Review: Jayler – Voices Unheard Silver Lining Music – May 29th, 2026 Reviewer – Grant Foster This West Midlands four piece’s recent profile is highly impressive. A rake of high profile support slots in the U.K. and abroad that most young rock outfits would give their eye teeth for. They certainly look the part. Snake skin […]
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“Rising like a crazy balloon”
It’s not one of the more celebrated tracks from the Dio era of Rainbow but I really enjoy Snake Charmer from the first album of the era, 1975’s Ritchie Blackmore’s Rainbow.
A funky, wah-fuelled Hendrix-y rocker, Snake Charmer is no great shakes in terms of riffs and songwriting but it has a joyous energy and wonderful performances. In particular, bassist Craig Gruber excels. There’s a palpable chemistry as his lively, roaming basslines power a dynamic. expressive guitar solo from Blackmore.
At the time I got into Ritchie Blackmore’s Rainbow, I was listening to loads of old Skynyrd and early Whitesnake and songs like Snake Charmer ensured that Rainbow fit right in with that rootsy, sunny mood. The album’s more fantastical and weighty tracks might be the standouts but Snake Charmer is a crucial part of the Rainbow debut’s eclectic and colourful charm.
What usually draws me to an unfamiliar band is an association with a familiar one, a novel concept, a superb album cover, or any combination of the three.1 For Seattle, Washington’s Telomyras and their debut record Duskfall, however, it was their promo’s “For Fans Of” list: Sanctuary, Metallica, Ignea, Crimson Glory, Death, and Seven Spires. This list is thorough War-Hall bait. Though I worried that Telomyras were doing what I normally do while cooking dinner—throw everything I love into it, flavor profiling be damned—I nonetheless eagerly snatched up Duskfall. “What could this possibly sound like?” I thought. Symphonic death thrash? Theater kid extreme prog? Hot garbage? Regardless, Telomyras promises “a unique blend of heavy metal and extreme metal” led by the operatically-trained Sammie Gorham. For me, Duskfall’s success depended on whether Telomyras could harness their multitudinous influences into a cohesive package or not. So, did they?
If you look for it, Telomyras’ FFO list isn’t wholly inappropriate to Duskfall. For starters, there’s a muscular power-thrash vein running through Duskfall, imbuing “Burden” and “Reckoning” with early-Metallica/Sanctuary aggression. Crimson Glory’s influence is primarily felt in the guitar leads (“The Altar”) and overall prog-power approach, but the kick patterns of “Harbinger (…The Eternal Night)” feel straight out of Transcendence, while the Death namedrop seems to arise from Gorham’s cavewoman howls on “Reckoning.” Including Ignea and Seven Spires is false advertising, however. There’s nothing symphonic about Telomyras, and though Gorham performs the beauty-and-beast vocal dynamic solo like the other two acts, her darker tone sounds more akin to Tower’s Sarabeth Linden than the other acts. When Telomyras are at their best (“Attrition,” “The Altar”), Duskfall is an enjoyably thrashy, powerful, and darkly atmospheric exercise in extreme-leaning heavy metal.
Though Telomyras are a talented bunch, Duskfall suffers from chemistry issues. In the guitar department, Telomyras can crush some respectable riffing by way of half-time Metallica chugs (“Witch”), speedy palm-mutes (“Burden”), and bruising thrash chops (“Attrition”). The solos on Duskfall are exquisite; they’re not especially flashy, but they bring a frantic energy to “Burden” and an 80’s power ballad pathos to “Duskfall” without resorting to basic Boomer Bends either. However, problems arise with how the instrumentals fail to mesh with the vocals. Gorham’s cleans sound off production- and performance-wise, sounding much muddier than everything else and at times out of sync with the rest of the band, almost like a karaoke take of itself (“Begin the End”). She also frequently leans flat, which stands out due to the aforementioned production issues and are especially evident during the layered vocal segments (“Reckoning,” “Attrition”). Interestingly, Gorham’s harsh vocals don’t have these issues at all, making Telomyras’ more extreme-influenced cuts like “Harbinger (…The Eternal Night)” and “Attrition” Duskfall’s smoothest cuts. Otherwise, Duskfall sounds like a band not exactly on the same page.
The real trouble with Duskfall is, somehow, that Telomyras play way too close to their chest. Telomyras can riff, but much of Duskfall is stuck in a mid-paced, meat-and-potatoes heavy metal mode playing out stock riffs. By the time “Begin the End” rolls around, I’ve heard everything simply too many times. Further production issues mute Duskfall’s potential, leaving Telomyras’ low end dull and high end slathered in copious gain. But the sad part of Duskfall is that it’s just too reserved to succeed in the genre. There are few soaring hooks, no truly nasty solos, and the only drastic tonal shift—”Duskfall” bringing in the whole band for the climax—feels jarring and unearned. There’s nothing wrong with honest pocket playing, but when the drums, riffs, solos, and vocals are all in the pocket, that pocket gets cramped and leaves the listener without a hook to grasp. It leaves Duskfall feeling fairly banal, which is just disappointing considering the evident talent behind it and the promise of Telomyras’ influences.
