Nervosa – Perpetual Chaos

Perpetual Chaos Album Cover Art

Nervosa – Perpetual Chaos
Napalm Records
Release Date: 22/01/2021
Running Time: 44:37
Review by Victor Augusto

Hello everyone. Here I am again to repeat something that all of us are completely tired of reading in my reviews, but today I must repeat it here… The lack of professionalism!!! Yes! This phrase is my biggest complaint about Brazilian bands. We have hundreds of killer bands releasing astonishing albums, but I can count on both hands how many are really working to be a professional. Nervosa are, for sure, one of the best examples of professionalism that have appeared here in the last decade. I won’t go deeply into details of what the bands should or should not do, but, if there is one thing that I have to mention, that summarizes Nervosa’s work ethic over the last 10 years, then it is their total immersion in living and breathing the band. Investing 100% of your time into a band is something that I admire greatly. Everything that the band have achieved is purely the result of this work. Ok, now I am feeling better!

The new Nervosa Age! I won’t enter into details of everything that happened last year. Nervosa was a Brazilian power trio, two members left and guitarist, Prika Amaral rebuilt the band very quickly to focus on this album with three more girls from different parts of the world. My honest congratulations go to Prika, the new members and also to the old ones. You haven’t made a soap opera of this split, as most bands do after a huge breakup, at least in Brazil. It is a new era for all sides and the focus is on the new material and the future. I have full respect for both sides! So, now I’ll cut my smooth talk and focus on what really matters, the music.

Is “Perpetual Chaos” the best Nervosa album? Maybe…it is hard to say, considering that every fan of Heavy Metal could have a different taste for music and I respect that. At least for me, I always saw Nervosa as a band full of energy. Great energy on stage, great energy to spread Heavy Metal, great energy to spread their name all around the world, also to spread the Brazilian scene (Have I already said the word professionalism?). Despite my huge admiration for the band, I must confess that I wasn’t a huge fan of their music before. I felt that something was missing; even though they released three incredible albums before this. When I pushed the play button for this one, I immediately heard something mind-blowing, and the word technique was the first thing that popped into my head.

Please, don’t misunderstand me, the previous albums were still amazing, but there is a natural evolution and the new line-up has brought what I think was the missing piece of the band’s sonority. Starting with the only original member remaining, Prika Amaral. Her playing is insane here ! So many incredible guitar riffs! Maybe she had a greater liberty to explore different lines, being the only guitarist in the band for such a long time. She has explored the Thrash Metal style that even incorporates a few aspects of Death Metal, like in ‘Kings Of Domination’. Her solos are short in a very precise Andreas Kisser (Sepultura) way of playing, as you can hear on ‘Pursued By Judgement’.

Of course, she has the incredible Mia Wallace on bass who amazingly fills the absence of a second guitarist. Mia’s bass is not as loud as on previous Nervosa recordings, but it is still clearly heard and she is more present on the groove. Different arrangements, but with new purpose! Moreover, Mia sounds very aggressive in her role.

Vocalist Diva Satanica has an incredible range in her screams, from the low guttural up to the ripped vocals. Her versatility has offered more interpretation and more options to create new ideas for this album. Her singing on the chorus of ‘People Of Abyss In Hell’, alongside the amazing rhythm guitar and bass is incredible. You can hear many guest singers, including Schmier from Destruction (who is also the godfather of Nervosa from the early days of the band) on ‘Genocidal Command’. Erik Ak on ‘Rebel Soul’ makes the vocals even more enjoyable by his totally different kind of voice in Nervosa music. This track also shows a more melodic side to Nervosa.

Now here is the highlight of this new Nervosa era. Eleni Nota! What a killer drummer! If you consider that Nervosa have had many incredible drummers in their line-up, it could have been the hardest job ever to find someone to fill this seat. Eleni has not only filled it, but she has exceeded all expectations. Thrash Metal beats, blast beats or double kicks like in ‘Blood Eagle’. Even Hardcore beats like ‘Time To Fight’ are present here. Everything is played with a lot of aggression and technique. Everything is even better with the organic drum sound that even reminded me of Igor Cavalera on “Chaos A.D.”. I have listened to this album more than 10 times and am sure that Eleni could easily perform amongst the best Heavy Metal drummers if the world. Congrats Eleni Nota 10*

The versatility of the band is well defined by all the styles they are able to perform in an astonishing way. “Perpetual Chaos” is a show of aggressiveness and technique. From the fast, opening track ‘Venomous’, with a killer intro riff, passing by the cadenced ‘Godless Prisoner’ through to the obscure riffs of ‘Under Ruins’ that ends the album, you will hear incredible compositions. The Hardcore/Metal ‘Time to Fight’ made me imagine the band destroying the entire venue of an open-air festival, whilst closing an insane concert.

