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Like those programmers who insist on rebuilding every line of code in Python, New York’s black metal woodland-walkers Astral Alchemy envision a universe unraveled down to its last atom. That process is captured in their debut record, Weaving Chilling Magical Dreamworlds. With five tracks and just shy of forty minutes of music, that’s a lot of ground to cover in little time. From the duo of guitarist/bassist/vocalist He Who Walks under the Bloodmoon and drummer/guitarist He Who Wields Twin Scepters of Malice, Astral Alchemy invites you to “Let the power of the stars guide you and the atmospheric universe coalesce the accounts of dreamworlds becoming reality.” But black metal bands are always talking big on how mystical and esoteric they are. Does Astral Alchemy have the magic, or is the only thing cold about Weaving Chilling Magical Dreamworlds how it leaves me in the end?

Astral Alchemy aren’t reinventing the wheel, but they sure get it spinning on Weaving Chilling Magical Dreamworlds. Evoking the grandeur of Emperor and the riffing belligerence of Dissection, Astral Alchemy wields second-wave sorcery through darkly atmospheric soundscapes. Particularly in early cuts like “Tria Prima Offering to the Great Serpent” and “Bathing in the Sap of the Moonflower,” Dreamworlds plays it straight in entwining blast beat-downs with synthesized choirs and symphonics, shifting between creeping, distorted arpeggios and furious tremolos. Where Astral Alchemy stand out is in execution: Dreamworlds is a living, angry beast. Astral Alchemy’s guitar tone is thick, burly, and good for turning their dense, high-octane riffs into weapons of cosmic warfare. Drumming on Dreamworlds is scathing and thunderous, but just as menacing in its slower moments like the Mayhemic crawls of “Tria Prima…” or the crushing back half of “Stars of Ruin.” Topped off with intricately layered synths and husky, ravenous rasps, Weaving Chilling Magical Dreamworlds becomes a particularly engrossing listen.

Like earthly alchemy, Astral Alchemy take simple ingredients and transmute them in subliminal ways while Weaving Chilling Magical Dreamworlds. With midpoint “Stars of Ruin,” Dreamworlds takes an unexpected turn: it slams. Halfway through, Astral Alchemy turned my head with its melodic, borderline metalcore chug riff before stopping and breaking my neck with a groovy, ignorant death riff and ear-splitting Breeeeeeee. It’s nuts. Forwarding Astral Alchemy’s march towards weirdness, “Collapse of the Cosmos” bookends its tremolo madness with Hexrotting electronic glitches and atmospherics¹ while the epic, SotY-contending “Eyes through the Speculum” punches bright, downright uplifting progressions into Dreamworld’s frigid mold and somehow makes it work. Songs on Dreamworlds just don’t sit still; “Eyes…” bounces between airy acoustics to thick post-metal riffing to ethereal synths while comparatively normal tracks like “Bathing in the Sap of the Moonflower” still find ways to inject variation in rhythm and dissonance in melody. Simply, Weaving Chilling Magical Dreamworlds sees Astral Alchemy operate within the established tropes of black metal without being beholden to them.

Authenticity isn’t something black metal is known for, but that’s exactly the impression I get from Astral Alchemy. Weaving Chilling Magical Dreamworld’s lyricism is rooted in genuine alchemical philosophy (“Tria Prima Offering to the Great Serpent”), espousing the significance of transformation through destruction and synthesis. Everything about Astral Alchemy’s approach to songwriting—from the seamless melding of passages to the constant iterations on motifs to the dynamism of tone and energy—stands in accordance with these values. Astral Alchemy aren’t concerned with sounding “kvlt;” Dreamworlds’ mix and production sounds too crisp for that, despite its modest DR score. Instead, Astral Alchemy is very much guided by the pursuit of an esoteric soundscape of boundless creative and destructive energy. Weaving Chilling Magical Dreamworlds isn’t perfect in this regard—the first two tracks lose some steam by the end and “Collapse of the Cosmos” is somewhat standard-issue outside of its electronics—but you also don’t get much better than it either.

Weaving Chilling Magical Dreamworlds isn’t a great title—it doesn’t want to roll off the tongue at all—but it is apt. Abrasive, melodic, twisted, and just plain big, this first showing from Astral Alchemy honestly has me wondering if this duo is industry veterans in disguise. The confidence with which they carry themselves on Dreamworlds would be impressive for fresh musicians; it translates to impressive music in my headphones regardless. When much of black metal feels like a race to the bottom of the barrel, Astral Alchemy’s fresh take on the blackened arts is truly exciting. Weave on, Astral Alchemy!

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Rating: Great!
DR: 6| Format Reviewed: 320 kbps MP3
Label: Naturmacht Productions
Websites: astralalchemybm.bandcamp.com | facebook.com/AstralAlchemyMusic
Releases Worldwide: June 25th, 2026

The post Astral Alchemy – Weaving Chilling Magical Dreamworlds Review appeared first on Angry Metal Guy.

Hellfest 2026. Clisson, France. The Portuguese attract a pretty large crowd in the Temple, yet another sign of the recent massive growth in popularity of Gaerea.

