Release date: 24 April 2026
Label: No Remorse Records
Formed in 2000 in Athens, BATTLEROAR have carved their way as one of the leading forces of European Epic Metal. Inspired by legendary acts such as Manilla Road and Omen (both Mark Shelton and Kenny Powell have performed as guests on past Battleroar albums), the Hellenic band is considered as one of the most important Epic Metal bands of the current millennium. With “Petrichor”, BATTLEROAR stay true to their signature sound, delivering atmospheric passages, strong melodies, and a powerful, dramatic character shaped by experience and conviction.
Produced by Kostas Tzortzis.
Sound engineering by Thimios Krikos, Stamos Vasilakis, Stathis Pavlantis. Mixed & Mastered by Arthur Rizk. Cover art by Mars Triumph.
LINE-UP
Michael Karasoulis – Vocals
George Tsinanis – Drums
Zack Kotsikis – Guitar
Lukas Libertos – Bass
Alex Papadiamantis – Violin
Kostas Tzortzis – Guitar
Review
“The Last Mythkeeper”, a minute-long piece of ambience begins the album. A deep voice delivers a reflective and almost solemn speech amidst rainfall.
“The Missing Note” featured an extended opening that focused more heavily on the riffs than I recall older Battleroar being (it’s been a while). After some time away, the masters of epic metal have returned in force. There’s a deliberate nature and storytelling quality to the structure of the track that gives it a further unique sense of identity. Every note is methodical, masterful, and most importantly, meaningful. New vocalist Michalis Karasoulis gives a sizzling performance here that felt both refreshingly new and familiar, without being derivative of Battleroar’s past vocalists.
“Atē, Hybris, Nemesis” began with an absolutely gorgeous arrangement of strings that harkened me to the ancient world strategy games I’d play as a kid, it’s all very Greco-Roman/Mediterranean sounding. Truly incredible lyricism at work here as well, a true highlight throughout an already packed track. There’s so many different layers here that I can’t even begin to get into them all. At times, an ‘epic’ song simply needs to be heard and not described, and that’s what this one is.
Legacy of Suffering (Flagellants) once again showcased Battleroar’s love of music with the incorporation of a violin, either way it sounds rad. Once more, the lyrics take a huge front-seat here and allow for some easy mental imaginings to go along with the masterful musical spread. I really began to appreciate the production here as well, it’s the exact kind of production I like in my epic metal. It’s not too muddy and lo-fi so as to be cacophonous, but not too polished and overdone to lose its luster.
“The Earth Remembers, the Rain Forgives” featured the return of the violin from before in the opening, working in tandem with the more traditional electrics. I’ll always be a sucker for classical instruments meeting the modern. I found myself adoring the deliver of the chorus, perfectly captivating stuff. All throughout the track really Karasoulis is belting it like crazy, definitely showing the breadth of command over his voice. The motif of the violin returning throughout was a wonderful touch as well.
“What is Best in Life?” featured a more subdued riff to begin, followed by some slower delivery from Karasoulis that seriously reminded me of another power metal vocalist, but, as per usual for me, I was drawing a blank. I found myself a bit surprised when the track eschewed the traditional guitar solo in favor of an extended solo from the violin, and it truly became the highlight of the entire track for me.
“Chaosbane” began with a slow and deliberate opening to set some ambience, before a killer riff erupted through like a bullet through fog. Damn, the instruments really come together in this one. It’s hard to really explain what I mean, but it’s all very evocative and strangely blissful. Similarly, this joins the really big pantheon of metal songs about Elric of Melnibone, which makes it a banger by default. The song itself being a treasure to listen to is just the cherry on top.
“Wield the Myth” had the bass playing from Lukas Libertos practically at the forefront, with a production that harkened me to the bass-heavy styling of the New Wave of British Heavy Metal. I’m a sucker for a good bassline and this slight difference in production allowed the track to forge its own identity. Great little headbanging sequence with about 1:30 left in the song. Good stuff here, though I felt it was missing something.
“Storm inside” was one that I wish had the balance between vocals and instruments to be slightly more.. well, balanced. At times, I felt like the vocals overpowered the instruments. That being said, Karasoulis’ vocals are a wonder to behold, and he is once again on his A-game. Similarly, I love the violin in this piece, it really just adds a bit of weight and beauty to the whole experience.
Conclusion
Battleroar’s first outing in 8 long years is a bit different in sound than their prior releases, featuring a more almost progressive approach to the songwriting, and an almost dirge-like atmosphere throughout. The title ‘Petrichor’ refers to the smell of rain, and that creates the image of a stormy day or night. The violin really projects an almost sorrowfulness over the album as well. This may not be a concept album, in the traditional sense, but it is definitely an experience than is best explored at once. The recurrent themes, performances (particularly Karasoulis on vocals and Alex Papadiamantis on violin), as well as the general mood of the album make Battleroar’s return is a triumphant one.
TheNwothm Score: 9/10
Links
Bandcamp: https://battleroar-epic.bandcamp.com/music
Facebook: https://www.facebook.com/profile.php?id=61552004880866
Instagram: https://www.instagram.com/battleroarofficial
Label: https://www.noremorse.gr/products?searching=Battleroar
