NIGHTGLOW is an Italian band releasing their fifth album after a lineup change. The band mixes traditional style and humble beginnings covering 80s Metal songs with power metal influences form the bands they've toured with through Italy and internationally. The result? A solid Gothic album with a sound from various different places, coming together to create a heavy, enduring sound.

"Thy Flesh Consumed" is an eerie, haunting intro that automatically sets the tone for the album and lets you know this is Halloween for your ears. I love how the guitars jump out at you after the creepy ambient music, creating this awesome jump-scare. "X" is less symphonic than I thought it would give the intro. I expected a sound akin to TRISTANIA or CRADLE OF FILTH. More orchestral, more Gothic. However, we're treated instead to is a classic high-strung guitar, pounding bass, and gravelly vocals, a solid blend of traditional metal and heavier, more contemporary material. It's no less great, fist-pumping, or thematic. I enjoy the harder, more classic sound here along with the gravelly vocals.

"Circus of the Damned" gives us some interesting big-top ambiance before diving into the meat of the song. Amid the gravelly vocals is a ring-master operatic singing that gives the song more of a haunting vibe. I have to admit that it sounds like a band I'd hear when I'm shopping at Hot Topic (the old Hot Topic that smelled like rubber and looked badass). It's a nostalgic sound rooted in early 2000s Metal, a cross between Nu-Metal without the angst and heavier, underground metal like LAMB OF GOD. "Fuck@looza" has some fun symphonic events before launching into a wild romp with tuned-down guitars and fast bass riffs. I could see myself rocking out to this at a concert. I enjoyed the slow-down for the guitar solo, featuring higher-pitched, more melodic guitars. It was a nice contrast to the hard-hitting main melody.

"On Your Own" features a JUDAS PRIEST-sounding riff with a grungy, Nu-Metal twist. Of the vocals so far, these are the most cookie-monster sounding. I like the call-and-response with the female robotic voice in the second verse and the more melodic refrain juxtaposed against the faster, harder, more chaotic stuff. "Overlord" has a more melodic riff to the beginning and features medieval wagons or a drawbridge. The vocals are more melodic as well, blending operatic singing and gravelly ambiance. It's not as heavy on the chaos in the verses and chorus and has a steadier, more anthemic theme.

"Alive" starts as a slower, more discordant song, with the same feel as the intro. Like the last song, it marches through the intro, but into a long drum roll that breaks into chaos. It has higher, screeching vocals more similar to Black Metal. The screeching verses contrast a more operatic chorus, creating a good variety through the song. "Gone" starts with slow, almost clanking guitar strumming, giving the song an eerier feeling. Is this the album's "slow song"? Since it looks like it, I have to say the vocalist has a smooth, gentle voice behind the screeching and screaming. It's actually, a lovely, operatic tenor.

"Mofo Social Club" isn't exactly my favourite. I find the song itself a little generic; the lyrics are pedantic, and the instrumentals aren't much to write home about. It's a simple song without a lot of harmonies or juxtaposing vocal styles. However, the guitar solo is a high note here with an intricate melody and beautiful harmonies with the vocals, bass and drums. "The Last One" has a low guitar riff mixed in with some higher symphonic that give it a melodic feel. I love the contrast between the higher, longer notes in the vocals with the lower, crashing guitars. Of the songs on this album, this one is the most like 2000s Nu Metal; the machine-gun melody in the verses does it along with the howl at the end of the chorus.

"Feed My Demon" begins with crashing drums and a low, ominous bass line. The vocals are low and gravelly, beginning slowly, revving up for an intense ballad. The singing goes from soft singing to screeching gravel through the intense progression, then back down again for a light instrumental break. It gives the song a feeling of a demon trying to bust out of a cage. Their bonus track is "Daenerys" and is a rocking ode to Khaleesi herself. It's a standard Nu-Metal style song throughout with a spectacular soaring chorus featuring harmonies and uplifting melodies.

"Erzebet" has a slow and steady beginning with growling guitars revving up to a lower, intense intro. It's a steadier, mid-tempo song with a smooth melody contrasted with rougher elements. The chorus has a somewhat uplifting element, but not too distinguished from the verses. The melody change comes with a slowdown and a grainy narration. After, a more galloping riff comes along to make for an intricate refrain and a high-pitched guitar solo full of sweeps. It has a hollow, artificial sound that sounds space-like. As a long closer, it's a good, fun ride.

Overall, this album made me nostalgic for the 2000s Metal hits in a way I thought no one could. It blends other styles of music as well, such as Traditional Metal, Power Metal, and Gothic elements to create a unique sound. If you're into darker, heavier elements, or enjoyed 2000s Metal and are looking for a band with all of the good stuff and none of the flaws, I would recommend this band.