You know what you’re getting with Desire. Together, Montreal vocalist singer Megan Louise and former Chromatics leader Johnny Jewel make shimmery, whispery, glamorous synthpop. They’ve been doing it ever since their self-titled debut came out in 2009. Desire haven’t exactly been the most prolific act over the years, but they released their album Games People Play last year, and they’re already planning on following it with another LP this year.
The song opens with a distorted guitar chord, creating an atmosphere that feels dystopian and futuristic. This sound invokes a sense of being suspended in a unique limbo. It transports listeners to distant landscapes and cold, dark worlds. The reverberated vocals and guitars remind one of iconic bands like Type O Negative. Despite this influence, the song also sparks visions that feel dreamlike. This track emanates a sense of a cybernetic bubble, drawing the audience in for a distinct journey.
The alternative rock genre is present throughout, immersing listeners in a peculiar experience. The influence of cyber gothic aesthetics makes this piece particularly intriguing. The vocals float above the instrumentation, crafting a melody that is stable and powerful. As the music surrounds these vocals, the intricacies of the drum patterns add depth. The distant guitars manifest sharp notes that inject a sense of illusion into the distortions. Every so often, the song embraces pauses, which enhance its overall dynamics and flow.
The combination of influences creates a rich tapestry of sounds. The opening’s unique distorted chord sets the tone for what unfolds. Listeners can expect a blend of styles that challenge conventional definitions of rock music. The guitars create a foundation, while the vocals soar over the instrumental arrangements. At times, the rhythm shifts, offering moments of reflection amidst the energetic elements. The interplay of the different musical layers makes the experience engaging and thoughtful.
Brand New – Sound and Atmosphere
Throughout “Brand New,” there is a sense of vulnerability embedded in the performance. The lyrics and sounds encourage introspection and connection to deeper feelings. The song pulls listeners in with its ethereal qualities, inviting them to explore their thoughts and emotions. Each layer of the arrangement contributes to a sense of depth and richness that is palpable. This enables listeners to feel a multitude of emotions as they engage with the music.
The production quality is pristine, allowing each element to shine. The instrumentation complements the vocal delivery, creating a cohesive and inviting sonic landscape. The nuances captured in the track reflect a high level of care and artistry.
Brand New – Performance and Production
“Brand New” offers a multifaceted experience. It successfully blends elements of alternative rock with a unique, futuristic aesthetic. Spinning Mercury has composed a track that stands out in a crowded music landscape. The song not only captures attention but also invites listeners to delve into their own feelings and thoughts. With its intricate composition and emotional resonance, “Brand New” is a noteworthy addition to the modern music scene.
(written by Islander) The French extreme metal band Viande named their 2022 debut album L’abime dévore les âmes, which can roughly be translated as “The abyss devours souls”. It was a fitting title, because in listening to the music we imagined horrific terrors that await the extinction of life in endless chasms from which there […]
The EP opens with “Higher Truth,” an atmospheric and refined track. It feels like a flower blossoming, with instruments that continuously enhance its sublime nature. Each note and harmony builds upon the last, bringing a refreshing depth. The quality of this artist’s music is always a pleasure to experience.
Following this is “Butterfly,” a song that transports listeners to Louisiana. The track evokes thoughts of blues, featuring harmonica and vibes typical of New Orleans. This composition retains a familiar chord progression while incorporating the distinct style of Andy Smythe. It resembles a blues piece that The Beatles could have produced.
Next is “Monet Is Smiling,” a song rich in songwriting. It suggests inspirations from Bob Dylan intertwined with a touch of David Bowie. The melodic structure invites listeners into a nostalgic tableau reminiscent of Monet’s artwork. Each verse paints imagery, effortlessly connecting the world of visual art with music.
Quiet Revolution Extra – Sound and Atmosphere
“House Without Love” presents an infectious rhythm combined with delicate vibes. This tune leans toward a somewhat bucolic nature. Its pastoral essence draws the listener in while maintaining a danceable quality. Here, Smythe showcases his talent for marrying meaningful lyrics with engaging melodies.
“Man of Pisces” takes a more cinematic approach. The arrangements are splendid, creating an atmosphere that allows the mind to wander. The instrumental sections provide a dream-like quality that encourages imagination. This song embodies an artistic vision that goes beyond mere auditory pleasure.
The EP concludes with “Algorithm.” Despite its title, this track and the EP in general are anything but artificial. It channels the essence of great singer-songwriters from the past. The nostalgic trumpet adds a sense of yearning and evokes images of vast, open landscapes. Listeners might imagine David Bowie working with Ennio Morricone to create this uniquely atmospheric piece. The harmonies and lyrical themes transport one to new realms.
