Every morning I awake to see the newborn day.
Seewis Oberschmitten, #Graubünden #Schweiz
#Hunderunde #lyrics #hammerfall #streetphotography
#hammerfall
First (work) week of January is #Hammerfall week for me.
Still don't know why, but my first year of #CES I've had them on heavy rotation. So even if I can't be there, this habit goes on.
#TheMetalDogArticleList
#MetalInjection
HAMMERFALL Announces North American Tour With EVERGREY & ELVENKING
#HAMMERFALL #EVERGREY #AnnouncesNorthAmericanTourWith #tour #EP #announcement #MetalInjection #metal #music
@BarbarossaTM now someone just has to tell #Hammerfall and see if they are good enough sports to do it during a jam session and send it to you.
#TheMetalDogArticleList
#MetalInjection
HAMMERFALL Announces North American Tour With EVERGREY & ELVENKING
#HAMMERFALL #EVERGREY #AnnouncesNorthAmericanTourWith #tour #EP #announcement #MetalInjection #metal #music
#TheMetalDogArticleList
#BraveWords
HAMMERFALL Announces Freedom World Crusade North America Tour For September / October 2026; EVERGREY And ELVENKING Confirmed As Support
#HAMMERFALL #EVERGREY #AnnouncesFreedomWorldCrusadeNorthAmericaTourForSeptember #October #tour #EP #announcement #BraveWords #metal #music
HammerFall announce 2026 North American tour with Evergrey and Elvenking:
#TheMetalDogArticleList
#Blabbermouth
HAMMERFALL Announces Summer/Fall 2026 North American Tour With EVERGREY And ELVENKING
#HAMMERFALL #EVERGREY #AnnouncesSummer #Fall #tour #EP #announcement #Blabbermouth #metal #music
Bloodbound – Field of Swords Review
By Baguette of Bodom
Bloodbound has always been a band with a confusing identity. These Swedes lit up a storm with debut Nosferatu in 2006, an underappreciated heavy/power gem fusing the best of Iron Maiden’s gallops with the hooks of Helloween and HammerFall. The golden pipes of Urban Breed (ex-Tad Morose) were the cherry on top. However, the curse of unstable lineups would strike. Urban Breed would leave for one album, rejoin for the odd-but-good, progpower-meets-Kalmah melodeath sound of Tabula Rasa, and promptly leave again. A decade of struggles followed, ranging from watered-down HammerFall to withered Sabaton to simply tepid heavy metal. 2021’s Creatures of the Dark Realm was a surprising resurgence, drifting Bloodbound more towards saccharine Europower. This brings us to newcomer Field of Swords. Where does it fit into this unconventional discography?
Field of Swords doubles down on Bloodbound’s recent melodic adventures. The double bass drumming of ’90s power metal is immediately recognizable, following in the steps of Stratovarius and HammerFall. The guitar work, too, has rejuvenated. Gone are almost all of the Sabatonisms that marred some of the band’s lowest points; here, the Olsson brothers’ rhythmic assault is simple but effective (“As Empires Fall,” “Born to Be King”), and its attitude carries the medieval fantasy spirit of [Luca Turilli(‘s) / Lione] Rhapsody [of Fire] minus the wank. The vocals of Patrik J. Selleby fit this style like a glove, his adapted performance being one of the strongest of his tenure thus far.
Bloodbound’s newfound breakneck pace and consistency are their greatest assets. The decision to go borderline sparkly on Field of Swords could have backfired, marking yet another sudden left turn in a discography full of them. Instead, it feels like a natural development from the past three albums. While the album on the surface is written like standard ’90s–’00s melodic power metal (“Field of Swords”), the execution of classic power chord choruses leading into blazing solos (“The Code of Warriors,” “Forged in Iron”) is surprisingly fiery and fun. Most importantly, Field of Swords forgoes balladry and prioritizes speed for a lion’s share of its 45-minute runtime. The record has a unified image unusual of Bloodbound. It’s not infallible—the unnecessary Sabaton sing-along stomp rears its head on the second half of “Pain and Glory”—but it is tightly-knit in a way I greatly appreciate.
As catchy as Field of Swords is, there are a few things preventing it from being a resounding success. For one, Bloodbound rely too much on one-note Battle Beastian disco synths. While Fredrik Bergh contributes plenty of pleasant backing bombast to the album as well, his main weapon of choice is sharp and high up in the mix, leading to fatigue on some otherwise strong choruses (“Defenders of Jerusalem,” “Light the Sky”). The band is still not immune to odd songwriting shifts either. In addition to the aforementioned “Pain and Glory” stumble, closing track “The Nine Crusades” features Unleash the Archers’ talented Brittney Slayes, only for her voice to drown under sappiness unfit for the record. Even so, the concoction here is potent. Cuts like “Land of the Brave” and “Light the Sky” are some of Bloodbound’s fastest and most energetic to date, and this sudden burst of frenzy is admirable of a veteran band.
