Today, German black metallers Antrisch stream the entirety of their highly anticipated second album, Expedition III: Renitenzpfad, at the Black Metal Promotion YouTube channel. Set for international release on March 27th via AOP Records. Hear Antrisch‘s Expedition III: Renitenzpfad in its entirety  HERE. Antrisch (Austro-Bavarian term for eerie or uncanny) are a blend of different styles of black metal mingled with portions of doom, djent, and […]

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Thy Sanatorium have relaunched their official YouTube channel and unveiled new material ahead of the release of their self-titled debut album, Thy Sanatorium. Now live at YouTube.com/@ThySanatorium, the refreshed channel features the brand-new song “Remnant” alongside newly mixed video releases for “Torment”, “The End Consume”, and “No Flag Left To Burn”. All were mastered by Colin Davis […]

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Order The New Album HERE! “I can’t recall the last time, since the 2000s, that I’ve heard a record in this genre that feels this fresh, energetic, punchy, catchy, and just plain fun. Absolutely spectacular!” ROCK HARD “Is there such a thing as a trophy for optimism? If so, I’d argue it should go to Power […]

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Comprising members of Horrendous and Crypt Sermon, back in ye strange times of 2021, Philadelphia’s The Silver dropped an impactful debut platter upon the unsuspecting underground masses. Ward of Roses struck a powerful and unexpected blow, welding atmospheric goth, post, black, and progressive elements into a biting and melodramatic slab of extreme metal. Time flies, and nearly five years later, The Silver make an anticipated return through sophomore album, Looking Glass of Hymnal Blue. Already boasting a unique, versatile and imposing formula, rather than dramatically reinventing their sound, Looking Glass of Hymnal Blue finds The Silver tightening the nuts and bolts of their songwriting to forge a confident continuation and subtle evolution of Ward of Roses.

Balance is the key to unlocking The Silver’s songwriting power and stirring dynamics. A wicked melting pot of gothy atmosphere, darkly sparkling melodicism, and stormy theatricality, Looking Glass of Hymnal Blue grounds these elements with anguished extremes, the harrowing howls of vocalist Nick Duchemin, and a hyperactive barrage of blast beats, frantic, blackened riffage, and steely aggression. This enticing, ying-yanging combination is expertly crafted, especially when combined with progressive arrangements that flex The Silver’s strengths and unorthodox charms with interesting, complex musicianship and memorable hooks. Shrouded in an atmosphere of icy melancholy, Looking Glass of Hymnal Blue’s wrenching emotional resonance lends further substance to the dense material. Notably, the improved clean vocal lines play a more integral role, featuring an emotive, addictive punch soaring through the album’s jagged, bleaker terrain.

The opening title track sets the tone, unleashing visceral bursts of turbulent axework and frantic rhythms, as dueling harsh and clean vocals consolidate The Silver’s mastery of contrast, including frosty beauty and beast dynamics. Some almost Opeth-esque bluesy guitar work and a beautifully delivered clean vocal passage cap off a stellar introduction. Longer form epics form the bulk of the album, as evidenced on the album’s lengthiest piece, the stunning, nearly nine-minute-long “Two Candles.” The Silver handle the weighty composition with crafty skill. Urgent, savage ebbs smoothly intermingle with soaring cleans, mellow passages, and colorful guitar work. It’s an ambitious, frequently gripping journey, encapsulating The Silver’s strengths and individuality in one momentous epic. Elsewhere, The Silver’s keen balancing act also shines on shorter, punchier songs, such as the aggressive, percussive-heavy surge and pristine melodics of “Memorias,” or violently thrashing assault and blackened intensity of “Tendrils.”

Ward of Roses possessed a distinct freshness and raw delivery complimenting its harsher realms and melodrama. Naturally, the elements of surprise are tempered second time around, Looking Glass of Hymnal Blue only marginally sacrifices the rawer edge of the debut, compensating through a stronger, more confident melodic presence and tighter songcraft. The Silver’s proggy inclinations come to the fore, deviating from conventional writing and maintaining a rich infectiousness, where hooks bore into the soul and lodge in the memory bank. Musically, Looking Glass of Hymnal Blue is another ambitious, genre-splicing beast, straddling post, black, prog, and doomy realms with aplomb, maintaining cohesion, beefing up the technicality and rippling guitar fireworks, and pushing forward Matt Knox’s confident, compelling clean vocal melodies. This may not work for all listeners, depending on tolerance for Knox’s vocal style, which generally dips less into the spoken word theatrics that were occasionally a stumbling block on Ward of Roses. Special mention also to the robust rhythm section; as plump basslines, pulsating rhythms, and intricate drum patterns demand attention.

