Those who heed Triumpher’s call as I do will be happy to know that the MegatonManowarsword righteousness these Greeks wield like Olympians remains as stalwart as ever. In fact, Piercing the Heart of the World marks the high-water mark of the Triumpher troupe’s songwriting skill and performative prowess. Mars Triumph puts down a vocal showcase of a singular passion, his wild and animalistic delivery reminiscent of Riot City’s early work. That invigorating spirit finds loyal and unflinching support from stellar guitar leads, galloping riffs, and scorching tremolo waves courtesy of guitarists Christopher Tsakiropoulos and Mario Ñ Peters. Meanwhile, Stelios Zoumis rumbles like a thunderous storm, throwing hefty bass bolts through every measure to anchor every one of Piercing’s 45 minutes in righteous metal. Driving the march toward inevitable WICTORY, Agis Tzoukopoulos tumbles, pounds, and stomps his way through every technique known to metalkind in the pursuit of maximum awesomeness, and finds it with alarming regularity here.

Piercing the Heart of the World proves that Triumpher achieved the next stage of evolution in their still-young career. With the massive one-two punch of “Black Blood” and “Destroyer,” Piercing launches with a ferocity that would intimidate the finest specimen of any apex predator family. The former song recalls the vampiric darkness that inked Storming the Walls, which is a welcome introduction, but fails in the most exhilarating way to prepare me for the sword-raising spirit of the latter. That, in turn, fails to prepare me for the epic beauty that is “The Mountain Throne.” The first of two Song o’ the Year contenders, this sub-seven-minute odyssey traverses a calming plucking melody to dive right into blackened speed and a thrashy gallop, all while Mars croons and wails atop a storm of double bass runs and blasts. Yet, the whole is smoother than chrome and sharper than scalpels, resulting in an utterly astounding listening experience. However, even it feels understated when faced with the late-album highlight “Erinyes.” Punky and thrashy in a way I never thought traditional heavy metal could be, but still possessed of that chest-thumping, fist-pumping flame that lights hearts and souls ablaze, “Erinyes” is an unqualified success of excess, exuberance, and excitement.

In the past, Triumpher’s greatest weakness was always that the highlights far outstripped the supporting cast. Not so with Piercing. Even the slow and metered “Ithaca (Return of the Eternal King),” ballad interlude “Vault of the Immortals,” and two-act closer “Naus Apidalia” find ways to make memories and stand with distinction in Triumpher’s catalog. In all cases, those memories are founded in storytelling, either by establishing new characters (as is the case with “Ithaca”), shifting the tone (“Vault”), or by resolving arcs and tying up loose ends (“Naus Apidalia”). This strategy, in turn, makes more traditional heavy metal crowd pleasers like “The Flaming Sword”—which boasts a sleeper chorus that will get stuck in your head—feel more impactful than they might’ve otherwise.

With this in mind, I found very little to complain about. If it weren’t for his sheer charisma, I would say that Mars’ vocal performance teases the “Too Much” button far more often than I prefer. Were it not for the presence of endless barnstormer solos and affecting melodies, I would bemoan the protracted runtime of the closer. The meaty bass presence foils my bubbling rant against the more aggressive compression and increased loudness of this master. The caveats persist, leaving behind a wake of hobbled criticisms that would conspire to chip away at Triumpher’s final score. The damage they perpetrated amounts to mere flesh wounds in the end. Put simply, Piercing the Heart of the World is Triumpher’s greatest triumph yet, and you’d do well to hear it!

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: No Remorse Records
Websites: triumpher.bandcamp.com | facebook.com/Triumpher.official
Releases Worldwide: March 6th, 2026

Steel Druhm

I was unaware of Greek mega-trve metal warriors Triumpher until Kenstrosity tackled their Storming the Walls debut back in 2023. I was immediately intrigued by the Manowar-meets-Megaton Sword-meets-Primordial sound they brought to the battlefield, and though there were some trials, tribulations, and rough spots to their presentation, the core of something bigger was there. Things improved on 2024s Spirit Invictus, as the Triumpher sound became more potent and consistently enthralling, and they seemed poised to usurp the throne of trve metal through sheer might and mayhem. Fast-forward to 2026, and their third crusade is set to kick off with Piercing the Heart of the World. I came into this hoping and expecting to be shocked and awed by sword, shield, and steroidal masculinity. Could Triumpher be the Manowar for this new age? That’s a mighty big loincloth to fill, but hope hung thickly in the air.

