In Memory of TRANS-SIBERIAN ORCHESTRA keyboardist Vitalij Kuprij (1974-2024)

Vitalij Kuprij (July 4th, 1974 - February 20, 2024)

Vitalij Kuprij was a classically trained pianist that studied at the Mykola Lyssenko Music Academy in Ukraine, the Basel Conservatoire in Switzerland and Curtis Institute of Music in Philadelphia. Amongst metal fans, he is known for his work with TRANS-SIBERIAN ORCHESTRA and lightning-fast neoclassical shred style. His metal discography includes progressive metal albums with Artension, such as Into the Eye of the Storm (1996), Phoenix Rising (1997), and Forces of Nature (1999). He was also in Ring of Fire, performing on The Oracle (2001), Dreamtower (2002), and their 2022 comeback Gravity, while releasing solo albums like High Definition (1997), Extreme Measures (1998), and Progression (2020). Below is the article from Blabbermouth

from BLABBERMOUTH

TRANS-SIBERIAN ORCHESTRA Keyboard Maestro VITALIJ KUPRIJ Dead At 49

February 21, 2024

Ukrainian-American maestro Vitalij Kuprij, a classically trained virtuoso who has played with progressive metal bands ARTENSION and RING OF FIRE and toured with TRANS-SIBERIAN ORCHESTRA, has died at the age of 49. No cause of death has yet been revealed.

Kuprij's passing was confirmed by his longtime friend, Finnish guitarist, songwriter, and producer Lars Eric Mattsson, who wrote on his Facebook page: "Woke up to really sad news this morning as my dear friend and keyboard maestro Vitalij Kuprij has passed away last night. The Ukranian born virtuoso was living in Philadelphia and recently came off another hugely successful tour with the TRANS-SIBERIAN ORCHESTRA.

I have known and worked with Vitalij for over 20 years and he always talked about seeing me here in Finland to go fishing, which was his second love after music. We have recorded together several times, first time was for the debut album of BOOK OF REFLECTIONS 20 years ago and then later for my MATTSSON concept album War. My record label Lion Music Record Label has released a lot of his music including three solo albums, his band ARTENSION and more.

"You will be deeply missed my friend!"

Earlier today, TRANS-SIBERIAN ORCHESTRA released the following statement: "We are deeply saddened to announce the passing of our dear friend and bandmate, Vitalij Kuprij. He was a world-renowned classical pianist and composer.

"In 2010, Vitalij joined TSO for the inaugural 'Beethoven's Last Night' tour and seamlessly became an integral part of the band. His flawless and energetic performances consistently captivated audiences, and many of you came to know and love him as much as we did. Beyond his musical prowess, Vitalij was an accomplished chess player, an avid fisherman, and simply a fun-loving soul. His absence will be profoundly felt by all.

"Rest in peace, Vitalij. You will be deeply missed."

Kuprij, born 1974 in Volodarka, Kiev, Ukraine, has international acclaim for his classical background and training while also transitioning seamlessly to neo-classical, progressive rock and metal.

A graduate of the Curtis School of Music in Philadelphia and a resident of Reading, Pennsylvania, Kuprij was an in-demand musician throughout the United States and abroad. He had performed in France, Germany, Italy, Japan, Mexico, Poland, Switzerland, the United Kingdom and the Soviet Union. The recipient of many distinguished musical honors in several countries, he won the prestigious first prize as the youngest person to compete in the All-Union Chopin Competition held in the Soviet Union, the gold medal in the Kiev Conservatory Competition and the Mykola Lyssenko Competition in the Ukraine. He also received first prize in the Geneva Duo Competition for Violin and Piano as well as the gold medal in the Piano 80 and Swiss Youth Competition, the Chicago Piano Competition, the New York Piano Competition, and the Cleveland Piano Competition.

In 1999, he was selected as the soloist to perform composer Liszt's Piano Concerto #1 with the New York Youth Symphony at Carnegie Hall. He later had his solo Carnegie Hall debut where he played two encores followed by performances at Alice Tully Hall and Avery Fisher Hall.

Although well-known for his classical training and technique, Kuprij's crossover ability into neo-classical and rock made him a famous name amongst his peers. He had numerous albums under the Marquee Avalon and Yamaha labels, hits on the Japanese charts, and has given master classes and workshops at colleges and universities across the country. He began touring with the TRANS-SIBERIAN ORCHESTRA in 2009, after being discovered through Internet clips of his incredible keyboard work. The ORCHESTRA, although best known for its renditions of Christmas songs, is a touring progressive rock group which brought back the rock opera with its dazzling pyrotechnic light show.

Trans-Siberian Orchestra - Wish Liszt - Featuring Vitalij Kuprij and Jane Mangini (in memory of VK)

Trans-Siberian Orchestra - King Rurik (from the 2015 album Letters from the Labyrinth)

Trans-Siberian Orchestra - Winter Palace

Vitalij Kuprij - Encores

Artension - The Forces of Nature

REVIEW - Cryptic Shift: Overspace & Supertime (lunatic prog-tech extreme metal)

Cryptic Shift

Overspace & Supertime

Metal Blade Records

February 27, 2026

In truth, I am too much of an ignorant to really understand this record. Look, have you ever seen the old episodes of Star Trek? Those the ones with the Captain Kirk? In those shows, they have some noises... how do you say? Garly space-age sounds. It is what the people, the population at large, they come to imagine are the noises of space: the travel of the stars, the big machines in the vacuum, the sounds of the alien planets, and all those things. Well, then. These Brits, they must have been thinking, "How do we play the metal? The extreme, technical, progressive metal?" And then they decided to throw all those science fictions into the music. It is a thing most strange, but there it is.

Metal Archives shows that this British prog-extreme metal band began in 2011, having released two EPs and one album in 2020 before this new one in 2026. I have been wondering why the album feels like too much, but this band went the route of self-indulgent prog-tech metal, and they are shameless about it all. The album is long, to say the least; I mean, just look at this information: "Cryogenically Frozen" (09:24), "Stratocumulus Evergaol" (29:26 --twenty-nine minutes!), "Hyperspace Topography" (09:40), "Hexagonal Eyes (Diverity Trepaphymphasyzm)" (10:05), and "Overspace & Supertime" (20:22 -twenty minutes!), totaling a massive 01:18:57. No wonder my small knuckledragger brain cannot process this album; I think we need Albert Einstein and the Captain Kirk to unravel this mystery.

