Templar “Conquering Swords” Out Now Via Jawbreaker Records

Out now through Jawbreaker Records, “Conquering Swords” marks the arrival of Templar’s first full‑length assault, a record that cements the Swedish heavy metal battalion as one of the genre’s most vital new forces. Forged in the lineage of their Black Knight demo and Treacherous Beast 7”, the album captures the band at full power, wielding steel, melody and unwavering conviction with the authority of seasoned warriors.

“Conquering Swords” sees Templar sharpen every weapon in their arsenal. The record channels the spirit of classic Scandinavian heavy metal while carving out a sound unmistakably their own. Fans of Century, Heavy Load, Onyx, Overdrive, Mercyful Fate and Axewitch will find familiar fire here, but Templar’s command of soaring leads, triumphant choruses and ironclad riffcraft sets them apart as torchbearers for a new era.

Jawbreaker Records proudly stands behind this release as a testament to the enduring power of true heavy metal. Swedish steel will never die.

To mark the release, a limited run of official Templar merchandise has also arrived:

• Gildan heavy cotton T‑shirts
• Woven patches produced by Turborock Productions

Quantities are strictly limited. When they’re gone, they’re gone — so act fast, warriors.

Order here: https://www.jawbreaker.se/product-tag/templar/

Templar Facebook: https://www.facebook.com/templarsweden

https://www.youtube.com/watch?v=edvwTCxCc8c

There’s a burgeoning old school 80s trve metal movement growing these days, with more and more young bands longing to sound really olde. Steel is there for that, as it speaks directly to his ancient bones. A good number of these retro sword-swinging acts seem to be coming out of Sweden of late. We covered Century’s Sign of the Storm last year, and here comes Templar with their Conquering Swords debut, which was produced by Century’s Staffan Tengnér. As a fan of conquest and swords (and that awesome van-worthy cover art), I’m the target audience for this early 80s throwback insanity, which steals from cult acts like Manilla Road, Cirith Ungol, and Brocas Helm as well as NWoBHM heroes like Satan and Witchfinder General. All this is to be expected, but what I didn’t see coming was the hefty Mercyful Fate influence that Templar throw around like a 50-pound sack of wet concrete. On paper, that should not work, but does it work in your tin ear? Let’s take a peek.

After a rousing, table-setting intro, you’re launched into “Witchking” and greeted by classic 80s guitar lines with a burly trve vibe sure to get your lust for battle growing. When Isak Neffling starts singing, those familiar with the Mercyful Fate demos and the original EP will hear a notable similarity to an early-day King Diamond. I don’t mean the high-pitched falsettos, but the ominous baritones he used regularly before he became a faux-evil cartoon character. One could also say Isak also reminds of The Night Eternal’s Ricardo Baum, who borrowed a lot from Mr. Diamond vocally himself. Either way, it makes for an interesting listen as Isak sings of Tolkien baddies, swords, and sorcery. “Excalibur” is all beef and chest-pounding bravado with a galloping pace, scrotal power to spare, and a chorus that feels just epic enough. It hits all the nostalgia bells and feels ancient as fook, but it can still beat your ass like a back-alley thug.

Elsewhere, “Exiled in Fire” is fast, fist-pumping classic metal with sweet guitar work and a rowdy, rough edge that takes me back to the dirty, unpolished NWoBHM days. “Shipwreck” is another riffy good time with a vague In Solitude vibe, and “White Wolf” is about as epic 80s metal as it gets without lapsing into Spinal Tap levels of parody. At a tight 40 minutes and with all songs contained in the 4-5 minute window, there’s not much fluff or blubber on the compositions. The only drawback is that the writing routinely sits in that “good and almost very good” pocket, never fully reaching that next level of badassery. It’s an easy, entertaining spin, but it won’t blow anyone’s mind or make many end-of-year lists. The production is painstakingly designed to sound rough and vintage, and it does hit that 1980-1982 aura with a warmth and texture that modern recordings often lack.