My anticipation of excessive glory overload was slaked by ginormous opener “Black Blood,” and woe to those who don’t bend the knee. It’s a volatile mash-up of Manowar, Primordial, and Doomsword, with a structure that starts out larger-than-life and tries to stack vainglorious and titanic moments upon one another like a grand memorial to the Elder Gods. Vocalist Mars Triumph channels Manowar’s legendary Eric Adams while also referencing Primordial’s A.A. Nemtheanga. This makes the song a total barn burner and exactly what I was hoping for. They follow this up with the uber-beefy, badass “Destroyer,” which reeks of Manowar’s The Triumph of Steel era. Grandiose choral segments and black metal influences elbow their way in, but this is a trve metal chariot ride through the Nine Worlds. Keeping the sword between the ribs, “The Mountain Throne” finds Triumpher pushing every lever to MAX GLORY as the false and weak flee for the safety of their fortifications. This one brings a lot of the same energy as the recent Fer De Lance, and there are touches of Lost Horizon, too. Mars stretches his vocals to the very edge of madness, and the chorus is as mighty as a barrel full of Wotans. Those who make it through this will be gifted a lifetime supply of wisdom, power, and back hair.

What could stop such a mighty and righteous host after such a rousing start? A soft and flabby middle, that’s what. “Ithaca (Return of the Eternal King)” is a slow-burning epical ballad that keeps building toward a massive release of rage and wiolence, but the release never arrives, and you’re kept on the edge of something for nearly 7 minutes with no somethings in sight. This results in the condition known as Blue Baldur. “Ithaca” is immediately followed by the 2-minute interlude “Vaults of Immortals,” which is equally restrained and subdued, making for 9 minutes stuck in emo-fied low-gear. This blunts the album’s momentum, taking you out of battle rage and into resource management. Steel cares not for resource herding when they are enemies left to be smottened! While things pick up with “The Flaming Sword,” and especially the trve-meets-semi-black-thrash of “Erinyes,” it feels like the album never fully regains its war footing, and 9-minute plus closer “Naus Apidalia” is merely good, not great, and suffers from some very Virgin Steele-esque compositional sinkholes and ego bloat. At a reasonable 44:44, Piercing the Heart of the World feels much longer than that, and though the first 16 or so minutes are massive, the rest of the album can’t sustain the prolonged siege.

I’m impressed with Mars Triumph’s performance. He’s gotten more proficient from album to album, and he has a crazy broad range. Anyone who can approximate Eric Adams is talented, and his black and death vocals are good as well. That said, he can and does overdo things at times, pushing his tonsils beyond human control. I can’t even suggest he dial things back, since that is not what Triumpher is all about. You just take the good with the weird and ride on. The guitar work from Christopher Tsakiropoulos and Mario Ñ Peters brings the thunder to the tundra, borrowing from a raft of trve and heavy influences while injecting enough blackened edges to make things extra deadly and dangerous. As the riffs roar and soar, Agis Tzoukopoulos delivers Scott Columbus-approved war drumming that embiggens the sword and spirit. This is a talented horde, and it’s the songwriting missteps that ultimately derail their relentless advance.

Triumpher have all the tools to forge a world-beating heavy metal monsterpiece, but Piercing the Heart of the World fails to penetrate my armor and score a critical hit. I heartily enjoy the opening trilogy, and there’s solid stuff later on, but this isn’t an album that captivates me from start to finish, despite my fervent wishes that it did. Piercing loses some of the ground won by Spirit Invictus, but I haven’t lost heart. The warrior spirit will endure and rise again if Crom wills it. Onward to great deeds!

Rating: 3.0/5.0

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My confidence grows when I see that these Norwegians have picked the album’s first two songs as singles. “Fire and Ice” starts things off with some energetic power metal-infused heavy metal that brings Dream Evil immediately to mind. After a huge earworm chorus and some killer riffing and leads, the song winds down, and I’m horrified to realize that I’ve been involuntarily smiling and headbanging the whole time. Fear not, I say to myself. The next single can’t be as good. “We are One” takes the momentum of the opener and runs with it. I hear Brainstorm. I hear Dio. I hear more Dream Evil. I hear an even bigger chorus. Shit.

Not to worry! I’m sure they’ve simply stacked the singles at the front because they’re the best tunes. A qualitative drop-off is sure to come! Just as those foolish words finish leaving my mind-lips, “Down Low” slaps me across the face with a down-tuned chug that I didn’t see coming. This PED-enhanced version of Rozario, also seen on “Sleepless” and “Betrayed,” fits the Brainstorm mold alluded to above, and even ventures towards Mystic Prophecy levels of heaviness. “Crusader” and “Die Like Warriors” both see the band putting their Saxon pants on, their quality daring me to add them both to my “SWOARDS” playlist of battle-ready metal.