For the first time in a while, Bloodbound’s sound has a true sense of direction. Field of Swords’ all-gas, no-brakes approach gives the record more urgency than they’ve had in forever, and both the songwriting and album flow greatly benefit in return. Despite some lingering issues, Field of Swords ends up being one of the better albums in the band’s catalog. Both Creatures of the Dark Realm and this album indicate the Europower-forward realignment continues to work in their favor. I can’t say I don’t still long for the days of Nosferatu, and Bloodbound could place a bit more faith in their strong guitar work and vocal lines, but whatever they’re doing is paying off once more. I can only hope this progress continues.
Rating: Good!
DR: N/A | Format Reviewed: Stream o’ Piss
Label: Napalm Records | Bandcamp
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 21st, 2025
#lucaTurillisLioneRhapsodyOfFire #2025 #30 #battleBeast #bloodbound #fieldOfSwords #hammerfall #helloween #ironMaiden #kalmah #napalmRecords #nov25 #powerMetal #review #reviews #sabaton #stratovarius #swedishMetal #tadMorose #unleashTheArchers
HammerFall en Teatro Coliseo: Con el martillo en alto invocando a los dioses del metal | vía #ZumbidoCL
#hammerfall #heavymetal #livereview #powermetal #teatrocoliseo #transistor
🔥 HammerFall ofrecerá 5 conciertos en enero presentando ‘Avenge The Fallen’
Toda la info en 👉 https://www.guitarcalavera.com/hammerfall-conciertos-enero-2026/
#HammerFall #HeavyMetal #MadnessLive #guitarcalavera #guitarcalaveramagazine
https://www.guitarcalavera.com/hammerfall-conciertos-enero-2026/?utm_medium=Guitar%20Calavera%20&fsp_sid=1437&utm_source=Mastodon%20&utm_campaign=hammerfall-conciertos-enero-2026%20
Review: Steel Arctus “Dreamruler”
Pablo Rumel
Release date: 28.11.2025
Steel Arctus is a Greek heavy metal band that merges the spirit of epic storytelling with the intensity of power and traditional heavy metal. Formed in 2020 by guitarist Thanasis “Nash” Gousis, the group draws inspiration from legends such as Manowar, Judas Priest, and Dio, combining mythological themes, heroic imagery, and sharp musicianship into a cohesive and cinematic sound.
REVIEW
If a song is titled Cry for Revenge, it cannot start with a gentle play of strings: Steel Arctus strikes with full force from the very first second, with riffs reminiscent of early Hammerfall—choppy, detailed at the end of each turn, and crowned by a short, sharp solo. Tasos Lazaris’s voice is exquisite, skillfully navigating between rough mid and high tones, especially in those hoarse phrases that recall Chris Boltendahl from Grave Digger, yet his versatility allows him to reach many different textures, making his performance a total asset to the record. Pay attention to the choral counterpoint in the final seconds, and you’ll understand why his inclusion is perfect.
Already showcasing their power, Steel Arctus now launches Defender of Steel with an epic-sounding synthesized intro, soon interrupted by pounding rhythms and well-blended 80s-style keyboards. The tempos are moderate, the choruses inspired, and while the theme repeats familiar imagery from heavy metal—high-pitched screams and swift transitions, it still radiates a metallic vibe and grandeur rarely heard in bands these days, ending with an inspired solo.
If the first song carried a European inspiration and the second an American one, the third defines their sound in a way that recalls the old Italian power metal greats, yet with its own identity. Under Minas Chatziminas’s command, the drums do not bulldoze everything with double bass, but instead rely on a controlled, versatile technique that enhances the rhythmic strength of Fate of the Beast, with choruses, counterpoints, and guitar riffs built through tremolo and palm-mute. Dreamruler returns to a calmer pace without losing its power and intensity, with greater progression and personality, standing as one of the record’s high points.
The fifth song, Wicked Lies, feels like the end of the first act. It’s calmer, with bass lines taking the lead and keyboard sounds that don’t quite convince, though its dramatic structure, full of crescendos between verses and lively sections, makes up for it, supported by solid solo work. The lead guitar throughout the album sounds fresh and technically competent, though never excessive, opting to blend into the arrangements rather than steal the spotlight.