Gustav Harrysson and Teddy Edoff bring the sounds of proto and epic 80s metal to the Great Hall, cleaving closely to the NWoBHM blueprint but always injecting that grand and glorious edge to their playing. I hear many hints of early Mercyful Fate and Satan in their choices, and the Manilla Road-isms are there too. I don’t know if Isak Neffling was trying to channel King Diamond, but he certainly does, and that adds to the nostalgic appeal. Listen to “White Wolf,” and you hear the earliest days of Mercyful Fate, and that’s undeniably cool. His vocals don’t always work, though, and things get especially weird and awkward on “The Sorceress.” In toto, Isak gives Templar an X factor the band wouldn’t have otherwise, and that certainly works in their favor despite a few misfires.

Conquering Swords is an interesting and engaging debut from a band that have the potential to be much more. There are moments scattered across the album that hint at greatness, and maybe with more time and effort, those parts lead someplace special. As things stand, Templar are a good throwback band with one foot in the past and the other looking for the next place to stomp. Where they go from here will prove interesting. Worth checking out for the love of Diamond and rust(ed swords).



Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker
Websites: facebook.com/templarsweden | instagram.com/templar.band
Releases Worldwide: February 27th, 2026

Review: Templar: Conquering Swords

Release date: 27 February 2026

Label: Jawbreaker Records

Gage J. Tolin

Sweden’s heavy metal warriors TEMPLAR return from the forge with their highly awaited debut full-length album, “Conquering Swords” – a triumph of steel, melody, and unyielding spirit. Out February 27th 2026 on Jawbreaker Records, this album sees TEMPLAR fully realize the potential shown on their “Black Knight” demo and “Treacherous Beast” single, striking with the precision and might of seasoned conquerors.

Recorded under the guiding hand of Staffan Tengnér (Century), “Conquering Swords” carries that unmistakable warmth and authenticity that you’ll recognize from the “Treacherous Beast” 7″ as well as Century’s albums. The production balances raw energy with clarity, allowing every soaring guitar harmony and pounding bassline to shine through. The final blade was sharpened by Patrick W. Engel at Temple of Disharmony, whose mastering lends the album its thunderous and timeless power.

Across its ten tracks, “Conquering Swords” leads listeners through a world of high adventure and medieval grandeur – a realm where valor, betrayal and destiny collide. Dual guitars blaze like clashing steel, while galloping rhythms and anthemic choruses summon visions of distant fortresses and moonlit battlefields. In short, TEMPLAR continue to tend to the flame of true Heavy Metal first ignited by Heavy Load and other golden era bands from the First Wave of Swedish Heavy Metal.

With Isak Neffling’s commanding vocals and thundering bass, Mille Lundström’s relentless drumming, and the dueling guitars of Teddy Edoff and Gustav Harrysson, Templar are raiding the banner of Heavy Metal high – pure, unfiltered heavy metal with heart, honor, and hooks to spare. So raise your swords and heed the call to arms! The conquest begins February 27th, 2026.

For fans of: Century, Heavy Load, Onyx, Overdrive, Mercyful Fate and Axewitch.

LINE-UP
Isak Neffling – Vocals & Bass
Gustav Harrysson – Guitars
Teddy Edoff – Guitars
Mille Lundström – Drums

Review

“Gates of Angmar (Intro)” began with the tolling of a bell and some appropriate ambiance that sounded ripped straight out of an 80s movie like Conan or Krull (underrated movie btw). The galloping of horses hooves patter along as the synth-laden introduction builds to a crescendo alongside booming drums. A disembodied voice of pure evil snarls out some dark lines, though its own corruption made its worse impossible to decipher, but it could only beckon doom.

With a sizzling riff “Witchking” kicked off with a bang, followed closely by an evil laugh and a truly dastardly lead riff that conveyed the same sense of dread as the initial riff in Black Sabbath’s eponymous track or Venom’s “Don’t Burn the Witch”. In fact, while Templar’s sound is undoubtedly rooted in their forefathers of the epic metal scene like Heavy Load and Manilla Road, there is a pronounced Venom influence throughout that I found oddly refreshing. In a way, rather than epic metal, this almost sounds like just evil power metal, there’s such a degree of malice behind every note of the guitars, every thump of the bass, and every crash of the drums. Neffling’s quieter approach to the vocals here give it an even greater sense of foreboding. Including the intro track alongside it, it’s one hell of a mood-setter to start off!