Quiet Revolution Extra – Performance and Production
“Quiet Revolution Extra” is an impressive EP filled with musical richness and poetic lyrics. Each song highlights Andy Smythe’s ability to blend styles while creating an emotional connection. This collection is a fantastic experience that I would recommend to all music enthusiasts. Both the melodies and the depth of the lyrics speak to a timeless quality that deserves recognition.
Hellfest 2026. Clisson, France. The Pretty Reckless must be ‘Going To Hell’ Fest. The Pretty Reckless are flanked by the largest high definition screens you can imagine, which never let up showing fiery act after fiery act. The band are all in black except for Taylor Momsen, who slinks with puma confidence to the front. They are roared onto the stage, a clearly loved act.
Taylor is a rock ‘n’ roll female lead to match AC/DC’s Bon Scott. The packed audience is powerless to do anything but worship Taylor’s leather-jacketed and black-cowboy-booted figure. After the first song, she peels away the leather to a silver silky slip dress. Stalking the stage, spinning top style, this is the rock goddess personified.
The Pretty Reckless – Hellfest 2026. Photo: Luke Vaughan/MetalTalk
The crowd’s eyes rarely leave her, a high raunchy, grinding, frisky, playful, charismatic, front woman of the first rank. One minute, Louisiana American cool, the next a late-night Gauloise and whiskey seductress.
In between the high-quality roaring rasp of Taylor’s vocals, sung head swung back into the sun, beating with every drum beat is her wonderful band playing crisp, modern, heavy rock ‘n’ roll.
Amongst their back catalogue classics, two destined-to-be-classics from their new album, called Dear God, are played. Both songs are heavy and make strong use of their trademark silences, giving the audience a breather before the songs roar back into life.
When I Wake Up played the silence trick three times on the crowd, who roared their appreciation each time before clapping and punching the air as the next riffs crisply struck across the heat wave air.
The Pretty Reckless – Hellfest 2026. Photo: Luke Vaughan/MetalTalk
Before the final song, a long guitar solo from the lead guitarist, Ben Philips, which is note perfect over the crystal clear sound systems. Going To Hell is titled like a homage to AC/DC’s Hells Bells, but it is their own sound, and the fans punch, clap and sing along at one with the band.
Taylor Momsen leaves everyone in the crowd feeling a little French indiscretion has occurred, or, judging by the Marry Me, Taylor T-shirt, a fan tries to thrust into her hand, a love that will last a musical lifetime.
The Pretty Reckless – Hellfest 2026. Photo: Luke Vaughan/MetalTalk
HELLFEST 2026
Prepare to be consumed by the relentless energy of the most influential bands in Heavy Metal as they ignite the Hellfest stages with blistering performances. The immersive atmosphere of Clisson will immerse you in a dark, captivating experience like no other.
With its unparalleled lineup and unwavering commitment to the spirit of metal, Hellfest 2026 promises an unforgettable journey into the depths of sonic mayhem.
Joseph Turner & The Dudes of Hazard The Shadow Remains Review
Joseph Turner & The Dudes of Hazard deliver a powerful and deeply atmospheric single. “The Shadow Remains” is a song that feels less like a simple track and more like a ritual.
From the start, the music creates an ancestral, almost tribal atmosphere. The primordial choir, combined with the warm mix and the beautiful guitar strumming, pulls the listener into a mysterious and immersive world. The drums, especially through the use of toms, add an ethnic and hypnotic pulse that gives the song a raw, ancient energy.
Joseph Turner & The Dudes of Hazard – The Shadow Remains
Then the voice enters, and the track grows darker and more intense. It feels like a confession from a mind crowded with demons. Dark voices whisper, tempt, and confuse, pulling you toward dangerous emotional places.
These are voices you must resist, because they can slowly test your sanity. As Nietzsche suggested, stare too long into the abyss, and the abyss stares back.
There is something mythological in the way the song explores temptation. These voices feel like sirens calling to Ulysses, beautiful, dangerous, and almost impossible to resist. They enchant you while testing the fragile limits of your mental strength. “The Shadow Remains” captures the border between fear, survival, and inner collapse.
The Shadow Remains – Sound and Atmosphere
The song was written while looking back on a period of life spent so long in survival mode that fear itself became something to fear. This emotional background gives the track an even deeper weight. You can feel that this is not just a dark atmosphere created for effect; there is real experience behind it, real tension, and real emotional truth.