I finish Northern Crusaders for the first time and am surprised at just how fast the album’s 50 minutes flew by. I play it again. I like it even more. I am totally fucked. Sure, I can look across the album’s track list and pick out two songs that I don’t absolutely love (“Coming Home” and “The Warning”), but they’re still good songs whose place in the runtime almost totally mitigates any potential impact they could have had on the overall flow. I’m rather pissed that singer David Rosario puts in a journeyman performance with his weathered voice, and I’m even more upset that he’s filled his near-eponymous band with so much talent, particularly on guitar. The duo of Stein Hjertholm and Taran Lister has filled these tracks with muscular riffs, beautiful leads, and face-melting solos, and this is a huge reason that Northern Crusader feels so effortless and easily replayable. Even the production is fantastic. Gah! What a catastrophe!

It’s now been several weeks since I plucked this from the sump. As I put the finishing touches on the review and prepare to enter the final rating, I am suddenly aware of a presence in the room with me. I look up from my laptop screen to see 3.5 glaring at me with a sinister smile on its face. “You couldn’t live with your own failure,” it says. “Where did that bring you? Back to me.” I type the score, realizing it is futile to resist, fully aware that I’ve made the mistake of judging Rozario’s Northern Crusaders by its cover. I slam my computer screen down, stand up, and walk away, naked and full of shame.¹

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy Music
Websites: rozarioofficial.com | facebook.com/rozarioband
Releases Worldwide: February 20th, 2026

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Anyone unfamiliar with Lovebites can approximate their sound as an all-female version of Galneryus,² although Lovebites is much more than a clone of a great band. Their full-length debut Awakening from Abyss dropped in 2017, with subsequent albums Clockwork Immortality and Electric Pentagram released in 2018 and 2020, respectively. Both follow-ups impressed, but nothing quite reached the heights of their debut until fourth album Judgement Day hit shelves in 2023. Introducing new bassist Fami,³ Judgement Day honed Lovebites’ attack to a lethal edge, and with even more time spent sharpening their craft, Outstanding Power cuts deeper than ever.

Lovebites’ stable lineup exudes an electrifying chemistry throughout Outstanding Power. Each component of the band’s auditory milieu complements the others, whether it’s the blazing guitar tandem of Midori and Miyako, Haruna’s meticulously mechanical drumming, or Fami’s low-end purr and incredibly hooky countermelodies. Musically, Lovebites has never been this exacting. From the calculated rhythms in “Silence the Void” to the galloping rolls in “Blazing Halo,” Haruna’s drumming goads songs with an unflappable urgency that’s simultaneously composed and tempestuous. Meanwhile, Fami’s bass flexes mondo swagger that recalls Geddy Lee’s aggressive plucks and twangs (“The Castaway”) as well as Flea-bitten flourishes (the intro to “Blazing Halo”). In fact, the bass’s expanded role on Outstanding Power defines what elevates the album above the rest of Lovebites’ already first-rate output. Besides trading vicious solos and captivating riffs with fellow axe-bearer Midori, Miyako supplies the keys, channeling duel-lead, arpeggiated runs à la Children of Bodom (“The Castaway”) as nimbly as she blankets moods with Sonata Arctica-informed synth and piano (“Eternally,” “One Will Remain”). Atop it all, singer Asami coos, belts, and wails with a voice that some may find an acquired taste with her heavy use of vibrato, but is powerful and unique. Overall, the songwriting on Outstanding Power synchronizes into lock-step bombast, where each track dazzles with its own fully-fleshed identity and laser-honed melodies.

Though not without fault, Outstanding Power unequivocally claims the top spot in Lovebites’ catalog (so far). No small part of this is thanks to Fami and Haruna, who bring the rhythm section to the fore with undeniable performances that match the high-flying axe-work besieging previous releases. The biggest strike against Outstanding Power is the album’s sixty-four-minute runtime, which the sharp songwriting mitigates with infectious melodies and perfectly executed instrumentation. Even Outstanding Power’s weakest cut, seven-minute ballad “Eternally,” contains good moments despite fumbling Lovebites’ momentum down the home stretch. Add in the surprisingly spacious mix⁴ that gives the band ample space to pop and you’ve got yourself a bona fide power metal classic on your hands.

