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

The post Rozario – Northern Crusaders Review appeared first on Angry Metal Guy.

The Magus

That promise seems to have been delivered, as Daemonosophia arrives with nary a 9-minute track to be found. The two advance singles land as relatively straightforward black metal tunes but still manage to maintain The Magus’ penchant for horrific theatricality. I was tempted to embed first proper track “Psuedoprophetae,” an absolutely blistering assault that appears on the heels of a version of the Lord’s Prayer that’s a bit different than the one I was taught in Sunday school, but I’ve opted for “Magia Obscura” instead. The latter demonstrates more of the diversity found across Daemonosophia, its snarl augmented by a clean intro and majestic heavy metal guitar leads.

But don’t let those two tracks trick you into thinking that Daemonosophia is just another melodic black metal album. The variety on offer within these compositions and their 47 minutes is astounding. The title track made me realize what Iced Earth in their prime might have sounded like if they were a black metal band, “Amelia” is a hauntingly beautiful tribute to the dramatic devilry of King Diamond, and “The Era of Lucifer Rising” sees The Magus reworking a tremolo-laden black metal church-burner from Thou Art Lord’s 1994 debut record into a melodic monstrosity of esoteric might. But perhaps the greatest surprise is album closer, “La Llorona Negra,” an outstanding cover of a classic Latin American folk song. Organ, harpsichord, and piano introduce the song and its first, female, vocalist, and for a moment, it doesn’t sound all that different than the version you heard on the Coco soundtrack. That is, until your hear La Llorona herself screaming in anguish behind the beautiful singing, and before the song evolves into a metal juggernaut with The Magus on the mic near the halfway point.

There is very little for me to complain about on Daemonosophia. Its runtime feels vastly shorter than it is, and its compositional flow has made it nearly impossible not repeat over and over again. The Magus demonstrates an incredible gift for songwriting, Maelstrom’s drumming is a tympanic tempest that lives up to his name, and while El might play for Soulskinner, he should probably be called ‘Facemelter,’ as his guitar playing has made it look like I touched the Ark of the Covenant. My one critique would be that the production feels a bit heavy on the low-end tones, and this was initially a barrier to me feeling Daemonosophia’s full impact. The album is saturated with hidden touches that demand to be heard, and I had to minorly tweak my EQ settings to fully excavate them. At the end of the day, this is a small price to pay for an album that has delivered me multiple Song o’ the Year contenders in “The Era of Lucifer Rising,” “Amelia,” and “La Llorona Negra.”

In interviews, I’ve seen The Magus boldly claim to make “extraordinary music for extraordinary people.” I’d say he’s half right. I’m just an ordinary dude, but Daemonosophia’s extraordinary music has spoken to me nonetheless. The last year or so has been a bit rough for me physically, and I’m having to face the fact that I can no longer live life the way my pre-40s self could. So when “The Era of Lucifer Rising” closes with (what I believe to be) ‘Above hatred and madness/Beyond weakness and pain/I raise the veil and break the chains/My reign has just begun’, followed by a pair of powerful screams, I can’t help but feel empowered to handle whatever challenges this new era brings me.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: The Circle Music
Websites: necromantiathemagus.bandcamp.com | facebook.com/themagus666 | www.themagus666.com
Releases Worldwide: February 20th, 2026

The post The Magus – Daemonosophia Review appeared first on Angry Metal Guy.

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

The post Greyhawk – Warriors of Greyhawk Review appeared first on Angry Metal Guy.

Just one look at that glorious album cover should tell you that Spain’s Rave in Fire oozes 80s glory. Lead single “Still Standing” sounds like it rode a tiger straight outta Ronnie James Dio’s mind with its driving groove, intricate guitar leads, and the effortlessly powerful vocals of singer Sele. The track is so 80s that it would fit perfectly over the top of a Rocky IV fight scene or training montage (one of my primary measuring sticks for quality 80s music, I might add).

If metal was doing something cool in the 1980s, it’s a good bet that Rave in Fire does it too. “Witches’ Hell” captures the swagger of peak Scorpions, the instrumental opener and its successor scream Screaming-era Judas Priest, and “Untiring Eagles” and “Speed and Rave” sound like Megadeth from an alternate reality, one where Dave Mustaine is female and can actually sing. The closing title track displays the band’s more ambitious aims, mixing all of the above-mentioned influences with progressive rock a la Rush and/or Kansas. Overall, Rave in Fire does everything they do with so much competence and authenticity that they’re hard not to love.