This album is crazy enought to the Rush Gedddy Lee say aloud to this band, "Guys, perhaps you have too many rhythm changes maybe?! Don't get me wrong, I love it, but you know, I could be wrong, but this album is maybe too smart for the general population?" But this band does not care! They do what they want to! Therefore, while the Geddy Lee and I may have some problems understanding the music, these guys are like roaming hyenas in space looking for those listeners that want: Adventure! Excitement! Complexity! An album that will take six years to understand! Six years because that's how long they need until they make a new one. It took six years to make this one.

The jazz-metal-from-space has arrived and it is called Cryptic Shift. I need my helmet for this one! May the force be with you. Live long and prosper, Cryptic Shift.

Overspace & Supertime by Cryptic Shift

Cryptic Shift - Hexagonal Eyes (Diverity Trepaphymphaszym) (Official Video)

https://www.facebook.com/crypticshift

REVIEW - Impending Doom: Holy Death single (deathcore)

"Holy Death" is a new single for the long-running American deathcore band Impending Doom (2005-present). The Metal Archives shows that it was released on the February 6, 2026. Impending Doom's sound is, I would say, heavy-duty, groove-laden brutality with outrageously screamed-out animal-farm growled vocals. While the band is not going to make it to the top of commercial radio rock charts any time soon (Do they have any plans to cover Lynyrd Skynyrd's "Free Bird" or Black Sabbath's "Changes" ha!), the Metal Archives shows that they have been active for twenty years, releasing the albums, singles, and EPs.

On the new single, Impending Doom is doing the Impending Doom things: basement-shaking guttural screams and wall-rattling low-heavy frequencies. This music is so heavy (How heavy is it?!) that even the guitars sound like bass guitars. There is no sweet melodic songwriting to be found, only truly ugly, hideous music with intense faith-based lyrics. Impending Doom is about as subtle as a raging bull in a china shop. To accompany the pure ugliness that is their music, they have the lyrical imagery to scare away the weak-stomached: wolves and sheep, snakes, and devils. It's the band calling it as they see it.

Previously, in 2025, they set as their opening track "Christ Is King" for their EP Towards the Light. Well, in 2026, the new song continues with the sledgehammer strategy of attack on all fronts, from the sick production to the horrendous vocals, the subterranean grooves, and brutal lyrics. All of this to say that all is well with Impending Doom! Let's hear more of it in 2026. This single should please fans looking for some awesome deathcore. Here is the YouTube link. It looks like the song is not yet on Bandcamp, but it is available on the music services now.

Impending Doom | Holy Death (Official Lyric Video)

https://www.facebook.com/impendingdoom

ARCH ENEMY - To The Last Breath (OFFICIAL VIDEO)

Blabbermouth reports on the new Arch Enemy song with the new singer

Arch Enemy Recruits Ex-ONCE HUMAN Singer LAUREN HART, Shares 'To The Last Breath' Single

This in an excerpt from the Blabbermouth, which has the entire story.

Swedish/American extreme metal powerhouse ARCH ENEMY are charging into a new chapter as they unveil the first new musical piece after their latest album cycle with "Blood Dynasty".

The new single "To The Last Breath" is a testament to the band's legacy, and a step towards a new exciting era of ARCH ENEMY: "To The Last Breath" comes not only with powerful music but is also the first ARCH ENEMY song to feature the latest addition to the lineup — new singer Lauren Hart (ex-ONCE HUMAN).

Michael Amott, guitarist and founder of ARCH ENEMY, comments: "Connecting with Lauren has marked an important step in my journey. Working with her was an exceptional experience — her remarkable voice, coupled with her dedication and professionalism, brings a rare level of excellence. I look forward to continuing the collaboration."

While fans and media alike have been rapidly speculating about who might step into the role behind the microphone, the band remained tight-lipped as the anticipation built to a feverous pitch across the metal community. Now, ARCH ENEMY are back in full force, presenting their ferocious new anthem "To The Last Breath"

ARCH ENEMY - To The Last Breath (OFFICIAL VIDEO)

Siege Perilous "Becoming the Dragon" | Official Power Metal Music Video

Colorado power‑metal storytellers Siege Perilous are unschackling the official music video for “Becoming the Dragon,” the climactic title track from their upcoming concept album “Becoming the Dragon,” due out March 27, 2026.

The new video marks the band’s most ambitious visual project to date, capturing the album’s central transformation moment, where the protagonist embraces destiny, defies cosmic fate, and ascends into mythic power. The track arrives as the band continues to build momentum following the release of their first single, “As the Dragon Falls” (feat. Fabio Lione).​

​“‘Becoming the Dragon’ forms the critical climax of the story of our album. We wanted to capture something beyond just fantasy; it’s about defying fate, defying the stars, and embracing the power within. There are moments in life where we either transform or perish, and this song embodies that choice. It’s the moment our hero unlocks the true power inside him, and we think the track shows that transformation expertly,” says vocalist Shaughnessy McDaniel.

The song features thunderous drums, soaring vocals, shredding solos, and a standout bass interlude that drives the track toward its explosive finale. Musically, it represents the band’s evolution into a more cinematic, orchestrated, and emotionally charged sound.

A sweeping ten‑chapter concept record, “Becoming the Dragon” follows the “Child of Prophecy” through destiny, denial, destruction, and ultimately transcendence. The album blends classic heavy metal roots with modern symphonic power metal, drawing influence from Blind Guardian, Rhapsody, Iron Maiden, Avantasia, and Sabaton.

The record features guest performances from two major voices in modern power metal, Fabio Lione (Rhapsody, Angra) on “As the Dragon Falls”, and Kristin Starkey (Twilight Force, Temperance) on the power ballad “Echoes of Home”.

​“Creating a massive, sweeping power‑metal epic has been a dream since before we even formed this band. Having Fabio and Kristin join us, two artists who inspired us long before Siege Perilous existed, is beyond anything we imagined when we started this project four years ago,” says McDaniel.

Forged in Colorado’s fantasy‑driven LARP community, Siege Perilous formed after McDaniel, guitarist Scott Hancock, and drummer Mark Girard were inspired by a 2021 Unleash the Archers show in Denver. Joined by bassist Eric Fischer (The Stubby Shillelaghs) and later guitarist/arranger Ryan Flanagan, the band has built a reputation for crafting epic, story‑driven metal that blends myth, history, and cinematic world‑building.