Power metal presents a challenge to rate, as its natural optimism and oft-cheesy tropes can be at odds with what typically engenders high scores and opinions, and makes Outstanding Power the most difficult score I’ve assessed up to this point. Throughout, Lovebites exemplifies power metal ethos, unleashing high-octane shredded cheese with a flagrant nonchalance that is shamelessly irresistible. With Outstanding Power, Lovebites not only delivers their greatest achievement so far, but the best power metal release I’ve heard in over a year. Relentless riffs, grooves, and fills assail listeners with flamboyant moxie and technical ecstasy, defining an album I haven’t been able to put down since I got my grubby mitts on the damned thing. If fun won’t kill you, give Lovebites’ opus a spin. Or maybe give it a listen anyway, because what’s life without a little Love?

Rating: Great
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 18th, 2026

Maddog

Much to her chagrin, Thus Spoke and I share many things in common. Chief among them is our anaphylactic allergy to major scales; being the two resident vegans, we struggle with cheesy music.⁵ While this has made power metal a difficult subgenre, Lovebites is an exception. Our coverage of this Japanese juggernaut has been scarce, but I gave 2023’s Judgement Day a tempered positive filter review. Outstanding Power has the same foundation as Lovebites’ prior work, but with a beefier rhythm section, more variety, better riffs, hookier hooks, and more cohesive songwriting. It’s a fantastic record.

Outstanding Power is textbook power metal, in the same sense that Rust in Peace is textbook thrash. The centerpiece is Asami’s vocal performance, which is appropriately over-the-top but steps back to let the instruments shine. Lovebites’ most visible weapon is their dual-guitar assault. Across theatrical leads, deathy riffs, and unrestrained solos, guitarists Midori and Miyako display a mastery of melody. Even with such stiff competition, Lovebites’ rhythm section stands out. Fami’s bass plays every part it can, with blistering riffs, playful lines that recall a young Steve Harris, and explosive additions to choruses. Haruna’s drumming is a gem, especially when her lavish fills and opening salvos help stitch the album together. Both the bass and the drums peak when their respective musicians take the songwriting reins; Fami’s collaborative composition “Blazing Halo” features irresistible dueling bass and guitar solos, while Haruna’s “Forbidden Thirst” highlights her grooviest drum work. No member of Lovebites ever fades into obscurity.

Outstanding Power holds me rapt throughout. Across their hyperactive leads, 1980s virtuoso shredfests (“One Will Remain”), and fanciful Mark Knopfler-style (Dire Straits) joyrides (“Wheels on Fire”), guitarists Midori and Miyako don’t miss a beat. Their dominance becomes clearest when they join forces. Lovebites’ harmonies recall Iron Maiden, and the guitarists’ knack for separating and rejoining makes “The Castaway” an early contender for Song o’ the Year. Asami’s vocals aren’t bulletproof, particularly in her higher register. Still, the vocals and the guitars forge an ironclad alliance that raises Outstanding Power to new heights. The guitars’ imitation of the vocal shouts on “[Grin] Reaper’s Lullaby” makes me grin every time, while the orgiastic leads that accompany the final chorus of “Out of Control” remind me of Madonna’s classic “Burning Up.” Even the ballad “Eternally” is a triumph. While its vocal melodies are memorable, “Eternally” takes a cue from Gamma Ray’s “Lake of Tears” in delegating much of the heavy lifting to the weepy guitars. These ingredients make Outstanding Power a wellspring of enormous climaxes. The guitar solos are at once emotive and explosive (“The Eve of Change”), and each song ends with pizzazz (“Silence the Void”). In short, Outstanding Power is a goddamn pleasure.

Outstanding Power is such a spectacle that I can’t even begrudge its excess. I hear Sunburst in the chugging riffs of “Blazing Halo.” I hear Riot in the downright rowdy “Silence the Void.” I hear 1980s electronica interspersed with chest-thumping power metal in “The Eve of Change.” I hear Symphony X in the vocal melodies and the atmosphere of “Forbidden Thirst.” I hear Kryptos’ heavy metal revival in the rockin’ ruffian riffs of “Out of Control.” I hear blackened melodeath in the vicious “Reaper’s Lullaby,” contrasting with the heart-rending ballad “Eternally.” Most importantly, I hear Lovebites in every moment. All five band members sustain the album’s shifts while sticking to their signature styles. With its balance of variety and continuity, Outstanding Power feels half as long as its 64-minute runtime. Due to the album’s wide emotional range, I even grew to love its more upbeat tracks. Criticizing Lovebites for sounding cheerful seems akin to criticizing Monet because you don’t like yellow water lilies; sometimes flowers are yellow, you twit! Outstanding Power tries to do a lot, and it nails every piece.

