Iran in the #Bible: The Forgotten Story | Presented by Our Daily Bread Films.

Did the #JEWS Crucify their own #MESSIAH ?

See Part 2 #Iran converting to #Christianity #Iran #Jesus #GodLovesYou

Premiered Jan 24, 2020

For centuries Iran was known as Persia--the greatest empire the world had ever seen. But part of her story is often #forgotten

00:00-01:21: Introduction
01:21-06:45: The Promise of Global Blessing
06:45-10:30: The Prophecy of a Persian "Messiah"
10:30-14:00: A People in Exile
14:00-16:22: Hope in Exile
16:22-20:44: Words of Rescue
20:44-23:50: The Promise Fulfilled
23:50-26:47: The Blessing
26:47-27:32: Closing Credits

In 'Iran in the Bible,' this remarkable story is told using ancient Persian texts, archaeological discoveries, and insights from scholars. What's revealed is that both Persia and the Jewish people played a strategic role in the fulfillment of #God's promise to #Abraham--the promise that through #him ( #Jesus_Christ) God would #bless the #world.

The #Trinity?

God the Father
God the Holy Spirit
God the Son =
~in the flesh #Jesus_Christ~

THE JEWS #CRUCIFIED there OWN #MESSIAH!

https://youtu.be/mURWJfSpS7k?si=Cw2LvRRwYzMSA3Zr&t=1439

Part 2: short
#Iran converting to #Christianity #Iran #Jesus #GodLovesYou
https://www.youtube.com/shorts/jNtD1VG3zys

DISCLAIMER: We Cover the 'Way' the #News is #COVERED_UP!

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Bewitcher – Spell Shock Review

By Mark Z.

Bewitcher has always felt different than the blackened speed metal wave that emerged in the last decade or so. I’ve enjoyed some Midnight or Hellripper in my day, but by the late 2010s, it seemed like there were way too many groups offering a stock combination of raspy black metal vocals, bouncy riffs in the style of Exciter or Kill ‘Em All, and a chorus where they shout something about fire or Satan or some shit. By the 666th time I’ve heard a song like that, it just starts feeling tired and disingenuous. Not so with Bewitcher. Not only was their 2016 self-titled debut more ferocious than much of the blackened speed metal it preceded, but Bewitcher also quickly broke beyond the style’s tight leather confines. With 2019’s terrific Under the Witching Cross, this Portland trio began incorporating hard rock elements, an influence that became even more pronounced with their Century Media debut, 2021’s Cursed Be Thy Kingdom. Through it all, the band is more fun, genuine, and inspired than most of their peers. Now, with our resident Bewitcher scribe Holdeneye unavailable due to entirely unsuspicious circumstances,1 I must bear the burden of reviewing Bewitcher’s fourth album, Spell Shock.

Spell Shock feels like a logical continuation of Cursed Be Thy Kingdom. With the resources of Century Media still behind them, the band has crafted another album brimming with sharp hooks, and a modern, punchy production,2 and plenty of hard rock influences. “We Die in Dust” has perhaps the most blatant rock vibes, with stomping beats and crunchy riffs that sound like 80s hair metal performed by Venom. At times, the rock similarities are even more direct. The main riff of barnstorming opener “Starfire Maelstrom” evokes the main riff from HIM’s “You Are the One” repurposed for a speed metal context, while the guitar line in the bridge of the title track sounds like a reinvention of the main guitar melody from Heart’s “Crazy on You.”

Spell Shock finds Bewitcher’s increasing rocky influences not only working but also making the more typical blackened thrash moments hit harder. “Lavish Desecration,” the album’s second track, charges forward with the playful and jumpy riffing we’ve all come to expect from Bewitcher, but fresher and more invigorated. Other tracks strike equally hard. While gang vocals are an oft-used trope in this style, I still can’t help but throw my grimy fist in the air when the chants of “Spell shock!” hit in the title track. “Out against the Law” burns rubber like classic Motörhead, while “Seasons of Foul Harvest” crafts a simple hook using sustained bends that recall heavy metal’s golden age. Through it all, vocalist and guitarist M. Von Bewitcher keeps an eye toward extremity with his gruff and charismatic rasp, sounding better than ever over his kinetic riffing. The man’s leads are also an unholy force to behold, with almost every one of these ten tracks containing slick and wild solos that fly high and reek of vintage charm.

The best thing about Spell Shock, though, is how it feels like a refinement of the last album. Whereas Cursed Be Thy Kingdom felt like a collection of (good) songs, Spell Shock has a better sense of cohesion and structure. Spell Shock’s penultimate track, “Pagan Shadows,” is a two-minute Western Americana instrumental, which is somehow exactly what the album needed at that point. Likewise, the band wisely forego a third iteration of the chorus on the closer “Ride of the Iron Fox,” ending the record more effectively with an extended instrumental outro of clean picking, rocking solos, and a weird atmospheric sample. While some songs aren’t as impressive (“Dystopic Demonolatry”), most of the tracks are great, if uniform; a weird curveball or two wouldn’t have hurt. Lars Frederiksen of punk legends Rancid also does an excellent job on production duties, offering a vibrant guitar tone and an overall sound that’s powerful and clear without being sterile.