“Excalibur” showcased another strong riff, but also some disgusting (good thing) basslines that really shined a spotlight on the production and mixing for the bass in particular. It reminds me a lot of one of my favorite bass tones on an album, Satan’s Court in the Act (which I now realize is another act of whom Templar draws from). The evilness of the prior two tracks is somewhat prevalent still here, but in a different light, here it feels less all-encompassing and more subtle. Almost as though here we see the tale from the hero’s perspective, raising that iconic blade before they seek to vanquish evil. One of the shorter tracks on the album, but one that I found myself quite enjoying. The weird distorted ending drew my curiosity as well.

Now it’s time for the drummer to shine with “Rainbow’s End”, which started with Mille Lundström hitting his set hard and not once letting up. Moreover, I found Neffling’s vocal cadence to be a true ear-worm here, as well as where I really felt like he, and Templar’s lyrics, took center stage. Though it was certainly Lundström’s track to strut his stuff behind the kit, and he surely did, this was still chock full of an infectious chorus and some killer guitar work from the tandem twosome of Harrysson and Edoff. The Century influence is also quite strong with this one, though, as a fan of that band, that wasn’t something I had issue with.

“Exiled in Fire” had another slick guitar riff to start off, and carry on throughout the song, but again I found the production to be a true stand-out here. It gives the track, and the album as a whole, a nice amount of polish but without losing that rawness that I feel like metal should have. Really great lyrical work here, perfect stuff to imagine a scene (i pictured a dragon torching a village at one point). This was one that had its foot on the gas from the outset and never once slowed down, good stuff here.

https://youtu.be/58kapJ6OB4g

“The Sorceress” started off with a nice slow and moody guitar intro, with Neffling delivering his vocals just like the King himself (Diamond, not Elvis). The incredible sustains on the guitar in the background, accompanied nicely by the gradual thumping of the bass, gave the track a sense of mystique almost. It reminded me a bit of the rhythm portion of Scorpions “Sails of Charon”, like if you remove Uli’s incredible lead work and just focus on the bass and rhythm guitars. This change in tempo already makes the track a standout on the album, and Neffling’s vocals are a huge part of that, but the moodiness of the guitars simply propelled this one to another plane for me. The increase in speed as the track rushes to the end was the cherry on top. Great stuff, might be my favorite thus far.

In keeping with theme, “Trident” started off with another nice guitar riff, though this one more subdued than previous efforts. The prevailing gallop throughout the track gave it a nice Iron Maiden feel, and I could almost picture Bruce himself singing it. While catchy and sound all the way through, this was the shortest track on the album and did feel a bit like filler to some degree. However, it was far from what I’d call “bad”.

The three longest tracks on the album (each totaling over 5 minutes) are set to close it out, and first up is “Shipwreck”. A nice build-up gave way to a riff that I can only describe as funky, the interplay between the bass and the guitar carried an extra bit of magic along with it. This one reminded me a bit of post-reformation Angel Witch, but I couldn’t quite place as to exactly why. While another solid, if not good, track, I felt that this one plodded along just a bit too long and didn’t seem to reach that next gear that I felt like it was building towards.

“White Wolf”, which I assume to be named after Geralt of Rivia, began with a moody synth-laden intro that felt very much like the opening track for some black metal albums (Emperor springs to mind). This one leaned back into the Mercyful Fate and King Diamond side of things, something that I think Templar is exceptional at. The grooving of the guitar and the general vibes put out really harken me to my favorite tracks on the album. There’s a slight delay in the main riff that isn’t always there, but when it is, it just adds so much to the overall track.

“Conquering Swords” had a sort of dirge-like opening that was incredibly bass-heavy, some exquisite bass too, I might add. Ooh that drumroll was grand, straight outta the Manowar playbook, and the riff that followed was perfection. This same energy carried throughout the track, and it was something that I couldn’t find the right word for to describe it. “Epic” felt too overdone, but it felt the closest (“adventurous” maybe?). The incredible bridge portion where the guitars slow down and the bits of synth subtly return gave it an extra bit of flair as the track moved into its final phase, before ending with the crescendo of a thunderclap.

