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.
Welcome to Prog‘s brand new Tracks Of The Week! This week we’ve got six more new and diverse slices of progressively inclined music for you to enjoy.
The return of math rockers a-tota-so and their new single Death Rattle Soaper, ran out triumphant last week, well done guys! A very respectable second place to Brighton prog metal trio Redshift, with Haken coming in third.
The premise is simple – we’ve collated a batch of new releases by bands falling under the progressive umbrella, and collated them together in one post for you – makes it so much easier than having to dip in and out of various individual posts, doesn’t it?
The idea is to watch the videos (or listen if it’s a stream), enjoy (or not) and also to vote for your favourite in the voting form at the bottom of this post. Couldn’t be easier, could it? We’ll be bringing you Tracks Of The Week, as the title implies, each week. Next week we’ll update you with this week’s winner and present a host of new prog music for you to enjoy.
If you’re a band and you want to be featured in Prog‘s Tracks Of The Week, send your video (as a YouTube link) or track embed, band photo and biog to us here.
NORTH SEA ECHOES – ENJOY THE VIEW
North Sea Echoes is the Fates Warning offshoot featuring guitarist Jim Matheos and vocalist Ray Alder. Musically, the band’s 2024 debut, Really Good Terrible Things, steered a different course from Fates, dipping into more atmospheric post-rock. Second album, How To Cast A Shadow, which is out through Metal Blade on September 24, bridges the gap between the two.
“This record is a bit heavier, with several more songs featuring real drums, played by Dennis Leeflang,” explains Matheos. “It wasn‘t necessarily intentional or planned, just the way things shaped up and how they emerged this time.”
“[A track like] I‘ll Leave A Light On is much heavier than anything on Really Good Terrible Things,” adds Alder. “It has a darker, melancholic feel that fits well on this album. I loosely based the lyrics on a character from my favourite sci-fi series. I won’t say which, but they do use the quote ’out there in the black.‘”
ARTHUR BROWN – NATURE
Even at 83-years old, there’s a sprightly feel to Arthur Brown’s new single, Nature. You can almost hear the twinkle in the God Of Hellfire’s eye, even. Nature is also the title track of Brown’s upcoming album, which is released through Prophecy Productions on September 4.
“This is a time of confusion and choice”, muses Brown. “Deep inside us is a consciousness, which is the basis of everything. Can we find a way to know ourselves as being it? At the moment all our social structures, our laws, education system, everything in our culture are no longer using the parts of our brain that can care for the world in its totality. From this comes our discomfort in our living. All our problems arise from this dualistic world image. We need to find a way to stand before this ‘consciousness’ and drop all our current ‘answers’.”
CINDER WELL – BEYOND THE PALE
Fans of Mackenzie Crook’s recent and quite excellent TV series Small Prophets will recognise the name Cinder Well, as she provided the theme tune, in keeping with the acid folk musical vibe that Crook is clearly a fan of and features in much of his work. LA-based songwriter, composer, and multi-instrumentalist Amelia Baker is the face behind Cinder Well, and she releases her new album, A Blooming Body, through Hen House Studios on July 17, from which comes Beyond The Pale.
“A hangover, a break-up, a migraine, a confessional, this song features the legendary Greg Cohen (Tom Waits, John Zorn) on bass, alongside my dear friend Phillip Rogers (Hayley Hendrickx) on drums,” says Baker. “The music video concept came to me in a dream, and as I relayed it aloud in the morning, I figured it was weird enough to actually try. Thanks to Cheech for making the video come to life, and for running around Los Angeles carrying a box full of water with me.”
OUTRUN THE SUNLIGHT – PROTECTOR
US prog metal quintet Outrun The Sunlight return with a brand new single, Protector, which the band are calling “the beginning of a new era” for the band. It certainly packs in a lot into its seven minutes and twenty-one seconds, covering quite a few musical bases, from atmospheric prog rock to no-nonsense metalcore assault, touching on most bases in between. Some of the more aggressive vocals might be a bit much for those with more sensitive ears, but we’re digging the sound.
