Here’s mud in yer eye. How are you feeling so far into this Quarterly Review? The year? How are things generally? How’s your mom doing? Everybody good? Hope so. Odd as it is to think, I find music sounds better when you’re not distracted by everything else going to shit around you, so I hope you don’t currently find yourself in that situation.

Today’s 10 records are a bit of this, bit of that, bit of here, but of there, but I’ll note that we start and end in Greece, which wasn’t on purpose or anything but a fun happenstantial byproduct of slating things randomly. What can I say? There’s a lot of Greek heavy out there and the human brain forms patterns whether we want it to or not. Plenty of geographic diversity between, so let’s get to it, hmm?

Winter 2023 Quarterly Review #31-40:

The Temple, Of Solitude Triumphant

Though they trace their beginnings back to the mid-aughts, Of Solitude Triumphant (on the venerable I Hate Records) is only the second full-length from Thessaloniki doom metallers The Temple. With chanting vocals, perpetuated misery and oldschool-style traditionalism metered by modern production’s tonal density, the melodic reach of the band is as striking as profundity of their rhythmic drag, the righteousness of their craft being in how they’re able to take a riff, slog it out across five, seven, 10 minutes in the case of post-intro opener “The Foundations” and manage to be neither boring nor a drag themselves. There’s a bit of relative tempo kick in “A White Flame for the Fear of Death” and the tremolo guitar (kudos to the half-time drums behind; fucking a) at the outset of closer “The Lord of Light” speaks to some influence from more extreme metals, but The Temple are steady in their purpose, and that nine-minute finale riff-marches to its own death accordingly. Party-doom it isn’t, and neither is it trying to be. In mood and the ambience born out of the vocals as much as the instruments behind, The Temple‘s doom is for the doomly doomed among the doomed. I’ll rarely add extra letters to it, but I have to give credit where it’s due: This is dooom. Maybe even doooom. Take heed.

The Temple on Facebook

I Hate Records website

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Dead Man’s Dirt, Dead Man’s Dirt

Gothenburg heavy rockers Dead Man’s Dirt, with members of Bozeman Simplex, Bones of Freedom, Coaster of Souls and a host of others, offer their 2023 self-titled debut through Ozium Records in full-on 2LP fashion. It’s 13 songs, 75 minutes long. Not a minor undertaking. Those who stick with it are rewarded by nuances like the guitar solo atop the languid sway of “The Brew,” as well as the raucous start-stop riffing in “Icarus (Too Close to the Sun),” the catchy “Highway Driver” and the bassy looseness of vibe in the penultimate “River,” which heads toward eight minutes while subsequent endpoint “Asteroid” tops nine. It is to the band’s credit that they have both the material and the variety to pull off a record this packed and keep the songs united in their barroom-rocking spirit, though some attention spans just aren’t going to be up to the task in a single sitting. But that’s fine. If the last couple years have taught the human species anything, it’s that you never know what’s around the next corner, and if you’re going to go for it — whatever “it” is — go all-in, because it could evaporate the next day. Whether it’s the shuffle of “Queen of the Wood” or the raw, in-room sound of “Lost at Sea,” Dead Man’s Dirt deserve credit for leaving nothing behind.

Dead Man’s Dirt on Facebook

Ozium Records store

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Witchfinder, Forgotten Mansion

Big rolling riffs, lurching grooves, melodies strongly enough delivered to cut through the tonal morass surrounding — there’s plenty to dig for the converted on Witchfinder‘s Forgotten Mansion. The Clermont-Ferrand, France, stoner doomers follow earlier-2022’s Endless Garden EP (review here) and 2019’s Hazy Rites (review here) full-length with their third album and first since joining forces with keyboardist Kevyn Raecke, who aligns in the malevolent-but-rocking wall of sound with guitarist Stanislas Franczak, bassist Clément Mostefai (also vocals) and drummer Thomas Dupuy. Primarily, they are very, very heavy, and that is very much the apparent foremost concern — not arguing with it — but as the five-song/36-minute long-player rolls through “Marijauna” and on through the Raecke-forward Type O Negative-ity of “Lucid Forest,” there’s more to their approach than it might at first appear. Yes, the lumber is mighty. But the space is also broad, and the slow-swinging groove is always in danger of collapsing without ever doing so. And somehow there’s heavy metal in it as well. It’s almost a deeper dive than they want you to think. I like that about it.