My only real nitpick with Square One involves the transition from the “The Hellion”-esque opener into first proper track “Dark Poison.” The switch just doesn’t match up very well, so much so that I checked multiple times to make sure I hadn’t unwittingly messed up the track order. It’s a fairly minor flaw in the grand scheme of a 42-minute album, but it’s jarring each time nonetheless. Instrumentally, Rave in Fire is stacked with talent. Guitarist Jonjo puts on a classic metal/rock clinic, and the rhythm section (Sara on bass and Jimi on drums) displays impressive chemistry. But the MVP trophy goes to vocalist Sele. Her passionate performance is just spectacular, sounding so unbelievably genuine and lending Square One a pleasing patina of seemingly long-lost classic status, and, fortunately, the beautiful production only enhances the luster of that patina.

When I picked Square One out of the promo sump, I’d just finished Stranger Things and was yearning to fill that 80s-shaped hole in my heart. After spinning this dozens of times, I can confidently say that Rave in Fire has done just that. This band is loaded with talent, and I expect more very good albums from them in the future.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: raveinfire.bandcamp.com | facebook.com/raveinfire
Releases Worldwide: January 30th, 2026

The post Rave in Fire – Square One Review appeared first on Angry Metal Guy.

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

The post Deathraiser – Forged in Hatred Review appeared first on Angry Metal Guy.

It doesn’t get much olde-r, sound-wise that is, than what Germany’s Blackslash have been laying down since their 2007 formation (with the exact same lineup, I might add. Impressive!). Drawing power from their patrons, heavy metal deities like Iron Maiden and Saxon, Blackslash specialize in extremely guitar-forward tunes of all speeds and sizes. Embedded single “Heroes, Saints & Fools” just oozes classic metal. Between the epic flair of the intro and outro leads, the hair-metal pinch harmonics that kick in once the song hits full speed, and the very “Number of the Beast” delivery of the chorus, this track checks just about every box for what makes heavy metal the greatest accomplishment of the human race.

That holy, lionhearted, halberd-wielding hellion on the cover looks an awful lot like Maiden’s Eddie, and that resemblance is fitting given Blackslash’s faithful use of many of that band’s signature musical elements. “The Watcher” begins and ends with a Steve Harris bass riff accompanied by clean guitars that would feel right at home on any of Maiden’s 2000-and-later albums, and the rest of the song pays homage to the band’s classic 80s stuff. “Die By the Blade” continues that homage, penultimate track “Where Are We Heading To?” combines Maiden guitars with some Bon Jovi-style hard rock to deliver a surprisingly heartfelt ballad, and “Life After Death” adds the gritty influence of Blackslash’s countrymates Accept into this mix of trveness.

If Heroes, Saints & Fools is a successful heavy metal album—which it is—it is so for two reasons: the very Biff Byford-esque delivery of singer Clemens Haas, and the amazing chemistry of the guitar duo comprised of Christian Haas and Daniel Hölderle. Clemens balances his crooning with just enough gravel to truly impress, and if you pick any random moment on this record, there’s a good chance you’ll hear the guitars doing something really cool when you press ‘play’—one of my favorite moments is the triumphant intro to closer “Maniacs and Madmen.” “Sacrificed” is the one song that I might have left on the cutting room floor if forced to choose, but the rest of the album certainly qualifies as ‘very good,’ with “Tokyo,” “The Watcher,” “Maniacs and Madmen,” and the title track approaching greatness.

I’m sure I’ll jinx myself by saying this, but the olde gods of heavy metal seem to be blessing my oath of devotion to all things traditional by bestowing upon me an unexpected boon of goodness in the early parts of 2025. Blackslash literally wear their influences on their cover art, and they’ve done those influences proud on Heroes, Saints & Fools. Fans of Maiden, Accept, and Saxon are highly encouraged to play it loud.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Iron Shield Records
Websites: facebook.com/blackslashband | www.blackslash-band.de
Releases Worldwide: January 31st, 2025

The post Blackslash – Heroes, Saints & Fools Review appeared first on Angry Metal Guy.