Conclusion

Templar’s debut full-length continues, and in some ways, perfects the style they set forth on their Treacherous Beast 7″. I was a huge fan of that little sneak preview into their career and I’m please to say that their debut is a worthy follow-up to it. Neffling’s vocals manage to be both similar and completely different on nearly every track, and on top of that, many of the tracks feature entirely different vibes to them. With a nice retro-tinged production job and absolutely littered with incredible riffs, drumming, and some seriously scintillating basslines, this is a great record. While every track may not be precisely what I want in my heavy metal, the ones that felt like they were for me all hit pretty damn hard. “The Sorceress” is probably my pick for my favorite on the album, but “Witchking” comes in a close second, followed by the final two tracks. Also, bonus points for the sick cover art, love that old-school adventure novel vibe.

TheNwothm Score: 8.5/10

Links

Bandcamp: https://jawbreakerrecords.bandcamp.com/album/conquering-swords

Facebook: https://www.facebook.com/templarsweden

Instagram: https://www.instagram.com/templar.band

Label: Jawbreaker Records

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#axewitch #BlackSabbath #Century #Conan #debutAlbumRelease #HeavyLoad #HeavyMetal #IronMaiden #JawbreakerRecords #kingDiamond #Krull #manillaRoad #mercyfulFate #NewWaveOfTraditionalHeavyMetal #NWOTHM #Onyx #Overdrive #Review #satan #scorpions #SwedishHeavyMetal #templar #thenwothm #thenwothmCom

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The belle of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

Out Now: Turbo’s Tribunal – “Mills of Tribunal”

Jawbreaker Records announces the arrival of Mills of Tribunal, the first full‑length release from Danish heavy metal project Turbo’s Tribunal.

Turbo’s Tribunal is the vision of Danish musician Andreas Thunbo, who brings more than thirty years of underground experience into a single focused outlet. Known for his work in Pugnator, Peine and Oath of Woe, Thunbo has remained a steadfast devotee of traditional heavy metal throughout his career. With Mills of Tribunal, he presents a collection of riff‑centred, melodic metal that honours the foundations of the genre while carrying his own unmistakable identity.

The project is built on a simple conviction: heavy metal lives through powerful riffs and melodies that stay with the listener. The album draws influence from classic titans such as Running Wild, Warlord, Judas Priest, Iron Maiden, Manowar and Heavy Load, yet it never feels derivative. Instead, Mills of Tribunal stands as a personal declaration of what heavy metal should be. It is direct, melodic and rooted in tradition, shaped by decades of passion and craft.

“I prefer to let the music speak,” Thunbo explains. “What I can say is that this is traditional melodic heavy metal built entirely on strong riffs. Sometimes it leans into something more epic. The quality of the riff and the melody is everything to me, and I hope Turbo’s Tribunal can deliver that at a time when it feels like there is not enough of it around.”

Turbo’s Tribunal exists to celebrate the core values of heavy metal. Strong riffs. Strong melodies. Nothing diluted.

Mills of Tribunal is available now on CD and across digital platforms.

Order now: https://www.jawbreaker.se/product/turbos-tribunal-mills-of-tribunal-cd/

Links

Facebook: https://www.facebook.com/BlackTrackMetal

Bandcamp: https://turbostribunal.bandcamp.com/album/mills-of-tribunal

https://www.youtube.com/watch?v=F53VV5_Ixes

#HeavyMetal #JawbreakerRecords #MillsOfTribunal #NewWaveOfTraditionalHeavyMetal #NWOTHM #thenwothm #thenwothmCom #TurboSTribunal

The calendar turns, and what better way to celebrate the coming year than an album that sounds straight out of the late 80s? Austria’s Wildhunt have been slinging out classic thrash/heavy metal since 2011, but have until this year produced only one record: 2016’s Descending. Ten years is a long time to cook up a sophomore record, and Wildhunt via Jawbreaker Records boasts of “a mix of detail-loving, energetic metal and epic song structures” for album number two, Aletheia. Cited as being for fans of Metallica, Heathen, King Diamond and Megadeth, Wildhunt runs the risks of any band explicitly evoking the distant past: coming off as geriatric nostalgia-bait. Is this Wildhunt’s fate, or can they rise above and make Aletheia a blast from the present-past?

