Тысяча Вёрст translates to A Thousand Miles and is a brand-new Russian trio playing music on the thin line between heavy metal and power metal. The newcomers from Moscow have just released their first extended play Дорогой легенд that translates to Road of Legends. This output features five songs with a total running time of twenty minutes.

The band indeed manages to tell legendary tales in a captivating way. The Russian lyrics deal with topics such as ghost ships, mythology and witches as the band is obviously inspired by fantasy movies, novels and video games.

The musicianship is quite diverse. Acoustic guitar sections offer atmospheric campfire folk sounds that build up mysterious atmosphere. The guitar riffs remind of European power metal in the more melodic sections and extensive solos while the riff work in the verses is anchored in classic heavy metal territory. The rhythm section is energetic and tight and especially the drum play sounds playful and versatile. The vocals offer much diversity as well. The female lead vocals sound enjoyably clean, melodic and organic. They are often supported by rougher male backing vocals in choruses and sing-along passages that provide some additional oomph.

All five songs can be described as very good tunes, meandering from acoustic folk passages as heard in ''Время ведьм'' over anthemic folk metal with catchy vocal lines as in ''Ведьмак'' to more technical tunes such as ''Искатель'' with upper mid-tempo riffs on the thin line between heavy metal and thrash metal.

At the end of the day, Russian trio Тысяча Вёрст offers much promise on its debut extended play Дорогой легенд that should please fans of melodic heavy and power metal inspired by epic stories about legendary and mythological topics. The melodic guitar work, captivating combination of female lead vocals and male backing vocals and fascinating Russian lyrics make this band stand out. One should certainly keep an eye on these newcomers. Let's keep our fingers crossed that the youngsters from Moscow come around with a full length effort in the near future.

Final Rating: 80%

Four and a half years after its decent predecessor Gotland, German melodic gothic metal quartet Voodoma is back with its eight studio record Hellbound that offers ten songs with a total running time of thirty-eight minutes.

If compared to the predecessor, the songwriting here is much more concise and quite catchy. ''Save Me'' for instance clocks in at only three minutes but offers atmospheric melodies and sing-along vocals that find the perfect balance between energy and harmony. 

The band also convinces in its longer tracks such as excellent closer ''Sandman'' that has some extended instrumental passages that take listeners on an adventurous ride. The instrumental work based upon bass, drums and guitar isn't flashy at all but rather cohesive in transmitting epic, gloomy and mysterious soundscapes.

There are only a few minor issues to be pointed out. The production is quite thin and especially the guitar work would benefit from some additional oomph. Several tracks feature female backing vocals in an attempt to add diversity but they sound exchangeable and lacklustre. The idea itself remains promising but perhaps the band should choose a more talented vocalist next time around.

At the end of the day, Voodoma's Hellbound is a great output for fans of melodic gothic metal. The band is popular in Germany's gothic scene, having performed at festivals such as Castle Rock before the pandemic. Many gothics prefer a more atmospheric and melodic type of metal and they will be served very well with this output. Traditional metal fans might however find this output too mellow as it barely qualifies as metal music. My advice would be to check out the aforementioned songs to figure out where you stand regarding this issue before purchasing this record.

Final Rating: 80%

Sonata Arctica has always been a band that liked to push its smoother side and experiment with unusual soundscapes. The band has been touring with acoustic performances before the pandemic and has received some critical acclaim for this project. This is why the Finnish quintet has decided to record two albums revisiting its material in acoustic versions. Acoustic Adventures (Volume One) is the first part and the second one is scheduled to be released later the same year.

The most interesting thing about this project is that Sonata Arctica did not just perform their songs acoustically but modified a few song structures that make for a fresh listening experience. The track list is also quite intriguing as it includes fan favourites from the early years, recent material and even some hidden gems. The acoustic bass guitar, acoustic guitar and banjo play is diversified as it varies from fast sections as heard in ''Wolf & Raven'' to dynamically meandering passages as in ''Don't Say a Word'' to smooth, slow and laid-back pickings as heard in ''For the Sake of Revenge''. The rhythm section also adapts fluidly to those different styles from speedy passages as in ''the Wolves Die Young'' over mid-paced sections as in ''A Little Less Understanding'' to extremely reduced sections as in ''On the Faultline''.

However, the record also has some minor flaws. First of all, the production is at times lacking balance as the keyboards sound a little bit too loud, dominant and aggressive in the mixture. This can especially be heard in songs domineered by keyboard sounds such as ''Tallulah''. The instrumental performance remains solid but the record would sound much better with a more balanced production. Another thing to be pointed out are Tony Kakko's at times very emotional, experimental and almost nervous performances. Instruments and vocals barely fit together in the opening moments of ''For the Sake of Revenge'' and his excessive use of different ranges and styles in ''Don't Say a Word'' makes for a stressful ride that doesn't blend into a laid-back acoustic album.

At the end of the day, Sonata Arctica's Acoustic Adventures (Volume One) is however a good to very good record that should please the band's most faithful fans that haven't minded the band's more recent shifts and changes in sound. However, fans of the early years who are still hoping for a return to the band's dynamic power metal style might have more issues appreciating this output than any other record before. The idea to release two of these albums in a row is certainly a risk that might lead to poor sales figures and concerts at very small locations. However, the band probably doesn't care about such downsides as it has been doing whatever it wanted to do throughout its career while ignoring professional critics and disappointed fans alike. This is certainly the right artistic approach as the band remains authentic, credible and surprising. No matter what you think about this new release, one has to admit that the band has put a lot of creativity, focus and passion into this new project.