Their anonymous personas, as they are dressed in black from head to toe, allow one to truly focus on their unique take on Post-Black Metal. You can only imagine how hot it can be in those masks, big fans on stage or not.

The stage set features their symbol split in two, lit up from behind as the show demands. They start with a slow part, the female vocal moment evolving into a full onslaught as the male voice comes in.

You would imagine that something so anonymous and somewhat meditative would involve little to no audience interaction. That is not the case, as the Gaerea frontman does talk between songs, gets the crowd going and makes it all very interactive. Only knowing their recorded output, that is a surprise.

Musically, it is even better than the album. The stage show, as well as the ethereal movements, complement the music. Submerged is an early highlight.

And, as they call this festival the best in the world, the lead singer instigates one massive wall of death, which adds to the atmosphere even more. Also, when you see a guy dressed as a unicorn crowd surf to this, something must be going right.

Luminary is simply beautiful, and that eight-string guitar is perfectly used to bring that heaviness.

But the whole set is a beautifully melancholic potential soundtrack to the end of the world. And if it does end, I would appreciate having the right background music.

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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. Read all the Heavy Metal News at MetalTalk.

MetalTalk Hellfest 2026 coverage can be found at https://www.metaltalk.net/tag/hellfest-2026.

This year’s MetalTalk team is:

Bogdan Bele

Sean Titley

Photography: 

Luke Vaughan

For Hellfest 2025, visit https://www.metaltalk.net/tag/hellfest-2025.

For Hellfest 2024, visit https://www.metaltalk.net/tag/hellfest-2024.

For Hellfest 2023, visit https://www.metaltalk.net/tag/hellfest-2023.

For Hellfest 2022, visit https://www.metaltalk.net/tag/hellfest-2022.

The post Gaerea Deliver A Hellfest Soundtrack For The End Of The World first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Before their new record Temptation’s Gates officially comes out this Friday, Amberian Dawn present an Erkki Halkka-directed music video for the last single called “Moon”.
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Josaleigh Pollett hails from Salt Lake City, where they make tender indie singer-songwriter music with a mild electronic edge. They’ve been building toward the release of new album If I Let It Quiet, sharing a string of advance tracks that reveal a considerable talent.

The post Josaleigh Pollett – “Like A River” appeared first on Stereogum.

Nervochaos have set Chaosmongers as the official title of their newly announced long player which will see the light on September 11, 2026 through Black Lion Records. Recorded by Adriano Daga at Estúdio Purosom in São Paulo, Brazil. Mixed and mastered by Fredrik Nordström at Studio Fredman.
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Some Michael Jackson fans are experiencing deep, lingering grief after watching the biopic — a potent reminder that he is gone, they say.

The run features support from Koyo and Initiate

Source

British heavy metal icons Iron Maiden were forced to abruptly halt and severely butcher their highly anticipated June 22 performance in France after a catastrophic, city-wide power outage plunged Europe’s largest indoor arena into total darkness. In what was supposed to be a historic, meticulously planned 50th-anniversary live concert film shoot, the stadium-scale production ground to a screeching halt mid-song, sparking mass technical confusion, an intense venue heat wave evacuation, and furious backlash over a curfew-eviscerated setlist.

STREAM THE METAL BREAKDOWN DAILY NOW:

Want an immediate, expert deconstruction of the massive infrastructure failure that derailed Iron Maiden’s live movie shoot, the logistics behind the Yondr pouch lockouts, and how the Paris venue curfew killed their legendary encore? Host Scott Penfold unpacks the entire surreal night, reviews the abbreviated setlist, and breaks down the escalating fan refund demands on today’s episode of the Metal Breakdown Daily! Stream the full broadcast natively inside the free Loaded Radio App on Apple iOS and Google Play.

IRON MAIDEN: PARIS BLACKOUT PRODUCTION MATRIX

Mid Song Shutdown: The Poetic Irony of 2 Minutes to Midnight

Everything was tracking beautifully for Iron Maiden’s lone, highly specialized stop at the Paris La Défense Arena. Sourced as a milestone celebration of the group’s five-decade dominance, the band had carefully selected the massive indoor covered stadium specifically to optimize their state-of-the-art production matrices and lighting visuals.

To ensure a flawless aesthetic layout for the multi-million dollar camera crews filming the upcoming Run For Your Lives feature film, the band implemented a strict phone-free standing area. Fans entering the pit floor had their devices sealed inside lockable Yondr storage pouches upon arrival.

The band burst onto the stage at 8:50 PM, ripping through early catalog anthems like “Murders in the Rue Morgue” and “Wrathchild” to an ecstatic, packed house. However, less than an hour into the blistering set, absolute logistical chaos struck.

In a moment of staggering poetic irony, just as the heavy metal legends launched into the final chorus of their 1984 hit single “2 Minutes to Midnight”—a track famously featured on the Powerslave album—the entire arena’s power grid instantaneously collapsed.