Their sound, described in five words as Epic, Melodic, Powerful, Cinematic, Story‑Driven, has evolved through collaborative songwriting, theatrical live performances, and a commitment to narrative‑focused metal.

Recommended for fans of Wind Rose, Hammerfall, Sabaton, Blind Guardian, and Iron Maiden, “Becoming the Dragon” is due out on March 27, 2026 and available for pre-order / pre-save at the following link:

Siege Perilous "Becoming the Dragon" | Official Power Metal Music Video

Siege Perilous "As the Dragon Falls" (feat. Fabio Lione) | Official Power Metal Music Video

Based in Colorado, Siege Perilous is a power metal band that focuses on stories about history and fantasy. The group started out in 2021 with Shaughnessy McDaniel (vocals), Scott Hancock (guitar), and Mark Girard (drums). They later added Eric Fischer on bass and Ryan Flanagan on guitar to fill out their sound. The band members are big into history and roleplaying games, and they use those hobbies to come up with their lyrics and how they look on stage. The band is getting ready to put out their first full album, Becoming the Dragon, on March 27, 2026. It is a concept album with ten songs and features guest singers Fabio Lione and Kristin Starkey. After putting out a few EPs and singles over the last few years, like Creation's Call, this new record will be their first time telling a full-length story through their music.

Below are some samples of the press reaction so far:

“It gives me great pleasure to tell you that Creation’s Call is a blast. Siege Perilous has succeeded in creating what I would call Epic Power Metal for the Working Man. They don’t waste your time with overlong symphonic interludes between tracks, melodramatic narration, or overproduction that tests the limits of your sanity. The band gets right to the point and pulls you into their epic tales of heroic daring immediately. This is a nice breath of fresh air and if this EP is anything to go by, Siege Perilous has a great future ahead of them. Yes, this could be considered power metal but the no-nonsense approach and urgency to the songwriting makes this release absolutely worth checking out for those of us in the NWOTHM scene. Plus, it’s really just a lot of fun. This one is highly recommended. THENWOTHM SCORE: 9/10” – The NWOTHM

“‘Creation’s Call’ never gets boring, even on Heavy Rotation. Five gifted musicians have succeeded in creating a varied EP. The twin guitar solos are convincing the whole time. It’s just a shame that it ends after twenty-one minutes. It makes you wish for a full-length album. And, of course, a thrilling live performance. 9.3/10” – Metalheads Forever Magazine​

“solid power metal style that should satiate any LARP-attendees or Dungeons and Dragons mavens. Keep an eye on this quintet – wield thy sword as they lead the battle charge for more quality power metal from the states. 8/10” – Dead Rhetoric

“There are any number of quality bands like Siege Perilous active right now but the style is popular (and I love it) and these guys are as decent as the next similar act. They lean more the Metal side of the equation using the folk and orchestral moments as flavour, not the main style. CREATION’S CALL is a fine effort and I could easily see them on tour with Brothers Of Metal, All For Metal, Fellowship and other costumed Metal heroes. Worth checking out!” 4/5 – Metal Rules​

“Denver metal mob reckon that their goal on “Creation’s Call” was to build a world and tell a story in “three to five minutes.” It’s a world of fantasy, as “Oathsworn” proves, where metal rules and swords are held high. “Across The Rubicon,” however, is delivered with such skill that you can’t resist getting sucked in with them. Shaughnessy McDaniel has a brilliant “metal” voice, roaring on “Sons Of The Verdant,” and guitar duo Scott Hancock and Cody Martinez can knock out a NWOBHM riff like it’s 1982, as the title song underlines. “Brothers Of Five” brings the epic one last time, galloping in proper fashion, and it’ll be interesting to see how Siege Perilous develops. This is one hell of an opening statement, mind you. 8.5/10” – Maximum Volume Music

“Creation’s Call not only highlights Siege Perilous’ dedication to epic storytelling but also emphasises their versatility within the power metal genre. With influences ranging from historical events to high fantasy, this EP offers a rich and varied auditory experience that will captivate fans. Prepare to embark on a grand journey through myth and history as Siege Perilous delivers their latest saga.” – Amplify The Noise​

“Creation’s Call it is a cohesive and well-crafted work, where the combination of rich letters in history and fantasy, with a meticulous musical execution, it makes mandatory, regardless of its short duration. [82%]” – Via Nocturna

“Creation’s Call doesn’t get boring even in heavy rotation. Five gifted musicians have created a varied EP. The solos of the twin guitars are convincing across the board. It’s just a shame that it’s over after twenty-one minutes. You want a full-length album. And of course a sweaty live performance. 9.4/10” – Keep On Rocking​

“Colorfully mixed NWOTHM/Epic Heavy/Power Metal elixir that appeals to a broad range of fans between ALESTORM, BATTLEROAR, ETERNAL CHAMPION, GATEKEEPER, IRON MAIDEN, RUNNING WILD and WRATHBLADE. Awakens a huge appetite for a full long-play album. On this EP you can clearly see that the band has enormous potential and has already given a great taste of their skills. Conclusion: Strong-looking genretobak that falls out of the usual range! 8,5/10” – FFM-Rock​

““Oathsworn” simply explodes out of the gate. The band ratchets every possible dial up to 11 and charges into battle with an epic statement of intent.” – Nine Circles​

““Brothers Of The Five” offers classic power metal as you would appreciate it. The strain on the neck muscles is correspondingly high and in some places the number cannot deny a slight Maiden stable smell.” – Hellfire Magazin

Siege Perilous "As the Dragon Falls" (feat. Fabio Lione) | Official Power Metal Music Video

https://www.facebook.com/siegeband/

In Memory of AC/DC vocalist Bon Scott

Ronald Belford "Bon" Scott (9 July 1946 – 19 February 1980)

Bon Scott is the legendary frontman for AC/DC during their 1970s rise to the international world of hard rock and heavy metal. I think rock fans all probably know that hardcore AC/DC fan that prefers the Bon Scott era, even while still loving the Brian Johnson albums! Scott Ian from Anthrax thinks Bon Scott is the best there ever was! Bon sang on those classic albums like High Voltage, Let There Be Rock, and Highway to Hell. Bon was like a poet of the street with his lyrics: funny, ridiculous, real, and all on the rock 'n' roll lifestyle. However, his death is a cautionary tale: after a night of heavy drinking in London, he was left unconscious in a car and died from acute alcohol poisoning, having choked on his own vomit. This tragic end serves as a reminder of how an ego-driven, self-centered lifestyle and drugs will end.