An Experienced band? Yes, it is the main impression here; even though the team is brand new. There is such a killer chemistry between them all. I am glad that Nervosa have showed that they are still a band that makes all Brazilians proud to see a new worldwide famous group after all the great names that have come from here. Respect and admiration define this. Respect for everything the band has been working for and admiration that they stay strong and look to the future, not the past. I cannot imagine what they will achieve when they tour this album (as soon as it is possible).

Parabéns Nervosa!

*It is just a silly joke from a silly reviewer because the word Nota means grade in Portuguese.

‘Under Ruins’ (Official Video)

01. Venomous
02. Guided By Evil
03. People Of The Abyss
04. Perpetual Chaos
05. Until The Very End (feat. Guilherme Miranda)
06. Genocidal Command (feat. Schmier)
07. Kings Of Domination
08. Time To Fight
09. Godless Prisoner
10. Blood Eagle
11. Rebel Soul (feat. Erik Ak)
12. Pursued By Judgement
13. Under Ruins

Diva Satanica – Vocals
Prika Amaral – Guitar
Mia Wallace – Bass
Eleni Nota – Drums


Nervosa Promo Pic

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Bloody Hammers – Songs Of Unspeakable… Terror

Songs Of Unspeakable... Terror Album Cover Art

Bloody Hammers – Songs Of Unspeakable… Terror
Napalm Records
Release Date: 15/01/2021
Running Time: 32:13
Review by Alun Jones

Outside, the nights are starting to get lighter and Spring is on its merry way. The birds chirp merrily and warmth is returning to the land. Which is completely inappropriate for a review of the new album by Bloody Hammers, “Songs Of Unspeakable Terror”. It should be Halloween instead: gloomy and dark with the bizarre and uncanny just outside your door.

Anders Manga (vocals, guitars, bass) and Devallia (keyboards/organ) are the Morticia and Gomez husband and wife team behind Bloody Hammers, a metal/rock/goth creation based in Transylvania county, North Carolina. How’s that for an address? Bet Glenn Danzig’s crying into his Count Chocula cereal.

On this opus, Lily and Herman have left behind their previous established sound of Alice Cooper-style hard rock, crunchy metal and Sisters of Mercy atmos. Entombed alive due to the pandemic, Bloody Hammers have exhumed the bloody corpse of horror punk, in a temporary tribute to the genre.

And it’s huge fun! Fast and furious tracks like ‘Night To Dismember’ and ‘Waking The Dead’ rocket from the crypt like the hounds of hell are on their tail. Huge “whoa-oh” Misfits choruses are of course present and correct. Rousing and energetic, these songs are obvious but loving celebrations of influences that have only been hinted at on previous albums.

There’s macabre melody on ‘We Are The Damned’, with a choir vocal effect to help power the camp horror feel. ‘Hands Of The Ripper’ and ‘Not Of This Earth’ are slower, more metal sounding with a grinding riff.

Little of the occasional Andrew Eldritch explorations exist on “Songs Of Unspeakable Terror”, though ‘Lucifers Light’ unites guitar and keys into a moody Danzig like ballad. A little more of this approach would still have fitted perfectly, however. I don’t know if Devallia can sing, but if she can this was a missed opportunity.

The listener never feels too far removed from the original Bloody Hammers style, however. Likewise, this isn’t a simple, derivative rip-off of “Walk Among Us”, even though ‘The Brain That Wouldn’t Die’ is a nice radioactive “Hatebreeders” mutation. But whereas the Misfits took their inspiration from monochrome B-movies, Bloody Hammers have changed gears to a Kensington gore-drenched 60’s Technicolor horror fest.

