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.
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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. 
Written by: Blackie Skulless
Five years ago, the U.S. heavy metal outfit Fortress launched a competent and somewhat promising debut full-length that otherwise seemed like another one of the many. This isn’t atypical for the traditional genre, as the safe style knows risks can either help or hurt a new band. Re-branding as Fili Bibiano’s Fortress in 2026 seems to have brought new flavors with it. Though the roots of what once was are still the same, the branches boast sweeter and more unique fruits this time around on the sophomore, titled Death Is Your Master. Switching out vocalists seems to be one of the first steps for two reasons. For one, Juan Aguila has a range that matches the stronger foundation that has amped up significantly since the first time around. Longer, drawn-out wails that maintain a cleaner aura still manage heavier nods without feeling threatening, and that’s about as balanced as a NWOTHM singer can get. Further, though this may be a psychological thought on my subconscious, changing a lineup like this after only one full-length prior seems to emphasize greater the role that the lead guitars play in this project as a whole. 
Written by: Blackie Skulless
It’s not often at all that I come across the “melodic black metal” tag, as the more melody oriented variants often fall into their own sub-categories around the likes of folk, thrash, etc. However, much like with its death metal counterpart, black metal utilizing this might have more to do with production, tone, and vibe more than anything. New Zealand’s Miasmata basically have been running with those characteristics since 2020. Just this year, they’d release their second record titled Subterrania, the one that was brought to my attention. As you might expect, Miasmata make their stand by mixing in a subtle blend of high and bright leads and the occasional cleaner singing into an otherwise monstrous formula. Noisy execution of blast beats and tremolos maintain a darkened window to work this into, topped with comprehensive yet hoarse shrieks that aren’t afraid to also tap into that melody. Avoiding overproduction while still casting a cleaner cloud that lets even bassy rumbles pop through enhances the experience, preventing things from getting generic. Finally, machine precision lets the harsher delivery fall into the more accessible bits without coming off awkward.  Written by: Blackie Skulless
Preamble: there are far more qualified candidates to discuss Helloween than me. I touched on this when discussing Helloween four years back now (Jesus, time, please slow down), and the arrival of a new album after a softer stance on Europower metal just had me so excited. Despite my lack of expertise, I truly appreciate everything about this band. They have their obvious classics that I adore, they have their strong-tier records that work better for the genre fans, they have their weird deep cuts, and they have stuff that’s all around forgettable. Through it all, they’ve held this image of a spooky outfit that loves dark overcasts and scary subject matter, but have always felt, in the end, like they’re a friend here to keep you safe. Since the time of Alice Cooper, rock villains were opted for more and more over rock heroes, especially as the music got heavier and the themes got darker. Helloween is one of the unique examples that presents itself as one but executes the other, since inception over forty years ago. Despite what the surface reveals, they are friends, not foes, a la Demon, KISS, Lucifer’s Hammer, or Haunt. We approach their seventeenth album (nineteenth not ignoring covers/rerecordings), and Giants & Monsters miraculously still feels so fresh; for that, I thank Kiske, Hansen, and everyone involved. 
Written by: Blackie Skulless
With each passing year comes another Haunt record, and considering we got one this year closer to fall, it may be safe to say this is the largest gap between records. Dreamers early last year marked the first significant shift in sound since several albums prior, a much needed adjustment to avoid stagnation. An obvious lean into a dreamier sound was present, but I would argue that now we have a full record that gives itself into that entirely. Ignite is the name, also our first record to touch ten tracks without the inclusion of re-recordings. Thus, one should go into this expecting the similar makeup of no lax in terms of melodic and weighty riffs with a softer overtone. This time, the emphasis is cast harder on the latter, making for a larger dose of songs I’d go as far as calling “pretty.” Weirdly, this is done without the need for synthesizers (and if they’re present, I certainly didn’t catch them). An instant favorite was “Soaring Through The Ages,” using cleaner vocal and lead guitar combos for a sweeter taste tied off with a catchy chorus. The title track works this in with a softer center, utilizing clean tones, and “Early Grave” has such a somber feel to it, which also opts for a cleaner exit. Hell, closer “If I Said Goodnight” mixes this with an extremely slow crawl, a rare feature for Trevor and Co. that could fit the bill as a ballad. |
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