AC/DC - Let There Be Rock (Apollo Theatre, Glasgow, April 1978)

Happy birthday to Seth Morrison from Skillet!

Seth Morrison was born on February 19, 1988, and is the lead guitarist for the American hard rock band Skillet. He joined the lineup in April 2011 as the replacement for Ben Kasica. He has worked with them in studio and touring. Seth has contributed lead guitar work to five consecutive Skillet studio albums: Rise (2013), Unleashed (2016), Victorious (2019), Dominion (2022), and Revolution (2024).

Skillet - Unpopular (Official Music Video)

Nevermore - The Obsidian Conspiracy (Vocal Cover - Berzan Önen)

Some five years ago before Berzan Önen became the new Nevermore singer he did this cover!

Nevermore - The Obsidian Conspiracy (Vocal Cover - Berzan Önen)

Nevermore - new singer video "Born"

This is how Nevermore found their new singer. He auditioned with "Born." Below is a live version with the original singer Warrel Dane.

BERZAN'S NEVERMORE AUDITIONS - BORN

Nevermore-Born live at Wacken 2006 HQ

https://www.facebook.com/nevermorefans

Buried - new album death metal from Holland

Rotterdam, Holland’s Buried in early February 2026 unleashed their new album. This is the title track/opening track of pure, unhinged death metal savagery: “Imagined Deformation.” This album is so ugly that if you see this album coming your way down the street, cross to the other side. There is a bunch of bands with the name Buried, but this is the one from Rotterdam. One way you can remember them is that they are the ones who have an album called IMAGINED DEFORMATION! For fans of old-school savage brutal death metal.

Imagined Deformation by BURIED

PRIMAL FEAR - Tears Of Fire (Official Music Video)

Primal Fear has reached one millions videos for the video "Tears of Fire"!

PRIMAL FEAR - Tears Of Fire (Official Music Video)

https://www.facebook.com/PrimalFearOfficial

Primal Fear - dates for Spain 2026

Primal Fear returns to Spain in October 2026

https://www.facebook.com/PrimalFearOfficial

Dark Tranquillity tour dates USA/Canada

Dark Tranquillity tour dates the USA and Canada. This is their announcement.

Some of you have been wondering what the setlist on the upcoming USA/Canada-tour is going to be like. We are going to combine the concepts of our latest European tours. So there will essentially be three acts: first some songs from ”The Gallery”, then some from ”Character” and then we finish off with a mixed bag of goodies. Sounds good to you? Tickets: darktranquillity.com/tour

https://www.facebook.com/dtofficial

Queensrÿche tour dates for Europe 2026

Queensrÿche has announced tour dates for Europe in 2026. See their announcement below.

📢 Announcement for our Euro friends!! Queensrÿche will be heading back to Europe this summer, starting on June 6th in Köln, Germany and ending on July 5th in Cartagena, Spain! Dates include a mix of headlining shows with our friends Rivers of Nihil opening, as well as Festival dates. We are super excited and can't wait to see Rÿcher Nation this summer

https://www.facebook.com/QueensrycheOfficial

Frozen Crown - MIRROR MIRROR (Blind Guardian FULL cover)

Frozen Crown covers Blind Guardian!

This cover is great fun!! This is Frozen Crown’s story of how this cover came to be.

—

Simply our favorite metal song ever. FULL VIDEO on our YouTube channel!

It was 2020, right after our tour as special guests for Dragonforce. The only Frozen Crown members left were Jade and Federico (the founding duo), dealing with a 17 years old Niso (young but already extremely talented) to have him join the band. We had to rebuild our band from scratch, literally.

During that period, Jade kept flirting with the idea of covering her favorite song ever from her favorite metal band ever, a song she would have loved to cover since forever. We started laying down the basic arrangement and actually recorded some guitars, but then our 3rd album Winterbane recordings kept us so busy that we unfortunately had to drop down the project, to prioritize our own song and to focus on that album promotion.

Since then, we worked 24/7 on the band as you know, day by day, but we always cherished this cover and the idea to finally be able to record it someday. And then that day came. Simply our favorite metal song ever. Arranged, performed and recorded in our way. Acoustic version? Folk version? Bluegrass version? Again, just our way (Federico’s Southern roots might factor a little here. For your interest, in this song there are up to 6 acoustic guitar layers, 1 bass track, and up to 12 (twelve) vocal tracks (where you see 6 people in the chorus, keep in mind that each track was actually sung twice).

Jade says: “This is one of the most significant songs in my life, for my growth as a musician and as a Tolkien lover. Today I’m proud to share with you this interpretation me and Federico worked on, and to me it is literally a dream coming true. I hope you enjoy it, you will find of my heart in it ❤️”

Mixed and mastered by our sound guy Andrea Sala Danna / The Central Studio (of which you can appreciate a lovely portrait in this same video... search well for it and you will find it) Of course all rights are reserved to Blind Guardian

Frozen Crown - MIRROR MIRROR (Blind Guardian FULL cover)

Metal Church 2026 tour dates

Metal Church has announced tour dates for 2026. Below is a picture from Facebook. They have a new album coming up in April 2026!

Metal Church

Dead to Rights

April 10th, 2026

Rat Pak Records

https://www.facebook.com/OfficialMetalChurch

In Memory of SENTENCED guitarist Miika Tenkula (March 6, 1974 – February 18, 2009)

Miika Tenkula (Sentenced) - Mar 6, 1974-Feb 18, 2009

When I think of Sentenced, I feel like they were the most unpredictable metal band ever, period. They weren't "crazy" or "experimental" in the traditional sense; they were just restless! One cannot simply ask, "What does Sentenced sound like?" Instead, one must change the question to, "What did Sentenced sound like in this or that year?"

They were not the only band changing during that era. For example, at times Paradise Lost seemed rather unpredictable as well. However, Sentenced's album-to-album shifts felt more abrupt, and for some reason, the quality remained remarkably high; the music was just consistently good. Eventually, their sound settled into a signature gothic-morose rock metal style. While they found their niche by 1996, the period from 1989 to 1996 was a total roller coaster.