“Songs Of Unspeakable Terror” is an album of pure enjoyment, which is just what we need right now. With song titles taken directly from classic Hammer/Amicus movies, a warm rediscovery of horror punk style and some familiar Bloody Hammers rock, you can’t go wrong. Go dig out your Halloween fancy dress, find your “Plan 9 From Outer Space” VHS cassette and get ready for a ghouls night in!

‘A Night To Dismember’ (Official Video)

01. A Night To Dismember
02. Hands Of The Ripper
03. Witchfinder General
04. Not Of This Earth
05. The Ones Who Own The Dark
06. Waking The Dead
07. Night Of The Witch
08. We Are The Damned
09. The Brain That Wouldn’t Die
10. Lucifer’s Light
11. I Spit On Your Corpse

Anders Manga – Vocals, Guitar, Bass
Devallia – Keyboards/Organ


Bloody Hammers Promo Pic (Photo Credit Courtesy Of Bloody Hammers)
Courtesy Of Bloody Hammers

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Unleash the Archers – Abyss

Unleash the Archers – Abyss
Napalm Records
Release Date: 21/08/20
Running Time: 55:56
Review by Steven Hooke

Look deep inside yourself and you’ll know, no matter how much you try to deny it and pretend you’re better than it, you bloody love some power metal. Whether it’s the searing melodies, ludicrous bombasticities, or you just have a thing for loin cloths, power metal is the delicious camembert accoutrement to your otherwise super, well-metal normality.

Sadly, it is not a genre that has aged well. Relying way too much on the attributes that made it such a success in the 80’s and 90’s, modern power metal flag-bearers either rehash the ideas of their predecessors, carry an outrageous gimmick, or are literal carbon copies of themselves (looking at you here Helloween and Rhapsody of Fire / Turilli/Leone Rhapsody). It is then refreshing to see the rise of an ambitious, hard-working troupe such as Unleash the Archers grinding their way to album five, being driven by their own unwavering vision of modern power metal.

The Vancouver band formed in 2007 operating on the heavier end of the power metal spectrum, blending the genre with lashings of melodic death metal. In the years since, Unleash the Archers have found their sweet spot in style, keeping the harsh melodeath growled vocals in reserve, but keeping the pace and riffs, and allowing frontwoman Brittney Slayes to prosper as a vocalist. Unlike her contemporaries, Slayes does not possess the high-pitched wails of Power Quest or Kiske-fronted Helloween, she does have the gravelly tones of Rage and she does not sound like a knock-off Tarja Turunen.

Brittney Slayes sounds like Brittney fucking Slayes.

In a sea of some of the most impressive vocalists in all of heavy metal, Slayes is able to stand out from the pack with her immense range and pure power in her delivery. She sounds like a confident performer throughout the album, and when she is backed by those fleeting growls of guitarists Andrew Kingsley and Grant Truesdell, it only seems to amalgamate together to create a hugely dramatic soundscape, and add some much-missed bite back into power metal.

“Abyss” opens with the immensely powerful and mood-setting ‘Waking Dream’, and whilst it does get you in the right mindset for the album, it then takes nearly a minute and a half for the album to get going proper, with the intro partially overlapping into the title-track. Intro tracks may be all the rage these days, but nearly 5 minutes of table-setting before the banquet makes for a slightly unnerving feeling about Abyss’ pacing.

The album did not take too long to redeem itself. The song ‘Abyss’ slowly turns into a strong outing for all involved, with Slayes’ vocal flexes underlined by Scott Buchanon’s brutal drum patterns and guitar work that feels somewhere between ravaging the streets of Gothenburg and lashings of glitter. The follow-up ‘Through Stars’ is the album’s first truly great song, opting to change out the pace of the opening sequence, with a bounty of beautiful melodies, alongside riffs and vocal harmonies blending together so effortlessly to create a shimmering masterwork of a song.

This collaboration between harmony and aggression is what really sets Unleash the Archers apart, feeling so comfortable on either side of the coin and not needing to go all the way into an orchestral-acoustic ballad to invoke melody and emotion from the listener. Equally, while there are windows into their melodic death metal past, the album never reaches overt levels of aggression. The growls on tracks like ‘Return to Me’, ‘The Wind That Shapes The Land’ and ‘Afterlife’ never feel like they’re outstaying their welcome, and on the whole add to the album’s narrative.