Witchfinder on Facebook

Mrs Red Sound store

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Fumata, Días Aciagos

There’s some whiff of Conan‘s riffing in “Acompáñame Cuando Muero,” but on the whole, Mexico City sludge metallers Fumata are more about scathe than crush on the six tracks of their sophomore full-length, Días Aciagos (on LSDR Records). With ambient moments spread through the 35-minute beastwork and a bleak atmosphere put in place by eight-minute opener and longest track (immediate points) “Orgullo y Egoísmo,” with its loosely post-metallic march and raw, open sound, the four-piece of Javier Alejandre, Maximo Mateo, Leonardo Cardoso and Juan Tamayo are agonized and chaotic-sounding, but not haphazard in their delivery as they cross genre lines to work in some black metal extremity periodically, mine a bit of death-doom in “Anhelo,” foster the vicious culmination of the bookending seven-minute title-track, and so on. Tempo is likewise malleable, as “Seremos Olvidados” and that title-track show, as well as the blasting finish of “Orgullo y Egoísmo,” and only the penultimate “No Engendro” (also the shortest song at 4:15) really stays in one place for its duration, though as that place is in an unnamed region between atmosludge, doom and avant black metal, I’m not sure it counts. As exciting to hear as it is miserable in substance, Días Aciagos plunges where few dare to tread and bathes in its own pessimism.

Fumata on Facebook

LSDR Records on Bandcamp

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Sumerlands, Dreamkiller

Sumerlands‘ second album and Relapse debut, Dreamkiller finds Magic Circle‘s Brendan Radigan stepping in for original vocalist Phil Swanson (now in Solemn Lament), alongside Eternal Champion‘s Arthur Rizk, John Powers (both guitar), and Brad Raub (bass), and drummer Justin DeTore (also Solemn Lament, Dream Unending, several dozen others) for a traditional metal tour de force, reimagining New Wave of British Heavy Metal riffing with warmer tonality and an obviously schooled take on that moment at the end of the ’70s when metal emerged from heavy rock and punk and became its own thing. “Force of a Storm” careens Dio-style after the mid-tempo Scorpions-style start-stoppery of “Edge of the Knife,” and though I kept hoping the fadeout of closer “Death to Mercy” would come back up, as there’s about 30 seconds of silence at the finish, no such luck. There are theatrical touches to “Night Ride” — what, you didn’t think there’d be a song about the night? come on. — and “Heavens Above,” but that’s part of the character of the style Sumerlands are playing toward, and to their credit, they make it their own with vitality and what might emerge as a stately presence. I don’t know if it’s “true” or not and I don’t really give a shit. It’s a burner and it’s made with love. Everything else is gatekeeping nonsense.

Sumerlands on Facebook

Relapse Records store

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Expiatoria, Shadows

Shadows is the first full-length from Genoa, Italy’s Expiatoria — also stylized with a capital-‘a’: ExpiatoriA — and its Nov. 2022 release arrives some 35 years after the band’s first demo. The band originally called it quits in 1996, and there were reunion EPs along the way in 2010 and 2018, but the six songs and 45 minutes here represent something that no doubt even the band at times thought wouldn’t ever happen. The occasion is given due ceremony in the songs, which, in addition to being laden with guest appearances by members of Death SS, Il Segno del Comando, La Janera, and so on, boasts a sweeping sound drawing from the drama of gothic metal — loooking at you, church-organ-into-piano-outro in “Ombra (Tenebra Parte II),” low-register vocals in “The Wrong Side of Love” and flute-and-guitar interlude “The Asylum of the Damned” — traditional metal riffing and, particularly in “7 Chairs and a Portrait,” a Candlemassian bell-tolling doom. These elements come together with cohesion and fluidity, the five-piece working as veterans almost in spite of a relative lack of studio experience. If Shadows was their 17th, 12th, or even fifth album, one might expect some of its transitions to be smoothed out to a greater degree, but as it is, who’s gonna argue with a group finally putting out their debut LP after three and a half decades? Jerks, that’s who.