Wildhunt may play the kind of stuff Ronald Reagan could’ve heard, but Altheia doesn’t sound like the kind of record Reagan could’ve played either. Recalling at once the prog-thrash of Heathen on “Made Man” and “The Holy Pale” and the 70s hard rockin’ of Rainbow on “Touching the Ground” and “Aletheia,” Wildhunt play an inherently backward-looking style that still sounds fresh out of the garage. The guitar duo of Wolfgang Elwitschger and Julian Malkmus draw heavily from the schools of Hetfield and Blackmore, dropping muscular palm-muted riffs and nimbly melodic leads and solos, while bassist Robbie Nöbauer regularly works in lines that play with the six-string like Cliff Burton licks (“Kanashibari”). Rhythmically, drummer Lukas Lobnig lays down driving patterns that propel Wildhunt through all of the wild turns that Aletheia has, most notably on the gargantuan prog numbers of “Made Man” and “Sole Voyage.” Top it off with Elwitschger’s booming baritone—warm, silky and vintage as Aletheia’s dynamic mixing and mastering—and you get an album expertly performed and deeply indebted to the sounds of yesteryear.

Aletheia by Wildhunt

Though Wildhunt won’t surprise you with novelty, Aletheia might catch you off-guard with its adventurous, progressive songwriting. Wildhunt forgo simple catchiness and repetitive loops on Aletheia in favor of untypical, tension-building intervals and progressions. Songs spiral out into bridge-filled bonanzas of killer riffs and solos, getting into Megadeth speeds on “The Holy Pale,” majestic prog-power hooks on “Sole Voyage” á la Tanagra and, in the album’s most unexpected turn, a diversion into smooth salsa also on “Sole Voyage.” Furthering Wildhunt’s eccentricity, Aletheia deal in dark, thoughtful, and fantastical lyricism. When Elwitchger opines on “Aletheia” that “hypocrisy is the tribute that vice pays to virtue,” I perk up immediately, every time. If you’re looking for familiarity and easy listening, Aletheia is for you; if you’re looking for something expansive and daring, Aletheia is also for you.

But with how many twists and turns Wildhunt throw at the listener, Aletheia can feel surprising blunted at times. Aletheia is dramatic, and its songs go a lot of directions, but they rarely build to the big, explosive moments to accent their highs and lows. For example, though Elwitchger’s voice is plenty good, it sounds like he sticks too closely to his most comfortable range and, though he never comes off as strained as a result, it feels like he’s not quite giving it all. “Made Man” and “In Frozen Dreams” exemplify this issue, as even though each segment of them is interesting, they don’t really build up to much, and as such feel a little meandering. Similarly, the two instrumentals “Touching the Ground” and “Kanashibari” sit in a weird middle ground of being too involved to pass off as interludes but not quite substantial enough to work as stand-alone songs. Aletheia isn’t devoid of memorable moments—”The Holy Pale” and “Aletheia” have killer choruses and “Sole Voyage” is a blast front to back1—but with how much creativity Wildhunt possess it should be more electrifying than it is.

Aletheia isn’t the face of metal to come in 2026,2 but it’s a fun and energetic morsel of heavy metal regardless, and what more does anything need to be? If the previous paragraph came off as overly harsh, it’s only because the skill and creativity Wildhunt exudes make it easy to imagine how great Aletheia could be if things were taken up one more notch. If any of the bands mentioned above are your cup(s) of tea, Altheia will more than likely agree to your sensibilities. It’s adventurous, well-played, lots of fun, and occasionally great. Kicking off 2026 with Wildhunt’s Altheia is no bad idea at all.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Jawbreaker Records
Websites: wildhunt.at | jawbreakerrecords.bandcamp.com | facebook.com/wildhuntaustria
Releases Worldwide: January 2nd, 2026

Templar announce debut album “Conquering Swords” in February 2026 via Jawbreaker Records

Swedish heavy metal band Templar are set to unleash their long‑awaited debut full‑length album “Conquering Swords,” a record forged in steel and driven by melody and spirit.

