Eternity’s End are a power metal band from Bavaria, Germany. Formed in 2014 the band have released their fourth studio album Titanblood on the 6th November 2026.
It has been five years since we last had the privilege of an album from Eternity’s End, would Titanblood live up to the standards that they have set themselves previously?
One thing is for sure you know exactly what you are going to get from Eternity’s End and that’s high speed, shred heavy, dramatic, intense metal and one is most certainly not disappointed in this new offering.
On my first listen the band reminded me very much of the 1980’s giants Helloween with their high-pitched vocals and plentiful guitars. This coupled with a mixture of Control Denied’s late vocalist Tim Aymar tones interspersed throughout makes for a heady blend of vocal loveliness.
On my first listen the band reminded me very much of the 1980’s giants Helloween with their high-pitched vocals and plentiful guitars. This coupled with a mixture of Control Denied’s late vocalist Tim Aymar tones interspersed throughout makes for a heady blend of vocal loveliness.
If you enjoy songs that seemingly have their entire duration made up of guitar type solos, percussive double bass pedal action and keyboards to boot, you are in the right place.
That said the first track, The Gods Of Bal Sagoth, opens very delicately with a short acoustic intro, but don’t let this fool you, it last for approximately thirty seconds whereby an avalanche of guitars and drums hit you like a sledgehammer. Its great I love it already!
It is clear that a quality metal guitar shredding symphony of delights awaits the listener, double guitars providing melodic rhythm and crushing solo type notes in tandem, is the order of the day.
Sword In The Storm, sees the introduction of the keyboards as another main ingredient in this metal soup, keyboard player, Jimmy Pitts, provides an atmospheric edge to this song which melds almost as one with the guitars. Great work.
I particularly enjoyed track four, the instrumental Interstellar Transmission, through the use principally of the keyboards and guitars it allows the listener to close their eyes and imagine the transmission of information being passed through the soundwaves in space, its proggy offering just transports you there until it’s time to come back down to earth again.
After this short interlude the album takes off again with The Wakes Of The Carrion King and Eternal Winter, coming down briefly for a series of tempo changes in the Abyss Watchers and concluding proceedings with the all guns firing Rule The Night.
After a number of listens this album has really stuck with me and I’ll be listening to it well after this review has been read! 8/10
Mason Hill - World So Wonderful (7hz Productions) [Matt Bladen]
Heavy rock of the modern kind now with the new record from Mason Hill. An album that has been a long time coming and record against no shortage of issues, roadblocks and general music industry shenanigans.
Despite only being a decade old they have faced record label bull, a pandemic and their singer leaving. Some bands wouldn't survive one of these nevermond all of them, the band themselves even though about closing the book on the band.
However they persevered and Mason Hill's sophomore has finally arrived six years after their debut and it's the sound of a band looking to their new era, a new voice behind the mic leading to a new musical exploration.
They didn't want to repeat what they did on their debut, wanting World So Wonderful to be the definition of who the band are now, tracks like the ballad Stay For A Little While have American alternative rock comes in.
The contempoary sound continuing through the electronics that twitch and pulsate behind their riffs on Hurricane and Silence, as the stomping Burn It Down, Resonate and Without You are the height of modernity as the latter two even opens up to shouted vocals.
Overcoming a lot of adversity, it seems Mason Hill have discovered that there's a World So Wonderful when you persevere and let your music speak for you. 7/10
Ptolemea - The Antfarm Session (RagingPlanet) [Mateusz Stefanow]
Following Ptolemea’s 2025 release of Kali vocalist Priscila Da Costa returned to delve deeper into the depths of her music, to strip back the layers and show the power of her vocals and an acoustic guitar.
That said the first track, The Gods Of Bal Sagoth, opens very delicately with a short acoustic intro, but don’t let this fool you, it last for approximately thirty seconds whereby an avalanche of guitars and drums hit you like a sledgehammer. Its great I love it already!
It is clear that a quality metal guitar shredding symphony of delights awaits the listener, double guitars providing melodic rhythm and crushing solo type notes in tandem, is the order of the day.
Sword In The Storm, sees the introduction of the keyboards as another main ingredient in this metal soup, keyboard player, Jimmy Pitts, provides an atmospheric edge to this song which melds almost as one with the guitars. Great work.
I particularly enjoyed track four, the instrumental Interstellar Transmission, through the use principally of the keyboards and guitars it allows the listener to close their eyes and imagine the transmission of information being passed through the soundwaves in space, its proggy offering just transports you there until it’s time to come back down to earth again.
After this short interlude the album takes off again with The Wakes Of The Carrion King and Eternal Winter, coming down briefly for a series of tempo changes in the Abyss Watchers and concluding proceedings with the all guns firing Rule The Night.
