#NowPlaying #TheMetalDogIsNowPlaying
#MetalChurch
Metal Church
Metal Church

🎸 Live Stream:
https://nowplaying.themetaldog.net/

YouTube Search:
https://youtube.com/results?search_query=Metal%20Church+Metal%20Church+Metal%20Church

LastFM:
https://www.last.fm/music/Metal+Church/_/Metal+Church

Lyrics:
https://genius.com/Metal-church-metal-church-lyrics

#MetalChurch #DavidWayne #KirkArrington #CraigWells #HeavyMetal #Metal80s #AmericanMetal #BostonMetal #TraditionalMetal #ThrashInfluence

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

#NowPlaying #TheMetalDogIsNowPlaying
#JudasPriest
Metal Works 73-93
Living After Midnight

🎸 Live Stream:
https://nowplaying.themetaldog.net/

YouTube Search:
https://youtube.com/results?search_query=Judas%20Priest+Metal%20Works%2073-93+Living%20After%20Midnight

LastFM:
https://www.last.fm/music/Judas+Priest/_/Living+After+Midnight

Lyrics:
https://genius.com/Judas-priest-living-after-midnight-lyrics

Listen on major platforms:
https://song.link/s/0IXpUl1fn2QZcBavfuq0H4

#JudasPriest #RobHalford #KKDowning #IanHill #ScottTravis #HeavyMetal #TraditionalMetal #Metal80s #NWOBHM #BirminghamMetal

Throw back Thursday: Fist (UK)

https://www.youtube.com/watch?v=O-xPSAHL_74

Formed in April 1978 as Axe, the band quickly rebranded as Fist in late 1979, becoming part of the New Wave of British Heavy Metal (NWOBHM) movement. Their debut single “Name, Rank and Serial Number” (1980) gained strong radio play and critical praise, leading to tours with UFO, Judas Priest, and Iron Maiden. Despite setbacks with MCA Records, Fist released two influential albums: Turn the Hell On (1980) and Back with a Vengeance (1982), earning respect for their catchy choruses and avoidance of heavy metal clichés.

After disbanding in 1985, Fist resurfaced in 2001 when original frontman Keith Satchfield assembled a new lineup, releasing the heavier album Storm (2004). Though activity was limited, the record marked a new chapter in the band’s legacy.

In 2013, Fist reformed again with classic-era members Harry “Hiroshima” Hill, Davey Irwin, and Norman Appleby, joined by NWOBHM veteran Glenn S. Howes. Their triumphant return at Bro Fest 2014 reaffirmed their cult status, with subsequent live shows across the UK and Europe. Lineup changes followed, but the band continued to perform, maintaining their reputation as one of the North East’s legendary heavy rock outfits. It is unknown if the band is still active though according to their Facebook, their drummer Harry Hill passed away in August 2025.

Active periods:

• 1978–1979 (as Axe)
• 1979–1984 (as Fist)
• 2001–? (Storm era)
• 2013–? (Bro Fest and beyond)

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

#Axe #FistNwobhm #HeavyMetal #IronMaiden #JudasPriest #newWaveOfBritishHeavyMetal #thenwothmCom #throwBackThursday #traditionalMetal #TurnTheHellOn #ufo

Chalice announce second album “Divine Spear” out February 2026 via Dying Victims Productions

On the 27th February 2026, Dying Victims Productions will release the highly anticipated second album from Finland’s Chalice, “Divine Spear,” available internationally on CD and vinyl LP formats.

Formed in Helsinki in 2016, Chalice have swiftly established themselves as a beacon of esoteric heavy metal. With members connected to bands such as Ranger, Satan’s Fall and Vincent Revenge, the group first unveiled a demo in 2017 followed by an EP in 2019, before delivering their acclaimed debut album “Trembling Crown” in 2020. That record showcased a dramatic and dynamic style which earned widespread recognition.

Now Chalice return with “Divine Spear,” a work that surpasses their debut in scope and ambition. True to its name, the album is a finely honed creation that reveals layers of sonic and emotional depth. Forged in the harsh Finnish winter, the record refines the band’s elegant approach, blending the spirit of classic European heavy metal with cinematic progressive elements and the sombre atmosphere of northern melancholy. While some passages unfold with patience, rewarding attentive listeners, the album ultimately paints a vivid landscape of light and shadow, pushing beyond the boundaries of the so‑called new wave of traditional metal.

Highlights include striking transitions into cleaner, quieter territory, heightening the drama that defined their first album. Chalice demonstrate masterful control of their craft, using their formidable skills to create awe‑inspiring compositions that invite listeners to immerse themselves fully in the narrative flow.