The groove is truly engaging and proves once again that Joseph Turner & The Dudes of Hazard are capable of creating music of great quality. The arrangement keeps evolving without losing its hypnotic force, and near the end, when the brass joins the vocals, the song gains an almost metaphysical feeling. It becomes like a mirage: intangible, mysterious, yet incredibly intense.
“The Shadow Remains” is a fantastic song, rich in atmosphere, meaning, and musical depth. It is the kind of track that pulls you in, challenges you, and stays with you after the final note. Highly recommended.
The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.
I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.
From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.
Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.
Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.
An unforgettable guitar riff opens this song, crafting a vibrant atmosphere. As the guitars build in intensity, the drums follow suit, conjuring a dystopian universe around the listener. The tension is palpable, like a coiled spring ready to unleash its energy. Just past the one-minute mark, the song surprises with its ability to play with rhythms and dynamics. The vocal screams lead into the second verse, keeping the energy consistently escalating. This hard rock piece draws influences from the big rock sounds of the 1980s.
Listeners may detect nuances of Billy Idol and Mötley Crüe, as well as hints of Nine Inch Nails. This blend of influences creates a rich musical experience that is intense and dynamic. The musicians behind this track demonstrate significant experience and skill. The song is executed impeccably, showcasing high-quality production. The accompanying video is professional, featuring the band performing live on a futuristic stage.
The stage presence of this band is striking. They radiate professionalism and chemistry, creating solid and powerful music. The track delves into the universal experience of relationships that have gone awry. It explores the journey toward hope and clarity, a theme that resonates widely. The listeners are drawn into the narrative, feeling every emotion conveyed through the music.
What Now – Sound and Atmosphere
Every beat and note is intentional, contributing to the overall impact of the song. The energy builds towards the chorus, pulling listeners into a whirlwind of sound. Each dynamic shift and rhythm change adds depth to the experience. This balance enhances the listening experience, allowing for appreciation and connection.
There’s a sense of catharsis woven into the fabric of the music. The lyrics hint at the pain of loss yet signal the possibility of healing. The storytelling aspect is masterfully executed, aligning perfectly with the musical elements. It invites the audience on a journey, prompting reflection on their own experiences.
The production quality further elevates the track. Every instrument is well-balanced, allowing each element to shine without overshadowing others. The clarity of the vocals ensures that the message comes through strongly.
What Now – Performance and Production
With this song, Kings County showcases their capabilities as musicians and storytellers. It’s a performance that’s polished and impactful, reflecting their dedication to their craft. The moments of tension build towards an explosive finale, leaving listeners wanting more.
Fans of rock music, especially those with an affinity for the vintage sounds of previous decades, will find much to appreciate here. The energy and emotional depth are reminiscent of iconic tracks from the past while maintaining a modern edge. There’s a rich complexity that invites repeated listens, revealing new layers each time.
The artistry displayed by Kings County makes “What Now” a noteworthy release in today’s rock scene. I highly recommend this track to anyone seeking a blend of nostalgia and contemporary flair.
From the wastelands Västra Götaland hails Helvetets Port. A Band which embodies the total die-hard passion for heavy metal that this very zine stands for. I decided it was long overdue that I spoke to their enigmatic frontman so below are the results…
1. Greetings Witchfinder! Please introduce yourself and your band forthe uninitiated!
Hello there Jørgen and the readers! Well, I’m the founding member, singer and rhythm guitarist of Helvetets Port from Sweden. We play classic heavy metal in a self-willed way.
2. You formed in 2001 (or 2000 if we are counting Brute Force). This was a turbulent era for true heavy metal. Of course some obscure bands kept flying the flag in this world of modernisation long before the more recent resurgence. Can you tell us how it was being a band in the early 2000s that played proper heavy metal?
Those were some “lonely” times but it was of course fun to go against the grain and do our own thing according to our own convictions. Though, in the early 2000s it’s difficult to call it a band since Helvetets Port was only 1-2 people and no live shows played etc. I just circulated some mp3s and CD-Rs with home recordings. It felt like all the music I wrote was some sort of new invention even though it was so inspired by the past.
3. Starting your career was the “Metal Strike” 7” from 2006. How did you write and record this cult 45? Do you still like it today, nearly two decades later?
Heavy Metal Night was the first complete HP song written in 2000. Hårdrockens Förkämpe had a couple of parts written maybe as early as 1999 (under the name “Heavy-Metal-Forces”) but completed in 2003 (as the lyrics suggest). Swing the Studded Mace was written in 2004. We recorded the drums in a studio, then the rest at home. For the vocals I used a 20 SEK (€2) “pencil” microphone with a 3,5 mm jack for PC because I thought it produced an older sound than a more expensive real mic. I still like those songs a lot, I am proud of all songs we’ve written though the recordings themselves weren’t always the best.