That is not to say “Abyss” doesn’t come without its experimental moments. Penultimate song ‘Carry The Flame’, a self-contained duet between Slayes and Kingsley, could easily out-class most pop rock acts filling up the charts today. Summery riffs leading into a classic power metal chorus, as the two singers trade-off their stoic voices; on paper it sounds like a nightmare but darn it all if it doesn’t come out sounding like an absolute bop. It’s a similar story with the song ‘Legacy’. Probably the closest thing the album has to a ballad, it’s an emotional and searing piece of music that is sometimes interjected with a barrage of blast beats and guitar widdling wankery. Again, sounds like an absolute fustercluck when analysed, but it somehow comes out sounding absolutely sensational.

For the long-term power metal fans who have been desperate for a refreshing new look to the genre, Unleash the Archers’ new album needs to be part of your essential listening. Whilst the pacing does take some getting used to, it doesn’t just copy what was good from years gone by, it identifies what made those things good in the first place and turns it into ideas that work for today, finished off with a Herculean production job by that man again Andrew Kingsley.

Assemble your chainmail and battle axes lads, we reconvene at dawn.

01. Waking Dream
02. Abyss
03. Through Stars
04. Legacy
05. Return To Me
06. Soulbound
07. Faster Than Light
08. The Wind That Shapes The Land
09. Carry The Flame
10. Afterlife (ft. Francesco Ferrini of Fleshgod Apocalypse)

Brittney Slayes – Lead Vocals
Andrew Kingsley – Guitars, Synthesizer, Vocals
Grant Truesdell – Guitars, Vocals
Scott Buchanan – Drums
Benjamin Arscott – Bass (session)


Disclaimer: This review is solely the property of Steven Hooke and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Kamelot – I Am The Empire – Live From The 013

Kamelot – I Am The Empire – Live From The 013
Napalm Records
Release Date: 14/08/2020
Running Time: 97:12
Review By Beth Jones

You know when you finally get round to paying attention to a band that you should have paid attention to a long time ago. And then when you do, you feel like the dumbest decision you ever made was leaving it until now to do that. Well…um…yeah, that. I know, I know!! I will hold my hands up and you may throw rotten fruit at me and call me an idiot for leaving it this long to pay attention to American Symphonic Metal aficionados, Kamelot. But please rest assured that this sort of oversight will never happen again!

This most recent release is an epic live album, featuring their performance at the legendary 013 in Tilburg, Netherlands. It features 21 extraordinary tracks, with guest appearances from some renowned names, and spans an extensive nearly 100 minutes of play time. And I’m guessing that you may have already worked out from my score, that, for me, this is 100 minutes of pure extravagant joy!

The album begins with a triumphant instrumental overture, befitting of any good Arthurian film to accompany a riding sequence, with Arthur and the knights traversing rocky terrain. What better way is there to open a show for a symphonic metal band by the name of Kamelot, eh? None I tell thee!

From there we travel through hit after hit of grand melodies, from new songs to classics, encompassing intricate harmonies, powerful rhythms, and insatiable instrumentation that fills every beat with drama and beauty. We’re also treated to guest appearances from the likes of Alissa White-Gluz (Arch Enemy), Charlotte Wessels (Delain), Elize Ryd (Amaranthe), Lauren Hart (Once Human) and Sascha Paeth (Avantasia, Epica and more)!

But for me, the aspect that gives me those excited, ‘tingles down the spine’ moments, is Tommy Karevik’s stunning vocals. They are both powerful and effortless, with a richness and purity that could melt even the coldest heart. If there is some kind of heavenly Eutopia for us to pass over to in the afterlife, I sure hope this is the soundtrack.

One track that particularly stands out for me, and displays these silky vocals perfectly, is ‘Here’s to the Fall’. In a change to the pacey and orchestrated masterpieces that have bathed us to this point, this ballad is more stripped back. It doesn’t have face melting solos, or earth-shattering power drumming. It is a melancholic piece with the perfect marriage of Piano and vocals at the forefront, backed up with strings and gentle bass. It has the feeling of a great operatic aria, steeped in sadness, somewhere in the middle of a Broadway musical, where one of the lesser main characters has departed before their time. Being a huge fan of musicals and all things dramatic and operatic, and a big old emotional softy, this ticks all the boxes for me! And god, that voice!!! I have gone all melty.