I was initially concerned that Telomyras would be balancing too many ideas, but, conversely, Duskfall doesn’t do enough to stand out. Duskfall too easily slips into the background while listening, and precious few moments stick in my memory afterwards. What kills me about this is that Telomyras are evidently better musicians than what’s being played on Duskfall. Better production would’ve certainly helped, but no amount of mixing can redeem songwriting without audacity. Hopefully, Duskfall is only an awkward first step for a band still getting their footing, as its best moments prove that Telomyras possess a serious upside. Here’s to hoping dawn breaks on that potential next time.
Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: facebook.com/Telomyras | telomyras.bandcamp.com
Releases Worldwide: May 8th, 2026
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Pyramid Theorem begin their Open Hearts Live Tour across Ontario and Quebec this month, as the Toronto based progressive hard rockers look to build on the success of their recent single with Dream Theater’s James LaBrie.
For Pyramid Theorem guitarist Sam Ermellini, the synergy with James LaBrie truly felt destined. “We’re massive Dream Theater fans,” Ermellini said, “and James’s distinctive vocal style and their incredible discography have always resonated deeply with us.
“The connection actually materialised through our bassist, Christian Di Mambro, who also plays with Falset. Their drummer? None other than Chance LaBrie.
“It turns out James shares our love for bands like Rush, Led Zeppelin, and Ozzy, to name a few. It was a huge honour when he even came to see Christian, Vito, and me perform our Rush tribute on National Rush Day (December 21st).
“Having one of your heroes in the crowd definitely adds a unique pressure. We’re incredibly grateful that James took the time to contribute to our music.”
Pyramid Theorem began pre-production of Open Hearts at Christian’s jam space, affectionately dubbed The Den Of Evil, where they meticulously ironed out all the arrangements and structures. “Then, we headed into Strada XR Studios in Mississauga for an intensive week of recording,” Ermellini said. “A huge shout-out to Darius Szczepaniak, our engineer, who truly helped us capture some absolutely ripping tones from that Marshall and EVH.”
Prog-rock may be considered a niche genre these days, but for Sam Ermellini, the inspiration for the drive to tackle the genre and infuse it with his own unique spin began with Rush.
“They are, unequivocally, my favourite prog-rock band of all time, and they naturally drew me into the genre’s sound,” Sam says. “I believe Pyramid Theorem effectively blends our diverse musical influences. Our aim is to deliver that classic, old-school prog sound with a modern Metal edge. That’s our signature spin.”
Open Hearts is a track that is sure to spark people’s interest to delve deeper into Pyramid Theorem, and Sam is excited to see people “explore our evolution as a band over the years, and to see where our journey has taken us.”
The tour around Central Canada begins on 29 May 2026, and Open Hearts is a song that you can “definitely expect to hear live on our upcoming Canadian Tour,” Sam says. “We’re excited to share it.”
As for the future, Pyramid Theorem will have new music, “possibly around the fall,” and more live shows are promised. “Our main goal is to be out there playing live as much as possible,” Sam says.
“It’s hard to say what the future holds, but I can certainly say that the boys and I would love to cut another song with James. We’ll just have to wait and see what opportunities arise.”
You can fond out more about Pyramid Theorem at pyramidtheorem.ca.
London’s indie rock scene in the mid 2010s produced a wave of guitar driven bands, and among them was The Big Moon, a group that quickly built a reputation for sharp songwriting and a tightly unified sound. Formed in London, England, the band came together with Juliette Jackson on lead vocals and guitar, Soph Nathan on guitar and vocals, Celia Archer on bass, and Fern Ford on drums. Their early momentum came from a series of singles that circulated quickly through the UK music press and radio, establishing them as a band to watch before they had even released a
The post Complete List Of Big Moon Songs From A to Z appeared first on ClassicRockHistory.com.
New band features Faust (Djevel, ex-Emperor), The Magus (ex-Necromantia, The Magus), George Emmanuel (Lucifer’s Child, ex-Rotting Christ) & Tas Danazoglou (Friends of Hell, ex-Electric Wizard)
Debut EP “From Hell” to be released in September via The Circle Music and Hell’s Fire Records
HEXBANE, a new band that features veterans of the scene, has unveiled the artwork and first details of its debut EP “From Hell”, which is planned for release in September via The Circle Music and Hell’s Fire Records.
The band was born out of nostalgia and admiration for the primal days of black metal. The band’s ethos is simple: to create pure, unadulterated proto-black metal that honours the nostalgia and aggression of the era that started it all.
The band comprises a monumental lineup of extreme metal veterans:
The band previously said: “HEXBANE is a band born out of nostalgia and admiration of the primal black metal days, where pioneer bands created and established the genre. So expect nothing more and nothing less than pure proto- black metal in music and spirit.”
Pre-orders for the 7″ EP will start on 6.6.2026. Further details regarding the release will be unveiled in the coming months.
Hexbane online
Facebook: https://www.facebook.com/profile.php?id=61586053254779
The Circle Music online
Website: https://thecirclemusic.gr/
Linktree: https://linktr.ee/thecirclemusic
Facebook: https://www.facebook.com/The-Circle-Music-109161897443413/
Instagram: https://www.instagram.com/the_circle_music/
Bandcamp: https://thecirclemusicfamily.bandcamp.com/
Hell’s Fire Records
Website: https://www.hellsfire-records.com/
Instagram: https://www.instagram.com/hellsfire_records_official/
Facebook: https://www.facebook.com/HellsFireRecords
Source: 3nation
