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Returning with a new album after nearly two decades away is never a straightforward comeback. In that time, the scene changes, listeners’ expectations evolve, and the question inevitably arises whether musical ideas conceived in an earlier era can still speak convincingly to a different generation. In Assur’s case, however, this is not a complete restart. […]

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Considering how difficult making a record is, I’m always impressed by bands who reliably churn out great material every few years. I don’t know what Stratovarius were on between 1994–1998 that resulted in not one but five high-quality albums, one each year. Right in the middle of that magnificent streak sits their magnum opus Episode. When drummer Jörg Michael and ex-Yngwie Malmsteen keyboardist Jens Johansson joined the fray after Fourth Dimension, there was no indication this would become the classic Stratovarius lineup that would later influence much of the future direction of power metal. Stratovarius had already experienced plenty of member turnover by this point. What made this time different?

Compared to Stratovarius’s commonly cited ‘defining’ moment, Visions, Episode is a whole other beast. The first two songs deceive you into thinking this will be yet another take on post-Helloween metal. Timo Kotipelto’s powerful wail follows Kiskean philosophy. Timo Tolkki’s neoclassical guitar play is influenced by the likes of Yngwie, making Mr. Harpsichord’s joining much less surprising. But the moment “Eternity” hits you with Jari Kainulainen’s bass groove is when you realize something’s different. Much like Fourth Dimension a year prior, Episode takes its primary influence from Rage for Order-era Queensrÿche. It is often every bit as much heavy or progressive metal as it is power metal. However, the songwriting choices are more standout and unique than prior ones. Fourth Dimension’s quirky-but-fun “030366” was almost a carbon copy of ‘Rÿche’s “I Will Remember”—on Episode, both the bangers (“Father Time,” “Speed of Light”) and the moody, gargantuan stompers (“Eternity,” “Uncertainty”) are much more than just 1-to-1 correspondences. Still, you can tell the bunch also grew up Rainbow and Dio fans.

Episode is the first and still one of the only examples of what I like to call ‘sadboi power metal.’¹ The guitar and keyboard pyrotechnics are in equilibrium with the record’s downcast atmosphere and dramatic backing. The shred of “Speed of Light” or “Stratosphere” is an obvious fan favorite aspect, but Episode brings many treats to choose from—most of them depressed. String orchestra-backed “Season of Change” is a masterclass in build-ups, symphonic way before Nightwish’s time. Even when being fast and melodic, Episode is not optimistic, knowing time shows mercy to no one (“Father Time,” “Speed of Light”) and asking if there will even be a future left (“Will the Sun Rise?”). A lyricist’s personal grief and malaise from 30 years ago has turned into a very apt sign of the times today. Once the faux-happy “Tomorrow” transitions into the immense “Night Time Eclipse,” the facade fades and all darkness falls.

So why did power metal at large take after the ‘stripped-down’ cheerful melodicity of Visions, rather than the dark introspection of Episode? As I mentioned previously,² timing is everything, and the mid-’90s were not a good time to hit it big with complex and ambitious metal songwriting. Furthermore, the divide brewing between ‘classic metal’ and ‘extreme metal’ in the late ’80s only became more pronounced over time as all not-Pantera metal fell back to the underground. The years marched on, and most bands kept changing things up. This tended to make death metal heavier and power metal lighter, the heavy and thrash veterans struggling somewhere in the middle as ’80s metal fans know painfully well. My hypothesis is that Episode was both too ‘modern’ and lightweight for olde ‘Rÿche fans and too slow, gloomy and high-brow for the upcoming power metal crowd. One can only wonder what might’ve been if the resurgent ’90s power metal scene took after Episode instead of Visions and HammerFall’s early works, and if the difference would’ve convinced detractors of all things saccharine.

Episode is my favorite album of all time. It was the beginning of Stratovarius becoming an important cornerstone of power metal, later turning into a major influence for future ’00s bands. They’re a core blueprint for Japanese power metal at large. Nightwish’s best album Oceanborn and Sonata Arctica’s classic-if-wonky albums are 90% Stratovarius DNA. Even DragonForce noted ’90s Strato as an influence—coincidentally, both Episode and Inhuman Rampage have a closing ballad³ that works wonders (Episode even has two with the bonus track). What’s obvious via Visions and Destiny subtly started here with more depth, and I wish there was more like it.

The post Yer Metal Is Olde: Stratovarius – Episode appeared first on Angry Metal Guy.

A few months ago, Montreal-based artist Magi Merlin released the calming single “So Smart,” offering an early glimpse of her new album POWER HOUSE, which arrived this past Friday. It’s a full-length that may have been overshadowed by some bigger releases, but it’s well worth spending time with, especially if you’re in the mood for funky, chrome-plated jams to soundtrack a lazy Sunday.

The post Hear Magi Merlin’s Chrome-Plated R&B On <em>POWER HOUSE</em> appeared first on Stereogum.

MATT NORRIS | Go Venue Magazine

Jay Som, opening artist of Death Cab for Cutie’s “I Built You A Tower” tour, gives way to the first sounds coming off the stage. Mellow guitars and soft vocals immediately draw my attention. Melina Duterte’s voice, dreamy, laid-back, and, well, objectively good. The scene felt intimate, the audience fully engaged. The whole band was visibly engaged with one another for the performance, and at the conclusion, I’m left wanting more. I can’t wait to grab a ticket the next time Jay Som is back in town. 

Death Cab For Cutie. 

Kicking off with a song off thew new album, I Built You A Tower, titled “Riptides”. The band springs to life, and Ben Gibbard’s iconic voice comes over the stage. The energy is palpable as the song builds. Visuals behind the band are lit up with five square displays a couple feet taller than the members, and eight tall rectangles that extend from stage to ceiling, equidistantly spaced to display other accompanying graphics. The dynamic lighting was at times almost too much — the square panels almost like portals for each member; the strobe-like effects that came and went or even the high-noise visualization of sound that stretched across each of the eight tall panels.

