Germany’s Eternity’s End plays the kind of over-the-top, shred-heavy metal that squeezes three albums’ worth of notes into one. The first band I ever listened to that wielded eye-popping neoclassical theatrics with relentless, reckless fervor was Children of Bodom, and since discovering them I’ve chased the highs of any act that marries the thrills of mind-melting guitar acrobatics with capable songwriting. Eternity’s End fits that bill perfectly, and their fourth outing Titanblood, gushes with technical glitz and hook-laden arrangements. Does Titanblood come out in the wash, or leave an indelible mark on 2026?

If you ever wondered what a power metal band loaded with legendary tech death musicians would sound like, Eternity’s End is the answer. Christian Münzner (Retromorphosis, ex-Obscura, ex-Alkaloid), one of my absolute favorite guitarists, joined forces with drummer Hannes Grossmann (Hannes Grossmann, Alkaloid, ex-Necrophagist), bassist Linus Klausenitzer (Alkaloid, Obsidious, ex-Obscura), keyboardist Jimmy Pitts (Equipoise, NorthTale), and singer Ian Parry (Consortium Project) in 2014 to fulfill Münzner’s dream of forging an unstoppable neoclassical juggernaut. On the band’s official site, Münzner highlights the importance of vocal melodies and how his previous projects never afforded the outlet to feature them. Now on Eternity’s End’s third singer, these Titans of tech death assemble once again to power up.

Throughout Titanblood, Eternity’s End electrifies with showstopping razzle-dazzle and evokes myriad touchstones without ever losing their own voice. Returning from Embers of War, guitarist Justin Hombach (Fabio Lione’s Dawn of Victory, live guitarist for Alkaloid) accompanies Münzner to unfetter fluttering, perpetually urgent guitar leads. United, they unleash six-stringed tempests that invoke the winds of past and present. The central riff from “Eternal Winter” recalls Running Wild’s “Riding the Storm” or “Blazon Stone” played at double speed; “Gates of Eternity” pays homage to Iron Maiden’s “Chains of Misery” as it boasts a brief drum intro that transitions into a slinky groove mirroring the Fear of the Dark nugget, and the neoclassical exuberance of “Titanblood” reminds me of Aephanemer’s Utopie. Through these reference points and others, Eternity’s End occupies a unique stage that exerts the demanding instrumental mastery of technical metal applied to the sweeping, soaring majesty of Rhapsody (of Fire), much like DragonForce. While the guitars often steal the spotlight, Grossmann deserves mention for another incredible performance as he dials up a fabulous thunder that balances an avalanche of rapid double bass rolls and inhumanly precise snare and tom interplay. Like Münzner and Hombach, Grossmann discharges his performances with an exacting crispness that allows listeners to hear each note with satisfying pop. I only wish Klausenitzer’s bass had a more prominent role, although with such overstuffed compositions I understand that sometimes something has to give.

While the guitars, bass, and drums continue to deliver the same rampant fun as on Embers of War, the keys, vocals, and production put Titanblood a step above its predecessor. As Holdeneye noted in his review, Embers of War felt more direct and grounded in heavy metal roots rather than the prog power bombast of Unyielding, and while this isn’t necessarily negative, I felt Pitts’ absence. With him back in the boardroom, the lavish power cheese I crave returns with full-flavored goodness as he runs alongside the guitars with unyielding dexterity (“Sword in the Storm,” “In the Wake of the Carrion King,” “Rule the Night”) while saturating Titanblood in uplifting atmospheres (“Titanblood,” “Gates of Eternity”). Joining Eternity’s End in 2026, newest band member singer Mike Livas comes in swinging righteous Greek heat. If you’re a fan of power metal vocals that often dwell in the upper register, Titanblood won’t disappoint. Livas submits a powerful performance that improves upon the buried vox on Embers and crows with confidence and enough emotive gusto that I never doubt his earnestness. Listening to the Japanese bonus track “In the Wake of the Carrion King” and comparing it to the version heard on Titanblood perfectly encapsulates the differences between the albums, and it’s powerful.

Though most of this review focuses on Eternity’s End’s outstanding musical performances, I must give due credit to Titanblood’s songwriting as well. Nearly every track has lived rent-free in my head since I got my mitts on the promo, especially “In the Wake of the Carrion King,” “Eternal Winter,” and “Ravenheart.” If my review of LiveWire’s latest didn’t give away what a sucker I am for riffs played fast and ferocious, my adoration for Münzner & Co.’s Titanblood should. The concoction of technical wizardry strained through the sieve of savvy songcraft sets my soul afire, and I’ve no doubt that I’ll be listening to this record until well after Eternity’s End.

Rating: Great
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: November 6th, 2026

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