ExpiatoriA on Facebook

Black Widow Records store

Diamonds Prod. on Bandcamp

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Tobias Berblinger, The Luckiest Hippie Alive

Setting originals alongside vibe-enhancing covers of Blaze Foley and Commander Cody, Portland’s Tobias Berblinger (also of Roselit Bone) first issued The Luckiest Hippie Alive in 2018 and it arrives on vinyl through Ten Dollar Recording Co., shimmering in its ’70s ramble-country twang, vibrant with duets and acoustic balladeering. Berblinger‘s nostalgic take reminds of a time when country music could be viable and about more than active white supremacy and/or misappropriated hip-hop, and boozers like “My Boots Have Been Drinking” and the Hank Williams via Townes Van Zandt “Medicine Water” and “Heartaches, Hard Times, Hard Drinking”, and smokers like the title-track and “Stems and Seeds (Again)” reinforce the atmosphere of country on the other side of the culture war. Its choruses are telegraphed and ready to be committed to memory, and its understated sonic presence and the wistfulness of the two-minute “Crawl Back to You” — the backing vocals of Mariya May, Marisa Laurelle and Annie Perkins aren’t to be understated throughout, including in that short piece, along with Mo Douglas‘ various instrumental contributions — add a sweetness and humility that are no less essential to Americana than the pedal steel throughout.

Tobias Berblinger website

Ten Dollar Recording Co. store

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Grandier, The Scorn and Grace of Crows

Based in Norrköping, Sweden, the three-piece Grandier turn expectation on its head quickly with their debut album, The Scorn and Grace of Crows, starting opener/longest track (immediate points) “Sin World” with a sludgy, grit-coated lumber only to break after a minute in to a melodic verse. The ol’ switcheroo? Kind of, but in that moment and song, and indeed the rest of what follows on this first outing for Majestic Mountain, the band — guitarist Patrik Lidfors, bassist/many-layered-vocalist Lars Carlberg, (maybe, unless they’re programmed; then maybe programming) drummer Hampus Landin — carve their niche from out of a block of sonic largesse and melodic reach. Carlberg‘s voice is emotive over the open-feeling space of “Viper Soul” and sharing the mix with the more forward guitars of “Soma Goat,” and while in theory, there’s an edge of doomed melancholy to the 44-minute procession, the heft in “The Crows Will Following Us Down” is as much directed toward impact as mood. They really are melodic sludge metal, which is a hell of a thing to piece together on your first record as fluidly as they do here. “Smoke on the Bog” leans more into the Sabbathian roll with megafuzz tonality behind, and “Moth to the Flames” is faster, more brash, and a kind of dark heavy rock that, three albums from now, might be prog or might be ’90s lumber. Could go either way, especially with “My Church of Let it All Go” answering back with its own quizzical course. Will be very interested to hear where their next release takes them, since they’re onto something and, to their credit, it’s not immediately apparent what.

Grandier on Facebook

Majestic Mountain Records store

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Subsun, Parasite

Doomers will nod approvingly as Ottawa’s Subsun cap “Proliferation” by shifting into a Candlemassian creeper of a lead line, but that kind of doomly traditionalism is only one tool in their varied arsenal. Guitarist/vocalist/synthesist Jean-Michel Fortin, bassist/vocalist Simon Chartrand-Paquette and drummer Jérémy Blais go to that post-Edling well (of souls) again, but their work across their 2022 debut LP, Parasite, is more direct, more rock-based and at times more aggressive on the whole. Recorded at Apartment 2 by Topon Das (Fuck the Facts), the seven-songer grows punkish in the verse of “Mutation” and drops thrashy hints at the outset of “Fusion,” while closer “Mutualism” slams harder like noise rock and punches its bassline directly at the listener. Begun with the nodding lurch of “Parasitism” — which would seem as well to be at the thematic heart of the album in terms of lyrics and the descriptive approach thereof — the movement of one song to the next has its underlying ties in the vocals and overarching semi-metal tonality, but isn’t shy about messing with those either, as on the lands-even-harder “Evolution” or the thuds at the outset of “Adaptation,” the relative straightforwardness of the structures allowing the band to draw together different styles into a single, effective, individualized sound.