No sound, no light, no video walls. The largest indoor stadium in Europe went entirely dead in an instant. While the venue’s automated emergency backup generators kicked in roughly ten minutes later, they only possessed the electrical capability to power the auxiliary house service lights, leaving the massive stage equipment completely paralyzed and shrouded in a total blackout.

Heat Wave Exits and the Curfew Guillotine

As technical crews scrambled behind the scenes to track the root cause of the breakdown—which municipal logs confirmed was part of a broader regional power grid failure affecting the entire La Défense neighborhood—the atmosphere inside the arena turned progressively hostile. Paris was simultaneously locked in a severe summer heat wave. With the main electrical matrix severed, the arena’s heavy industrial air conditioning units remained dead for an extended period, causing the indoor temperatures to skyrocket rapidly.

While the audience initially kept spirits high by chanting and clapping in the dark to coax the band back to the stage, the crushing heat and the complete lack of digital communication due to the locked Yondr pouches caused crowd patience to wear thin. According to regional European fan club reports, a significant portion of spectators voluntarily evacuated the arena early, entirely unsure if the electrical infrastructure could even be salvaged.

Recommended – Iron Maiden Albums Ranked From Worst to Best: The Definitive 17-Album Verdict

Bruce Dickinson Blasts Venue Limits as Encores Are Banned

A full hour after the initial crash, the main electrical systems were finally reinitialized, allowing Iron Maiden to valiantly step back onto the stage to resume the performance with “Rime of the Ancient Mariner”. While witnesses noted the band appeared remarkably motivated and delivered an incredibly aggressive performance to compensate for the delay, the clock ultimately defeated them.

Frontman Bruce Dickinson was left with the frustrating task of delivering an emergency announcement over the PA. Because of the extensive 60-minute delay, the concert collided directly with the city’s unyielding 11:30 PM municipal curfew. Local authorities strictly forbade the venue from extending the timeline, dropping a curfew guillotine that forced the band to bypass their signature three-song encore block entirely.

As a result, thousands of traveling metalheads were completely denied hearing the tour’s most anticipated closing tracks:

• “Aces High”
• “Fear of the Dark”
• “Wasted Years”

Dickinson did not hide his profound irritation on stage, making a blunt, highly public jab over the microphones indicating his explicit preference for the legendary, rival Paris venue, Bercy.

Social media networks have since exploded with a mix of fury and intense debate. While many fans praised the band’s resilience in returning to play under surreal conditions, a massive faction of international ticket holders—many who traveled from as far as Romania and spent thousands of dollars to attend the film shoot—are actively demanding partial ticket refunds and questioning why the band didn’t modify the setlist to prioritize the epic encore tracks once time became critical.

Check This Out – 13 Perfect Metal Albums With Zero Skips

FAQ: Iron Maiden Paris Blackout & Setlist Fallout

Will Iron Maiden fans receive refunds for the shortened Paris concert? Neither the band’s management nor the promoters at Paris La Défense Arena have officially confirmed a formal refund policy, though online demands from international fan networks continue to mount over the missing encore set.

Why didn’t Iron Maiden just skip other tracks to play the encore? Because the entire performance was being tracked, recorded, and strictly time-managed for a highly specific live tour film sequence, altering the core structural sequence of the set mid-show was deemed impossible by production coordinators.

Did the power outage ruin the upcoming ‘Run For Your Lives’ concert movie? Insiders speculate production crews may now be forced to capture substitute live footage at upcoming European tour stops—such as Lyon or Antwerp—to patch the missing multi-cam sequences lost during the Paris blackout.

Also – Iron Maiden’s Bruce Dickinson: 13 Essential Facts About the Man Who Saved the Beast

TL;DR

• The Interruption: Iron Maiden’s June 22 Paris concert was derailed by a massive, hour-long regional power outage that hit mid-song. Blabbermouth
• The Poetic Cue: The blackout struck the 40,000-capacity venue precisely during the performance of the classic track “2 Minutes to Midnight”. Blabbermouth
• The Curfew Casualty: Due to a hard 11:30 PM venue curfew, the metal legends were banned from playing their iconic encores, including “Aces High” and “Fear of the Dark”. Blabbermouth
• The Film Snag: The disaster severely complicated production for the band’s official Run For Your Lives 50th-anniversary concert film.

Were you one of the 40,000 fans locked in the pit using Yondr pouches when the lights went out in Paris last night? Do you think municipal authorities were completely out of line for forcing the 11:30 PM curfew onto a historic rock icon, or should the venue have had better backup generators to save the show film?

Sound off with your personal concert stories, refund debates, and thoughts in the comments section below!

The post Iron Maiden Paris Concert Cut Short Following Catastrophic City Wide Power Outage During Live Tour Filming appeared first on Loaded Radio.

Greek black metal heretics Heretic Cult Redeemer have unveiled two new songs “To Rust, We Glorify” and “The Wondrous Strand Of Time”. Both will appear on the band’s forthcoming studio record In Oculum Chaos, to be released by Serpent Sun Records (CD/LP/Digital) on July 24th, 2026.
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