Here we go for one of the BIG releases of 2026. Its 20 not out for one of the pre-eminent UK Black Metal acts and they have returned with a combination of both ferocious and accessible material.
They strike with a blast of extreme metal that should be held as a high water mark of what a band can do with the right tools and the right energy, aligning to make this an album that should appeal to long time fans of the genre as well as bringing in new. I appreciate that in terms of the review, I’m writing it in almost a backwards way, getting my opinions out first about how this is such a storming release rather than giving you a track by track deep dive.
Well, deep dives are boring.
I will say that it starts with what can be described as triumphant, Heroes Of A Hundred Fields. This is the place setter, where any attraction is won or lost and straight away this is on the front foot, grabbing you and embarking on a journey that puts you front and centre. Its everything you expect from them and more, sounding pristine where you can pick up every nuance and then puts its foot through the floor with Echoes In The After, that pace picked up and launched at you.
What you pick up is those little chord changes that run amongst the charging drums. On the strength of these two you have a beast that is continually moving forward and won’t back off. It is rare that you have an opening 1-2 that comes at you with such an epic stance but that is what you get here. Both tracks are designed to embrace, engage and keep you listening.
One of the key indicators for my enjoyment of any album is how it plays out whilst driving. The boss will tell you that my playlists consist of the albums I review, and generally once the review is done they are removed. This has remained in place, as a reminder of what excellence sounds like.
One of the key indicators for my enjoyment of any album is how it plays out whilst driving. The boss will tell you that my playlists consist of the albums I review, and generally once the review is done they are removed. This has remained in place, as a reminder of what excellence sounds like.
This is the case here. It has survived a number of journeys due to the fact that they don’t let the foot off the gas. A Hollow Existence is a superlative track 3, avoiding the normal routine of pulling back in intent and purpose. It keeps that sense of majesty in place whilst the title track builds and builds, opting for a reduced tempo that is no less enthralling because of the way they have arranged it.
Let me be honest, the key to this albums success with me is not that they have done something completely brand new. All of the classic BM approaches are here, the rising chord sequences that evoke that sense of joy and triumph (you will know exactly what I mean once you hear it) its just the way that they have done it. I couldn’t readily put into words what makes this different, it just is. Even their moments of introspection such as Where Dreams Once Grew, I’ll forgive them for it given the class of the material present.
Like everything, it must end and they bring the curtain down with Enchantment, which is a treat, especially for fans of Paradise Lost. This is a quality nod to another long standing UK act, and it sounds ace. What we have is a contender for AOTY, it is that simple. 10/10
Iron Savior - Awesome Anthems Of The Galaxy (Perception Records) [Simon Black]
This stalwart Power Metal act are one of many that have been doing their thing for an eternity, but whose very existence I was completely oblivious of before returning to this reviewing lark after a 23-year hiatus just in time for Covid.
Like everything, it must end and they bring the curtain down with Enchantment, which is a treat, especially for fans of Paradise Lost. This is a quality nod to another long standing UK act, and it sounds ace. What we have is a contender for AOTY, it is that simple. 10/10
Iron Savior - Awesome Anthems Of The Galaxy (Perception Records) [Simon Black]
This stalwart Power Metal act are one of many that have been doing their thing for an eternity, but whose very existence I was completely oblivious of before returning to this reviewing lark after a 23-year hiatus just in time for Covid.
Since then, a bunch of their releases have crossed my platter, and generally I am rather positive towards them. It’s exactly the kind of Euro Power Metal that ticks my boxes, balancing just enough classic NWOOBHM influence with the standard Euro Power tropes, but avoiding sounding cliched Power cookie cutter, despite the fact that a significant number of their releases covered a convoluted SF arc through a whole bunch of their albums.
To be fair, much of that recent output has been an opportunity to catch up with that back catalogue, as the band have been gently re-recording the material from their Noise years, since they’re not quite a big enough going concern to win the rights back legally in the way Helloween did; interspersed with new original stuff, natch. This one is a bit different…
No less than seventeen tracks grace this release: all new recordings yes, but not of their own material. Iron Savior has taken the bold step of releasing a whole hour and ten minutes of covers. Now most bands barely get away with an EP of these, and even the likes of Ghost do so sparingly, whilst careful curating ones that fit the ethos of the band’s image.