If this were any other band, I’d believe it unintentionally overwhelming — not Death Cab for Cutie. The visual overwhelm came with instrumental intensity and lyrical complement as well: “There’s too many riptides in this ocean to proceed”. Although I found the visuals at times over-the-top in a messy way, more often they acted as functional dynamic lights to color the  performers.

From new to old — “The New Year”, a throwback to 1997, was expertly transitioned into, as if it were always meant to be. Gibbard’s high-energy dancing around the stage between (and with) other members is expressive as ever. Passion in his voice, perfection in the band’s execution. Nick Harmer and Dave Depper looking sharp as ever on Gibbard’s Right and left respectively, played in tight precise movements. Jason McGerr on drums, sounding off at the perfect volume and time in back, and to his left, Zac Rae, who sounded fantastic and appeared focused on perfection.

What would it would be like to go to a show, where the setlist is an expertly designed mixtape of a band’s work stretching nearly 30-years? It would be an experience exactly like what Gibbard and Death Cab For Cutie have to offer. Mid performance, the titular track “I Built You A Tower (a)” brought a celebration of the present day band. An icon from Narrow Stairs, “I Will Possess Your Heart”, was performed to an audience bathed in dynamic gradients of red light. The sound-forward show filled The Armory with sonic perfection throughout every corner I could get to; so well that little embellishments (like keyboard trails) happening on stage manage to stand out in the crowds.

“I Will Follow You Into The Dark”, dedicated to the people of Minneapolis and St Paul for this concert, with pride in the twin cities for setting an example, across the country, on fighting fascism.

The band played 20 songs in the main set, letting echoes ring out as they walked off the stage. After continuous cheering, they returned  to reward the crowd four more tracks spanning across thee decades, finishing the evening with a stunning performance of Transatlanticisim.

Death Cab for Cutie is a band that’s been performing for nearly 30 years. Their music has influenced countless artists, featured in television and films, and seldom does one find an adult who hasn’t listened them in some capacity. Ben Gibbard and the band continue to deliver immaculate, energetic performances like tonight and I look forward to seeing them again.

Death Cab for Cutie

[See image gallery at www.govenuemagazine.com]

Jay Som

[See image gallery at www.govenuemagazine.com] All images © Matt Norris

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The post LIVE RECAP: Death Cab for Cutie with Jay Som at The Armory in Minneapolis, July 10, 2026 appeared first on Go Venue Magazine.

A new chapter begins. German metal veterans BRAINSTORM have officially announced their brand-new studio album, Nightfall. The band’s forthcoming full-length will be released via Reigning Phoenix […]

The post BRAINSTORM Announce New Studio Album Nightfall To Arrive in Spring 2027 via Reigning Phoenix Music appeared first on Metal-Rules.com.

Rolling Stones singer says he’s forgotten any wisdom he ever gathered. His matured songwriting might prove otherwise. Continue reading…

Album Review: Eternal Drak – The Violence of Time

Reviewed by Matthew Williams

I first stumbled across Canadian based blackened thrashers Eternal Drak when I reviewed last years “The Warrior Order” EP and I was impressed. Now, with the release of their sixth album, mastermind Andres Martinez Torres (Drakar) and Michel Amyot return with 10 new songs that will simultaneously brighten and darken your world.

As the band have commented, “the album frames time as a hostile force” as a ticking clock signals the start of “We Force It To Speak” before the guitars take control. The harsh vocals of Drakar feel like an assault, yet they have layered flamenco style guitars over a dark yet atmospheric background. It’s a cracking start but the blistering bass of “The Unborn Paths Rot” ups the pace and energy levels significantly. This genre doesn’t always do catchy songs, but this one kept repeating in my head hours afterwards, especially the mid-section riff.

The band have continually tried to evolve, whilst staying true to their roots, and on “Me Hice Simultaneo” a song looking at the way obsession speeds everything up, it has a slower, more menacing pattern over the venomous Latino lyrics. “The Blasphemy of Time” sees that blackened thrash speed return and it’s interjected by a wonderful operatic style vocal allowing the harmonies to clash, as the aggressive mid-point solo sways through the melody.

The start of “Chaos is the Law” feels like a mythical creature coming to life and stumbling onwards to destroy everything before it, as the song focuses on the fact that time doesn’t preserve anything. The pace ramps up in the final third with the guitars going into overdrive leading into “Where Cause is Buried”. I’m enjoying the bass lines that flow across these songs, and there’s pockets of explosive guitars that flood the rhythm and penetrate the compositions.

Within many of the tracks, the duo offers a variety of appealing tempos that keeps you wondering what’s going to happen next. “Across the Watching Veils” has an echoed vocal that adds to the villainous, more depraved element of the song but that’s what I’ve come to expect from this band. Drakar’s vocals get more impressive with each unsavoury sounding lyric perfectly matching the demonic tones, and on the slowed down “Breathing Once Again” there’s a quite dramatic momentum change, with cleaner vocals on a stripped-down rhythm as your perceptions begin to shift and your senses warped.

The devilish intent returns alongside their legendary pace and power on “The Cosmos Rejects You” and the riff is a proper headbanger, that had my head moving instantly. What’s also pleasing is that the songs don’t drag on, these two don’t waste time, and fill every moment with a memory, as they finish with “No Direction – Total War” a short, sharp blast of blackened noise that shows that time doesn’t guide you, but you need to make time in your life to experience and enjoy the deathly screams and raucous riffs of Eternal Drak.

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