Only the shorter, bluesy later album cut “…Twilight of Love” falls short of the hefty standards of its counterparts, though it is a solid song regardless, feeding into the colossal power, violent throes, and affecting melodies of closer “My Lone Dark Lantern.” Looking Glass of Hymnal Blue adds intriguing twists and layers to an already cool formula, largely levelling up from the sophisticated, exciting promise of their debut. Crafting another accomplished, beautifully produced album, The Silver avoid the dreaded sophomore slump, taking minor creative risks while both expanding and consolidating their unique sound. Taking their time with this second opus, the payoff is grand, and The Silver’s welcome return suggests this project is here for the long haul.

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Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Gilead Media
Websites: Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

The post The Silver – Looking Glass of Hymnal Blue Review appeared first on Angry Metal Guy.

Terry Dark – Terry Dark’s Caravel Review

Terry Dark introduces “Terry Dark’s Caravel” with a confident and defined direction.

The album opens with a powerful musical journey. The album begins with “Lift Off,” a visionary track pulsing with psychedelic energy.

The second track, “Spoken Part 1,” shifts tone to a more narrative form. Terry Dark chooses spoken word over singing, delivering a sci-fi poem with crystalline clarity. This moment reveals his storytelling strength and willingness to explore unconventional structures. His voice floats confidently, painting vivid images of a futuristic world.

“Marcus’ Dream” slows the pace with a seventies-inspired ballad. The song drifts like a stellar mirage, with warm electric piano and gentle guitar flourishes. Its mood balances melancholy and hopeful longing perfectly. The composition honors classic rock traditions while maintaining a contemporary edge.

“McKewans Advert” injects funk rhythms and sly bass lines into the album’s flow. Its sparse arrangement allows the occasional spoken vocals to punctuate the groove. This track proves Terry Dark’s ability to blend genres. The minimalist style keeps the listener intrigued throughout.

“In Fortune’s Hand” returns to emotional balladry that tugs at the soul. The singer’s high, clear timbre conveys vulnerability and strength simultaneously. Subtle instrumental textures support his voice without overwhelming it. The song embodies the album’s heartfelt core with sophisticated songwriting.

The closing track, “We Are Not Alone,” unleashes atmospheric keys that recall a space odyssey. Rich synthesizers summon a comforting, vast cosmic presence. Gentle progressions and melodic lines remind me of Genesis at their most expansive. The lyrics reflect a hopeful perspective on shared existence in the universe.

Terry Dark crafts immersive music through his unique vision and emotional depth. The production balances vintage influences with modern soundscapes. Each track offers a distinct emotional or sonic perspective yet contributes to an overall cohesive experience. This album demands attentive listening and rewards curiosity.

Terry Dark’s Caravel is Terry Dark’s Album Out Now!

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Solid!

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Terry Dark, an enigmatic, soulful & charming vocalist; best known for his work with rock band, Jameson Raid. The album, Caravel, has taken six years to put together using many quality musicians from the Netherlands & Germany to create a new, constant & bright soundscape.

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Find Terry Dark Here:

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The post Terry Dark’s Caravel is Terry Dark’s Album Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

German heavy metal band SONS OF ETERNITY celebrate the release of their new studio album “Human Beast”, out now via Massacre Records, with the unveiling of a brand new official video for the track “Sons Of Eternity”. ORDER / STREAM THE ALBUM HERE: https://massacre-records.com/sonsofeternity_humanbeast_sale/ WATCH THE OFFICIAL VIDEO HERE: https://youtu.be/-lKGHTYmwME Following the previously released singles “Forever” and “When Fantasy Dies”, which introduced both the high-energy […]

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Interview by Kris Peters Known for their fiery fusion of anthemic modern metal and powerful melodic rock, Sweden’s SELF DECEPTION have shared stages with the likes of Electric Callboy, Danko Jones, and Adept since their 2009 debut, while racking up millions of streams and video views – including their viral 2022 hit, Fight Fire With […]

At the tail edge of 2017, Kepal emerged—then seemingly vanished without a trace. Nine years later, it resurfaces in an act of insurrection, punched awake by reality. This new chapter brings back the original collaborators: Nurba (vocals), Bani (guitar), Java (bass), and Variant JP (drums). Rising from the shattered grave of thrash, Profan unleashes their […]

Find out how much you really know about the Boss. Continue reading…

Live Forever is a live album, but it also feels like a check-in from the road, a way of hearing Hurray For The Riff Raff’s songs in a shared space. Alynda Segarra has long written with one foot in folk tradition and the other in a tougher, more restless world, where memory, loss, survival, and movement blur together. That makes Car Wheels on a Gravel Road a useful earlier marker, not because the records sound alike in every respect, but because Lucinda Williams showed how roots music could carry intimate detail, regional texture, and emotional wear without losing its bite.