With production that is both crisp and natural, “Divine Spear” achieves a sound that is powerful yet warm, diving deeper than appearances suggest. Chalice continue to raise the banner of heavy metal high, offering a record that is as commanding as it is captivating.

https://www.youtube.com/watch?v=la_6oQ8FSsI

Cover art and track listing are as follows:

Track listing for Chalice (Finland)’s Divine Spear
1. Mare Imbrium
2. Dwell of a Stellar Trance
3. Hollow Curtain
4. The Pact
5. Age EtherealChalice announce second album Divine Spear out February 2026 via Dying Victims Productions
6. The Divine Spear
7. Empyrean Liturgy
8. In From the Cold
9. Alioth

Facebook: www.facebook.com/ChaliceFIN

#ChaliceFinland #DivineSpear #DwellOfAStellarTrance #dyingVictimsProductions #HeavyMetal #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #thenwothm #thenwothmCom #tradMetal #traditionalMetal

Allmächd! Fate's Hand veröffentlicht am 21.11. „Steel, Fire And Ice“.
YouTube-Video zu ‚Fire Reigns Once More‘: https://www.youtube.com/watch?v=NrnMT5d89V4

🔗 https://gloomr.de/#1597

#HeavyMetal #TraditionalMetal #NowPlaying #NeuesAlbum

Legendarium – For Eternal Glory Review

By Eldritch Elitist

Powerdeath. That’s the genre tag attached to Legendarium’s fifth album For Eternal Glory, and one I’d almost certainly roll my eyes at, had I not been following this curious project since its debut LP. Through arcane magics of ancient origin1, I became aware of Legendarium, the brainchild of singer, songwriter, and multi-instrumentalist Laurence Kerbov and drummer Stefano Vaccari, in its earliest stages as a charmingly amateurish blend of traditional metal and classic punk. 2022’s Death’s Hand in Yours changed their status quo, not only by amping up their power metal side and introducing death metal elements to the mix, but also by being the first Legendarium record to be legitimately good. For Eternal Glory is their logical next step. Like its predecessor, For Eternal Glory sounds like nothing else in metal. Unlike its predecessor, however, it transcends novelty status.

At its core, Legendarium’s heart is rooted in trad / trve metal, their straightforward rhythms and legato guitar lines rooted in grounded grandiosity. You wouldn’t know it from the introductory riff of opener “A Thousand Swords” though, which claims a tremolo-happy middle ground between Ensiferum and Dissection. This track makes immediate sense of the “powerdeath” tag, one which I find sells the Legendarium experience short. For Eternal Glory is showered with shimmering keys yanked from the 90’s symphonic black metal playbook, and while the occasional blackened vibe rears its head (“Nightfall in the Deep Woods”), the keys more frequently compliment tracks that remind of Manilla Road (“Crypt Crusher”) or Viking-era Bathory (“Tomorrow We Die”). I could namedrop bands all day, but what ultimately matters is Legendarium’s miraculous cohesion. No aspect of For Eternal Glory sounds forced or out of place; everything gels, a unified vision that delights in exploring the connecting threads of countless styles of metal.

A record like For Eternal Glory only works if it manages to be more than the sum of its parts. While that certainly holds true, it inevitably feels something like a jack of all trades, master of none. The experience as a whole is engrossing and addictively catchy, but its steadfast baseline of quality means that there are no surprising standouts. The closest this record comes to throwing a wild curveball comes from the Unto Others-esque goth-pop-metal jam “My Life in Your Hands;” refreshing, but not exactly thrilling. While For Eternal Glory is far and away the superior Legendarium album to Death’s Hand in Yours, I miss the latter record’s big rhythmic and stylistic swings, resulting in odd, delightful surprises, even if they didn’t always work. It’s difficult to justify complaining about the lack of strong highlights, however, on a record with no identifiable weak links. On For Eternal Glory, consistency is king. It’s just missing a certain je ne sais quoi that would elevate it to the same tier as Legendarium’s most prestigious peers.

While my compositional nitpicks are nothing that should turn off prospective Legendarium fans, For Eternal Glory’s vocals may prove divisive. Kerbov’s harsh vocals manifest as shouty death growls, and while I love their distinctly unhinged timbre, his clean singing requires some acclimation. Kerbov’s confidence and control over his clean vocals have improved exponentially with each subsequent Legendarium release, but while his singing is a great fit for the slower, mournful “Tomorrow We Die,” his delivery on the record’s more intense cuts lack the power to be fully compelling. That being said, I find his performances on the whole to be more charming than detrimental, and really, this show is all about his string work. For Eternal Glory is one of those records where there is almost always something interesting happening with the guitars. Massive, effortlessly catchy lead riffs soar above just about every measure of this record, resulting in every single song being stuck in my head at some point during my review process.

For all of Legendarium’s genre-splicing inspirations, For Eternal Glory sometimes feels like an elevated jam session between Kerbov and Vaccari, and I absolutely mean that as a compliment. This record’s rhythmic simplicity forms the ideal platform for Legendarium’s exploratory nature to blossom. While I’d like to hear them further push the boundaries of their aesthetic, I’m also deeply impressed at how they have boiled down so many genres and influences into a formula that can only be described as the Legendarium sound. This is the first Legendarium record that I can easily recommend to basically any appreciator of traditional and melodic metal, and one which I anticipate being the ideal foundation upon which to further refine and propel their sound. And just in case the spectacular album cover did not make it immediately clear: Yes, you should buy this.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: WAV
Label: Fiadh Productions
Websites: legendarium.bandcamp.com | ampwall.com/a/legendarium | facebook.com/people/Legendarium/61559083652568
Releases Worldwide: November 8th, 2024

#2024 #35 #Bathory #Dissection #Ensiferum #FiadhProductions #ForEternalGlory #InternationalMetal #Legendarium #ManillaRoad #MelodicDeathMetal #Nov24 #PowerMetal #Review #Reviews #TraditionalMetal #UntoOthers