Release date: Out now

Label: High Roller Records

Following Romantik I (2022) and Romantik II (2023), Austrian-Hungarian duo Bergfried return with Romantik III, their first release on High Roller Records. The band features Erech von Lothringen on all instruments and Anna de Savoy on vocals.

Known for his work across various underground projects, Erech von Lothringen has roots in black metal but draws from a wide range of influences including thrash, heavy metal, and classic hard rock. While Bergfried began with a more atmospheric concept, the sound has evolved into something more melodic and theatrical.

On Romantik III, Erech is joined by drummer Fabio Alessandrini (Annihilator, Bonfire, Enforcer), adding a live dynamic to the recording. The album continues the conceptual arc of its predecessor, following Anna’s descent through hell in search of her lost lover. Along the way, she confronts divine and infernal forces, with guest appearances from Maria Nesh (Red Eye Temple), Sarah Kitteringham (Smoulder), and Davide Moras (Elvenking).

Despite its dramatic themes, the album remains accessible and melodic. Tracks like “Fallen from Grace” reveal unexpected pop sensibilities, reflecting Erech’s early fascination with artists like Meat Loaf.

Romantik III was mixed and mastered by Olof Wikstrand at Hvergelmer Studio & Music Production, with artwork by Aaron Lawrance.

Review

Dark Wings is the opening track for the album and it doesn’t take long for me to get an idea of how this album could unfold in terms of sound direction (though I could be speaking prematurely). The song is steady, focused and for fans of classic production it has that strong solid feel, with a deeper snare sound. It opens with a mix of straight forward and pounding drum ideas, driving bass and rhythms. Anna de Savoy soon comes in with her smooth and silky vocal lines acting as a glaze to the music. The song plays between taking away and reintroducing instruments giving the vocals space to breathe. I do love the vocal melodies in this track as they feel warm and inviting. Especially on the choruses where they really shine through. A track where I can see people joining on the choruses for sure.

Fallen From Grace starts with a focus on the vocals and some toms before the guitar riffs come pouring in. Funnily enough the riffs at the start just reminded me of Back to the Future for a brief moment. Erech then joins in on vocals and soon enough it is clear that the music feels a blend of pop/rock/metal. The touches of synth keys in the background act as some nice little flashes giving moments an heroic feel. Through the song the vocals are clearly a strong focus and the words “running away” lift the song up to make it feel tender and again tipping it towards that poppy edge. I personally didn’t expect the band to take that approach in terms of musical direction but nevertheless the song is well written. The leads on the solo are excellent and cut through! The spoken section later in the song feels a bit strange but adds a bit of I guess a theatrical touch. But soon enough Erech and Anna sing together using some nice key changes to carry out the song.

Queen of the Dead pulls us away from the pop rock ideas and drops us right into some good old heavy metal. The song is upbeat and feels like a solider on horseback charging right at you. The rhythms are tight and powerful and help push the song forward.The vocals are absolute fire and gel perfectly with the metal riffing! This certainly feels more my cup of tea and what I hoped for. I really hope the rest of the record is like this. And just like the picture of Anna with sword in hand I can certainly see this song being a good reflection of that image. Eventually it drops down to a slightly slower pace with more of a rocky approach. The music at this point has gone from driving heavy metal to classic 80s soft/ hard rock. I instantly got feelings of Queen’s “Hammer to Fall” blended with strongvibes from a musical. The songs approach is an unexpected and slightly peculiar yet refreshing mix of ideas. There is even a return to the metal and huge scream which is killer.

For the Cursed comes in with the sounds of organ and the soft calm words of Anna. This continues for a moment gradually developing before the rest of the music comes in. We transition into a mid tempo light chug chug once again latching to a more hard rock feel. And so far as I progress through this record I can safely say that there is a feeling and emotion running through the albums veins. For the Cursed is a great example of this especially on the vocal delivery. This is one of those types of tracks I could get up and start my morning with while drinking a coffee. The song largely holds a midtempo groove, shifting between stripped-back sections that spotlight the vocals and more layered, propulsive passages that drive the momentum forward. Another solid song.

