Dunno about that... taste does evolve but I don't think mine is too confusing. I just don't like the 'only the old stuff is real, only traditional power metal tropes are real' type of mindset.

I think that Vulvagun doesn't necessarily fit well into the traditional metal mold you guys are expecting... Their riffs aren't necessarily focused to the forefront in the way many traditional metal bands' are. Rather, they focus on creating an atmosphere, and the riffing is in support of the atmosphere. That atmosphere tends to more often than not also differ from trad metal, it's a very somber, almost doomy feel. All that being said, I don't see how anyone couldn't like the chorus to "Old Creeping Jesus," that shit ticks all the right boxes.

I dunno, I mean we're still less than halfway through the year. Mark Shelton certainly seems to pretty active, the new Hellwell is streaming on YouTube in its entirety and I'd say it rips pretty hard. I do often end up changing some of the nuances in my opinions on Manilla Road/Shelton stuff, but at this point I think I'd say I like it a bit more than BtBoS. "It's Alive" and "The Galaxy Being" especially goddamn kill it. Still to come this year also are the album from Riddlemaster (Shelton's project with Rick Fisher - according to Rick probably going to come out sometime in June), as well as the newest actual Manilla Road album. Shelton is a goddamn monster to be this busy at 60. And if even if not everything he puts out is gold, you're guaranteed at least a couple of great tracks per album.

Also I haven't checked that new Trial stuff yet but I will soon, their previous output has been pretty cool, if something I only go back to occasionally because it's pretty tough for me to digest. Definitely doesn't seem like this year is slowing things down much in quality output from the last few years to me though, I mean 2011-2013 was especially hot but 2014-present seems to be roughly the same amount of good shit, not tons and tons but better than what we were getting from the 1999-2009 era, trad/USPM certainly isn't dead.

Man, Ulmer was still selling that shit off his own personal website right up to the end. He strikes me as the type of dude who would have had pristine copies of all demos tucked away in a vault somewhere. Obviously with him passing things get a touch more difficult...

Right there with you, pimpin'. I've loved Othyrworld for years and always felt like Sacred Blade would hit even harder. Wasn't wrong!

I would like to know of any modern bands (modern as in 2010 or later) that are similar in style to the following bands/albums.:
Queensryche - particularly the first EP and first two albums
Fates Warning - 80s and early 90s era (meaning, up to Parallels)
Crimson Glory - first two albums
W.A.S.P. - first album
Helloween - Walls/Keeper era
Chastain - 80s era
Heir Apparent - first album
Savatage - up to and including Hall of the Mountain King
Lethal - Programmed-era

I would like to know of any modern bands (modern as in 2010 or later) that are similar in style to the following bands/albums.:
Queensryche - particularly the first EP and first two albums
Fates Warning - 80s and early 90s era (meaning, up to Parallels)
Crimson Glory - first two albums
W.A.S.P. - first album
Helloween - Walls/Keeper era
Chastain - 80s era
Heir Apparent - first album
Savatage - up to and including Hall of the Mountain King
Lethal - Programmed-era

What about a band or album like Blind Guardian's Tales From The Twilight World?

Oh yeah sorry. All that but him instead.

So I've been listening to Cauldron Born a tonne recently, and damn, what a fantastic fucking band. The debut is an outstanding landmark of USPM, but I've been drawn more to the Sword and Sorcery Heavy Metal EP: specifically Crom Count the Dead. This track is fucking phenomenal. The main riff, and the choruses that accompany them, are some of the catchiest I've ever heard. The vocals, while not quite as good as the debut, are perfectly suited to the rest of the material. I cannot get enough of this band.

Oh, it's no problem. I just wanted to clarify in case there was any confusion. Howie and I are both credited with vocals on that track. I saw on another message board someone said they like the vocals on the new songs except for "Howie's vocals" on Crom. I think they were confused there, Howie sang only briefly.

Howie's pretty much the best metal songwriter around IMHO. Even though I was given free reign, I tried to stay as close to his guide vocals as I could because they were awesome melodies.

Nah I appreciate you correcting me. I just feel bad because I think maybe this is the third or fourth time you've done so? No idea why I cannot commit that to memory. Your voice was awesome for Crom, Count the Dead. Don't know if you read any Fafhrd & Gray Mouser but it reminded me of the way they describe Fafhrd's voice (he's a massive barbarian) as being higher pitch than you'd expect to look at him, but extremely pleasing. That scald quality!

I have to agree wholeheartedly on Howie being one of, if not THE, premier living writer of heavy metal tunes. Crom, Count the Dead would have fallen flat in the hands of most artists. So many ideas packed into one song. It just works though, the whole way. I can't wait to hear something longer.

We’ve all heard the stories of legendary antics and debauchery backstage at Metal concerts – and while that is exciting to read or gossip about, very often there’s another conversation that happens back there, on the tour bus, or at a local backyard BBQ party over some beers – while you’re hanging out with fellow musicians you respect, blasting a classic Maiden, Lizzy, or Priest album – it’s almost inevitable that someone says “we should jam together sometime” and while this may be well-intentioned or naively inspired, it seldom comes to fruition. WALPYRGUS is an exception.
When these veterans of Twisted Tower Dire, While Heaven Wept, Daylight Dies, and Viper (amongst a long list of many others) broached this subject, it actually came to fruition with a very real mutual ambition and respect for both each others’ talents and the musical influences that made them who they are.
When you hear those passages recalling the aforementioned Maiden, Lizzy, Priest, Fate, etc…it’s truly coming from the hearts of musicians who have been performing this kind of music their entire lives.
The eponymous demo-turned-EP confirmed that these guys were serious but was really only a litmus test merely hinting at what was to come; their debut album “Walpyrgus Nights” represents the full realization of the potential of this dangerous meeting of Metal minds. Hook after hook, cascading guitar harmonies, anthemic soaring vocals, epic unexpected twists and turns abound, this 8 song opus is truly a genuinely inspired, wild, and I daresay fun ride through the annals of classic Hard Rock and early Metal with a distinct personality.
This effort gradually matured over a span of no less than five years and recorded in a variety of locations over the course of two intense years under the guidance of Tom Phillips (While Heaven Wept mastermind) was mixed by longtime collaborator Kevin “131” Gutierrez (Raven, Deceased, Believer) and features the artwork of Gustavo Sazes (Morbid Angel, Arch Enemy, Firewind).
So when the when the stars are right and you’re alone, take a journey, lock the world tight and prepare yourself for the tales of demons, spectres, and witches rising on Walpyrgus Nights!
“Walpyrgus Nights” will be released on compact disc, vinyl (featuring a 56-page comic book with lyrics!) and digital on June 9, 2017.
PRE-ORDER HERE: http://tinyurl.com/k8llrcz
Tracklist:
1. The Dead Of Night
2. Somewhere Under Summerwind
3. Dead Girls
4. Lauralone
5. Palmystry
6. She Lives
7. Light Of A Torch
8. Walpyrgus Nights

Musicians:
Jonny Aune – Vocals
Scott Waldrop – Guitars
Charley Shakelford – Guitars
Jim Hunter – Bass
Peter Lemieux – Drums
Tom Phillips – Keyboards, Guitars