Written by: Blackie Skulless
Since their 2019 album entitled Exile, the Chicago based heavy metal outfit known as Black Sites has been on my radar under close watch. They’ve followed heavily in their prog-adjacent steps ever since, curating two records in a similar vein, and while that held up nicely for a bit, I did find it to run slightly stale by the previous outing. This year, they’ve brought For Eternity, one I was unsure about what to expect. I’m happy to report that they’ve since tweaked the formula a bit, and for the better. Rather than focusing on more intricate rhythms in a Queensryche-meets-Iced Earth type blend, Black Sites has done something that I’ve been implementing in my own life to feel more peace as of late; slowing down. I mean this in a literal and figurative sense, as this record very clearly nods towards more doom metal ingredients than they’ve ever showcased before, in pace and general vibe. However, the noticeable stripping back of progressive elements, while not being completely void of them, shows them clearly no longer taking the focus. This allows for a more cohesive whole, likely being the most focused record since Exile.
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Written by: Blackie Skulless
It's amazing that it took me two years to stumble upon Snakebite's latest record, considering how much their 2018 gem Rise Of The Snake absolutely blew me away back then. While nothing overly special, the German outfit has a keen ear for catchy, glam metal oriented structures not dissimilar to Wanted, so you can imagine how attractive such a presentation is for me. With Cobra Crew dropping a little over two years ago, I may even say they lean into this glammier spectacle even more, going a similar way of Enforcer in 2019. This is not to say that hairspray and glitter coat every surface, as these days, short of self-parody bands, the glam oriented outfits are just a bit too self aware. Instead, their third outing just simply takes their heavy metal roots to even more welcoming levels, focusing on melody, harmony, and strong emotions without anything too corny (though I can’t deny it sneaking in from time to time lyrically, if “Kill Wig Metal” is anything to go off of). Of course, it’s also not to say that you won’t find the occasional keyboard dig, but structurally, it’s far easier to compare to early Dokken than later Poison. In other words, beefy rhythms, competent solos, and strong vocal delivery with clear intent are still the majority of what makes up the ingredients. 
Written by: Blackie Skulless
With one quick glance, it’s pretty easy to figure out what the Michigan act Wanted are all about. Retro looking artwork, simplistic aesthetic, and obvious themes point to yet another throwback heavy metal band. It would be their third album in only four years that hooked my interest, being last year’s Cutting Edge, brought to me by a friend of many great tastes. What made it stand out, however, is the glam laced fun that lacks no energy while still actually feeling like the ‘80s. That latter point becomes important due to how rare it is these days, even with the gigantic market of classic-oriented heavy metal. Instead of merely sounding like a clone of Dokken, Ratt, L.A. Guns, or early Pantera, they actually sound like one of the contemporaries of those bands. Gigantic guitar solos are nothing unique, but the way they’re weaved into calmer waves like in “Override” would impress even the late Eddie Van Halen. Naturally, these calmer numbers strike the tightest chord with me due to the songwriting itself feeling more personal, especially with the calm-down before one more chorus swing. Similarly, “Chained To Your Love” and closer “Prowl Alive” could qualify as ballads, but pull no sugary toppings, opting instead for a ride on cleaner guitars and emotional layering. Even the bluesy “Feel Your Rhythm” has a nice sway boosted by calm but calculated basslines, fitting into the blend nicely. 
Written by: Blackie Skulless
Canada’s Spell have been around for over a decade at this point, and considering that they play a style of modern heavy metal that I often take to easily, it’s amazing that it took this long for them to hit my radar. Their brand of occult metal often dabbles in the doom, traditional, and gothic pools, but their latest album seems to put heavier emphasis on that latter tag. Titled Wretched Heart, this one may just be a bit divisive in how it cools some of the engines. Fortunately for me, I’m a fan of precisely that. No stoppage of heavy riffs reveal themselves at any point, but melancholic undertones dominate the otherwise straightforward stomps quite consistently. For some tracks, synthesizers are added not simply as a vibe-setter but as a melody driver. Often, this can make or break something, but I truly think it compliments the bigger picture rather than distracting from it. What matters most is that the haunting but clean vocal style fits every mood conducted in Wretched Heart, working as the *ahem* beating heart of the record. 
Written by: Blackie Skulless
Taking one look at the second full-length by Spain’s Rave In Fire, I had a gut feeling this would be yet another retro-glazed cyberpunk themed “throwback” heavy metal outfit that we get so many of today. Neon colors, typical titles, and an ‘80s aesthetic gives one of the most predictable vibes we’ve always seen. One could say I didn’t exactly have high hopes going into Square One blindly, having not heard the first record at that point. But as the saying goes, I shouldn’t judge a book by its cover, because I’ll be damned if this didn’t absolutely smoke! True, on a stylistic front, things fit that description, but it rises above anything I’d call generic. Elaboration in songwriting as well as taking varied directions that never stray from the retro vibe they’re so clearly going for helps elevate Rave In Fire tremendously. In several spots, melodies with a warm touch reflect earlier glam metal sensibilities that flow so nicely into the harder sections. Layered leads that match the clean and powerful aura of the frontwoman’s equally clean vocals come off nice and sharp, with polished production helping them stand out rather than blend in with their peers. The fact that the songs themselves are so memorable is what truly takes this to greater heights. 