After a number of listens this album has really stuck with me and I’ll be listening to it well after this review has been read! 8/10
Mason Hill - World So Wonderful (7hz Productions) [Matt Bladen]
Heavy rock of the modern kind now with the new record from Mason Hill. An album that has been a long time coming and record against no shortage of issues, roadblocks and general music industry shenanigans.
Despite only being a decade old they have faced record label bull, a pandemic and their singer leaving. Some bands wouldn't survive one of these nevermond all of them, the band themselves even though about closing the book on the band.
However they persevered and Mason Hill's sophomore has finally arrived six years after their debut and it's the sound of a band looking to their new era, a new voice behind the mic leading to a new musical exploration.
They didn't want to repeat what they did on their debut, wanting World So Wonderful to be the definition of who the band are now, tracks like the ballad Stay For A Little While have American alternative rock comes in.
The contempoary sound continuing through the electronics that twitch and pulsate behind their riffs on Hurricane and Silence, as the stomping Burn It Down, Resonate and Without You are the height of modernity as the latter two even opens up to shouted vocals.
Overcoming a lot of adversity, it seems Mason Hill have discovered that there's a World So Wonderful when you persevere and let your music speak for you. 7/10
Ptolemea - The Antfarm Session (RagingPlanet) [Mateusz Stefanow]
Following Ptolemea’s 2025 release of Kali vocalist Priscila Da Costa returned to delve deeper into the depths of her music, to strip back the layers and show the power of her vocals and an acoustic guitar.
Thus was born the Antfarm Session; by shedding the post/alt-rock elements of the former release she dives into the dark-folk aspects that underlie her music. Although listening to Kali is not necessary to appreciate the power and depth of this release, I would highly recommend it.
Gaivota has been promoted to the opening track, a purely vocal song, that has lost none of it’s impact from the original release, perhaps gaining a newfound intimacy in the loneliness of the vocals, as Da Costa showcases her phenomenal vocal control.
Aqui, Ali, Acola is next, and the acoustic guitar opens this next song. Featuring soft, drawn out vocal sections paired with more forceful sections this song is floats on the winds of Da Costa’s strumming, giving the track a dark edge and living up to the dark folk subgenre.
Guilhotina once again reminds us that this release lacks nothing despite having less than on Kali, the raw humanity that Priscila carries within her breathes life and depth into this album.
Breathe becomes lighter, with softer strumming, and more restrained vocals, a brighter, musically more gentle song, yet losing no complexity or quality, the high notes are hit flawlessly and uplift the soul, before carrying us up, up and away.
Kura, and then Kali are once again a touch darker, but the darkness of the shadows of leaves on a late summer evening in the forest, slowly encompassing you, whilst the last vestiges of sunlight reach out through the trees.
This album is exquisite, it’s soft, yet powerful, dark yet light, and so simple yet so deep. Da Costa understands what makes her music so emotive and uniquely her own, and lets the petals of Kali fall away to reveal the blooming core beneath, a triumphant success. 9/10
Wood Burnt Red – Hold On Tight (Independent) [Spike]
It’s fair to say that Southern-fried country rock isn't usually the first port of call when rifling through my listening queue.
Gaivota has been promoted to the opening track, a purely vocal song, that has lost none of it’s impact from the original release, perhaps gaining a newfound intimacy in the loneliness of the vocals, as Da Costa showcases her phenomenal vocal control.
Aqui, Ali, Acola is next, and the acoustic guitar opens this next song. Featuring soft, drawn out vocal sections paired with more forceful sections this song is floats on the winds of Da Costa’s strumming, giving the track a dark edge and living up to the dark folk subgenre.
Guilhotina once again reminds us that this release lacks nothing despite having less than on Kali, the raw humanity that Priscila carries within her breathes life and depth into this album.
Breathe becomes lighter, with softer strumming, and more restrained vocals, a brighter, musically more gentle song, yet losing no complexity or quality, the high notes are hit flawlessly and uplift the soul, before carrying us up, up and away.
Kura, and then Kali are once again a touch darker, but the darkness of the shadows of leaves on a late summer evening in the forest, slowly encompassing you, whilst the last vestiges of sunlight reach out through the trees.
This album is exquisite, it’s soft, yet powerful, dark yet light, and so simple yet so deep. Da Costa understands what makes her music so emotive and uniquely her own, and lets the petals of Kali fall away to reveal the blooming core beneath, a triumphant success. 9/10
Wood Burnt Red – Hold On Tight (Independent) [Spike]
It’s fair to say that Southern-fried country rock isn't usually the first port of call when rifling through my listening queue.
When your day-to-day listening is dominated by caveman death metal slams, feedback-drenched shoegaze, and punishing sludge, dropping a record that trades blast beats for acoustic strums and lap steel requires an immediate shift in gears. It is definitely a good bit "softer" than my usual fare.