Scheduled for release on the 27th February 2026 through Jawbreaker Records, the album marks the band’s full realisation of the promise shown on their “Black Knight” demo and “Treacherous Beast” single. With sharpened precision and commanding force, Templar step forward as seasoned warriors of their craft.

The first single Trident has already been unveiled and can be heard here:

https://youtu.be/58kapJ6OB4g

Produced under the guidance of Staffan Tengnér (Century), “Conquering Swords” carries the warmth and authenticity familiar from the “Treacherous Beast” 7″ and Century’s own releases. The production captures raw energy with clarity, ensuring every guitar harmony and bassline resonates with power. Final mastering was completed by Patrick W. Engel at Temple of Disharmony, giving the album its thunderous and enduring sound.

Across ten tracks, “Conquering Swords” transports listeners into a world of medieval grandeur and high adventure, where themes of courage, betrayal and destiny unfold. Twin guitars clash like steel, galloping rhythms drive the momentum, and soaring choruses conjure visions of fortresses and moonlit battlefields. Templar continue to uphold the tradition of true heavy metal first ignited by Heavy Load and other pioneers of the First Wave of Swedish Heavy Metal.

With Isak Neffling delivering commanding vocals and bass, Mille Lundström on relentless drums, and the duelling guitars of Teddy Edoff and Gustav Harrysson, Templar raise the banner of heavy metal high. This is pure, unfiltered music with heart, honour and hooks in abundance. The call to arms has been sounded.

Tracklist:

01. Gates of Angmar (Intro)
02. Witchking
03. Excalibur
04. Rainbow’s End
05. Exiled in Fire
06. The Sorceress
07. Trident
08. Shipwreck
09. White Wolf
10. Conquering Swords

Line-up:
Isak Neffling – Vocals & Bass
Gustav Harrysson – Guitars
Teddy Edoff – Guitars
Mille Lundström – Drums

Website: jawbreaker.se

Bandcamp: Jawbreaker Records – Conquering Swords

Facebook (Jawbreaker Records): facebook.com/JawbreakerRecords

Instagram (Jawbreaker Records): instagram.com/jawbreaker.se

Facebook (Templar): facebook.com/templarsweden

Instagram (Templar): https://www.instagram.com/templar.band

#HeavyMetal #JawbreakerRecords #NewAlbum #NewWaveOfTraditionalHeavyMetal #News #NWOTHM #templar #thenwothm #thenwothmCom #traditionalHeavyMetal

Jawbreaker Records announces the debut album “Mills of Tribunal” from Turbo’s Tribunal

Jawbreaker Records is proud to unveil “Mills of Tribunal,” the first full‑length release from Danish heavy metal force Turbo’s Tribunal. Arriving December 19th, 2025, the album marks the official debut of a project driven entirely by one man: Andreas Thunbo.

With more than three decades immersed in the underground metal scene, Thunbo has carved his path through bands such as Pugnator, Peine, and Oath of Woe. Though his discography has remained selective, his devotion to the essence of heavy metal has never faltered. Turbo’s Tribunal now channels that lifelong commitment into a record built on powerful riffs, soaring melodies, and a traditional sound that is both pure and epic in scope.

Drawing inspiration from the genre’s giants Running Wild, Warlord, Judas Priest, Iron Maiden, Manowar, and Heavy Load, Turbo’s Tribunal delivers music that honours tradition while asserting its own identity. “Mills of Tribunal” stands as both a culmination of Thunbo’s journey and a personal statement of intent: riff‑driven, melodic, and unapologetically rooted in the foundations of heavy metal.

I’d rather let the music speak for itself,” says Thunbo. “But I can say that it is exclusively riff‑based, traditional melodic heavy metal, sometimes with an epic touch. The good riff/melody is paramount, as I think it should be, and I hope Turbo’s Tribunal can guarantee that, as I think it has become a bit of a shortage.

At its core, Turbo’s Tribunal is built on the conviction that strong riffs and memorable melodies are the beating heart of true heavy metal. Mills of Tribunal embodies that philosophy from start to finish.