As I struggle to process this album, I’m reminded of Eldritch Elitist’s review of Imperial Circus Dead Decadence. Yes, Outstanding Power is self-indulgent; what’s your point? Lovebites paints their variegated image of power metal with five brushes and five million colors, and the result is astounding. It isn’t perfect, and the crushed master makes it harder to appreciate the album’s finer features. But Outstanding Power easily won over my shriveled heart. While major scales make me gag, these ones just feel like the crest of a wave. While I tend to balk at hour-long albums, this one goes by in a heartbeat. Power metal isn’t my usual fare, but Lovebites has created a masterwork.

Rating: 4.5/5.0

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Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

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Dissecting the Leech sets the thrashy tone with some sweet riffs and thumping blast beats on opener “Under the Sun.” Hanchuck collaborates with a long list of guest guitarists, such as Chris Poland (ex-Megadeth) and Mike Gilbert (Flotsam and Jetsam), to ensure a never-ending supply of fresh, exciting riffs, solos, and other guitar antics. As in prior outings, Wreck-Defy plays largely in the Testament mold with a few Megadethian flourishes. However, it’s not all pedal to the medal—plenty of songs vary in tempo, like the melodic, mid-paced “Millenial Dystopia” and the near-ballad “The Path.” While retaining their core identity, Wreck-Defy manage a varied sound throughout Dissecting the Leech, with tunes lasting anywhere from the blink-of-an-eye at three-and-a-half minutes (“Do It Again”) to the progressively-paced six-and-a-half minutes of “I Don’t Care.”¹ The latter flexes creative songwriting similar to last year’s Helms Deep, with a mid-track portion that unexpectedly rockets off into a shreddy solo that’s absolutely riveting.

While Hanchuck and Christian prove to be the heart, the two new players more than hold their own. Greg Wagner has the grizzled voice of an old soul and brings a level of grit to the music. Yet he’s no one-trick pony, occasionally rising to the falsetto of many power metal vocalists, not to mention taking a few stabs at King Diamond shrieks. His surprise melodic lilt on “Another Day” proves to be one of the record’s highlights.² David Allan proves to be quite effective behind the kit as well. His opening kicks to “Under the Sun” establish a fiercely energetic tone that resonates throughout much of Dissecting the Leech. Perhaps my favorite moment comes from “The Haunting Past,” a completely bonkers track that sounds like its instruments have gone haywire before delivering a blitzkrieg of thrashy riffs and blast beats powered by Allan’s jaw-dropping performance.

Wreck-Defy power their thrash into social critiques that prove forceful behind their spirited performances. They tackle environmental, political, and generational issues, casting a gloomy pall over modern events. On “Under the Sun,” they lament the degradation of our planet through warfare (“Look at the damage we’ve done”) and warn, “we’ll all die under the sun.” Concern turns towards the younger generations on “Millenial Dystopia,” where Wreck-Defy observes that “there’s no room to grow old,” leading to a “generation of no hope.” All people want, according to “Another Day,” is “air to breathe / just let me live another day.” Considering critiques from Steel and commenters over juvenile lyrics from Powers That Be, Wreck-Defy appear to have matured in their storytelling and thematic content. They offer a coherent narrative, even if it just boils down to “the world is a mess,” and mankind is facing “a dark, dismal future” (“Revolt”), and end on the hopeful message that they’ll “keep on fighting” for what’s right (“Apocalypse of Hope”).

Like Steel before me, I had never heard of Wreck-Defy before taking this promo, and I’m impressed. Dissecting the Leech is proving among the best in a rather good year for thrash so far, though a few things do hold it back. At 48 minutes, it’s a tad long, but considering its progressive leanings and the impressive musicianship, that’s a minor issue. A couple of songs don’t fit in as well as the rest (“Dissecting the Leech,” “The Path”), proving to be weak links amidst a great set. “The Path” is particularly puzzling, appearing to serve as the evening wind-down music to help settle the kids and old-timers for bedtime. But you’d better hurry because the ironically-named finale, “Apocalypse of Hope,” serves a jolt of caffeine to keep the party going. If you like thrash, you’ll have a good time with Dissecting the Leech.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Massacre Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026

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Inhuman Rampage was DragonForce throwing shit at a wall, and somehow all of it stuck. As much as they are influenced by Stratovarius’s melodic power assault, the backing harsh vocals (“Operation Ground and Pound”) and sheer ferocity point to other roots. The guitar work is undeniably beefy as much as it is shreddingly maximalist, decorated with all sorts of eccentric bleep-bloop effects (“Storming the Burning Fields”). Vadim Pruzhanov’s hook-laden keyboard (“Cry for Eternity”) and songwriting contributions (“Body Breakdown”) are a crucial melodic counterpoint sorely missed on the latest two albums. Finally, ZP⁵ Theart’s vocals are iconic for a reason. While not the most technically impressive nor multifaceted, he has a powerful and unique delivery that isn’t divisive the way a traditional Kiskean (Helloween) wail would’ve been, making this wild wankfest stand out even more among power metal bands. All of the above led to a remarkably consistent record. The album’s deep cuts (“Body Breakdown,” “The Flame of Youth”) are even stronger than the hits, and the amazing Japanese bonus track⁶ “Lost Souls in Endless Time” has always been the true album closer in my book.⁷