To be fair, much of that recent output has been an opportunity to catch up with that back catalogue, as the band have been gently re-recording the material from their Noise years, since they’re not quite a big enough going concern to win the rights back legally in the way Helloween did; interspersed with new original stuff, natch. This one is a bit different…
No less than seventeen tracks grace this release: all new recordings yes, but not of their own material. Iron Savior has taken the bold step of releasing a whole hour and ten minutes of covers. Now most bands barely get away with an EP of these, and even the likes of Ghost do so sparingly, whilst careful curating ones that fit the ethos of the band’s image.
This selection shows the age of the band, being entirely culled from either pop hits of the late 70’s and 80’s, or memorable movie soundtrack tracks from the same period (although to be fair in those days those two categories could overlap somewhat). And here’s the rub – not a one of them jumps out as being an obvious empathic note for a cheesy Euro Power Metal band, although for this release cheese most certainly presents in quantity.
I did wonder at first if this was a slightly left of field extension of their seemingly endless Atlantis Sleeper arc (i.e. re-recordings of B-sides and fillers from the early days), but no, this is completely new and off the cuff. This is the sort of thing Tragedy make a living out of, but for some bizarre reason Iron Savior actually pull this off, and well. Firstly, the choice of material is eminently recognisable to most and secondly it survives the cheesy Power Metal processing whilst sounding recognisably a cover and also most definitely the output of Hamburg’s finest.
In many ways this is a smart move, and at least half of these covers could find their way into their live set without anyone batting an eyelid, which is a sensible way of winning over a new audience in a festival setting, because let’s face anthemic bangers that the whole can sing along to despite never having heard of the band before is a winner.
I did wonder at first if this was a slightly left of field extension of their seemingly endless Atlantis Sleeper arc (i.e. re-recordings of B-sides and fillers from the early days), but no, this is completely new and off the cuff. This is the sort of thing Tragedy make a living out of, but for some bizarre reason Iron Savior actually pull this off, and well. Firstly, the choice of material is eminently recognisable to most and secondly it survives the cheesy Power Metal processing whilst sounding recognisably a cover and also most definitely the output of Hamburg’s finest.
In many ways this is a smart move, and at least half of these covers could find their way into their live set without anyone batting an eyelid, which is a sensible way of winning over a new audience in a festival setting, because let’s face anthemic bangers that the whole can sing along to despite never having heard of the band before is a winner.
Sometimes it’s not so effective – neither Journey’s Separate Ways nor Rainbow’s Since You’ve Been Gone are adding anything to either the originals’ nor Iron Savior’s stock, but I’m never going to be able to listen to Frankie Goes To Hollywood’s Relax, the title track of Fame or A-Ha’s Take On Me in quite the same way again…
As for me, Iron Savior has lost nothing credibility wise with this release, which is just as well, as it’s a brave thing to try, but pull it off they do, and with aplomb. 8/10
Stormo - Sogni Che Invadono Il Cielo (ANFESIBENA) [Joe Guatieri]
Stormo are a Screamo band out of Italy who formed all the way back in 2007. With plenty of critically acclaimed releases under their belt, they’ve been flying the flag high for European Hardcore bands for a long time now, being one of the standouts of the genre. Today I’ll be taking on their latest offering, the 2026 EP titled, Sogni Che Invadono Il Cielo.
The record opens with Gesti, an absolute rager, clocking in at just over 1:40. From the get-go, you have straining feedback, wild drums and shouting directly into your ear, absolutely feral. The instruments cover every single nook and cranny of the mix, making sure that you have nowhere to run or hide. It’s a mission statement and they are coming directly for your jugular.
Next going into track two with Maree, the wild energy feels more focused, resulting in a stunning bass line which sweeps over the song in its style, it is that one person in the mosh pit that you can’t help be amazed by as they are dancing so effortlessly as if they do it everyday, it’s pure self expression. This is combined with drums that punch you full-force right in the gut and a solo at the back-end of the track made up of a piercing noise which screams as loud as the vocalist.