Below, I have included some sample songs so you can hear the evolution for yourself. Just for fun, I am going to sequence these backwards—starting from the later days of gothic rock and heading back toward the brutal death metal of their early years. Get ready for a bumpy ride; this is not going to be a smooth transition!

Miika was born in Oulu, Finland, and founded Sentenced in 1989. The band's early output was pure death metal, beginning with the demos When Death Join Us... (1990) and Rotting Ways to Misery (1991), followed by their debut full-length, Shadows of the Past (1991).

After the Journey to Pohjola demo (1992), Miika shifted the band toward a more technical death metal sound on the landmark North from Here (1993) and The Trooper EP (1994). By the mid-90s, he led the music into melodic death metal territory with Amok (1995) and the Love & Death EP (1995), before finally moving entirely in a gothic direction.

Metal Archives says about Miika: Lead guitarist and main songwriter for the band Sentenced until it disbanded. He was also the band's original vocalist from 1989 to late 1992.

After Sentenced disbanded, Miika Tenkula withdrew from publicity and died 4 years later to a sudden heart attack caused by genetic heart disease at his home in the town of Muhos on February 18th, 2009. His former band members remembered him by publishing an obituary on the official Sentenced homepage on February 22nd, 2009:

"Sentenced mourn the loss of Miika Tenkula, a dear friend, a truly remarkable artist and musician, and the very soul of what used to be Sentenced. Rest now, brother – in your music and our hearts you will live forever. R.I.P. Miika Tenkula [1974–2009]"

An open memorial was held at Club Teatria in the city of Oulu on April 18th, 2009, the same venue where Miika Tenkula and Sentenced held their last concert before disbanding in 2005. During the ceremony, music from Miika Tenkula's favourite artists were heard. In addition, cover versions of Sentenced songs were performed by various Finnish artists and bands.

Sentenced - May Today Become the Day (gothic rock metal sound) (2005)

Sentenced - Bleed (remastered 2007) (the shift towards gothic heavy metal) (1996)

Sentenced - New Age Messiah (melodic death metal) (1995)

Sentenced - Capture of Fire (technical death metal) (1993)

Sentenced - Rotting Ways to Misery (old school death metal) (1991)

In Memory of Yngwie Malmsteen Keyboardist Mats Olausson (April 17, 1961 – February 18, 2015)

Mats Olausson - April 17, 1961 - February 18, 2015

Mats played keyboards on a vast number of albums, projects, and bands. Unfortunately, I am not familiar with all of those entities, but I do know his work with legendary guitarist Yngwie Malmsteen. Mats Olausson joined in 1990 for the Eclipse album and remained Yngwie's keyboardist for over a decade.

According to Metal Archives, Olausson’s tenure began with the 1990 singles "Making Love" and "Save Our Love," which paved the way for his full-length debut on the album Eclipse (1990), where he provided both keyboards and backing vocals. His involvement continued through the 1991 compilation The Yngwie Malmsteen Collection and a string of 1992 releases, including the "Dragonfly" and "Teaser" singles and the full-length Fire & Ice. In 1994, he was credited as "Mats 'Thailand' Olausson" on the landmark album The Seventh Sign and appeared on the Live at Budokan video and the "I Can't Wait" single. His mid-90s work included the 1995 full-length Magnum Opus and the 1996 covers album Inspiration (specifically tracks 2 and 6).

The late 90s saw Mats work on the 1997 studio album Facing the Animal and both the live album and video versions of Live!! (1998). He finished the decade with the 1999 studio release Alchemy and entered the new millennium with the Anthology: 1994-1999 compilation and the 2000 full-length War to End All Wars. Even after his primary tenure ended, his performances continued to surface on archival releases, including the 2009 video Live in Korea and the 2010 video Raw Live (specifically tracks 1–5 and 22).

Lastly, if I may, I would like to recommend an additional album (a non-Yngwie release)that Mats played keyboards on: Burn the Sun by the project Ark. This 2001 album, released on InsideOut Music, features a lineup consisting of legendary singer Jørn Lande, guitarist Tore Østby (of Conception), drummer extraordinaire John Macaluso, bassist Randy Coven (R.I.P. 2014), and keyboardist Mats Olausson (R.I.P. 2015). The album is a melodic progressive masterpiece that takes time to fully digest, but the quality of the musicianship is undeniable.

Ark - Torn

Mats Olausson - Keyboard solo live at Budokan

Yngwie Malmsteen - Eclipse

REVIEW: Aeon Gods - glorious power metal from Germany

Aeon Gods

Reborn To Light

Scarlet Records

20 February 2026

On this, their second album, these Germans (2022-present) rush out of the gates with totally, absolutely unapologetic glorious power metal, and I mean European power metal to the very marrow of their bones. Big melodies, like completely unapologetic Schlager-metal, that German super-melodic music that means to conquer the listener's loyalty with exactly one listen. Aeon Gods came here to win. They are not here to mess around with weird scales and notes. This is pure German power metal of the superior kind, the power metal supremacy that goes all out for the big melodies, the big singing, the driving riffs, and everything. Everything!

The band does this whole ancient Egyptian-themed thing, from the lyrics to their clothes. Egyptologist power metal?! I know, right?! Why not! The Americans have the great Egyptologist band Nile, a band with a flawless death metal discography, and now there is Aeon Gods from Germany! Isn't it interesting how things work out? American death metal bands are amazing, the best in the world, really, top of the line, believe me, and nobody does power metal better than the Germans; it's amazing. Aeon Gods have arrived with everything fans expect from German power metal. Terrific, really.

This album is as sweet as it is memorable; it is a total fulfillment of expectations for superior, high-caliber power metal. This is only their second album, so they are barely getting started. This album is wonderful, but their power metal masterpiece has not even arrived yet! That is coming in the future. They are just getting warmed up, and I'm here for it all. Here is a band that has zero time to waste, and gets to the point as quickly as possible and then stays on point for the duration of the album: they came here to deliver the power metal goods, and that's exactly what they do.

