incredible.
Nemesis AD is a history lesson once again, this time heavily focusing on Albrecht Durer, the great German Painter and Theologian. This topic seems to bring the most passion out of this band, as Nemesis AD is emotionally and musically profound throughout each track. Don’t let the soft choirs and chamber orchestration on opener “Memoriae Alberti Dureri” fool you, this album is huge in sound and heavy as ever. “The Fall of Man” features ex-Kamelot Tenor extraordinaire, Roy Khan, and the harmonies with the piercing voice of Georg Neuhauser is sure to send chills up your spine. A lot of songs stand out as well with “Ritter, Tod, and Teufel” based on the Durer painting, “Sun of Justice” which is fast and heart-pounding as well as catchy, and “The End of Babylon” which is a lyrical and chorus triumph. Overall, the album has a lot of gems and the usual Serenity feel and it’s a very good record, but one track stands out far above the rest for me. “Reflections (of AD)” is a masterpiece, maybe the greatest song the band has ever produced. This song is a grand, orchestral, and airy tribute to Durer and his legacy. This song is one of the most beautiful compositions I have ever heard, lyrically, emotionally, orchestral, and vocally. The ability to emote from Neuhauser and Pastorino is a diamond in today’s music. The grand level of emotions and yet so much space in the music does not appear in most modern music. This space occurs in the symphonic sound and the breakdown part that works so well with the video. This is a track that may stay with me the rest of my life and certainly the rest of the year.
Nemesis AD is a more melodious and symphonic album than past albums, but it has heavy guitars from Pastorino and Hermsdoerfer and excellent solos. It definitely strays from the path of being formulaic or too Pop sounding. It may not be their best overall album, but it will cater to the older Serenity fans as well as original Kamelot fans. If you’re not a fan of recent Kamelot offerings, Serenity could be a classic stand in. All the songs have a Khan era feel, especially “Nemesis”, which has some Eastern influence that adds a completely different feel and breaks up the soaring-Symphonic sound from being repetitive. The whole album is worth a listen all the way through and a couple of the tracks will stick in your head.
Rating 7/10 Overall, a good Symphonic Metal Album but lacked some power and awe factor that previous albums had. Reflections (of AD) is one of my tracks of the year, however, and is a modern classic of the genre.
Danish Death Doom band, Saturnus, has done something incredible this year. They have put out an album that has left me speechless, which is a feat since I never shut up about music. My reviews have been sparse lately, as I think reviews are becoming more and more trivial. This is not a formal review, but a write-up to honor one of the year’s best albums. I don’t listen to a lot of Death-Doom, but Saturnus is one of my exceptions. I decided to write about this band and album as I don’t see many posts about them and I have no clue as to why they don’t have more listeners.
Saturnus began in Copenhagen as Asesino in 1991 by vocalist Thomas A.G. Jensen and bassist, Brian Hansen as a typical Black Metal band. In 1993, their sound changed and their name became Saturnus to match their switch to Gothic Doom Metal with a Melodeath twist. This sound has been marinating with classic albums like Veronika Decides to Die and Saturn in Ascension. Their records have solidified their sound and made them incredibly underrated in the Death Doom genre which has exploded with hundreds of new bands since Paradise Lost blazed a new trail. Now, we have bands like Saturnus mixing old Death Metal, Doom, and Melodeath like Insomnium creating a whole new sound. They have come a long way since 1991, 32 years ago, believe it or not, and their latest short but epic record, The Storm Within, is a testament to their growth and building legacy.
The Storm Within is a fifty-nine-minute journey through the human condition or psyche. It is a provocative, emotional, and daring feat that is all-consuming. Those fifty-nine minutes will either seem to last mere minutes or a lifetime. It is not just an album, but a Doom movement. I say this because of the reflective breakdowns of spoken word, emotive, piano, and gorgeous melodic guitar lines right before crushing guttural growls. It is poetry in Doom. The title track opens and sets the entire mood, but you never know what to expect next. You can settle into it as a mood, but the music can throw you off and surprise you in an instant. It builds, crashes, and plummets into the depth of despair, and then lifts you into a higher consciousness. It changes but effortlessly flows together. This is the exact sound that any new and upcoming Death Doom band should strive for.
Truth is the final track of the album, marking the end of the journey, but showing more growth than ever. Whoever played the piano on this record is simply genial. It fits Death Doom perfectly while sounding so classical on Truth. There is something very Draconian about this track and the acoustics building into this guttural chest-rattling growl with arpeggios on keys is a shocking moment in music I may never forget. I don’t know much about this band and their influences or history, but this song tells me everything I need to know about how brilliant they are.
If you listen to this record all the way through, you will come out of it a changed person. Genres be damned, this album is perfection. I love everything they did with it. I love the departures and the classic Saturnus sounds. I love the drum sounds, they remind me of Summoning’s folk style with massive reverb. I love the different influences, almost some Bardcore in there which is unexpected. I love the guttural aspects and distortion but the refinement of it. It is a Death Doom record that is a must-hear this year.
For fans of Paradise Lost, Agalloch, Insomnium, and Swallow the Sun.
Metal Valkyrie 