You turn from this unbelievable spectacle and walk away, no longer content with your miserable, mundane existence, so it’s probably good that you’re not aware that our hero’s day is just getting started. You see, after an evening of revelry with his scantily clad yacht-mates, the Master Spy retreats to a mansion-like cabin that puts your stupid home to shame. There, he begins work on his true passion project: heavy metal. He sleeps only 4 hours per night—he’ll sleep when he’s dead—so he’s free to write tunes until the wee hours of the morning. His first album, The Train, focused on long epics inspired by Iron Maiden’s X-Factor and Virtual XI albums, but this time around, he’s shortening the song lengths, dialing up the speed, and injecting a healthy dose of melodicism by veering sharply into power metal territory. If you were to play album opener and single “Maze Runner,” you’d hear the musical equivalent of the frantic scene you’ve just seen play out before your eyes: explosive rhythms, back-flipping guitars, and rocketing vocals will have you floating upon a sea of power and might.

The Train had some compelling moments scattered throughout its long runtimes, but at six tracks and 30 minutes,¹ Maze Runner is basically all killer and no filler. Drawing upon early albums from bands like Blind Guardian, Hammerfall, and Edguy for inspiration, this outing sees Master Spy virtually rewriting their playbook and displaying the it-factor that distinguishes great songs from decent ones. The opening trio of “Maze Runner,” “Challengers of the Unknown,” and “Speed Racer” sets the tone very strongly with a volley of pure power metal, and this momentum never seems to let up, even when mid-paced semi-ballad “Doppleganger” comes along. The latter is so heartfelt and skillful in both composition and performance that it quickly becomes an album highlight.

New vocalist Craig Cairns (also of Tailgunner) aids the project’s transition to power metal with an extremely strong performance, and when combined with new guitarist Christian Vidal (Therion) and his incredible leads, it really feels like Master Spy has amassed an elite level of talent. My primary issue with The Train is gone; where its predecessor had some distracting lyrical foibles, Maze Runner dials this element down to well within power metal’s normal ESL limits. The production suits the music perfectly, leaving room for every instrument while displaying some big-time bottom-end beef. I honestly can’t pick standouts here. All six of these songs are keeping me hanging around like I’m some sort of bikini-clad groupie. I’m deeply sorry for giving you that mental visual.

Maze Runner might be free of the Maiden Virtual/Factor influence that permeated its predecessor, but for my money, this transition to a more straightforward power metal sound is a huge success. Master Spy may not be reinventing the wheel here, but they are grabbing it with both hands and deftly steering this musical Lambo through city streets crowded with landmines and bikini babes. If you like 90s and early 2000s power metal, yacht to love this one.

Rating: 4.0/5.0 – a Virtual IV!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self Release
Website: masterspy.bandcamp.com
Releases Worldwide: January 24th, 2025

The post Master Spy – Maze Runner Review appeared first on Angry Metal Guy.

Founded in 2020, Sweden’s Century are relatively new recruits, but the success of their campaign already speaks for itself. The band’s 2023 debut, The Conquest of Time, was a fantastic platter of traditional, verging-on-epic metal, and follow-up Sign of the Storm picks up right where it left off. Obviously influenced by some of the bands mentioned above, plus usual suspects like Maiden and Priest, Century themselves would probably add fellow Swedes Heavy Load to their roster of stylistic ancestors. They do all of these inspirations proud by playing an incredibly authentic, diverse, and well-executed version of a classic sound. Their songwriting, style, and production aesthetic are so authentic, in fact, that you’d be forgiven if you were to listen to Century and surmise that they were an early influence on Satan, even if the converse is likely true. Press ‘play’ on embedded single and album opener “Sacrifice,” and feel yourself being transported back to the late 70’s/early 80’s, a time when heavy music was genre-fluid and could morph between hard rock, heavy metal, and early forms of speed and power metal in the blink of an eye.

That stylistic fluidity is one of the things that makes Sign of the Storm so much fun. On any given track, Century might be cruising through NWoBHM territory (“Children of the Past” or “Possessed by the Night”), accelerating into pure speed metal (“Necromancer” or the aforementioned “Sacrifice”), or slowing down and taking a turn for the epic (“Chains of Hell” and “Fallen Hero”). 70’s rock rears its mustachioed face when Century suddenly sounds like a metalized Blue Öyster Cult on the catchy-as-hell “Fly Away” and “No Time for Tomorrow.” All this variety allows for the potential for a disjointed, forced affair, but these guys flow in and out of each style so convincingly that they all blend together into one delicious, cohesive sonic smoothie.