Now, my usual gripe with live albums is the production/annoying crowd noise/bits where the vocals disappear in the mix etc, etc. But, because this album has been mixed and mastered by Sascha Paeth, none of this is applicable – everything is placed perfectly, every instrument cuts through at the right level, and the vocals sit beautifully throughout. Even the crowd noise works! It’s like they’re an extra facet to the band, and it really makes you feel like you are there, immersed in the whole live experience! At one point there is a section where, I’m guessing, the band got the crowd to do the old ‘Which side can shout the loudest’ routine, and even this is panned between the left and right channels to give you the correct feel of it! Attention to detail like that is what makes great production stand out.

So, to the bad points. There are none! It’s perfect. That’s the shortest paragraph I’ve ever written.

“I Am The Empire – Live From The 013” is available in digital format, as well as CD digipak, Deluxe Box (including the album), Blu-Ray/DVD, and vinyl. I would suggest that if you like Symphonic Metal, Power Metal, Operatic Metal, Musical Theatre, or simply just want something bloody marvellous to listen to, then you should invest in this album.

01. Transcendence (Intro)
02. Phantom Divine (Shadow Empire) – feat. Lauren Hart
03. Rule The World
04. Insomnia
05. The Great Pandemonium
06. When The Lights Are Down
07. My Confession – feat. Eklipse
08. Veil Of Elysium
09. Under Grey Skies – feat. Charlotte Wessels (live premiere)
10. Ravenlight – feat. Sascha Paeth
11. End Of Innocence
12. March Of Mephisto – feat. Alissa White Gluz
13. Amnesiac
14. Manus Dei

15. Sacrimony (Angel Of Afterlife) – feat. Alissa White Gluz & Elize Ryd
16. Drum And Keys Solo
17. Here’s To The Fall
18. Forever
19. Burns To Embrace – with Children’s Choir including Thomas Youngblood’s son
20. Liar Liar (Wasteland Monarchy) – feat Alissa White Gluz
21. Ministrium (Shadow Key)

Thomas Youngblood – guitars
Tommy Karevik – vocals
Oliver Palotai – keyboards
Sean Tibbetts – bass
Alex Landenburg – drums


Photo by Tim Tronckoe

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

The New Roses – Nothing But Wild

The New Roses

The New Roses – Nothing But Wild
Napalm Records
Release Date: 02/08/2019
Running Time: 51:10
Review by Paul Monkhouse

Germany’s The New Roses are a bit of a conundrum and, much to their credit, have so much more depth to them than the casual glance at the new album would give the impression. The snarling wolf artwork, the album title and the opening track all give the impression that these guys are the Teutonic version of Airbourne (in itself, not a bad thing) but as the rest of the album unfolds you’re taken on a very rich journey across a shifting landscape that is much more akin to America than their own home country.

The very rough and ready ‘Soundtrack of My Life’ kicks off the album in true rebel rousing style, kicking up dust and powering you headlong into a furnace of hard rock that comes over like the wild child of Aerosmith at their most kinetic. Thinking that this full on assault is the way that the album is heading, ‘Can’t Stop Rock and Roll’ is a real turn for the unexpected as it’s much more commercial Stadium Hard Rock and third track ‘Down By The River’ has a real Tom Petty/Kid Rock feel to it, bringing memories of happy hazy Summer days. ‘Nothing But Wild’ has a real bluesy Southern kick to it and ‘Heartache’, with its great chorus, would be the perfect soundtrack to dusty road trips, stopping off at roadside bars that smell of beer, chilli and violence.

No rock album aiming for the stadiums would be complete without a big rock ballad and ‘The Bullet’ certainly ticks that particular box. This track could have been written and performed by Lynyrd Skynyrd such is its country tinged, wide screen appeal and you can almost imagine the video, all sepia tinted flatbed trucks, blonde haired high school sweethearts, sunsets and campfires. ‘Running Out Of Time’ is anthemic and joyous and the pace increases for the heavy ‘Unknown Territory’ with its elements of classic hard rock and tinges of New Wave. Similarly ass kicking are ‘As The Crow Flies’ and ‘Give And Take’, the former that takes you from highways to arenas and beyond whilst the latter revels in a ten-million-dollar confidence swagger.