4. Speaking of the 7” format, I think this is probably the most true /cult format for metal music. Do you have any favourites on this short-form attack of music?
I do love the 7″ format, though mostly those that were made in the 80s. Releasing a new single in this day and age feels like a bit of an emergency solution, at least if there are only two songs. My favorite 7″ are Gotham City, Zone Zero, and to name one that I don’t always mention: Tyrant – Hold back the Lightning. Somehow I connect the format almost exclusively to Sweden and the UK whereas other countries excelled more in the longer formats.
5. Okay, back to Helvetets Port. 2009 saw you debut with the divisive (and in my opinion wild) LP “Exodus to Hell”. This firmly cemented the band in the underground as the force of unusual, off-kilter, janky but absolutely amazing music that you have remained to this day. Can you talk us through the creation of this short but sweet opus?
Some songs were written early and already featured on the same demo as the 7″ songs: Djävulens triangel, Fly by Night and Killed by a Reaper. I like to tell the story about the birth of “Killed” to illustrate how quickly one could work back then: I was packing in the evening to go to a festival the next day. Then I got the urge to write a song. I came up with the music + lyrics and recorded the demo all within 4 hours, and still managed to pack all my stuff. That would not be quite feasible nowadays. Anyway, we had made friends with Olof Wikstrand from Enforcer and recorded all the instruments and vocals in his studio on reel-to-reel tape during a few days. It was a bit nervous having such a serious setting for the recording when one wasn’t very experienced.
6. Only a year later came the “Man with the Chains” 12” EP. How come these tracks didn’t make the debut? You recorded them on 16-track reel to reel. How do you find working with this technique as opposed to the standardised digital approach that many find the convenient way to go about things?
Exodus to Hell took quite some time from recording to mixing to release, so we had plenty of time to write some new material. Lightning Rod Avenger was written and released as a video version very soon after the LP, and we wanted to record it for the MLP as well since it was such a good song, but the original video version was best I think. The recording technique was pretty much the same as on Exodus to Hell and I must say it’s not really worth the couple of percent of extra vintage sound if you aren’t an amazing singer/player, because it’s much more difficult to do retakes and you tend to let things through that aren’t great.
7. Next came a period of silence. An entire nine years before the second LP. What were you up to in these years? Writing? Playing shows? Fighting mutants?
There were a couple years of inactivity, some years where we played some shows and wrote some songs. But time flies fast and years go by with no release, unless one works as fast as during the writing of Killed by a Reaper.
8. 2019 saw the release of “From Life to Death”, an album nearly twice the length of its predecessor. Can you give us some information about the writing, recording and release of this one too?
For that one we had accumulated so many written songs over the preceding years that we thought we might as well make it a double LP. This time around we recorded it digitally but with re-amped guitars. At first we planned to do everything ourselves but we opted to let Olof do the mixing in the end. The album was released shortly before the pandemic so the touring plans we had didn’t come to fruition. But it was nice to be back at least album-wise after that long break.
9. So now we have covered the earlier portion of the band’s career. Do you still enjoy these records and take pride in what they achieved for Helvetets Port?
As I was pointing to earlier I very much enjoy the old songs, playing them live etc. The recordings themselves aren’t always the best when it comes to the performance. But they didn’t leave the listener indifferent, which is an important factor.
10. Before we step back to the present, I think it would be a huge mistake to not ask you to suggest some real cult gems from your collection. You are a man whose opinion on obscure metal I reallyrespect and I would love it if you can tip off myself and my readers to some real rarities and relics you think we ought to check out. They can be old, new, Swedish, foreign; whatever you like!
Then the only restriction I will impose is that they should be in my collection. I will recommend some sorely overlooked stuff:
-Lezlie Paice (SWE) – Fightin’ Man 7″ 1983 – A single no one mentions. Maybe hasn’t aged perfectly, but I have really loved this single which is a lot heavier than I think people suspect.
-Overkill (GER) – Demo 1983 – One of the best demo tapes ever made, with three perfect songs representing three different styles.
-Harfang (FRA) – Slice of Life (compilation released 2017) – A band that released some demos and live stuff in the 80s which have such a forgotten and melancholic sound it almost hurts just to think of it.
11. 2024 saw Helvetets Port return with my favourite album to date; “Warlords”. This took the rough-around-the-edges charm of the twoprevious LPs but injected it with a certain confidence and increase in musicality that I felt perfectly balanced out into a really wonderfulalbum. You know the drill by now, please can you talk us through what went into creating this album from inspirations to recording and productions?