“The song explores themes of resilience, responsibility, and becoming a source of strength for others during difficult times,” the band say. “Musically, it draws from progressive metal, post-rock, and modern metalcore, resulting in what we believe is our most focused and emotionally direct material to date.”
ALEX HENRY FOSTER – SPRINGTIME
Canadian musician Alex Henry Foster has shared a video for their brand-new single, Springtime. It’s the first taster for the band’s upcoming album, The Fragile Beauty (Of New Morning Hopes), which will be released through Hopeful Tragedy Records on October 23. Foster and his band will be touring Europe, but sadly not the UK, in November and December, before which he headlines Festival Taragalte, a nomadic music and culture festival held annually in the sand dunes of M’Hamihd El Ghizlane in Morocco.
“The song echoes the late Palestinian poet and writer Mahmoud Darwish’s references about the metaphoric nature of spring as the juxtaposing struggle between our personal faith in the profound longing for intangible evolution and the collective desire to experience a palpable long-awaited rebirth,” explains Foster.
UNTOLD STORIES – PALE HORIZONS
Untold Stories are a Bulgarian progressive and art rock band formed in late 2022. The band released their debut album, Wind And Memories, in early 2025, and Pale Horizons is a brand-new single that begins the cycle for the band’s second album, which they hope to release in Spring 2027. Like the debut, it will form part of a bigger conceptual piece. Watch this space..
“Pale Horizons is an atmospheric, introspective progressive/art-rock piece built on cold textures, evolving motifs and cinematic minimalism,” the band say. “The track explores themes of distance, memory and inner landscapes — those moments when the world feels stretched, distant and almost suspended in time.”
The Devil Is Real‘s Boleskine House Blues is a swaggering blast of goth-punk energy that balances occult mystique with irresistible rock ‘n’ roll momentum. Fueled by razor-sharp riffs, driving rhythms, and a chorus built for singalongs in dimly lit clubs, the track channels the spirit of classic acts like The Damned and Bauhaus while injecting a modern punch of adrenaline. King Dude and Justin Pittney craft an atmosphere that’s equal parts sinister and exhilarating, transforming the legendary mythology of Boleskine House into a hook-laden anthem drenched in attitude. Dark, infectious, and unapologetically fun, Boleskine House Blues feels destined to soundtrack the summer’s most delightfully wicked nights.
Fanny Alexandra Funeral (For The Girl I Was) Review
The song opens with a delicate piano, reaching deep into one’s soul. Soon after, the artist’s introspective voice emerges softly. At first, it may seem calm and gentle. However, the energy shifts dramatically around forty-five seconds in. The drums begin to beat more powerfully, creating a dynamic atmosphere. Distorted guitars join in, adding a syncopated rhythm that enhances the intensity. This moment encapsulates a surge of emotion.
As we transition back to the second verse, the rhythm picks up considerably. It almost inspires movement, blending nostalgia with a lively flow. This song articulates the artist’s desire for redemption. It highlights the struggle involved in letting go of a past self. The theme revolves around the necessity of change, even when one feels resistant to it.
The artist captures the internal conflict of transformation perfectly through her music. The contrasting moments of intimacy and energy reflect this emotional ebb and flow. Each section of the song showcases her artistic expression, which ranges from tender to powerful. This versatility reveals her strong personality, allowing for the creation of impactful music.
Funeral (For The Girl I Was) – Sound and Atmosphere
The expressive voice engages the listener, drawing them into her world. The rich instrumentation complements the emotional themes conveyed in the lyrics. With every note, the song feels like an exploration of personal growth and resilience. It represents the struggle of embracing new beginnings while mourning what has been lost.
Throughout the composition, one can sense a constant battle between vulnerability and strength. It invites deep reflection on the nature of change and the pain that often accompanies it.
Funeral (For The Girl I Was) – Performance and Production
The artistry involved in marrying lyrics and music ensures an immersive listening experience.
The closing of the song provides a sense of resolution. It embodies acceptance of one’s past while looking toward a hopeful future. The emotional resonance allows the audience to leave with a feeling of empowerment. Fanny Alexandra has crafted a piece that highlights the intricacies of human emotions.
