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.
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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. 
Written by: Blackie Skulless
Over the last couple of years, the North American heavy metal outfit Traveler has made a pretty strong impression in my endless hunger for traditional metal. While their debut was a solid start, it was the second record Termination Shock that fully sold me on the band. Naturally, I was really excited to see that a new one dropped earlier this year. Prequel To Madness admittedly took me a second to grasp onto, but as I’ve revisited over the months, it has grown on me significantly. The easiest explanation would be that prior to this, Traveler simply used a straightforward but hooky formula that was given more of an identity the second time around. For round three, I would argue that they’ve landed entirely on power metal territory, with flavors of the gritter U.S. style and the melodic, clean European style showing at times. This isn’t the first time that emphasis was placed on a heavier push, but man, do they ever unload the proverbial artillery here. Breakneck speeds, pummeling drums, and layers upon layers of guitar and bass combos leave no room for lightweight attacks. Even vocally, while higher falsettos and sharp shrieks aren’t foreign to the band, they move through this with more purpose than before. 
Written by: Blackie Skulless
Cruel Force has touched my radar a few times over the past couple of years. The German black/thrashers dropped two albums nearly fifteen years ago before splitting up, and while they made a serviceable enough take on the genre, it really never stuck to me. Fast-forward to over a decade later, and they came back with a vengeance, dropping Dawn Of The Axe, changing my mind about everything I just said. What was a nice soil that grew few worthwhile fruits now harvests an entire garden. Stylistically, they wouldn’t veer too far away from this initial idea, but any sharp edges get deburred and the thrashy attitude feels refined into something reminiscent of an ‘80 speed metal foundation. Similarly, vocals with a deeper snarl but a far more concise delivery are tacked on, almost feeling similar to Zetro from Exodus. Echoed production helps everything, giving a reverberated tone to the drum kicks pairing wonderfully with the vocals. Meanwhile, the bass licks are rather bouncy, providing extra kick beside the sharp riffing. Oftentimes, overdoing this can ruin a solid record, but that’s not the case here. The end product is a far more mature outing that almost lifts the “blackened” element away as well, leaving only remnants, but still holding onto their aggressive oomph. 
Written by: Blackie Skulless
Given the hype that’s been circulating around Tyran in the realm of traditional metal dweebs like myself, I was certainly eager to check them out. The appealing album artwork spurred that on even more, making me want to lend an ear immediately. Not to be confused with Iran’s capital city Tehran, the Bavarian dudes have only been around for a few years, and 2024 would see the year they drop a full-length. Following two singles, it realized itself in the form of Tyran’s Oath. At first glance, you’ll find exactly what one would expect. Speed metal riffing, high falsettos in the realm of King Diamond, and a generally clean overlay can easily sum up the entire album in the most basic sense. What’s less obvious is that most of the record avoids the mythical, magical, or historical angle you may anticipate, and prefers to focus on classic ‘80s strong-man themes around heavy metal and machinery. Stylistically, it’s also straight to the point without any hints of power metal or epic metal flavoring. Most changes in any dynamic are as simple as some songs slowing it down a little, like in “Thrill Of The Chase,” a melody-heavy tune.  Written by: Blackie Skulless
Seeing that ol’ Bruce hasn’t put out a solo effort since 2005, and that the latest Iron Maiden record didn’t exactly blow me away, I was a little unsure of what to expect from The Mandrake Project. As time passes on and veteran musicians struggle to keep the capacity going, it often tends to fall into the “hit or miss” category. But, more often than not, more time between records will work to your advantage. Bruce Dickinson further solidified this idea, as his latest effort truly did blow me away. The Mandrake Project is a culmination of many things not too unordinary for the British frontman, meaning its magic doesn’t rest in anything new. Rather, this is an exceptional exercise of tactics that he had mastered between his own career and his several decades in Iron Maiden alike. Modern production values with deep distortion on the riffing works entirely to this album’s advantage, all the while sneaking in a hefty amount of raw emotion and beautiful story-telling. Writing a record that focuses on only one of these properly is impressive, let alone all of them. 
Written by: Blackie Skulless
Leave it to Trevor to take me out of review retirement, huh. Year after year, I have found myself writing (at least) a review for Haunt annually. Anybody who has followed me knows how much I love everything from Mind Freeze and before, and how much I love different things about each following record without my mind needing to be blown. Well, I guess Dreamers is the one to break that trend, because boy do things actually take a turn here! Not to say that Haunt has stepped away from the heavy metal genre, but this is the most significant deviation from their classic core that we’ve gotten thus far. Rather than being another cut of stripped-down traditional metal with mildly varying toppings, this lifts up different layers to take the forefront. Strangely, the vocals and guitars swap taking a backseat despite still being a vital ingredient, depending on the track. The drum clashes pop harder than ever, and the synths feel like a tool to cast a mistier atmosphere rather than being another outlet for melody like on former records. |
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