I had grown to realise that my own perception of the weirdness of songs I write is much milder than other people’s perception, so I wanted to try and get to a level where people can take it all in better. So what I think is super straightforward, someone else might think is appropriately balanced, which I think is the case for this album. For the first time, all the songs were new as in they were all written after the prior release. The inspiration has been random sparks from our 80s predecessors as usual, but the biggest part is just kind of a self-propulsion of the style that we have developed. Once again we recorded the drums in a studio and the rest at home, and had Olof at the control knobs. So we continued refining the formula. It’s the release that I’m definitely the most happy with!
12. Based on your prior releases taking some years, it is probably tooearly to ask about new music. Though if I am mistaken, do tell us! Butare you warlords working on anything new be it music or some coolshows?
The latest gap, 5 years, is still a bit longer than we would ideally want. So we have upped the tempo a notch further and have lots of songs that are basically fully written. We have a few shows coming up in 2026 but the main focus will be working toward a new album.
13. Helvetets Port is a band that doesn’t play a ton of live shows. Do you enjoy playing live? If so, what are some favourite memories from going into the arena? Feel free to give us a heads-up on upcoming dates too! I am yet to catch you live, but hope we can change that soon.
Yeah we do enjoy playing live, though living far apart and people having lots of stuff in their lives makes it so that the frequency of live shows isn’t what it could be. My favourite show in recent times was Dying Victims in Essen 2025, awesome crowd there! Next up is a festival called Ostämman in Sweden on July 17. Then three dates in Finland with Mindless Sinner September 3, 4 and 5. After that, once again in Sweden on October 9.
14. As has always been the way with these things, the last words are yours. Use them wisely…
Check out the band’s youtube channel where I have lots of discussion videos about heavy metal:
It would be fun to hear from people in the comments there; about the topics discussed, about what you’d like to discuss. I think it’s important to imbue the heavy metal scene with all sorts of stuff and not only bands playing music: discussion, visual things, exhibitions, anything that helps to make the scene exciting. Also you who aren’t inclined to play music yourself can contribute a whole lot!
Available in print as part of Shrieks From The Abyss fanzine issue 8! Buy here!
An epic and powerful riff opens this track, and you immediately raise horns to the sky in celebration of the sacred fire of rock. The song then transitions into a dystopian and intense atmosphere, transporting listeners into another dimension. There are dark, modern vibes that enrich the listening experience. At certain moments, this song evokes memories of the modern sound of Muse, but the band’s sound is much more powerful and dark.
I was impressed by the overall atmosphere this band creates. They truly manage to infuse the energy with reverberating vocals and background harmonies that drive the track. These elements create moments that feel like anthems. The song explores the demons that plague our minds, inducing frustration and pressure. In this way, the song achieves something profoundly intense, gripping you and making you feel the tension that consumes the soul and body.
We encounter a band with a broad artistic vision and a unique way of interpreting music. The rhythm section features a round and powerful drum sound, with guitars that have an acidic quality. The bass lays down a solid beat, creating the rhythmic foundation complemented by atmospheric pads that conjure a Mad Max-like sensation. This song energizes and hypnotizes at the same time.
Blunt – Sound and Atmosphere
The rich instrumentation heightens the emotional stakes. Instruments blend seamlessly, producing a sonic palette that complements the vocal lines. The juxtaposition of darker tones with modern rock elements creates a thrilling experience.
The lyrical content is introspective and reflective, inviting listeners to confront their inner struggles. The metaphoric language engages listeners, prompting them to find their own meanings.
The vocals are particularly striking. They embody a raw energy that pulls you into the narrative. The lead singer’s delivery is assertive and vulnerable, perfectly fitting the song’s emotional landscape. Harmonies further enhance the impact of key lines.
Blunt – Performance and Production
Production-wise, the track excels in creating a polished yet organic sound. Every instrument is well-balanced, allowing each part to shine. The mixing provides clarity while maintaining a sense of depth. This craftsmanship ensures that the powerful riffs and intense vocals do not overshadow the nuanced elements.
“Blunt” stands as a representation of a band willing to explore deeper themes. They do so with a mastery. The combination of powerful instrumentation, emotional lyrics, and dynamic vocal delivery creates an unforgettable listening experience.
This single effectively captures a broad range of emotions and textures. The band’s artistic vision shines through in both the sound and the message, marking them as a noteworthy presence in the rock genre.
If you love this music: 
The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.
Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.