Written by: Blackie Skulless
It’s no secret that a couple years ago, Cruel Force rose from the ashes of their former selves and crafted something that truly resonated with many listeners. By tightening up the songwriting and breaking the typical mold of the black/speed predictability, these Germans allowed themselves to stand out far above their peers. This year, Haneda sees a continuation of this evolution, not only on the songwriting front but also in a stylistic way. In many ways, Cruel Force is going the exact direction that they had hinted at with Dawn Of The Axe. A notable feature was that the “blackened” aspect of the last record almost felt like it was being lifted from time to time, matching the injection of melody that didn’t exist as much prior. We see a similar vibe under the misty, echo-tinted production that allows the drums to pop really hard without feeling too raw. In other words, the blackmosphere lingers while other facets that made this fall in that camp fall away. This pairs nicely with the evolved vocals that now avoid anything harsh or raspy so one can more easily call this a full realization of a modern speed or thrash metal record that dodges any generic production nonsense. 
Written by: Blackie Skulless
After Midnight Assassin cemented Sadistic Force as a true, *ahem* force to be reckoned with, and not just another decent black/thrash outfit that checks all the boxes, it does make one wonder how much more they can evolve. If sticking to the same dynamic formula is the move, then the truth is not too much. This didn’t stop the Texans from attempting several steps forward, and if anything, their recent EP of last year is a testament to that. Titled Morbid Odyssey, they’ve taken a similar general idea and cleaned it up a bit, all the while injecting some pretty extreme fervor in several ways. Before even noting the differences in execution, the production alone would have felt like a pivot elsewhere, and I’ll be damned if it didn’t make things sound bigger. Sneaking in melodies and nods to more traditional metal influence is still present, but the drums feel far more ferocious this time around, and the riffs far thicker and marshier. Thus, while I’d still call this a black/thrash effort at its core, Sadistic Force made themselves sound heavier, with more might behind the kicks. It’s like what would happen if you asked a death metal artist to play this genre instead. 
Written by: Blackie Skulless
Upon a simple look, Leatherhead is one of those bands you can almost immediately predict what you’re in for; campy, horror themed traditional metal. By this point, this style is kind of a dime a dozen, but if it only costs a dime then perhaps its worth it. The Greeks’ second record is the one that snagged my attention, titled Violent Horror Stories, in case you needed yet another indicator of the subject at hand. More importantly is the fact that as straightforward as this outfit is, there are some distinguishing features that made me actually want to revisit. For one, there’s a heavy emphasis not only on speed metal construction, but a certain oomph that hearkens back to the USPM movement of the ‘80s, complete with thick layers coating the speedy riffs and a powerful falsetto frontman. Moreover, despite the shorter runtime, there’s a decent ear for hook placement and variation that prevents any stagnance. Thus, as predictable as you were expecting an album that looks like this, and an opening track titled “V.H.S.” to sound, you may be a little surprised yourself.  Written by: Blackie Skulless
Considering how much I absolutely hated the previous Megadeth effort, it’s no surprise that I had extremely heavy reservations going into what Dave and co. are calling their final record. Simply titled Megadeth, there is definitely an intentional vibe that makes a statement on its way out. Shortening the runtime, tightening the writing, and simplifying the formula was a great move. This makes room for more memorability in one track than The Sick… The Dying… And The Dead! could have hoped for in an hour’s entire time. For one, gone are the obnoxious samples, overly ambitious aims at technicality that go nowhere, and spoken-word bullshit that sounds like an edgy teenager that discovered war. In place are sharper rhythms that aim for a truly thrash metal sound, hooks that move with purpose, all under a clear dome that allows everything from the rumbling bass to Dave’s snarl to stand out. Thus, this is structurally pretty sound on paper, and I even dig some of the transitions. Swapping from a straightforward verse into the solos moves more smoothly than you would think throughout the album.  Written by: Blackie Skulless
If your brain works anything like mine, your first instincts upon discovering this Spanish quintet would be Halloween III and a nod to KISS (going by Wicked Lester before 1973). Jokes aside, Wicked Leather is still pretty obvious with their schtick, and if the naming doesn’t give it away, the album art will. Spooky traditional metal deep in the occult themes with a somewhat safe formula delivered cleanly is an easy way to sum them up. Season Of The Witch is the outfit’s debut record, packing this into a digestible thirty-eight minutes. Don’t let the safe descriptor fool you though, because there’s an outlier amidst this. Vocalist Yami has a technique that I’d absolutely call an acquired taste and that I’ll at least call unique. It could be described as a hum-snarl that goes overboard on the nasal sensation, one that even after several listens is admittedly tough to get behind at times. Still, her voice weirdly matches the vibe, as musically this is a warmer take on the traditional style that prioritizes melody over meanness. To top this off, most of the songs take on a minor key, degrading the leads into something that feels equally welcoming and sinister, like the devil tricking you into his lair. |
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