Final Rating: 70%

Feuerschwanz is a party metal band that doesn't take itself seriously at all. The band is best described as a medieval version of Powerwolf. The band plays simple heavy metal with exotic instruments such as bagpipes, bouzouki, hurdy gurdy and violin. In that regard, the band has found a niche right between German heavy and power metal bands such as Orden Ogan and Germany's successful medieval rock scene around bands like In Extremo. Feuerschwanz has been getting more and more commercially successful in Germany but their particular style is either going to please potential new fans or alienate them immediately. The only possible compromise is to simply listen to this kind of music without much attention at a party with friends.

The band meanders between simplistic party anthems with tongue-in-cheek lyrics in compact three and a half minutes such as ''Untot im Drachenboot, atmopsheric, conceptual and epic pieces like the captivating ''Rohirrim'' and the occasional heartfelt lullaby like ''Das Herz eines Drachen'' that has the pathos of an early Manowar ballad. 

The band keeps things entertaining by inviting guest musicians such as singer Nord of German industrial metal band Hämatom who performs guest vocals on ''Rausch der Barberei''. 

The band is also known for its quirky cover songs and this record's limited edition comes with an additional disc featuring seven cover tunes varying from electronic pop music of O-Zone over German fun punk rock by Die Ärzte to viking metal institution Amon Amarth. Manowar cover ''Warriors of the World United'' that has been extremely popular in Germany two decades ago gets a revamped folk metal version with additional vocals by medieval rock singer Alea of Saltatio Mortis fame, Swiss power metal singer Thomas Winkler who has been involved in bands such as Barque of Dante, Emerald and Gloryhammer as well as versatile Swiss singer Melissa Bonny who is currently involved in Ad Infinitum, Malefistum and The Dark Side of the Moon.

As you can read, Feuerschwanz's simplistic mixture of heavy and power metal with medieval folk sounds is quite entertaining but also very predictable. Memento Mori is enjoyable to listen to once in a while at a party but lacks depth to be explored further. One thing that can't however be denied is that Feuerschwanz certainly has its very own sound and style and isn't willing to make any compromises, for better or worse.

Final Rating: 70%

Erdling is a German Neue Deutsche Härte band that combines industrial rock with gothic rock. The group was founded by former Stahlmann and Sündenklang guitarist Neill Freiwald, the son of late television host Walter Freiwald. The band has been quite productive as it has released five studio albums in its seven years of existence. Helheim is the most recent offering featuring eleven songs with a total running time of thirty-seven minutes.

The band is quite distinctive from similar genre bands because it explores its extremes further than many other groups. Some songs feature quite fast and heavy riffing evoking a gloomy and menacing atmosphere in the key of groups such as Ewigheim that should sit well with gothic metal fans. In other tracks however, the group employs a more melodic style recalling folk and pop soundscapes and harmonious low vocals recalling Unheilig.

Opener ''Rabenherz'' is among the heavier tunes with steady drum patterns, gritty riffs, sinister programming and variable vocals with low guttural parts and ethereal clean parts that add an epic atmosphere.

''Der Mensch verdient die Erde nicht'' is an obvious single candidate as it combines thought-provoking lyrics with a mixture of aggressive sections with emotional vocals and melodic passages such as the epic chorus with additional choirs and danceable electronic elements.

''Fimbulwinter'' flirts with appeasing folk melodies and an overall slow pace. Guest vocals are performed by filmscore and soundtrack vocalist Julie Elven who adds a smooth note to the middle section that also features the record's most beautiful guitar solo. This is a quite experimental song by Erdling's standards but the risks are certainly rewarded because this song qualifies as an immediate highlight.

Another noteworthy tune is title track ''Helheim'' with its enchanting electronic textures recalling groups such as Alphaville while the soft and almost narrative vocals recall the aforementioned Unheilig. Once again, these risks pay off and make for an imaginative song that grows with every spin.

''Das Ritual'' is another outstanding tune that might however be controversially received since it's only based upon simplistic folk-inspired electronic sound samples combined with monotonous spoken word passages recalling groups such as E Nomine. It's the kind of song that would fit perfectly on the soundtrack of a folk-inspired open-world video game but not so much on a contemporary metal or rock album.

The concluding folk ballad ''Baum des Lebens'' continues this style but modifies it further as it flirts with neofolk inspirations in the key of Dornenreich and Empyrium. This ambitious closer ends a courageous album on an airy, dreamy and imaginative note.

As you can read, Erdling's Helheim offers more diversity than many other Neue Deutsche Härte bands or even industrial rock and gothic metal groups in general. While several experiments work surprisingly well, others might be controversially received and could need some time to grow on many listeners. This experimental side makes the final result creative, entertaining and surprising but also at times confusing and incoherent. At the end of the day, Erdling's Helheim is recommended to open-minded listeners who value inspiration over consistency and don't mind occasional shifts in genre and quality. If Erdling were able to work on smoother transitions between its different styles in the future, then the quartet could potentially compete for the genre throne and earn its definite commercial breakthrough after the pandemic. As it is now, the band must still be considered a diamond in the rough with some unexploited potential but much promise. The tendency is very positive but the band could still grow and achieve greater things in the near future, so let's keep a close eye on these sympathetic German underdogs.

Final Rating: 80%