If Spell Shock isn’t the best Bewitcher album, then it’s certainly the most fully realized. It’s an improvement over the last album while featuring the same high energy and fantastic hooks they’ve always had. This time, it’s with better production and a renewed swagger. Ultimately, Spell Shock is a terrific addition to the Bewitcher catalog and I’d recommend it to even the crustiest and most jaded of heavy metal fans.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records
Websites: bewitcher.bandcamp.com | bewitcher.us | facebook.com/bewitcherofficial
Releases Worldwide: September 27th, 2024

#2024 #40 #AmericanMetal #Bewitcher #BlackMetal #BlackenedThrash #CenturyMediaRecords #Exciter #Heart #Hellripper #HIM #Midnight #Motörhead #Rancid #Review #Reviews #Sep24 #SpeedMetal #SpellShock #Venom

Carmeria – Tragédie D’amour Review

By Kenstrosity

In my estimation, power metal lives and dies by the sword chorus. A band may showcase the world’s greatest guitar wizardry in the universe, the widest vocal range humanly imaginable, and the most boisterous percussive acrobatics, but I need a chorus that makes me want to shout to heavens to tie it all together. Others might offer a different experience, but I’ve yet to meet a power metal record without big, showstopping choruses that stuck with me for longer than a couple of weeks. Armed with this unwavering condition in my mind, body, and soul, I approach Australian symphonic power metal troupe Carmeria and their sophomore record Tragédie D’amour.

Carmeria’s debut record, Advenae, spanned over an hour of lush, but often basic symphonic power metal. Folks familiar with mid-period Kamelot, Serenity, and Seventh Wonder would recognize the blueprint implemented by these Australians in an instant. As you might guess, one of that record’s greatest strengths were its choruses. That strength not only carries over to this new outing, but also blooms with vivid new brilliance. Embracing the gothic romanticism of HIM and translating it into ridiculously catchy love songs that recall the same indelible infectiousness as many of Night Flight Orchestra‘s hits, Tragédie D’amour represents a tightly written and delightful clinic of gigantic choruses, backed by decent, if still unremarkable, power metal instrumentation.

Even on their weakest cuts, Carmeria’s choruses constitute some of the most memorable material I’ve heard all year. Massive, stadium-rocking tunes like “Thorns” and “Leading the Lyre” make for surefire crowd pleasers, boasting soaring lines and muscular stomps that work in tandem to alight the soul with surging fire. “Call Forth My Sorrow,” “A Thousand Winter Rains,” and “Shadow’s Throne” represent the heaviest offerings, showcasing Carmeria’s surprisingly strong harsh vox while still providing deadly sharp vocal and percussive hooks at every corner. Meanwhile, gorgeous and fleeting ballad “Whispers of Forgiveness” evokes an olden, mystical tone that maximizes the earnest character imbued deeply throughout the record. In a way, that track—despite being the lightest and gentlest application of Carmeria’s sound—represents the bleeding heart of the record, the fount from which the hopelessly romantic emotions that fill Tragédie D’amour springs.

And yet, Tragédie D’amour’s unreal value argument for memorability can’t obscure the relative lack of showmanship displayed by guitars and synths. Where bands like Kamelot and Night Flight Orchestra, to pull from two different pools, both effectively utilize hooky, memorable writing for their guitars and synths, Carmeria’s writing lacks flair in either department. An overwhelming majority of Tragédie D’amour’s riffs, leads, and solos lack distinct personalities, save for rare exceptions like the beautiful acoustic accompaniment in “Whispers of Forgiveness,” the main themes of “Leading the Lyre,” or the noodly synth solo at the final third of “Call Forth My Sorrow.” Consequently, Carmeria’s instrumental material is only ever strong enough to play a support role to the vocals. This, in turn, leaves a lot of potential for even greater musicality on the table that could’ve made a wholly fun record into an undeniable showstopper.

Interestingly, despite my initial claim that power metal needs strong chorus work to resonate with me, Carmeria’s newest release needed more robust instrumentation to be great. Tragédie D’amour’s choruses are easily some of the best I’ve heard all year—not a one misses the mark. However, that metallic essence brought into the affair by guitars, and the whimsy brought by synths, leaves a lot to be desired. With more inventive instrumentation, this album could’ve easily threatened the top spot of my year for new releases. As is, Tragédie D’amour remains a thoroughly enjoyable and easily replayable record tailor-made to lift you up and make you sing.

Rating: Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: facebook.com/CarmeriaMusic | carmeria.bandcamp.com/music
Releases Worldwide: August 23rd, 2024

#2024 #30 #Aug24 #AustralianMetal #Carmeria #HIM #Kamelot #NightFlightOrchestra #PopMetal #PowerMetal #Review #Reviews #SelfRelase #Serenity #SeventhWonder #SymphonicMetal #TragédieDAmour