Inhuman Rampage ended up being a huge success, first on its own merits and then as part of pop culture. By this time, the world was finally starting to get over the whole nü and ‘alternative’ phase. Trends are cyclical, and DragonForce were in the right place at the right time; ambitious, complex songwriting and guitar solo virtuosity appealed to a wider audience in a way it couldn’t have 5–10 years prior. As for the elephant in the room, “Through the Fire and Flames” earned legendary status in 2007 as Guitar Hero III’s hardest song to master. Consequently, DragonForce became known as the “TtFaF” band, occasionally to the members’ chagrin. Many have forgotten they were already popular pre-Inhuman Rampage, playing shows with Helloween and Iron Maiden before headlining themselves. They got featured on a game because of their popularity, not the other way around. Regardless, the tie-in certainly didn’t hurt, and it’s part of the reason I am here writing about them today.

But if this was such a resounding success, why did no other bands try to replicate DragonForce? There’s no shortage of people who couldn’t have matched their speed or energy, as proven by grindcore and such. I think it’s a combination of several conspiring factors. For one, the second wave of power metal (roughly 1997–2006) at large was having its last hurrah around this time. Secondly, no one else had the same deranged bundle of influences that these guys had. Black metal, power metal, AOR, retro games—even if other bands tried, they wouldn’t have been able to understand Inhuman Rampage’s formula without these roots.

Inhuman Rampage remains one of my favorite power metal albums to this very day. DragonForce would later go on to switch things up, making more great albums followed by some mild disappointments, but none would catch lightning in a bottle as Inhuman Rampage did. And few even tried, for no one in the power metal scene currently sounds like old DragonForce, especially not the band themselves. Some are glad to leave this style behind, but I think there is a missed opportunity here. In a world of Archspires, it has become abundantly clear that there is still demand for bands who push the extremes, the boundaries of sanity and tastefulness. Trends are cyclical, and nü is rearing its ugly head again. Who will make the next Inhuman Rampage?

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Greyhawk’s sound has been undergoing constant evolution since the band’s beginnings, and Warriors of Greyhawk is no different. Over the years, the straightforward heavy metal of the band’s debut EP has morphed to include elements of speed metal, album-oriented rock, and now, with the introduction of new singer Anthony Corso, a healthy dose of power metal. Corso has a much more “standard” approach to metal vocals than Taylor, and his high register leaves him naturally suited to bridge the gap between classic heavy metal and its cheesiest of cousins. Advance single “Ascension” begins in Priestly fashion before handing out some Helloween candy with Corso’s stratospheric chorus. The track strikes the perfect balance between the band’s traditional past and powerful future.

And that balance is a microcosm of the rest of Warriors of Greyhawk. The band’s trad-metal identity is secure with cuts like “Take a Stand,” the Dio-esque title track, and the Accept-able “Embers Rise,” with the latter being the most quintessentially snarl-able heavy metal song I’ve heard so far this year. Thanks to the furious groove laid down by guitarists Jesse Berlin and Rob Steinway and the thunder from bassist Darin “The Bulletproof Barbarian” Wall, the track gives me some serious Dream Evil vibes. But the band just as easily veers into pure power metal with the Running Wild riffing of “Endless Race” and “Land of Ashes, while “Hyperspace” blasts straight to Guitar Hero status with enough pyrotechnics to rival Dragonforce.

I dig the production this time out. It feels big and beefy most of the time, but the leads still have that razor-sharp, molten edge to them—*Chef’s kiss*. About the only misstep I can point to is the inclusion of essentially two epic closers back-to-back in “Rise Above” and “Eternal Quest.” Both songs are good, but I think that “Rise Above” fails to match the quality of its set mates and that Warriors of Greyhawk would feel tighter (at 43 minutes instead of 49) and finish more powerfully had it been axed. The band took a risk by including Rev Taylor beside Corso on album highlight “Chosen,” and I’ll admit that hearing his powerful baritone nearly brings me to tears every time I hear it. But ultimately, the track ends up being a fitting farewell to a foundational figure in the band’s history, and it’s the perfect way for fans to compare Greyhawk’s past to its future. Best of luck on your future endeavors, Rev. Metal’s loss is opera’s gain!