Release Information

• Release Date: December 19, 2025
• Formats: CD & Digital
• Tracklist:
• Summon the Tribunal
• Draw the Line
• Satan is Here
• The Sky Comes Alive
• Deliberation
• Boogieman (Father of Evil)
• Death Gallop
• Men of the World
• Mills of Tribunal
• Sealing Fates

Pre‑Order Link: www.jawbreaker.se/product/turbos-tribunal-mills-of-tribunal-cd/

Bandcamp: https://turbostribunal.bandcamp.com/album/mills-of-tribunal

#heavyMetal #jawbreakerRecords #millsOfTribunal #newAlbum #newWaveOfTraditionalHeavyMetal #news #nwothm #thenwothm #thenwothmCom #turbosTribunal

Review: Wildhunt “Aletheia”

Release date: 2nd January, 2026

Label: Jawbreaker Records

Gage J. Tolin

Jawbreaker Records are proud to announce the upcoming release of “Aletheia”, the long awaited second album from Austria’s WILDHUNT.
After ten years roaming the void, truth is revealed! Austrian metal force WILDHUNT return with their eagerly awaited second album “Aletheia”, out January 2nd, 2026 on LP, CD & digitally via Jawbreaker Records. On
their new work, the band consistently continues the path set with their debut album “Descending” – a mix of detail-loving, energetic metal and epic song structures – and lead the WildHunt into previously unknown realms.

Many changes were crawling over the land since their debut record, reflected not only in the lineup but also in the
refined and matured songwriting and musicianship. The seven tracks on the new album take listeners on a true
rollercoaster ride of emotions, accompanied by dark and thought-provoking lyrics without ever losing their edge –
making it a gem for all who like their Metal out of the ordinary. Fans of early Metallica, Heathen, King Diamond or
Megadeth – this one’s for you!

Cover artwork by Lena Richter.

LINE-UP
Wolfgang Elwitschger – Vocals & Guitars
Julian Malkmus – Guitars
Robbie Nöbauer – Bass & Backing vocals
Lukas Lobnig – Drums & Percussion

Review

“Touching the Ground” was at first a slow, melodic build up that was frankly beautiful. However, as it progressed, some wonderful heavy drums kicked in and eventually gave way to a nifty thrash groove to close out the instrumental opener.

“The Holy Pale” opened with a brief injection of melody, before a gnarly sweep took things up a notch and ushered us into thrash territory. Even so early into the record, the mixing on the instruments themselves is immaculate. That said, I was somewhat taken aback by the vocal style. Wildhunt is a band that I am only somewhat familiar, so I expected more of the typical thrash metal vocals that falls a bit more akin of Bobby Blitz or Tom Araya, as opposed to this almost epic approach to it. Is this ‘epic thrash metal’? It’s got a serious later-era Manilla Road vibe for sure. But that epicness does not mean it loses anything in the heaviness department, with some seriously killer riffs throughout, particularly a sick breakdown near the 3:15 mark. I would be remiss if I didn’t also mention that insane guitar solo shortly afterward, ooh it’s a good one. This was an excellent way to start the record.

“Made Man” featured a decidedly heavier cornerstone riff, and reminded me a bit of some later Blitzkrieg material. The disgusting (good) little bass line at a bit before 3 minutes, ooh! What followed was a sort of mid-tempo guitar solo, that showcased more emotion than technicality, and also allowed the bass to continue to shine. The vocals, I felt, took a bit of a backseat here. I don’t mean that in terms of quality or delivery, far from it, just that the song had more extended instrumental sequences than vocal ones. Another strong track!

“Kanashibari” was a brief intermission that featured some soft, and occasionally almost dissonant notes, before the drums and distortion return for the final 30 or so seconds to lead right into the next part of the record. I did some Googling and this apparently means ‘sleep paralysis’.

https://youtu.be/sDWbB4je4IU?si=Nf5bUvRq_eXuH539

“In Frozen Dreams” began with some brief guitar that reminded me of the background music in hack-and-slash video games. The groove and rhythm throughout this one, orchestrated by some incredible drumming Lukas, is really what takes this one to a higher plane. Moreover, something about the second half of the track just felt different, like something was really clicking that wasn’t on the first half (not that the first half was bad mind you). Seriously though, the drumming is next level in this one, can’t express that enough. The gorgeous solo WildHunt injects as the final minute begins was the cherry on top.