Reborn To Light by Aeon Gods https://scarletrecords.bandcamp.com/album/reborn-to-light

REVIEW: Domhain - atmospheric post-black metal from Northern Ireland

Domhain

In Perfect Stillness

These Hands Melt

20 February 2026

Domhain (2021-present; Northern Ireland; one EP in 2023 and some singles) operates in the field of something like atmospheric post-black metal, and they are something like one part mellow and soft music, and another part a blackmetal-derived form of extreme metal. I do not enjoy this album and I don't like this post-metal or post-black metal, but I admit that the band is very competent at their drawn-out form of sad, melancholic music. They feature both melodic and extreme vocals: the extreme vocals are mostly in the black metal style, I would say, and the melodic vocals are what in the United States some people would call, basically, alternative rock singing: sad, soft, emo, gentle, and a bit whiny, but not too whiny, mostly sad and soft, and kind of emo-ish.

Likewise, the music goes from unmelodic, semi-melodic, melancholic slow and midtempo passages, and then erupts into blackmetal-adjacent faster passages. Check it out, though, in the middle of "Footsteps II," in the middle of those midtempo passages, there are some wonderful melancholic melodies, and this part is, like, the perfect mix of the post and black metal, and it works very well for me. Well done, Domhain, well done!

In short, this band is, like, totally going for that atmospheric post-black metal shoegazy type of extreme metal, if that makes sense. There are plenty, and I mean a plethora, jefe, a plethora of smooth-soft emo segments that feel like a person is sad at the grey skies and rainy days. (I live in the Seattle area, and here people often look beaten down because we are in February and people feel like they have not seen the sun since September of the previous year. The sky is grey 24 hours a day, and there is no hope of seeing the sun and no hope of real warm weather until June. It is February, and June seems pretty far away.)

You know what, this album is starting to sound pretty good, come to think of it. Here, especially in Seattle itself, there are some metal shows in which people have their hoodies on and just kind of look down at the floor while vibing to this type of music. Come to think of it, this band would be well received by a large portion of the fans in this area, I would think.

I don't have the lyrics. Sometimes it seems like these type of bands often have lyrics that, to put it politely, are self-destructive, but I don't know about this particular case.

To conclude: If you like sad-intense post-metal, or if you are interested in that idea, then maybe you will enjoy this album. My two main complaints are (1) the lack of metal melodies and muscle (which post-metal bands don't like to do because they prefer subtle subdued semi-melodies), and (2) that the album feels too much like one big huge song of sad emotional post-metal. I would like more contrast, more transitions. On the other hand, I am a jerk, and I am not very smart, so, listen to this music and see what you think. Maybe I just introduced you to your new favorite band! You're welcome.

In Perfect Stillness by Domhain

In Memory of EXTREME NOISE TERROR Vocalist Phil Vane (1967-2011)

Phil Vane - March 15, 1967 - February 17, 2011

Phil Vane (1967-2011) is one of the two (the other one being Dean Jones) legendary screamers for grindcore pioneers Extreme Noise Terror, serving three distinct tenures with the band: 1985–1995, 1997–1999, and a final run from 2006 until his death in 2011. Phil's mighty screaming can be heard on the band's most essential releases, including the various versions of the genre-defining A Holocaust in Your Head (including the 1989, 1991, and posthumously released 2022 Original Holocaust editions). He can also be heard on the 1995 album Retro-Bution, the 1997 release Damage 381, and the 2008 album Law of Retaliation. As a foundational member of the UK crust and grind scene, Phil's insane back-and-forth vocal trade-offs with Dean brought an unprecedented amount of wonderful chaos to the already-intense instrumentation of Extreme Noise Terror.

Extreme Noise Terror (ENT) are a British extreme metal band formed in Ipswich, England in 1985 and one of the earliest and most influential crust bands. Noted for one of the earliest uses of dual vocalists in hardcore and for recording a number of sessions for BBC Radio 1 DJ John Peel, the band started as crust punks and helped characterise the early, archetypal grindcore sound with highly political lyrics, fast guitars and tempos, and often very short songs.

Extreme Noise Terror were formed in early 1985 in Ipswich, England, originally consisting of dual vocalists Dean Jones and Phil Vane, guitarist Pete Hurley, bassist Jerry Clay and drummer Pig Killer. Prior to ENT, Vane and Hurley had played with Discharge-influenced acts Freestate and Victims of War, whilst Jones had been singing with Raw Noise. Hurley claims that the band name came from an insert for an album by the Dutch band Lärm. Aside from Discharge, the band cite as early influences Anti Cimex, Rattus and Antisect.

Their first release was a split LP with Chaos UK in 1986, entitled Radioactive Earslaughter. Although there were still musical similarities between the two bands, ENT were already beginning to twist hardcore into what would later become known as "grindcore." In 1987, ENT came to the attention of John Peel. After seeing them live in Ipswich, Peel offered them their first of four Peel Sessions for BBC Radio 1.

During this period, the line-up changed as former Napalm Death drummer Mick Harris joined briefly before being replaced by Tony "Stick" Dickens. This line-up recorded ENT's debut album, A Holocaust in Your Head, which was later voted one of the essential European grindcore albums by Terrorizer magazine.

The band signed to Earache in 1994 and recorded Retro-bution, a compilation of re-recorded material that saw ENT take a slightly more metal direction. Founder member Phil Vane left to join Napalm Death in late 1996, and in a unique trade, Napalm Death frontman Mark "Barney" Greenway joined ENT for the recording of the album Damage 381. Vane eventually returned to the band in 1997.

In 2001, the band released Being and Nothing and continued to tour Europe, including a slot at Wacken Open Air in 2003.

In early 2009, ENT released Law of Retaliation, described as a return to explosive, hyper-speed hardcore punk insanity. While remaining fiercely political, the band became more open-minded regarding their beliefs over the years, with Dean Jones commenting on the progression away from the restrictive nature of the early crust scene.

On 17 February 2011, Phil Vane died in his sleep at the age of 46. The band has continued to tour and release music with frontman Ben McCrow, dedicating their 2015 self-titled album to Vane's memory.

