 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.
0 Comments
 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
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. 
Written by: Blackie Skulless
Oh man! Talk about a record that catches your attention from the logo alone, if not the album artwork as a whole. Considering that it’s the side-project of the ax-master in Worm, and that it claims influences ranging from Greek black metal to traditional heavy metal, it could have been anybody’s guess as to how this is going to sound. Zeicrydeus is a Canadian project that only has one full-length record with no demo history, just dropping last month. Titled La Grande Heresie, it somehow manages to literally sound like all of those things at the same time. So it shouldn’t be a surprise that Zeicrydeus utilizes the tactic of running with many moving parts in motion at once. If you peel back all of the layers, you find that the gist is a foundation of dirty but ultimately very melodic traditional metal riffing that mixes in blackened ingredients, namely blast beats and the occasional tremolo, topped with harsh black/death growls that also somehow swing the tiniest dash of melody. If that’s not enough, all of the instruments seem to take turns in the forefront, with bass solos being a regular occurrence, and explosive drum-fills engulf the entire gradient from time to time. Occasionally, synths might combine with one thing or the other to emphasize the atmospheric element, complete with dramatic shifts in tone under longer song runtimes. 
Written by: Blackie Skulless
Two years ago, Sweden’s Century somewhat blew me away as they managed to craft a brand of traditional metal revival that felt like it had energy unlike any other. This year, they’ve gone and followed that up with a sophomore release. Titled Sign Of The Storm, it first comes off as another serving of more of the same, using the old trick of not needing to fix what’s broken. Sometimes this works, sometimes it shows signs of expiration sooner rather than later. Under closer examination, it would seem that the second album actually avoids this anyway (I blame myself for not paying enough attention on first listen). The debut held its ground in not needing to boast speed metal chops, grit, or heavy intensity to sell itself, whereas I think it’s rather evident that the ante is upped in that regard now. Vocally, it feels like the stage is shared more with the lead guitars, however that isn’t a flaw, and the frontman still flexes some incredible range. To add to this, there’s an obvious nod to darker subject matter in a lot of the lyrics, cementing Century’s ever-so-slight step towards something a little meaner.
In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado: a new single from the one-man act that released one of my favorite albums of 2021.
Written by: The Administrator
Four long years ago, I reviewed Underking's fantastic At Hell's Gate, wherein I offered nothing but sympathy and condolences for those who weren't enthralled with Maxwell Jeffries' penchant for catchy-as-hell songwriting. Said album was one of my favorites of 2021, and I return to it quite often when looking for some nerdy (complimentary) heavy metal excellence. Needless to say, this slumbering scribe has been primed and ready for some fresh music from Underking. Four long years later, Underking is back without missing a step. Indeed, new single "The Isle of Crooked Stone" feels like an unearthed gem from a begone era--it sounds like it could sit comfortably in the midst of the At Hell's Gate tracklist. For the unfamiliar, Underking sits at the feel-good crossroads of heavy metal, power metal, and hard rock. The riffs are engaging, the choruses triumphant, and the vibes immaculate. Thematically, the lyrics tend to focus overtly on a fantastical or sci-fi property, with previous tracks honing in on Star Wars, Lord of the Rings, Avatar: The Last Airbender, and so on. Every track is imbued with a clear love for the material that inspired it. Nothing feels gimmicky. Keeping with the brand, "The Isle of Crooked Stone" is an homage to Critical Role’s second campaign. This track is notably anthemic across the board. It is bright and uplifting. It builds and swells with a certain exultance, with Jeffries' excellent and often powerful vocals feeling as confident as ever. I'm a particular fan of the chorus, which ranks among the most catchy and singalongable in the catalogue. And, as with many Underking tracks, "The Isle of Crooked Stone" is short and sweet, wisely ending before I want it to. As a result, the track leaves in its wake a palpable desire to run it back. I've said it before and I'll say it again: Underking is vastly underrated. I'm a big fan of this track, and am inordinately excited to hear whatever else is forthcoming from the Underking camp. Underking - "Isle of Crooked Stone" was released March 14th, 2025. Find it here, and listen below!  Written by: Blackie Skulless
Oh boy, just what we need! Another heavy metal act sharing a name with like ten other bands! Actually, that’s precisely what we need. Switzerland’s Amethyst is pretty new to the game, taking fruition only a couple years ago and giving us a short EP in that time. Earlier in 2024, they dropped their first full-length that took the community by storm pretty quickly. As we wrap up the year, I can say that Throw Down The Gauntlet is definitely worthy of some praise. On the surface, Amethyst packs together the things that I loved about Canada’s Freeways and Norway’s Flight, while adding a layer of metallic boost. In other words, the very foundation of this record pretty much avoids anything overly heavy, trading that angst for melody, soft vocals, and bouncy grooves. Yet, the riff structures themselves could easily be traced to the influences of the ‘70s metal acts, fitting in with cleaner blows not unlike Scorpions or perhaps Rainbow. I know, I basically just described the band’s sound by using derivatives of other bands, which should tell you that it isn’t the most original take on the genre. 
Written by: The Administrator
Greetings, dear reader! Before you read any further into this review, I implore you to hit play on "A Thousand Swords," the opening track on Legendarium's mighty new album. There's a handy embed located below for your convenience. Let it ride while you read! So. When one opens with a barn-burning riff of this caliber, the listener is inevitably left to wonder: was anything kept in reserve? Was the eternity of this album's guitar power unleashed in one glorious display of incendiary fury? What could possibly follow? In the case of For Eternal Glory, there's quite a few places left to venture. Nominally operating under the elusive "powerdeath" tag, Legendarium has built a unique aesthetic over the years that incorporates a variety of sights and sounds from a diverse palette of genres, ranging from melodic death, to power, to folk, to heavy metal. The primary influence of classic melodeath à la Ensiferum or At The Gates is readily apparent in the hefty riffcraft and the inclusion of gruff harsh vocals. There's a gallop at play, evoking the glory of NWOBHM without ever fully abandoning those death-ier influences. However, while undoubtably a guitar album, For Eternal Glory never feels caged in nor exclusively defined by the dominance of Laurence Kerbov's superb riffcraft. The album's overall aesthetic often leans into the epic atmosphere, fantastical environs, and general positivity championed by many a power metal band. Expansive keys and even a tin whistle inclusion courtesy of Jared Archon grace the album with a certain levity. And all the while, the punky bounce and vocal sneer that dominated earlier efforts permeates, injecting the whole affair with a foot-stomping momentum. |
WELCOME!We provide thoughtful reviews of the music that wakes us from slumber. Archives
February 2026
Categories
All
|
RSS Feed