The balance of emotional intensity and rhythmic energy ensures that this track will not be easily forgotten. As listeners venture through the labyrinth of emotions, they are left inspired by her raw honesty.
The mini EP opens with “Hephaestus,” a track that greets the listener with a relentless rhythm and the dark, gothic atmosphere that defines Hollow Shift’s world. Jessica Bell’s ethereal vocals create a hypnotic aura, wrapping the song in a cybernetic melodrama that recalls the foggy tension of Carpenter’s cinema. Her voice feels distant and magnetic at the same time, as if it were guiding the listener through a machine-lit ritual.
As the song progresses, the instrumentation rises and swells, echoing themes of conflict and inner struggle. The pulse of the track becomes a driving force, pushing the listener deeper into its tension. Each layer adds weight, urgency, and atmosphere. Bell’s vocal delivery carries a haunting quality that perfectly complements the dense instrumentation underneath.
After “Hephaestus,” the journey continues with “Nothing Dies Quietly,” a song that begins with an almost tribal rhythm before a steady kick enters and gives the piece a subtle techno pulse. The voice, reverberated and oracular, seems to arrive from another dimension. It pulls the listener once again into the fascinating darkness of this sonic project, where the body wants to move while the mind drifts somewhere stranger.
“Nothing Dies Quietly” feels like a song to dance to with the lights turned off. It has that rare ability to be physical and spectral at the same time. The beat keeps the track alive, but the atmosphere keeps it mysterious. Hollow Shift manages to create a space where darkness does not feel static. It breathes, moves, and slowly surrounds you.
The third track, “Frequencies Will Stumble,” opens with keys that sound vintage and futuristic at once. The voice enters in a fade, almost like a signal becoming clearer through static, before the groove arrives with a slower but deeply engaging cadence. There is something sinister in the way the vocals sometimes descend, as if pulling the listener down into a shadowed interior space.
What makes “Frequencies Will Stumble” especially interesting is the contrast between its darker passages and those moments where the melody seems to reach toward something more hopeful. The song does not simply remain in the abyss. It moves through it. This tension gives the track emotional depth and once again confirms the strong artistic vision behind Hollow Shift.
WAR – Sound and Atmosphere
To fully appreciate “WAR,” it is also important to consider two previous singles: “Hades” and “Without Darkness Souls Won’t Move.” “Hades” plunges listeners into the band’s core vibes, serving as a necessary introduction to their ritualistic sound. This track carries an emotional weight that helps establish the themes running through the EP.
In contrast, “Without Darkness Souls Won’t Move” introduces a slightly more ethereal quality without losing the band’s fascination with the abyss. The song offers a more introspective perspective, with dreamy overtones that guide the listener through the murky depths of human experience. Its atmospheric elements, combined with Bell’s voice, evoke vivid and cathartic visions.
The arrangements crafted by Alexander Zamparas are a crucial aspect of the EP’s impact. His vision aligns perfectly with the band’s overall aesthetic, revealing the details that elevate the music beyond simple darkwave atmosphere. The production quality is impressive, with each layer carefully placed to enhance the experience. The instrumentation supports the vocals but also stands strongly on its own.
As “WAR” unfolds, it shows a powerful balance between intensity and introspection. Hollow Shift blend urgent rhythms, haunting melodies, and cinematic textures with confidence. Each song contributes to a cohesive narrative that explores conflict, identity, darkness, and transformation.
WAR – Performance and Production
Listening to this mini EP feels like entering a carefully built nocturnal space. Every track invites the audience to confront emotion without losing its physical energy. The music remains engaging, dynamic, and atmospheric, but it also leaves room for reflection. Hollow Shift understand how to create tension without overcrowding the songs.
“WAR” is a fantastic collection from Hollow Shift. Their blend of gothic influences, emotional intensity, electronic pulse, and expert musicianship creates a listening experience that feels immersive. This is a project shaped by a clear artistic vision.
Overall, this EP confirms the potential of the band and marks another significant step in their growing catalog. Anyone seeking music that invites exploration into the darker facets of existence should listen to “WAR.”
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.
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