Extreme Noise Terror - Conned Through Life (Peel Sessions) [Official Audio]

Extreme Noise Terror - I Am a Bloody Fool (Peel Sessions) [Official Audio]

Extreme Noise Terror - Carry On Screaming

In Memory of RUNNING WILD Guitarist Majk Moti (1957-2023)

Majk Moti (Running Wild) - August 29, 1957-February 16, 2023

Majk Moti was a guitarist for the German heavy metal/speed metal/pirate metal pioneers Running Wild from 1985 to 1990. Running Wild was not originally a pirate metal themed band, but by 1985 they had transitioned to that theme and then proceeded to perfect it. I have the 1980s Running Wild cds, and when I think of 1980s Running Wild albums, of which I am a big big fan, Majk is part of those awesome albums. Check out this article by BLABBERMOUTH about Majk. If you like uptempo, melodic, catchy, very catchy heavy metal, then Running Wild may be a band for you.

article from BLABBERMOUTH

Former RUNNING WILD Guitarist MICHAEL 'MAJK MOTI' KUPPER Dead At 65 February 18, 2023

Michael "Majk Moti" Kupper, the former guitarist of the long-running German heavy metal band RUNNING WILD, died this past Thursday (February 16) at the age of 65. No cause of death has been revealed. Former RUNNING WILD bassist Jens Becker expressed his condolences on the guitarist's passing on Facebook, while RUNNING WILD wrote simply: "R.I.P. brother (Majk Moti 29th August, 1957 — 16th February, 2023)".

Kupper was a member of RUNNING WILD between 1985 and 1990 and he can be heard on the albums "Branded And Exiled", "Under Jolly Roger", "Ready For Boarding", "Port Royal" and "Death Or Glory". After leaving RUNNING WILD, Kupper reportedly worked for more than 15 years as a computer programmer. He later worked at a digital advertising company.

In 2008 Moti started a band, D'ORCA, with his wife Melanie "Mel" Dorca-Ruiz. He also played with METALLIAN and RANDOM. In a 2008 interview, Moti said that his stage name originated back to 1985 when the RUNNING WILD members used only their first names. "I found 'Mike' too boring, and 'Maik' existed already. So I replaced the 'i' with a 'j', resulting in 'Majk'," he explained. "Later I found that only 'Majk' was boring, too. My girlfriend's name back then was Moti, and so the name was perfect. Originally, Moti is a name from India."

In the same interview, Moti looked back on his time with RUNNING WILD, saying: " The first months were truly awesome. I came from a small backwoods band and had my first show at the Loreley festival in front of 12,000 people, which was absolutely cool. The tour with MÖTLEY CRÜE was very exciting, and also the USA tour that followed, despite all the problems. I wouldn't erase anything at all; everything belongs to my experience of life, the good things as well as the bad things, and without them I would be a different person today."

RUNNING WILD - Death or Glory Tour - Live [1990]

Death or Glory (2017 Remaster)

In Memory of CONFESSOR Guitarist Ivan Colon(1970-2002)

Ivan Colon (Confessor) - January 3, 1970-February 15, 2002

Confessor's music is an invitation to think differently about what is possible with death metal-level, thick, crushing heaviness. It is asking an important question: Is growling or screaming the only possibility for truly heavy music?!

Ivan Colon was a founding guitarist for the Raleigh, North Carolina-based doom band Confessor from 1986 until 1993. During this period, the band developed their technical doom metal, the genre term used by Metal Archives. The band’s debut album, Condemned, was released in 1991 through Earache Records. This is where fans will find Colon’s musical contributions. Metal Archives states that he was with Confessor until 1994 when they ended for the first time. The band was reactivated in 2002, which is the year that Ivan Colon died.

The 1991 Confessor album presents music that, if you listen just to the instruments and forget about the vocals for a minute, sounds like death metal. The American, heavy-duty, thick guitar, the riffs, and the drumming all sound like they would fit the late 1980s or 1991 death metal era of the album's release. It’s not just the guitar; it’s the drumming. It is a heavy-hitting style. It’s not blasting speed, but it’s a strong, physical, punishing style of playing, with a feeling that the rhythm patterns are weaving in and out of a straight line while still coming back to the beat.

There is no growling!

The singing is high and intense, like a serious traditional heavy metal air-raid siren in pain or agony. What?! Well, at least to me, it doesn't sound triumphant or cheerful.

WARNING: I suspect that you will not like the vocals! Let’s assume that is the case. If you don't mind, and if you bear with me, I want to invite you to something that might seem strange: Give it a real chance. To the metal mind, after decades of hearing screaming, yelling, and growling along with heavy-duty guitars, hearing singing with this type of heavy music sounds a bit different, for sure. In addition, the music is a bit on the technical-progressive side for 1991, in a doomy style, so that makes things a bit different, too.

MY POINT: When the guitars are super heavy, maybe the vocalists need to ask themselves some questions about what they want to do. The answer must not be, "Well, I guess just growling will do." There are other options. Granted, some growling is excellent, and there are great examples of seriously skilled growling, but there are tons of examples of lazy, generic, microphone-cupping, autopilot screaming and growling that is literally only there because the band doesn’t have the guts to become an instrumental band, because supposedly you must have some dude at the front making farm animal noises.

Confessor suggests that there are other options. If more bands were brave or creative enough to try it out, then what Confessor is doing would not sound strange. I don't mean copy Confessor; I mean explore other vocal approaches, including within extreme metal vocals, too, of course.

Ivan Colon passed away on February 15, 2002, shortly before the classic lineup began discussions regarding a reunion. His recorded legacy is centered on the Condemned LP and the 1992 Confessor EP, examples of progressive doom metal. The band continued with the 2005 album Unraveled, which was dedicated to the memory of Ivan Colon.

Confessor - Condemned (OFFICIAL VIDEO)

The Album STRYPER Regrets: Against the Law

In music, getting a makeover can sometimes be risky. Metallica has St. Anger. Celtic Frost has Cold Lake. Megadeth has, well, Risk. Stryper has Against the Law, their 1990 album of reinvention and rebranding.

What Stryper fans knew was this: in the 1980s, Stryper established themselves with the sound of heavy metal anthems and a lyrical focus on their singular mission to go out into the world with the message of Jesus as the Savior of all the human race—a belief challenging the music industry, certainly in rock music. They were leaders as an openly Christian band in heavy metal, a genre with a reputation for the most degenerate, obscene, and self-destructive glorification of rape and murder, alcoholism and drug addiction, suicide and scandal, atheism and Satanism, pedophilia and fornication, violence and war, sexism, and the exploitation of women. In short, the Stryper guys were working in the lion's den of music that, according to the government and the church, represented and celebrated society's evils and ills.

This is how Stryper built their brand, as a band hated and actively opposed by various sides. If not all fans knew this, there certainly was an important section of the fanbase aware that it takes strength and toughness to be Stryper. Talk about going against the grain; talk about swimming against the stream.