Ballad Number 2 crops up in the shape of ‘The Only Thing’ and ‘Meet Me Half Way’ is another great country number that really shows the quality of the songwriting once again, if any reminder is needed. ‘Glory Road’ rounds off things with another slab of stadium rock that Jon Bon Jovi or Bryan Adams would be proud of. Acoustic bonus tracks ‘Down by the River’ and ‘Fight You Leaving Me’ give you another glimpse of the songs and would be a perfect addition as a mid-set unplugged section for future tours. As mentioned, it’s a somewhat oddly paced album style wise and it will be interesting to see if the next album heads more towards the heads down cranking it up of ‘Soundtrack…’ or the ‘track to break into America’ of everything else. It’s nice to say that the album grabs you because of what it is, rather than what it isn’t, The New Roses certainly defying any expectations and in that lays their genius. Great songs, excellent performances and a band that absolutely begs to be seen live! Everyone needs a bit of good time rock ‘n’ roll in their lives and The New Roses deliver that in spades.

01. Soundtrack Of My Life
02. Can’t Stop Rock’n’Roll
03. Down By The River
04. Nothing But Wild
05. Heartache
06. The Bullet
07. Running Out Of Hearts
08. Unknown Territory
09. As The Crow Flies
10. Give And Take
11. The Only Thing
12. Meet Me Halfway
13. Glory Road
14. Down By The River (Unplugged Bonus Track)
15. Fight You Leaving Me (Unplugged Bonus Track)

Timmy Rough – Vocals/Guitar
Norman Bites – Guitar
Hardy – Bass
Urban Berz – Drums



Disclaimer: This review is solely the property of Paul Monkhouse and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Visions of Atlantis – Old Routes, New Waters EP

Visions of Atlantis – Old Routes, New Waters EP
Napalm Records
Release Date: 29/04/2016
Running Time: 25:37
Review by Dawn King

Visions of Atlantis, founded in 2000, are a symphonic power metal band from Styria in Austria, and “Old Routes, New Waters” is their latest EP, released in 2016 by Napalm records.

Drawing influence from the success of fellow symphonic power metal band, Nightwish, and fascinated by the myth of Atlantis, Werner Fiedler, Thomas Caser, Christian Stani and Chris Kamper decided to work together to create a concept based on the secret of the lost city and along with vocalist Nicole Bogner, Visions of Atlantis was born.

The equal combination of male and female vocals distinguished them from Nightwish and they became more reminiscent of bands such as Lacuna Coil, producing six recordings up until 2013.

The band experienced many line up changes over the years, including the premature death of singer Bogner in 2005 at the age of just 27, and 2013 saw the return of many of the original members after the band started to drift back to their early sound.

“Old Routes, New Waters” is the re-recording of five of the bands previous songs, four of them stemming from Bogner’s tenure with the band, and it almost a trial run recording for the duo of new singers.

Clementine Delauney, formerly of Serenity and Siegfried Samer, who also sings for Dragony, work very well together. Delauney hits slightly higher notes than her predecessors but she harmonizes at mid range with Samer, and I must confess, I prefer her singing when she does so. They both have clear and commanding voices, complimenting each other beautifully.

The EP opens with the 7-minute epic, Love Bearing Storm, which has a very operatic-metal feel, Delauney’s voice at times a little shrill for me, but this does not take away from the sheer power it possesses.

The obligatory ballad, Winternight, a haunting and emotional song, features no male vocals at all, Delauney accompanied by just a piano, and Last Shut of Your Eyes, probably my favourite on the EP, is a beautiful mix of piano work, guitar melodies and heavy riffs.

This is classic European styled power metal, with lots of guitar solos and leads that work well alongside the inspired keyboards and excellent vocals.

This line up have taken some already great songs and injected new life into them, playing with vigour and enthusiasm. This EP gives fans a taste of what they are capable of, and also of what is to come.

I certainly will be buying the next album when it is released…

1. Lovebearing Storm
2. Lost
3. Winternight
4. Seven Seas
5. Last Shut Of Your Eyes

Clementine Delauney – vocals
Siegfried Samer – vocals
Werner Fiedler – guitars
Chris Kamper – keys
Mike Koren – bass
Tom Caser – drums



Disclaimer: This review is solely the property of Dawn ‘The Metal Priestess’ King and Metal Gods TV. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Reproduced here with kind permission from Metal Gods TV