Gates of Fate gets things moving and feels like a fighter plane spitting fire from its engines as it roars through the sky. It’s fast, furious and the riffs are smoking! In comparison to some of the music we have heard previously, this dives into a bit more of the metal side of the things. I am loving how the speed always has moments where teh drum fills break things up. It is worth mentioning that I still feel the vocals feel fit into that rock/pop field however. These somehow float magically on top of rumbling double kick drums on choruses. The solo is simple and a nice touch before returning to the speed and energy of the earlier part of the song.

Serenades opens with gentle piano notes and softly sung vocals, setting a more easygoing tone. It does not stay subdued for long. Soon the energy surges and the music kicks into gear. The riffs and overall approach shift towards a rocky, pop punk vibe, which highlights the album’s musical range. It is an intriguing transition, though I am still unsure how I feel about it. I proceed with caution. The songwriting and structure are solid, but I find myself pulled in different directions stylistically. Perhaps the band would benefit from focusing more consistently on one sound. That said, the second half of the track really shines. The rhythm guitar work comes alive and drives the song forward with conviction. It is easily one of the strongest elements here.

Tears of a Thousand Years transports us straight into 80s territory. The intro sets the tone with a disco beat, walking bass stabs, and atmospheric guitar flourishes that feel lifted from a neon-lit dance floor. The verses march forward with bounce and swagger, the bass and guitars locking in tightly beneath the vocal lines. The choruses amplify that retro feel, layering bright vocals over bold rhythms that drive the track with confidence. The recurring main riff reinforces the old-school vibe, adding a sense of familiarity and cohesion. The solo brings heat and emotion, with lead licks that practically demand expressive faces from whoever is playing them. That kind of energy is always a win. Another solid number that keeps the momentum going.

Star-Crossed Love returns to another softer approach opening with more piano notes and calm vocal lines that gently call out. However once the drums and bass kick in the vocals who I believe are Erech also briefly come in. This once again adds something a bit different and it is welcome. The vocals certainly have alot presence in this song which is is epic! What was refreshing to hear was Sarah of Smoulder making a guest appearance. I am a big fan of Smoulder so for me that is something I was happy with!Just a shame it was a bit short. The true brilliance comes with the colossal layered vocal section post solo which feels rich in texture and super warming! Great stuff!

Back for More is the closing track and once again blends multiple genres to create a unique and interesting song to round of the album off. From powerful huge synths in the opening moments, to metal riffs, pounding bass and drum lines and of course commanding vocals it has a bit of everything! Like many tracks on this album, It is another one that feels like an adventure. Full of excitement and interesting ideas flowing heavily with every moment always grabbing your attention. The solo section defiantly feels electric and big highlight of the song just like the colossal vocals that follows! One thing I can safely say is that the band know how to write music that sounds huge bright and memorable.

Conclusion

In closing, this album is a bold, genre-blending ride. It flicks between heavy metal, hard rock, pop, a touch of pop-punk, and even musical theatre flair. The band clearly enjoys experimenting, and the result is a collection of songs that feel adventurous, dramatic, and often cinematic. The performances are strong throughout, with standout vocals and a knack for writing big, memorable moments.

That said, the wide stylistic range may leave some listeners heavily divided, especially those hoping for a straight heavy metal record. While the variety keeps things fresh, it also makes the overall identity feel a little scattered. When the band leans into the heavier or more theatrical elements, the results are especially compelling. A more focused version of this sound could be even more powerful. Still, the ambition and talent are clear.

A daring and creatively charged release that swings wide, hits often, and leaves a strong impression, even if it does not always stay in one lane.

TheNwothm Score: 8/10

Links

Bandcamp: https://bergfried.bandcamp.com/album/romantik-iii

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

Instagram: https://www.instagram.com/bergfriedofficial

Label: https://www.hrrecords.de