The penultimate, and title, track, “Aletheia”, begins with a brief respite of acoustic guitar that almost felt yearnful. Damn, the first belt of the chorus hit me like a bullet train, just some incredible melody in Wolfgang’s voice. This was a perfect track, I can’t sing its praises enough. From the vocals to the overall vibe of it all, this one just felt special for some reason. I have to reiterate though that Wolfgang’s delivery for the chorus is sublime.

Finally we come to, “Sole Voyage”, a monster near 12-minute epic to close out the album. Despite that length, WildHunt don’t spend hardly any time forcing you to endure a lengthy buildup (as many lengthy tracks do), instead this one was all-in pretty much from the word ‘go’. The extraordinary sequence near the 4:40 mark where the guitars become melancholic, the drums stop briefly, and the tempo turns solemn, it was a striking change. Yet, just as quickly as it began, does WildHunt return things to the original feel. Here is where the incredibly vocal performance of Wolfgang once again takes centerstage, with some truly great lyrics to boot, and a voice that carries with it an air of adventure. This was truly a track where each member of WildHunt not only came together to produce something outstanding, but also all got their own opportunity to shine throughout the beefy runtime. It was an all-timer.

Conclusion

What a hell of a way to start 2026 (even though I still have a mountain of 2025 releases to listen through). WildHunt return with their second full-length, an entire decade after the release of their debut Descending, and their unique brand of thrash metal has not only not lost a single step, it’s refined and perfect to the point of mastery. There was simply not a single wasted moment on this record. I never felt bored listening to it, and it only made me want to really do a deep dive into that debut. WildHunt’s Aletheia kicks off 2026 with TheNWOTHM.com’s first perfect 10 of the new year! Great job lads, this was immaculate.

TheNwothm Score: 10/10

Links

Bandcamp: http://wildhunthrash.bandcamp.com/

Facebook: http://www.facebook.com/wildhuntaustria

Instagram: https://www.instagram.com/wildhuntaustria/

Label: Jawbreaker Records

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#austrianHeavyMetal #heathen #heavyMetal #jawbreakerRecords #kingDiamond #megadeth #metallica #newAlbum #newWaveOfTraditionalHeavyMetal #nwothm #review #speedMetal #thenwothm #thenwothmCom #thrashMetal #wildhunt

StarForce unleash “Beyond the Eternal Night”

Born in the heart of Mexico City, StarForce channel cosmic storytelling through a relentless blend of speed and melody. Drawing from the legacy of 80s titans like Racer X, Cacophony, Agent Steel, Heavens Gate, Judas Priest and Riot, the band also stands proudly alongside modern speed metal torchbearers such as Armory, Riot City, Enforcer and Skullfist.

Their debut album, Beyond the Eternal Night, delivers 11 tracks across 52 minutes of pure cosmic steel. It’s a voyage through the outer reaches of imagination, packed with lightning-fast riffs, soaring interstellar melodies and science fiction–driven lyrics. The result is a dazzling collision of stars and sound.

Leading the charge is vocalist Mely “Wild” Solís, whose commanding range cuts through the band’s razor-sharp instrumentation. Her voice elevates the blistering speed and melodic precision into something both powerful and unforgettable – hooks that embed themselves deep in the mind of any true metal devotee.

Released by Jawbreaker Records, this debut is a statement of intent: high-octane, melodic heavy/speed metal at its most exhilarating. Beyond the Eternal Night is not just an album – it’s a journey no fan of the genre should miss.

Tracklist:

Band Facebook: https://www.facebook.com/StarForceHM

Get the album via Jawbreaker records: https://tinyurl.com/ym6e5p65

You can check out our review of the new album right here:

https://thenwothm.com/2025/08/14/review-starforce-beyond-the-eternal-night/

#BeyondTheEternalNight #HeavyMetal #JawbreakerRecords #NewAlbum #NewWaveOfTraditionalHeavyMetal #News #Starforce #thenwothm #thenwothmCom