Subsun on Facebook

Subsun on Bandcamp

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Bazooka, Kapou Allou

The acoustic guitar of opener “Kata Vathos” transitions smoothly into the arrival-of-the-electrics on “Krifto,” as Athens’ Bazooka launch the first of the post-punk struts on Kapou Allou, their fourth full-length. Mediterranean folk and pop are factors throughout — as heard in the vocal melody of the title-track or the danceable “Pano Apo Ti Gi” — while closer “Veloudino Kako” reimagines Ween via Greece, “Proedriki Froura” traps early punk in a jar to see it light up, and “Dikia Mou Alithia” brings together edgy, loosely-proggy heavy rock in a standout near the album’s center. Wherever they go — yes, even on “Jazzooka” — Bazooka seem to have a plan in mind, some vision of where they want to end up, and Kapou Allou is accordingly gleeful in its purposed weirdoism. At 41 minutes, it’s neither too long nor too short, and vocalist/guitarist/synthesist Xanthos Papanikolaou, guitarist/backing vocalist Vassilis Tzelepis, bassist Aris Rammos and drummer/backing vocalist John Vulgaris cast themselves less as tricksters than simply a band working outside the expected confines of genre. In any language — as it happens, Greek — their material is expansive stylistically but tight in performance, and that tension adds to the delight of hearing something so gleefully its own.

Bazooka on Facebook

Inner Ear Records store

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It has been seven years since Virginia dual-guitar rockers Valkyrie issued their second album, Man of Two Visions, which was a record that never got its due. The core of the band has been and remains brothers Jake and Peter Adams, and with that second full-length following up their 2006 self-titled debut, they delivered a harmonized-lead kick in the ass to the traditions of Maryland-style doom, marking what seemed at the time like a generational shift in approach. The tones were organic, the vibe schooled but dipping back to ’70s rock in a way that, particularly at the time, was refreshing and exciting for an American band, and with just a touch of Southern heavy at its roots it seemed to hold promise that Valkyrie were bound to turn heads in the years to come.

In 2015, they make their debut on Relapse Records with Shadows, a 42-minute heavy-groover that boasts a track for its year of Valkyrie‘s absence — notable that opener “Mountain Stomp” was featured on a 2012 split with Earthling, whose Alan Fary here plays bass — and finds them no less ready than they were to be commended for their exploration of Pentagram-meets-Thin Lizzy vibes with the occasional flourish of Spirit Caravan‘s irresistible roll. With Warren Hawkins‘ drums setting the pace, Jake and Pete — the latter of whom joined Baroness on lead guitar in 2008 and also features in the latest live incarnation of Samhain — are at the fore as ever in Valkyrie, and Shadows is a guitar-lover’s guitar album, “Temple” showing off swirling leads while the aforementioned and aptly-titled “Mountain Stomp” and subsequent “Golden Age” reaffirm both the guitarists’ harmonic tendencies and the memorable songwriting that made the band such a standout during their initial run.

The heavy rock climate having shifted as greatly as it has in the last decade, and Baroness having ascended to the fore of progressive metal, it seems likely that Valkyrie‘s methods will garner more attention with Shadows than they had previously, and fair enough. It is a mature album, steady in its pace and naturalist in its intent, as “Golden Age” demonstrates in following and developing the nod of “Mountain Stop” with one of Shadows‘ more resonant hooks, and “Temple” affirms with a greater sense of spaciousness and sure-footed shuffle to bridge the lines of its verse. More than either of the opening two, “Temple” feels like a guitar showcase in its second half, but the simple fact is that the Adams brothers can pull that kind of thing off — easily, or at least easily-sounding — and emerge on the other end of six and a half minutes having long since departed the structure of a track without blisters either existential or on their already well-calloused hands.

Centerpiece “Shadow of Reality” refreshes a doomier spirit with peppered-in lead work and pushes through a midsection offsetting weightier impulses with airy tones on the way to a sun-soaked pastoral instrumental burst in its second half, the guitars locking step harmonically for a run no less memorable than the chorus subsequently referenced prior to the rumbling finish that leads the way into “Wintry Plains,” the longest track at 6:49 and a singular highlight for its patient feel, strong hook and rhythmic fluidity. That hook is reinforced, which makes a big difference compared to “Temple” or “Shadow of Reality” before it, the song moving into a jam and returning to the chorus before departing again at the close. One wouldn’t ask Valkyrie to do the same thing all the time, but even if it makes “Wintry Plains” the longest cut here — not by much; songs range on either side of six minutes — the extra seconds are well spent and go toward making the song a landmark for the band, which it is.