What exactly did Stryper do with Against the Law, an album they began recording in 1989 and released on August 21, 1990?

First of all, this 1990 Stryper album is not a band chasing the miserable Seattle grunge trend. It is not the sound of a metal band dumbing down their music to follow the low-IQ, low-skill, flannel-wearing, hipster alternative punk rock that is grunge. The facts of the matter are clear: Nirvana’s Nevermind was released on September 24, 1991—a full year after Stryper's Against the Law. It is an indisputable fact: the rise of low-skill, false-intelligent, whiny, and offended-by-everything grunge rock as a national fashion happened after the Nirvana album. The music video for "Smells Like Teen Spirit" was the event that catapulted regional Pacific Northwest flannel-and-drugs-and-suicide hipster bands into the national spotlight as sensations.

By the late 1980s, which is the era of Against the Law, there already was a different feeling among American bands, and certainly among the L.A. metal bands. The glam look and sound were already dead. The sheer stupidity of bands like Poison—men dressing up as women and all that stuff—was being rejected. By 1987, Mötley Crüe and Guns N' Roses had already pivoted to a less poppy, less bubblegum rock sound, and a British band like The Cult had demonstrated a hard-blues rocking sound. Poison and similar acts were such obviously garbage-gimmick bands that other L.A. bands looked at themselves in the mirror and must have been embarrassed by how mind-numbingly imbecilic the L.A. MTV bands were.

By the late 1980s, Stryper was feeling restless. Constant critique from the church and the heavy metal world had left them tired. The band was also not living the Christian life as much as they felt they should for a Christian band. They were a touring heavy metal band: metal bands make their living on the stage. During the peak of their popularity, Michael Sweet was on the road a lot, but he had become a father in 1986. Obviously, it is very bad for a marriage if a father is not home for his wife and child. Stryper was feeling exhausted; even if not all members felt it, Michael certainly did.

In a February 6, 2026, Facebook post, vocalist and guitarist Michael Sweet took some time to explain—as I'm sure he has on multiple occasions before—his thoughts on Against the Law. In short, he is not proud of the album and has conflicting feelings about it, including regrets.

So, what is different about Against the Law?

OF COURSE, NUMBER ONE IS THAT STRYPER ABANDONED JESUS CHRIST IN THEIR MUSIC. The lyrics no longer carry the Stryper message: faith in one God—the Father, the Son, and the Holy Spirit—who created the universe and brings salvation through Jesus Christ. That Jesus, born of a virgin, is the incarnation of God—the God of the universe in the flesh—and His death was a sacrificial death on the cross for the forgiveness of sins, rising again on the third day. The message of Stryper had always been the message of Jesus.

Against the Law is an album with positive messages—values similar to those of Christ—but it removes Jesus from the equation: it is His message without Him. It is basically like Western, secular, atheist, democratic values: treat people with kindness and respect; do not murder, cheat, or steal. Western democracy tries to put those values into practice, but they think they can just take Jesus out.

Another difference: Stryper’s music is a mix of European and American heavy metal; it features serious guitar work, big riffs, shredding, huge melodies, arena-rock energy, and catchy singing with layers of vocals. Against the Law is, in some ways, a heavier, dirtier, bluesier sound—a sound closer to Mötley Crüe's Girls, Girls, Girls, Guns N' Roses' Appetite for Destruction, and The Cult's Electric. Those three 1987 albums left behind the Poison/Bon Jovi glam aesthetic. While Stryper in 1990 doesn't sound exactly like them, there is a shift toward an All-American hard rock sound with less melody, a party feel, more bounce, and a lot less British influence. AND NO JESUS. The band even abandoned their unique logo for a generic, no-personality font.

Michael Sweet explains, "Personally, I wish we had never recorded the album. At least the way it is now. We should have stayed true to our classic sound. We had a bery distinct sound. We established a sound. We went platinum with that sound. Sold out arenas and sold millions of albums worldwide. We threw all that out the window and tried so desperately to be something that we’re not - a typical hard rock band who tried so hard to “reinvent” the wheel. We dodn’t need to do that. The wheel was rolling and doing great. There was no need to change everything."

Stryper worked twice as hard for their success only to be constantly criticized, including by famous televangelists who would tear into Stryper in their sermons or TV shows.

Stryper's crime, according to the church? CHRISTIANS playing heavy metal!

Stryper's crime, according to the music industry? Playing CHRISTIAN heavy metal!

Michael feels that it was like throwing in the towel—thinking that maybe if Stryper changed their image and music, they could have success with less stress and fewer hassles, and just be musicians: "Also, we became hypocrites in our lives. We went back to our old ways and became who we were before we re-dedicated our lives to Christ. Our marriages suffered, our lives suffered, our faith suffered, our finances suffered, you name it. Because we wanted to play rockstar and try to fit in. We’ll never fit in. As believers, we are called to be something else. An example to others. Not hypocrites. We were 100%."

Usually, when metal bands make that horrendous mistake of an album, it is because they are chasing some trend, trying to be cool in an environment in which they have begun to feel awkward for making the music they have been making. They feel like dinosaurs that need to adapt. The music on the album is actually good, even if it is different: "Yes it’s a great album. I won’t argue with you there. It has some great moments (and one of my favorite Stryper songs of all time, 'All For One')," Michael concedes.

However, they watered down and diluted Stryper with hopes of getting the approval of the world, but Michael has observed that, "I personally think the reason for that is the majority of the fanbase knew that something wasn’t right. Yes there are some great songs and yes, it is a great sounding album. And there are some great moments without question, but it really did not represent who we were and what we were all about, prior to that."

Michael also says: "As weird as this may sound, I really believe that God lifted his hand off of us. He took his blessing from us. We were making a mockery of him and I think he was just sitting back saying 'go for it'. Do your own thing and see how that goes. Well, it didn’t go too well ... Hopefully this time, you will understand why it will never be an album that I am personally proud of, especially based on the circumstances that followed."

Michael then left Stryper, and the band carried on as a trio—including touring with Oz Fox on vocals—for maybe a year. Then, some ten years later, they returned and have experienced an incredible resurgence.

Looking back on it and thinking about what it means, Michael sees it as a teaching moment:

"You live and learn, and you move on and you grow from it. I tried to do that."

Stryper - All For One

STRYPER - All For One (Live @ Loud and Proud Festival 2025)