Olymp – Rising Review By Steel Druhm

You’ve heard me rant about the horrors that lurk in the promo sump come December, and how it’s mostly sub-basement black metal made by those who live on gas station pizza rolls. That kind of low-target high-risk environment is why I noticed the offering from German trve metal act Olymp and took action upon it rashly. Before we go any further, I need to point out that Olymp (I assume short of Olympus) is a truly godawful name. It also sounds like an erectile dysfunction medication. The fact that their sophomore album is titled Rising makes the comparison all the more… turgid, while also suggesting an entire marketing campaign for gas station dick pills. Also, that album art is next-level BAD. On the plus side, it’s probably not AI-generated. Poor moniker and dubious art choices aside, Olymp play a burly, beefy, 80s-centric variant of trve heavy metal with elements of Cirith Ungol and Manilla Road in the DNA. They also hit the same ground as their fellow countrymen, the long-running cheeseball power warriors, Wizard. That means Olymp teeter on that razor edge between serious and trve and over-the-top, cheddar-infected cornballery, which is a tough place to make a glorious last stand. But all hope is not lost, Olympi-Won!

After a table-setting instrumental, the Olymp ethos is unveiled on “Olive Wreath.” It involves hammering you relentlessly with beefy riffage as Sebastian Tölle delivers a rough, raw bellow that’s more shout than sing. He sits somewhere between the legendary Tim Baker of Cirith Ungol and Matias Nastolin of Desolate Realm, and his gruff style generally fits the sound and adds an extra layer of toughness. At times, “Olive Wreath” reminds me of long-forgotten German speed metal fiends Iron Angel and Deathrow, and the guitar phrasing often veers heavily into Cirith Ungol territory. These are all big pluses in my book, and if they gave me a whole album of this meaty broth, I’d happily overlook the issues discussed in the intro. “Thread of Life” is another iron fist to the cranium with burly, simplistic riffs pounding your brain nonstop, and it’s not far removed from what classic Gravedigger did/still do.

Olymp’s style is exceptionally simple, direct, and old school, and when it works, you get cuts like the slam-banging “Orpheus,” which riffs hard enough to shake teeth loose and addle your brain gelatin. The same goes for album closer “White Rose” which is laden with harmonies and flourishes that strongly recall Cirith Ungol. It’s an effective metal chestnut with a nice touch of melancholy. Not every cut pulls off the ancient alchemy, though. “Fire and Brimstone” comes off as really old Saxon and off-brand Manowar sutured together badly, and it’s dumb as hell. “Titan War” is aggressive and punchy, with Tölle sounding more like Tim Baker than usual, but things run too long, and the last few minutes feel tedious. “Olymp” also suffers from a late-song lag. While several songs extend too far considering the number of ideas presented, most tracks manage to avoid the bloat contagion. At 40 minutes, Rising feels like a quick enough spin, and the aggression levels keep it humming.

The biggest snag for Olymp is Sebastian Tölle’s vocals, which are too limited and one-note. As a poor man’s Tim Baker, his raw, ragged shouting works best on the most aggressive numbers, but as the album drags on, his delivery becomes more and more irritating. He isn’t able to elevate the material consistently, and you find yourself wishing he had another gear. The guitar work by Tölle and Armin Amboss reeks of the 80s trve metal era, and they do borrow a lot from Cirith Ungol and Manilla Road while beefing up the tones for maximum impact. Their playing is a highlight and routinely drops nostalgia glitter on those who grew up in the 80s.

Olymp play a style I’m predisposed to enjoy, and I do appreciate most of what they offer on Rising. If they could smooth out some of the rough spots in their songsmithing and improve the vocals, Olymp could become a worthy opponent for the likes of Eternal Champion and Dragon Skull. As things stand, they’re more a rowdy street thug than a noble barbarian. Here’s to rising on command!



Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Metalizer
Websites: olymp-band.com | olympmetal.bandcamp.com | facebook.com/olympmetal
Releases Worldwide: December 19th, 2025

#25 #2025 #CirithUngol #Deathrow #Dec25 #DesolateRealm #GermanMetal #Gravedigger #HeavyMetal #IronAngel #ManillaRoad #MetalizerRecords #Olymp #Rebellion #Review #Reviews #Rising #Wizard

Anchorite – Realm of Ruin Review

By Steel Druhm

2025 has not given me nearly enough epic doom. I need a lot of that stuff to offset my obsession with sub-basement phlegm-death, or my entire equilibrium starts to go pear-shaped and fall off the tracks. Luckily, international collective Anchorite are on the job with their sophomore opus, Realm of Ruin. Using the tried-and-trve sound profile of Candlemass, Solitude Aeturnus, Crypt Sermon, and Sorcerer, all the key landmarks are present, with heavy riffs, powerful vocals, and a sense of melancholy lurking behind the iron fistery. What gives Anchorite a leg up is a sizeable dose of testosterone and machismo in their doom chowder. They borrow from acts like Pale Divine and Argus and aim to kick you in the nether regions even as they harsh your mellow emotionally. Is that the sort of dual-tracked abuse you want from your metal? If so, follow me to the punishment area.

The gates open wide on the opening title track to reveal a powerful, punchy sound with burly riffs pushing the song forward as Leo Stivala (Forsaken, Pagan Altar) delivers manly, rough-hewn bellows and plaintive, somber tones as the moment requires. This is almost like vintage Iced Earth doing epic doom, and honestly, it works pretty damn well. Better still is “The Lighthouse Chronicles,” which takes you on a moody, emotional voyage over 7-plus minutes with hooks deployed expertly along the way to snare your ear. It’s plenty mournful and forlorn, but the epic energy crackles just below the surface and the riffs are meaty and forceful. The chorus is immediately memorable, supported by dour riffing that reeks of Paradise Lost. Add an intriguing midpoint segment that screams introspective Nevermore, and it’s clear Anchorite are onto something. Through it all, Stivala moves adroitly from rougher tones to weepy sadboi wails, convincing at all times. Showing Anchorite’s range, “Devil on the Throne” shifts to muscular, bluesy biker doom like Place of Skulls and Pale Divine. It’s less direct, more classically doomy, and 70s Sabbath jam-intensive. It checks all the boxes, and Stivala once again channels Warrel Dane’s potent spirit to good effect.

If things had slipped a bit on the album’s back half, I’d still be pretty impressed with Realm of Ruin. Instead, you get shellacked by the majesty and might of “The Apostate’s Prayer,” which is half vintage Candlemass, half Sorcerer, and all badass. The guitar work here is stellar, and Stivala ups his game significantly for a vocal tour de force running across misery, grief, and soul-killing inner conflict. His despondent cries of “I have fallen so far” will give you goose bumps and pierce your cold, dead heart. This tune is aces. Closer “Kingdom Undone” is another big moment with a gripping chorus that blends classic metal, doom, and just a hint of power cheese for something extra hooky. It reminds me of the material on Human Fortress’ stellar Defenders of the Crown, but with a melancholic sheen slathered over everything. There are no duds here, and every track brings something interesting to the table, though they don’t all reach the same peaks as the aforementioned highlights. A few tracks suffer from slight bloating around the edges, but at 54 minutes, Realm of Ruin doesn’t feel overlong, nor would I want to see any selections cut.

I’m quite impressed with Leo Stivala’s performance. He mixes forceful Jorn-esque bellows with effectively downcast classic doom singing and switches up his delivery enough to provide surprises and meet the material where it is. He’s got some of the same charm and appeal as Crypt Sermon’s Brooks Wilson, and also reminds one of Robert Lowe (Solitude Aeturnus) at times. Then there are the scattered Warrel Dane bits. Not bad company to find oneself in. Matching Stivala at each step is the guitar work by Martin Andersen. He blends classic heavy metal tropes with all the expected epic doom sounds and brings in touches of power metal to round out the experience. He delivers emotional moments in his solos and harmonies while keeping things heavier than one might expect. Impressive showing in all phases.

Realm of Ruin is one of those albums you enjoy on the first go-through, and with each spin, it reveals more of itself until you’re fully submerged in the band’s craftwork. Anchorite have writing chops, and Realm comes fairly close to reaching the upper levels of doom glory. As it stands, it’s an immersive stroll through the ruins with moments of genuine brilliance and grandeur. I’ll be watching these cats closely because their potential is writ large. A happy surprise and well recommended.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: facebook.com/anchoritedoom
Releases Worldwide: August 1st, 2025

#2025 #35 #Anchorite #Argus #Aug25 #Candlemass #CryptSermon #DesolateRealm #DoomMetal #EpicDoomMetal #InternationalMetal #PaleDivine #RealmOfRuin #Review #Reviews #SolitudeAeturnus #Sorcerer