#dolmen gate

Dolmen Gate

"Stick close to Mama K."

Release date: 3 October 2025 5 minutes Gage J. Tolin DOLMEN GATE is an Epic Heavy Metal band from Lisbon, founded in 2021 and aiming to pay tribute to sacred metal. Forged in the truest fire of Portuguese old school bands, DOLMEN GATE brings nothing less than pure steel for Manowar, Omen and Manilla Road fans, with a touch of ’70s added to the final potion. Just one year after their debut…

Dolmen Gate announce their second full-length album, “Echoes of Ancient Tales”, set for release on 3rd October 2025 via No Remorse Records. Pre-orders will open soon at http://www.noremorse.gr, with the first track due to premiere in the coming days. Formed in Lisbon in 2021, Dolmen Gate channel the spirit of sacred metal through a distinctly epic lens. Drawing from the legacy of Portuguese old…

Date: March 21-22, 2025Time: Starting at 17:00 each dayVenue: Odessa Club, Kolejowa 8/10, Warsaw, PolandTickets: Purchase Now Prepare for an earth-shaking weekend as 𝗛𝗘𝗟𝗜𝗖𝗢𝗡 𝗠𝗘𝗧𝗔𝗟 𝗙𝗘𝗦𝗧𝗜𝗩𝗔𝗟 V storms back to Warsaw! The 5th edition of Poland’s most electrifying underground traditional heavy metal festival promises two days of unparalleled power, passion, and pure metal. Gather with 300 die-hard…

Forgé à partir des braises de Ravensire à partir de Nuno (basse) et Alex (batterie), DOLMEN GATE s'est formé en 2021 avec l’apport des twin guitares de Kiko et Artur (guitare solo) et du chant envoûtant d'Ana. Ce premier album complet dispose de 9 titres qui s'épanouissent d’incandescents, mélodiques et accrocheurs.

Une guitare acoustique introduit le portail à pénétrer dans le monde fantastique de Dolmen Gate, puis le heavy metal épique fait fondre le récit mystique dans la fonderie de Birmingham du Sabbat Noir. La force motrice narrative se trouve propulser par un riffing dense et profond que la partie rythmique saupoudre de ce feu intense mid-tempo. Le bassiste fait un excellent travail en fournissant un travail mélodique et une densité de basse profonde. Les mélodies sont épiques et hantées par d’étranges royaumes d’obscurité qui caractérise les véritables légendes de triomphe et tragédie de ce Heavy Metal mystique et épique, avec comme filiation Manilla Road, Omen, Wishbone Ash, Iron Griffin.

Le mois d’octobre étale ses spores dans une mousse automnale de douceur mélancolique, ce disque aussi. Le chant d’ana est entre la sainte prophétie vocale de Jessica Toth (Jex Thoth) et Christine Davis (Christian Mistress), en une armure lustrée avec du velours.

« Gateways of Eternity » via No Remorse Records,a été enregistré aux Imperial Studios en mai 2023, produit par Dolmen Gate et Paulo 'Paulão' Vieira qui a enregistré, mixé et masterisé.

No hipster bullshit, franchissez la porte du dolmen et pénétrez la puissance du songwriting Heavy Metal éternel.

Estamos no ano 4 depois de Corona. Todo o Planeta está ocupado por festivais mainstream patrocinados por megamarcas … Todo? Não! Várias aldeias povoadas por irredutíveis melómanos resistem ainda e sempre ao invasor. Felizmente, Á-dos-Loucos é mais uma delas e recebeu, pela oitava vez, o Massacre Metal Fest, organizado pela banda Speedemon e pela UDCA Adoslouquense.

[vc_row][vc_column][vc_column_text] Estamos no ano 4 depois de Corona. Todo o Planeta está ocupado por festivais mainstream patrocinados por megamarcas … Todo? Não! Várias aldeias povoadas por irredutíveis melómanos resistem ainda e sempre ao invasor. Felizmente, Á-dos-Loucos é mais uma delas e recebeu, pela oitava vez, o Massacre Metal Fest, organizado pela banda Speedemon e pela UDCA…

The above images are the most recently allowed material from a surveillance tape labelled “Fichier d'archive. Caméra-20 (Cathédrale Notre Dame de Paris).” What makes this film of note is that it is one of the few pieces in the archive that is an active recording, the subject in question is incorrectly named, and the camera capturing the footage is located hundreds of miles away in Switzerland.