And the album is classic enough in its construction that “Wintry Plains” isn’t the last landmark to come, either. “Echoes (of the Way We Lived)” moves at a speedier clip than more relaxed earlier cuts like “Mountain Stomp” or “Golden Age” — though I wouldn’t go so far as to call anything on Shadows languid — and the effect it has is to sustain the momentum from the end of “Wintry Plains” over to closer “Carry On,” which leaves an impression that lasts much longer than the song’s six minutes, its theme and the repeated line, “Our voice will carry on,” as appropriate for a finishing track as it is for the story of Valkyrie in particular. With seven years between Man of Two Visions and their third, one can’t help but wonder if either or both of the Adams brothers are questioning if Shadows will be the last chapter in Valkyrie‘s story. It may well be, or it may be a new beginning, but whatever context time gives, it’s a worthy follow-up to their second album and a look at some of what the band might’ve been able to accomplish had they kept going the first time around.

To be perfectly honest, it’s a somewhat bittersweet listen on that level, since it’s easy to imagine that, had their circumstances not worked out the way they did, Valkyrie would probably be two or three records beyond their third offering by now, and there are points in making my way through Shadows where I ask what those could-have-been moments would sound like, where the obvious chemistry between Jake and Pete might have taken their songwriting. We may yet find that out — and better late than never, of course — and while it’s hard to hear these tracks and wonder if this is Valkyrie‘s shining moment or if that might still come, it’s worth remembering that in the intervening seven years they’ve been (mostly) gone, a new generation of American heavy rock fans has emerged, and for them, it’s just as likely Shadows will be a first exposure. On that level, it is nothing if not welcoming.

Valkyrie, Shadows (2015)

Valkyrie on Thee Facebooks

Valkyrie on Bandcamp

Valkyrie at Relapse Records

Relapse Records on Thee Facebooks

Reborn Virginian heavy rockers Valkyrie continue their surge in the wake of the release last month of their third album, first in seven-plus years and first for Relapse, Shadows (review pending). They’ve just announced a new round of tour dates supporting the record for next month, and that’s awesome, but if I can, I’d like to draw your eyes for just a moment to their three festival slots in the coming months.

June 27, they’re at Maryland Doom Fest, and in one weekend in August, they play both the Death to False Metal festival in Connecticut (that’s Aug. 14) and the GwarBQ in Richmond, Virginia (that’s Aug. 15). Yeah, there’s a whole tour between and I’ve no doubt the four-piece are going to play with some kickass bands along the way, but god damn, if Valkyrie were going to make a comeback, at least they’re doing it in style.

Okay, now we can go back to the business at hand, which comes off the PR wire:

Valkyrie Announce Tour In Support of “Shadows”

Valkyrie recently released their Shadows LP via Relapse Records, and now the band is gearing up for a tour and set of festival appearances.

Propelled by the stunning guitar heroics of brothers Pete and Jake Adams, Virginia’s Valkyrie return with their third full length Shadows, one of the year’s best guitar-driven, heavy rock records. Valkyrie’s twin harmonized guitar leads and clean dual vocal assault matched with a strong nod to classic doom and heavy metal creates a psychedelic and heavy sound that pays homage to classic heavy rock bands like Deep Purple and Thin Lizzy while bringing to mind the pastoral and organic sounds of Jethro Tull. With no regard to current trends, or retro-rock posturing, Valkyrie rides on with a true, classic, heavy metal assault that has turned many heads with its impressive live shows and soul-stirring conviction. You can stream the album here, and check them out when they ride through your town…

Valkyrie shows:
Jun 27 Frederick, MD – Maryland Doom Fest
Jul 17 Athens, OH – Casa Nueva
Jul 18 Cleveland, OH – Now That’s Class
Jul 19 Chicago, IL – Livewire
Jul 21 Madison, WI – Wisco
Jul 22 Minneapolis, MN – Hexagon
Jul 23 Omaha, NE – Lookout Lounge
Jul 24 Kansas City, KS – Riot Room
Jul 25 St. Louis, MO – The Firebird
Jul 27 Memphis, TN – Hi-Tone Cafe
Jul 28 Nashville, TN – The End
Jul 29 Johnson City, TN – The Hideaway
Jul 30 Asheville, NC – Odditorium
Jul 31 Raleigh, NC – Slim’s
Aug 14 Hamden, CT – Death to False Metal Fest
Aug 15 Richmond VA – Gwar BBQ @ Hadad’s Lake

http://www.relapse.com/valkyrie/
https://www.facebook.com/thevalkyrierides
http://www.valkyrieband.com/

Valkyrie, “Mountain Stomp”

Virginian heavy rockers Valkyrie are edging closer to the release of their third album and much-anticipated return, Shadows. Also serving as their debut on Relapse Records, it’s due on May 19, and in addition to appearances at the upcoming inaugural Maryland Doom Fest in June and Death to False Metal fest in Connecticut in August, they’ll be playing a few regional shows around the release date that are newly announced.