Indeed, Fires of Death marks a reset in the record. It strays from traditional heavy structures and dives into progressive metal territory, full of sectional breaks, syncopated rhythms, and more fills in the bass lines. Mr. Lazaris’s vocal range sounds divine, with sustained highs and a superb vibrato technique. Some phrases feel forced, but that’s understandable since the track leans toward a theatrical, operatic tone.
Riding Through the Night showcases the band’s full potential: calm and fast sections, inspired choruses, daring brief phrasing intertwined with spiraling riffs, and sharper, faster solos. It encapsulates the entire album in one song and could easily serve as an entry point for new listeners.
Glory of the Hero isn’t the best opener. The bar remains high, with strong rhythmic interplay beneath the choruses and quick, effective guitar solos, though the neoprog-style keyboards at the beginning might puzzle listeners unfamiliar with the genre. For that reason, it works better as a dessert, wrapping up the feast these Greek bangers have prepared for us.
Will to Power may sound generic overall—from its title to the martial drumming and the heavy, groove-laden sections full of repetitive chords—but the vocal phrasing saves it from sinking. In a different mood comes Legend of the Warrior, the album’s longest track, divided into several arcs. It begins with clean, melancholic guitars, followed by emotional power chord sections, then returns to the clean parts. Synths accompany the slower moments with an 80s vibe, almost like a horror film. Though it may sound like a stretch, some riffs are reminiscent of the heavier parts of Radiohead’s Paranoid Android (4:03–4:29), yet rather than a quirk, it reminds us that the waters of metal are not closed and can indeed dialogue with other styles.
Onar—Greek for “dream”—is the end of the journey. Over a dreamy backdrop, we hear a wind instrument and slow acoustic arpeggios. It’s a two-minute piece, almost an epilogue, since the farewell begins in the previous track. It might have been merged with Legend, but as an artistic gesture, it works and does not feel out of place.
https://www.youtube.com/watch?v=WI4cvo8Ijwg
Conclusion
Steel Arctus delivers with “Dreamruler” a solid work, balanced between nostalgia and the search for identity. There is no room for filler or empty virtuosity, every track serves a purpose in the album’s sonic narrative. What in other bands might sound like mere repetition of classic heavy/power formulas becomes here a reaffirmation of style, with progressive risks and outstanding vocal performance. The only weak points lie in some synthesized passages or slightly off-key arrangements, yet the energy and compositional craft more than make up for them.
TheNwothm Score: 8.5/10
It doesn’t revolutionize the genre, but it honors it with conviction, elegance, and a power rarely found in today’s European metal.
Links
Bandcamp:https://steelarctus.bandcamp.com/
Facebook:https://www.facebook.com/steelarctus
Instagram:https://www.instagram.com/steel_arctus/
Label: No Remorse Records
#Dreamruler #greece #greekHeavyMetal #hammerfall #heavy #HeavyMetal #NewWaveOfTraditionalHeavyMetal #NOREMORSE #noRemorseRecords #NWOTHM #SteelArctus #thenwothm
Hammerfall, Wind Rose und Powerwolf
01.03.2026 N?rnberg / Arena N?rnberger Versicherung
#ArenaNurnbergerVersicherung #Hammerfall #Nurnberg #SteelFeed
Hammerfall, Powerwolf und Wind Rose
28.02.2026 D?sseldorf / PSD Bank Dome
Hammerfall, Powerwolf und Wind Rose
28.02.2026 D?sseldorf / PSD Bank Dome
Hammerfall, Powerwolf und Wind Rose
28.02.2026 D?sseldorf / PSD Bank Dome
Hammerfall, Wind Rose und Powerwolf
04.03.2026 Neu-Ulm / Ratiopharm-Arena
I Prevail, Polaris und Amira Elfeky
05.10.2026 Stuttgart / Porsche-Arena
#Hammerfall #IPrevail #NeuUlm #PorscheArena #RatiopharmArena #Stuttgart #SteelFeed
⚡️ ¡Sube el volumen y alza la espada!
Estas son las 10 canciones más legendarias del power metal: Helloween, Blind Guardian, Rhapsody, Stratovarius, Avantasia y más.
#PowerMetal #Helloween #BlindGuardian #Rhapsody #Avantasia #DragonForce #Stratovarius #HammerFall #GammaRay #MetalMelodico
Hammerfall, Powerwolf und Wind Rose
27.02.2026 Bremen / ?VB Arena
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