Release date: 2nd May 2025

Where can we find a band that plays traditional heavy metal with symphonic elements, without relying on canned sound or overused synthesisers? We searched in the most unlikely places… until we found Under Ruins! This German band, formed in 2023, surprises with a hard-hitting debut — a quintessence of epic style, full of hymn-like choruses you need to hear!

Review

MDCCCXVI: In Roman numerals, it corresponds to 1816 — a key historical date that serves as the introduction to this album. From the very first moment, we hear a military drumbeat, accompanied by bells and a thunderous bassline that reinforces the track’s martial power. An excellent start.

Eighteen Hundred and Froze to Death: The intro gave us a clue — riffs heavier than a thousand-ton anvil, alternating open chords with palm-muted sections. The guitars decorate the opening with twin leads that almost act like violins. Nuno Miguel de Barros’s vocals are smooth, never forced, gliding subtly through mid and high registers. The drummer keeps time with great instinct, maintaining a steady mid-tempo pace without needing to show off. The song effectively conveys the cold, threatening atmosphere described in the lyrics. The lead guitar fits well, emphasizing the dramatic parts, although it doesn’t stand out for technical brilliance. The hammered final chords and muted rhythmic lines provide an excellent close.

Lost Amidst the Unfathomable Abyss: The drums do a solid job, especially in highlighting the militaristic sections that Under the Ruins builds with their mid-tempo riffs. Brief gallops and power chords break things up, hinting lightly at a pagan metal feel. The guitar solo works as a short interlude, though it feels less inspired than the one in the previous track.

Moonlit Requiem: A lightly syncopated bassline alongside powerful crashes from cymbals, snare, and toms forms a strong gateway to the song. Epic twin guitars follow, along with clean guitar sections. Nuno’s vocals open up more confidently in the higher range without ever losing his characteristic softness — no strain on his vocal cords or jaw. The lead guitar employs some tapping, aiming for a virtuosic feel; perhaps blending bluesy scales with fast arpeggios and legatos might have improved its delivery. The recited Portuguese passages create a sublime atmosphere, giving the track an “antique” touch that pairs beautifully with its spirit, ending with haunting a cappella chants as the instruments fade into silence. A great track.

Whispered Curses, Woe Unleashed: Clean arpeggiated guitars light the fuse. The track unfolds unhurriedly, with vocals introduced through more subtle distortion than elsewhere on the album. The rhythmic mold — bass and drums — stays centered, executing tempo shifts without changing speed or losing impact. The guitar solo is more defined here, with some twin harmonies that add emotional weight. After the solo, a brief section led by bass and drums adds new shades to the track.

Crimson Seas of Courage: Open chords, melodic picking, and a pounding rhythm section form the foundation of this seafaring metal anthem. Is there a particular sonic quality that unites maritime-themed heavy metal? The final stretch slows like the ebbing tide, giving full prominence to the vocalist, who poetically recites the closing lines and dares a high note — a rarity on this record.

Great Drowning of Men: Opens with powerful riffs decorated with clean, arpeggiated guitar and deep bass lines. After this intro, an epic ballad full of lyricism and emotion unfolds, enhanced by Gregorian-style choirs that reinforce the ancient vibe. After the clean sections, the tempo picks up to mid-speed, with rhythmic patterns reminiscent of cinematic battle scenes — complete with subtle tempo breaks. Clocking in at just over eight minutes, the track offers calm sections where clean guitar solos alternate with distortion, adding versatility. An excellent piece.

Fanfares: A short tune with clear medieval inspiration. This is the closing track, an epilogue that marks the end of the journey. These kinds of compositions often work best as openers, but as a final piece it works quite well — with the calm sea and seagulls’ cries heard in the last few seconds.

Conclusion

With their debut, Under Ruins achieve something rare in today’s heavy metal scene: they reclaim the epic, traditional spirit of the genre without falling into excess or artifice. Through carefully orchestrated twin guitars, deliberate basslines, and drums that know when to strike and when to hold back, they build an atmosphere that evokes both ancient legends and landscapes frozen in time. The result is a solid album, filled with memorable moments and a compositional approach that favors intention over gratuitous virtuosity. While some solos could benefit from added depth, the overall package remains cohesive and emotionally compelling. Age Of The Void is not just an evocative title — it’s a gateway into a world where traditional metal lives on with authenticity, no digital disguise required.

TheNwothm Score: 8/10

Links

Bandcamp: https://www.underruins.bandcamp.com

Facebook: https://www.facebook.com/underruins

Instagram:https://www.instagram.com/under.ruins

Label:https://fhmrecords.bigcartel.com

LINE-UP
Nuno Miguel de Barros Fernandes – Vocals
Markus Ullrich – Guitars
Achim Rauscher – Guitars
Alexander Palma – Bass
Sascha de Lima Beul – Drums