Here’s the bottom line: if you’re going to pick a genre and commit to doing it properly, you’d better deliver the goods. On Hold On Tight, UK outfit Wood Burnt Red provide a masterclass in how to execute that style with absolute class, heart, and razor-sharp songcraft.
Hailing from Gloucestershire and fronted by vocalist Tom Franklin, Wood Burnt Red don't sound like a bunch of British lads putting on a polite, dress-up pantomime of Americana. They sound like they were raised on sweet tea, porch-sitting, and sawdust barrooms.
Hailing from Gloucestershire and fronted by vocalist Tom Franklin, Wood Burnt Red don't sound like a bunch of British lads putting on a polite, dress-up pantomime of Americana. They sound like they were raised on sweet tea, porch-sitting, and sawdust barrooms.
For fans of Blackberry Smoke, Whiskey Myers, or The Cadillac Three, this record lands like a statement of intent, proving that world-class Southern rock and country can be forged just as effectively on UK soil as it is on the outskirts of Nashville.
The record kicks off with Best Things, immediately setting a cheeky, self-deprecating tone. It’s got a buoyant, hoe-down bounce that leans into wry humour, but with observations that hit uncomfortably close to home.
The record kicks off with Best Things, immediately setting a cheeky, self-deprecating tone. It’s got a buoyant, hoe-down bounce that leans into wry humour, but with observations that hit uncomfortably close to home.
That good-time grin gives way to pure horsepower on Fire Me Up, which hits with the swagger of a bucking bull at a Friday night rodeo. The guitar work here is tight, crunchy, and packed with rock 'n' roll attitude, proving early on that the band can dial up the grit whenever they please.
Where Hold On Tight truly elevates itself, however, is in its emotional honesty. Count My Blessings puts the party vibes aside to confront the brutal realities of addiction and recovery. Franklin’s vocals carry immense weight here, there's no theatrical posturing, just pure, believable vulnerability that makes you hang on every word.
Where Hold On Tight truly elevates itself, however, is in its emotional honesty. Count My Blessings puts the party vibes aside to confront the brutal realities of addiction and recovery. Franklin’s vocals carry immense weight here, there's no theatrical posturing, just pure, believable vulnerability that makes you hang on every word.
That sincerity bleeds right into Bartender, a soulful, whiskey-tinged anthem steeped in classic country storytelling about wanting nothing more than an ear to listen to life's bruises.
The album isn't afraid to linger in darker emotional spaces either. Drifting explores depression with remarkable restraint, keeping the instrumentation sparse and gentle so Franklin's voice has all the room it needs to breathe. That fragile beauty extends into One Chance, a deep, haunting love song that serves as one of the quietest highlights of the collection.
The mood lifts naturally with Every Road, which captures the warmth of a late-night acoustic jam around an open firepit, before Times a Healer brings back the swagger with an infectious, karma-fuelled stomp that puts a broad smile on your face.
The album isn't afraid to linger in darker emotional spaces either. Drifting explores depression with remarkable restraint, keeping the instrumentation sparse and gentle so Franklin's voice has all the room it needs to breathe. That fragile beauty extends into One Chance, a deep, haunting love song that serves as one of the quietest highlights of the collection.
The mood lifts naturally with Every Road, which captures the warmth of a late-night acoustic jam around an open firepit, before Times a Healer brings back the swagger with an infectious, karma-fuelled stomp that puts a broad smile on your face.
On Simple Place, the band delivers a stunning, reflective powerhouse about taking stock of what truly matters in life, boasting a towering vocal delivery from Franklin that carries more than a little Scott Stapp/early Creed grit and warmth.
The energy peaks on To The Moon, an upbeat, swaggering number with a killer groove that practically demands line-dancing boots, before the closing powerhouse
The energy peaks on To The Moon, an upbeat, swaggering number with a killer groove that practically demands line-dancing boots, before the closing powerhouse
Where You Are Now brings the journey home. Starting with gentle reflection before building into a soaring, dual-guitar breakdown, it confronts friendship, disappointment, and hard-earned wisdom with immense emotional payoff.
Hold On Tight might be a stylistic detour from the heavier end of my shelf, but great songwriting is undeniable no matter the decibel level. Wood Burnt Red have delivered a warm, funny, moving, and brilliantly performed record that proves authentic Southern rock has found a formidable new outpost across the Atlantic.
Hold On Tight might be a stylistic detour from the heavier end of my shelf, but great songwriting is undeniable no matter the decibel level. Wood Burnt Red have delivered a warm, funny, moving, and brilliantly performed record that proves authentic Southern rock has found a formidable new outpost across the Atlantic.
An absolute triumph of craft. 8/10
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