Warriors of Greyhawk is undoubtedly a transitional album as the band finds its way forward with a new vocalist, but it also feels like the songwriting has reached a new level compared to previous efforts. This leaves Greyhawk with enormous potential moving forward, and honestly, without a minor flub at the album’s close, I’d be tempted to hang a 4.0 on this one. Much like those other Hawks of Seattle, apparently, these guys don’t rebuild; they reload. Go Hawks!

Rating: 3.5/5.0
DR: 5 | Format Reviewed: PCM
Label: Cruz del Sur Music
Websites: greyhawkmetal.bandcamp.com | facebook.com/greyhawkheavymetal
Releases Worldwide: February 13th, 2026

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Battering Ram’s fun sound tends to lean more heavy/power than thrash. The riffage of Guillermo Marqués definitely borrows a lot from all over, featuring plenty of variety from ’90s German power metal to ’80s heavy metal to both classic and progressive thrash (“Time Masters (Gods of Soul Deliverance)”). Many of the record’s choices remind me of fellow one-time time travelers in Persistence of Time -era Anthrax. Considering the sci-fi theme, I’d be surprised if some Gamma Ray or Iron Savior influence wasn’t intentional too (“The Persecuted (Back Again)”). The drumming of Benjamín Mateo is lively and energetic, complemented by some fat bass by Francisco Cabañas. Both of them shine best on the album’s thrashiest moments (“Immortality Fed by Death (Unstoppable Train)”), but their performances are solid all around. The songwriting also switches things up plenty outside of just subgenre shenanigans. Straightforward tunes like “The Persecuted” fall between more complex compositions, the 10-minute almost-opener “Unexpected Events (The Beginning of the End)” being a particularly bold choice that ends up panning out well.

While the core ingredients are in place, Time Masters has issues with consistency, direction, and pacing. Take David Ordás’s vocals, for instance. His fun voice works well on occasion but is often at odds with the instrumentation, the epic and melodramatic feel (“Holy Grail (Blood),” “The Persecuted”) suffering from a flat vocal delivery. However, Ordás does improve on the thrashier back half of the record. As for album flow, one of the biggest question marks is the double interlude in “The Prophecy (Revelations)” and “Armageddon Wars (Ragnarök)” towards the end. The tracks themselves aren’t without ideas, but they are oddly constructed and interrupt the flow between the album’s three strongest tracks. Replacing this whole segment with bonus track “Wormhole (Dreaming Eutocia)” could’ve done wonders to make Time Masters a smoother ride, and the same thrash-coded half-instrumental would also give more air time to some of the best aspects of both its guitar and drum work.

Thrash and power metal both perform best at high velocity, and much of Time Masters’ strong instrumentation lacks urgency. The guitars, drums, and bass all sound great and have great players behind them. The riffs have attitude and provide enough variety for the material, and the bass is often cranked loud while playing some really sweet lines. But throughout most of the first half of the album, I’m left desiring a lot more breakneck speed and bite than there is. By the time the potent one-two punch of “Immortality Fed by Death” and “Time Masters” hits your ears, it’s a little too late to salvage the average tempo. The production—while not actively harmful—is also a culprit in removing some Battering Ram’s potential breaching power. But even though the pros don’t outweigh the cons, the good things here are still very much visible. There are no absolute dealbreakers nor terminal issues, and, as mentioned, the very beginning plus the second half of Time Masters offers plenty of material worth checking out.

Despite the album’s drawbacks, there are plenty of neat pieces here Battering Ram can work with. Speeding things up, strengthening the vocals, and refining the songwriting would already make this a much more enjoyable ride. As is, Time Masters has some strong ideas within a very uneven package. Running a tighter ship and improving the production could turn the work presented on Time Masters from a rough but riffy proof of concept into a manic space adventure. I’m eager to await further developments, for the world is in dire need of more power/thrash. Speaking of, where the hell is new Paladin?!

Rating: Mixed
DR: 6 | Format Reviewed: WAV
Label: Self-Released
Websites: Facebook | Instagram | YouTube
Releases Worldwide: January 10th, 2026

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Beyond the Black

Similar to Elettra Storm and Darkyra, Beyond the Black plays a form of symphonic metal that falls somewhere between hard rock and power metal, leaning a little more into the heavier stuff. Tracks follow a pretty standard formula with catchy choruses, above-average riffs, and plenty of solos. The symphonic portion is surprisingly muted, but it does add some emotional depth to songs like “The Art of Being Alone” or even distinctive hooks (“Let There Be Rain”). At the heart of the music is Haben’s vocal performance. Her voice has a poppy, clean character, and Beyond the Black forgo the beastly growls that typically balance out the beauty. This type of performance could easily become sterile, but she shows some range on tracks like “Ravens,” where her voice switches from somber to a soaring chorus that could find a home on the KPop Demon Hunters soundtrack. Her strength is most apparent on the finale, “Weltschmerz,” a gentler, symphonic-led tune that allows Haben to take charge with a moving performance.