It works out to be a pair of weekenders late in May before the fest spots, heading as far north from Virginia as Philadelphia. Presumably more will follow, but for now, here’s this off the PR wire:

Valkyrie Announce Shows and New Song From “Shadows” LP

Valkyrie will release Shadows on May 19th via Relapse Records, and the band just announced a set of dates and unveiled a new track from the their upcoming LP.

Propelled by the stunning guitar heroics of brothers Pete and Jake Adams, Virginia’s Valkyrie return with their third full length Shadows, one of the year’s best guitar-driven, heavy rock records. Valkyrie’s twin harmonized guitar leads and clean dual vocal assault matched with a strong nod to classic doom and heavy metal creates a psychedelic and heavy sound that pays homage to classic heavy rock bands like Deep Purple and Thin Lizzy while bringing to mind the pastoral and organic sounds of Pagan Altar and Jethro Tull. With no regard to current trends, or retro-rock posturing, Valkyrie rides on with a true, classic, heavy metal assault that has turned many heads with its impressive live shows and soul-stirring conviction. Make sure you catch the band live if they are in your area!

Valkyrie shows:
May 22 Harrisonburg, VA – Golden Pony
May 23 Charlottesville, VA – Main Street Annex
May 29 Philadelphia, PA – Kung Fu Necktie
May 30 Richmond, VA – Strange Matter
June 27 Frederick, MD – Maryland Doom Fest
August 14 Hamden, CT – Death to False Metal Fest

http://www.facebook.com/thevalkyrierides
http://thevalkyrierides.bandcamp.com
http://www.valkyrieband.com/
http://www.Relapse.com
http://relapserecords.bandcamp.com/
http://www.facebook.com/relapserecords

Valkyrie, “Wintry Plains”

As a first taste of the forthcoming third Valkyrie LP and first in seven years, the sampler clip of opener “Mountain Stomp” serves notice of classic rock intent and the double-guitar antics one expects from brothers Jake and Pete Adams. The record, titled Shadows, is out May 19 on Relapse, and along with the trailer and the tracklisting, the cover art by Jeremy Hush has been revealed. After so long an absence, though, it’s mostly just good to have Valkyrie up and kicking again. They’ll play the Maryland Doom Fest in June at Cafe 611 with Sixty Watt Shaman, Spirit Caravan, Apostle of Solitude and many more (info here).

The PR wire has details:

Relapse Records Details Valkyrie “Shadows” LP

Relapse Records, who is celebrating its 25th anniversary, has announced that they will be releasing a new LP from Valkyrie called Shadows on May 19th. The label is teasing the release with a trailer….

Propelled by the stunning guitar heroics of brothers Pete and Jake Adams, Virginia’s Valkyrie return with their third full length Shadows, one of the year’s best guitar-driven, heavy rock records. Jam packed with harmonized leads, rich solos and melodic, blues-based riffs, Valkyrie sound like the perfect blend of American style doom rock bands like Pentagram or Spirit Caravan and classic hard rock like Thin Lizzy, Wishbone Ash, and Deep Purple. Where Pete Adams’ other band Baroness focuses more on the modern proggy and poppy side of metal, Valkyrie looks to proto metal trailblazers for influence while injecting plenty of current day inspiration. Produced by Sanford Parker (Pelican, Leviathan, YOB), Shadows is the perfect summer heavy rock record!

Check out the cover art by Jeremy Hush and track listing below…

Track Listing:
1. Mountain Stomp
2. Golden Age
3. Temple
4. Shadow of Reality
5. Wintry Plains
6. Echoes (Of The Way We Lived)
7. Carry On

http://www.relapse.com/label/
http://www.relapse.com/valkyrie/
https://www.facebook.com/thevalkyrierides
http://thevalkyrierides.bandcamp.com/

Valkyrie, Shadows album trailer