Getting deeper, later on we’ve got track five with Constellazion. A warm buzzing sound and very deliberate and detailed drums start things off as we’re taken by hand on a journey through a sunken city. Cinematic fuzz bass and guitars sway as one as group vocals march us forward. It shows the album at its most reflective and after all of the destruction that we’ve witnessed so far, this is a true point of solace. Constellazion is beautiful, it’s no doubt my favourite song on the record.
There are plenty more moments which I just have to mention here, take track four with Indaco/Ardesia. It has Black Metal stylings to it with the hard blast beats and scratchy riffs. For me it paints a picture of standing on a hillside in a storm as you’re confronted by the fear of how humans have ruined nature. The song then transitions flawlessly into track five, that buzzing as previously mentioned is an alarm bell that lasts forever.
Another song that I would like to point out is the closer with Isole. It is truly anxiety inducing as an industrialised, bordering on primal beat is conjured up from earth's rotten core. With vocals that are truly at their wit’s end, screaming for help, it makes me burst into tears.
Despite the language barrier, every breath connects with my person which is something that I’ve rarely experienced in my life before. The wonderful thing about language is that you can apply your own meaning to it and a handful of the vocal performances here truly moved me. Then the song and album come to an end with a watery guitar passage which attempts to bring some comfort to you, a lullaby of sorts. The conclusion has some hope, though is still distracted by uncertainty. Purgatory.
For me with Sogni Che Invadono Il Cielo, it presents thoughts of external suffering rather than something that is entirely within yourself. To me with most Screamo it’s like shouting in your room on your own, whether this feels like shouting out of your window, trying desperately to alert one human soul out there. The sea pops up to me constantly throughout the album’s run-time and it brings to my attention that our planet is dying. Nature is meant to be natural.
Overall, Stormo has made a fabulous, environmentally-aware EP that is a call for more action in this world. It’s an emotional and heavy hitting documentary in album form, one that you want to go back to again and again, not just for comfort but to learn more. 9/10
Foghazer – He Left The Temple (Hypnotic Dirge Records) [Cherie Curtis]
Foghazer’s debut album, He Left The Temple, features nine otherworldly tracks with a powerful and chilling atmosphere. It's magnetic, weird, and hypnotic in a way that’s both unsettling and comforting. He Left The Temple is more of a soundscape of technological macabre than it is music for a standard playlist – Unless you live in a Neo – Noir crime thriller.
Foghazer masterfully toes the line between messy and the controlled. In theory, as you work your way through the album, what you hear shouldn’t make sense but when the textures and sound layers mesh, they create an eerie and surprisingly catchy beat. Sluggish, distorted, and echoing guitar riffs repeat to slowly build tension, paired with a slow repetitive drum beat to create a hazy and tranquil atmosphere. This is promptly undercut by integrated keyboard samples which dash the tranquil dream state and turn it into a nightmare.
Track 1 He is a fine example of this; it starts slow and repetitive before introducing some gloriously haunting female operatic vocalising for the hook, alongside some 90s- style hip-hop record scratches. Just when you feel you're beginning to grasp what's going on, track 4 Temple, brings some harsh and blinding black metal vocals to serve as an ominous, unexpected pivot.
Overall, He Left The Temple is fascinating; it establishes a world of its own and, track after track, world builds and creates tension without a real conclusion or climax. It's a weird melting pot of genres, trip-hop, black metal and symphonic metal- and that alone is incredibly ambitious. It's safe to say that Foghazer pulls it off. There is soul, musical skill, and delicate craftmanship here, with a healthy dose of experimentation which I feel makes this album one of a kind.
As for me, Iron Savior has lost nothing credibility wise with this release, which is just as well, as it’s a brave thing to try, but pull it off they do, and with aplomb. 8/10
Stormo - Sogni Che Invadono Il Cielo (ANFESIBENA) [Joe Guatieri]
Stormo are a Screamo band out of Italy who formed all the way back in 2007. With plenty of critically acclaimed releases under their belt, they’ve been flying the flag high for European Hardcore bands for a long time now, being one of the standouts of the genre. Today I’ll be taking on their latest offering, the 2026 EP titled, Sogni Che Invadono Il Cielo.
The record opens with Gesti, an absolute rager, clocking in at just over 1:40. From the get-go, you have straining feedback, wild drums and shouting directly into your ear, absolutely feral. The instruments cover every single nook and cranny of the mix, making sure that you have nowhere to run or hide. It’s a mission statement and they are coming directly for your jugular.