Despite the mostly close adherence to the same formula from song to song, Beyond the Black add enough variety to keep things from growing stale. Collaborators help in this regard, and they have two really good ones. Chris Harms (Lord of the Lost) lends his charismatic baritone on “The Art of Being Alone,” an entertaining bit of gothic metal that includes rather dramatic symphonic instrumentals and keyboards. My favorite track, “Let There Be Rain,” gets a boost from its collaboration with The Mystery of the Bulgarian Voices, a cheerful all-female choral group, as well as a nifty symphonic hook that puts a smile on my face. Break the Silence has a consistently high energy throughout—reaching near-thrash levels on “The Flood”—but a few songs break up the pace to avoid monotony, such as the more sober, arpeggio-driven “Ravens,” and the melodic adult rock of “(La Vie Est Un) Cinéma.” The consistently catchy hooks that permeate this varied record highlight just how talented this group is.

Unfortunately, some nagging issues and a weak-ish back half keep this from reaching the heights of fellow symphonic/pop group, Lord of the Lost. “The Flood” is a terrific tune hampered by an unfortunate decision to include prominent robo vocals that are more grating than cool, or whatever they’re meant to be. The two songs that follow, however, sink the record even further, as they lack any hooks to raise them above the fray. One of these is an unfortunate waste of the talents of Asami (Love Bites) in a bit of synth-pop on “Can You Hear Me” that had me wondering if I was listening to a cover of a Pink tune. The last couple of tracks do end Break the Silence on a stronger note, with the catchy chorus of “Hologram” and the aforementioned showstopper of “Weltschmerz.” These keep the record safely in the solid territory despite a brief weak streak.

Admittedly, I had no prior history with Beyond the Black, but based on the time I spent with their previous two albums, Break the Silence is a marked improvement. This is yet another pleasant surprise in the realm of symphonic metal released by the larger metal labels, along with last year’s two Lord of the Lost records. If this genre is in your wheelhouse, or you’re a fan of Beyond the Black’s prior work, you’re in for a treat. Fortunately, Break the Silence proves to be better than the soulless dreck that often floods this genre. It has heart, a powerful message, and, best of all, good music.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: January 9th, 2026

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It’s clear this new iteration of Memories of Old takes their inspiration from the cheerful style of Fellowship. The record just oozes positivity, from the album title to the lyrical content to the uplifting guitars and synths. Further, new vocalist Noah Simmons sounds a lot like Matthew Corry, with a higher register than your typical power metal vocalist. He just sounds so cheerful every time he sings, and these good vibes are infectious. Songs thrum with energy thanks to the galloping blast beats and the frequent, and often dynamic, solos that invigorate each tune. It’s pure bliss from start to the final track, “Journey to the Stars,” where the band takes us to a place where “angels fly through the sky.” If you’re allergic to this level of optimism, steer clear of Never Stop Believing. For the rest of you, adventure on!

Memories of Old excel at not just the good cheer, but also the songwriting and storytelling. Anchored by its catchy chorus “Guardians of the Kingdom” displays these strengths as it methodically builds up from a slower pace to something that has you primed and pumped for battle. There’s a variety on Never Stop Believing that keeps it fresh without sacrificing the character of the band. The muscular, heavy “Memories of Old” takes a page out of the Manowar playbook with an adrenaline-fueled bass drum beat and the second catchiest chorus on the record. Meanwhile, “After the Storm” has a synth that could fit right in with a Trans-Siberian Orchestra holiday hit, followed by a chorus that mixes disco with ABBA pop beats. “Life Begins Again,” the lone ballad, begins with an intro reminiscent of a Mötley Crüe ballad before diving into the tears-of-joy weepies. Memories of Old delivers 55 minutes of symphonic power metal that’s sure to bring out the innocent, joyful child in you.¹

In a year that had mid to really good cheesy power metal, with few outstanding acts, Memories of Old stands apart. The vision of the remaining founding members, Billy Jeffs and Anthony Thompson, held together during a period of immense change for the band. I imagine that these guys can put out another set of bangers with some extra time together. Maybe next time they’ll send us the promo so I don’t have to wait to stumble upon this by mistake again.²

Tracks to Check Out: “Never Stop Believing,” “Guardians of the Kingdom,” “Fly Away Together,” “After the Storm”

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