The private archive firm (that, for legal purposes, will be termed only as VKA), has been maintaining an archive of intelligence data acquired through automated means. The VKA holds and analyzes all footage related to currently classified or protected data that pertains to currently closed projects and entities. Allowances to see VKA recordings and materials are only given to aid in scientific research, archival purposes, or to the intelligence cervices of the French, Swiss, Polish and Italian governments respectively.

According to automated satellite information that is tagged with the footage, the image is of the Cathédrale Notre Dame de Paris. The footage is clearly not of Notre Dame, it is actually the Basilique d'Ars located in the commune of Ars-sur-Formans in eastern France. It is unknown why the automated geo-sync program has incorrectly tagged the location of the footage, this mistake is the reason the footage was discovered at all, thus the footage is named for Notre Dame.

The timestamp is all that is “correct” to an extent, as the footage always appears to be at night (it is unknown why the images sent for this review show a time when it would be night in Ars-sur-Formans). Active investigations on behalf of the VKA have been performed at the site of the Basilique d’Ars to see if a counter-op was being taken in the area or to discern if the footage was caused by an unknown natural distortion.

The footage itself may become saturated with color (as seen in the first image) from time to time, occasionally making the image hard to discern, this effect only lasts for 25 minutes exactly. In the third image one can see a figure in the reliquary area, it is unknown who this figure is and why they remain in the reliquary area for inconsistent amounts of time. Recorded appearances of this figure last from ten seconds to twenty hours.

It is still unknown how this footage is being captured and broadcast through a basic network of cameras located hundreds of miles away. A formal investigation of the footage itself was commissioned by the VKA, when this was carried out at the project surveillance center and compound site itself, a second issue arose with the footage in question that remains unanswered.

The footage of Ars-sur-Formans is taken from a cluster of cameras currently monitoring a compound in Switzerland; a chemical plant of the Bioforce Roggwil company. The company is under surveillance for undisclosed reasons. Below is an image from caméra-23, showing the plant “as it is currently” according to the French and Swiss governments:

The VKA  is aware that it was given footage of what is clearly a miniature replica of the Bioforce Roggwil building in question. Note that whilst it is a perfect replica of the building, it is nowhere near a train station or mountain castle in reality. There is no clear purpose for this “diorama” of the surveillance subject in an incorrect area, and no concrete explanation for this strange attempt at deception on behalf of the benefactors of the footage. According to internal memos, the French and Swiss governments have stuck by this footage as entirely genuine despite clearly being illegitimate. Four completely different administrations still maintain that this is the actual footage of the compound, the VKA has ceased questioning into this matter for the time being.

Investigation into caméra-20 and caméra-23 on behalf of the VKA and concerned partners in the coalition entity have proven impossible to complete (members of the Polish and Italian government are greatly disturbed by the bizarre caméra-23 and their partners reaction to questions of its validity). It should be noted that the current investigation into Bioforce Roggwil is entirely legitimate and transparent to the coalition and VKA otherwise. Thus the continued issue with the camera cluster and official response to both pieces of footage is made more perplexing.

The current feed from the camera cluster has been personally investigated by a VKA specialist and several undisclosed third parties, caméra-1 through 19 are recording normally, as are 21, 22 and 24 through 30. Despite being connected only to the standard systems, caméra-20 continues to capture an image of the Basilique d’Ars, or “Cathédrale Notre Dame de Paris”. Even after the system connection, cables, lens and camera itself have been replaced several times. Additionally caméra-23 records the subject normally, only requested footage from the French and Swiss governments have been questionable.

It is the opinion of the review commission that the footage from caméra-20 must be treated as if it is a standard classified document, “despite coming from nowhere.” Additionally the VKA will receive copies of caméra-23 from the French and Swiss government for similar reasons.