Next going into track two with Maree, the wild energy feels more focused, resulting in a stunning bass line which sweeps over the song in its style, it is that one person in the mosh pit that you can’t help be amazed by as they are dancing so effortlessly as if they do it everyday, it’s pure self expression. This is combined with drums that punch you full-force right in the gut and a solo at the back-end of the track made up of a piercing noise which screams as loud as the vocalist.
Getting deeper, later on we’ve got track five with Constellazion. A warm buzzing sound and very deliberate and detailed drums start things off as we’re taken by hand on a journey through a sunken city. Cinematic fuzz bass and guitars sway as one as group vocals march us forward. It shows the album at its most reflective and after all of the destruction that we’ve witnessed so far, this is a true point of solace. Constellazion is beautiful, it’s no doubt my favourite song on the record.
There are plenty more moments which I just have to mention here, take track four with Indaco/Ardesia. It has Black Metal stylings to it with the hard blast beats and scratchy riffs. For me it paints a picture of standing on a hillside in a storm as you’re confronted by the fear of how humans have ruined nature. The song then transitions flawlessly into track five, that buzzing as previously mentioned is an alarm bell that lasts forever.
Another song that I would like to point out is the closer with Isole. It is truly anxiety inducing as an industrialised, bordering on primal beat is conjured up from earth's rotten core. With vocals that are truly at their wit’s end, screaming for help, it makes me burst into tears.
Despite the language barrier, every breath connects with my person which is something that I’ve rarely experienced in my life before. The wonderful thing about language is that you can apply your own meaning to it and a handful of the vocal performances here truly moved me. Then the song and album come to an end with a watery guitar passage which attempts to bring some comfort to you, a lullaby of sorts. The conclusion has some hope, though is still distracted by uncertainty. Purgatory.
For me with Sogni Che Invadono Il Cielo, it presents thoughts of external suffering rather than something that is entirely within yourself. To me with most Screamo it’s like shouting in your room on your own, whether this feels like shouting out of your window, trying desperately to alert one human soul out there. The sea pops up to me constantly throughout the album’s run-time and it brings to my attention that our planet is dying. Nature is meant to be natural.
Overall, Stormo has made a fabulous, environmentally-aware EP that is a call for more action in this world. It’s an emotional and heavy hitting documentary in album form, one that you want to go back to again and again, not just for comfort but to learn more. 9/10
Foghazer – He Left The Temple (Hypnotic Dirge Records) [Cherie Curtis]
Foghazer’s debut album, He Left The Temple, features nine otherworldly tracks with a powerful and chilling atmosphere. It's magnetic, weird, and hypnotic in a way that’s both unsettling and comforting. He Left The Temple is more of a soundscape of technological macabre than it is music for a standard playlist – Unless you live in a Neo – Noir crime thriller.
Foghazer masterfully toes the line between messy and the controlled. In theory, as you work your way through the album, what you hear shouldn’t make sense but when the textures and sound layers mesh, they create an eerie and surprisingly catchy beat. Sluggish, distorted, and echoing guitar riffs repeat to slowly build tension, paired with a slow repetitive drum beat to create a hazy and tranquil atmosphere. This is promptly undercut by integrated keyboard samples which dash the tranquil dream state and turn it into a nightmare.
Track 1 He is a fine example of this; it starts slow and repetitive before introducing some gloriously haunting female operatic vocalising for the hook, alongside some 90s- style hip-hop record scratches. Just when you feel you're beginning to grasp what's going on, track 4 Temple, brings some harsh and blinding black metal vocals to serve as an ominous, unexpected pivot.
Overall, He Left The Temple is fascinating; it establishes a world of its own and, track after track, world builds and creates tension without a real conclusion or climax. It's a weird melting pot of genres, trip-hop, black metal and symphonic metal- and that alone is incredibly ambitious. It's safe to say that Foghazer pulls it off. There is soul, musical skill, and delicate craftmanship here, with a healthy dose of experimentation which I feel makes this album one of a kind.
It isn't something most people, myself included may gravitate towards on a day –to –day basis, but on a grey moody Sunday afternoon or while skulking around a deserted moor, I'll put it on for some ambience. 6/10
No comments:
Post a Comment