I was surprised to learn that Century is comprised of just two talented gentlemen, and I think that’s because the production on Sign of the Storm is just so damn pristine and old-school. The album sounds like it’s 40-plus years old, so my brain was imagining a full band recording these tunes in a studio. But no, it’s just Staffan Tengnér (vocals/guitars) and Leo Ekström Sollenmo (drums/bass), and yes, they absolutely nail their performances. Tengnér’s voice is smooth, yet deceptively powerful, and it matches all of Century’s different moods perfectly—and his classic metal/rock guitar work is simply a delight to behold. My complaints with the record are few and minor. I might switch up the track order a little, the middle of the album takes a slight dip in quality on “Chain of Hell,” and the closing instrumental, while excellently played, feels like an optional bonus track as penultimate number “Possessed by the Night” would have ended the album perfectly. But then again, who doesn’t want to have a little high-quality Maiden worship to walk them to the door on the way out?

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year, and with Sign of the Storm, Century have set the bar pretty high for all subsequent challengers. This album channels its source material with such effortless swagger that it may lull you into a false sense of security. Don’t miss the signs, or this traditional tempest might blow you away.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Labels: Dying Victims Productions | Electric Assault Records
Websites: centuryswe.bandcamp.com | facebook.com/centuryswe
Releases Worldwide: January 24th, 2025

The post Century – Sign of the Storm Review appeared first on Angry Metal Guy.

METALenedioxymethamphetamine (MDMA), commonly known as Axetasy, is an aural empathogen–entactogenic drug with stimulant and minor psychedelic properties. In studies, it has been used alongside psychotherapy in the treatment of poser-traumatic stress disorder (PTSD) and social anxiety in autism spectrum disorder. The purported pharmacological effects that may be prosocial include altered sensations, increased energy, empathy, and pleasure. When taken by ear, effects begin in 1 to 2 seconds and last up to 40 minutes (or even 80 minutes, if listening is repeated). Short-term adverse (or are they favorable?) effects include banging of the head, grinding of the teeth, blurred vision, sweating, and a rapid heartbeat, and extended use can also lead to metal addiction and difficulty sleeping. Axetasy is often considered the drug of choice within the heavy metal culture and is also used at clubs, festivals, and house parties. Some users enjoy the feeling of mass communion from the inhibition-reducing effects of the drug, while others use it as party fuel because of the drug’s stimulatory effects. Small doses of Axetasy are used by some religious practitioners as an entheogen to enhance prayer or meditation. Axetasy has been used as an adjunct to New Wave of Traditional Heavy Metal spiritual practices.

Distributed by the suspiciously named Big Pharma firm Dying Victims Productions, Axetasy hails from Germany, and the drug’s mechanism of action works by flooding the victim’s patient’s brain with copious amounts of molten guitar leads in order to induce a state of therapeutic euphoria. If you choose to try the embedded pharmaceutical sample labeled “Beyond All Order” (after consulting your physician, of course), you’ll see that Axetasy’s debut recipe, Withering Tides, draws inspiration from a host of tried-and-true formulas from years past. Take all of the health benefits of speed metal, arena rock, early power metal, proto-thrash metal, and NWoBHM drug classes and add them together, and you’ll find that they can all be replicated by listening to this one easy-to-swallow pill. If you’ve ever used another Dying Victims product called Venator, you will probably find Axetasy’s effects pleasantly familiar.

Withering Tides hearkens back to the charming 1980’s, a time when most people got their prescriptions from a doctor with the last name “Feelgood,” and when most of those “prescriptions” took the form of white powders that were intended to be administered intranasally. Like most stimulants, Axetasy is simple, effective, and starts working immediately. A brief, 20-second, synth-laden intro quickly gives way to “Withering Tides of Space,” and as the blazing guitar work takes hold, you will notice your heart rate quickening, your pupils dilating, your genitals engorging, and your urge to air guitar and fuck shit up in a mosh pit titrating to therapeutically appropriate levels. Before ingestion, be aware that these effects will not dissipate until the closing seconds of final track “Nebulous Nightmares.”

While it would have been easy for a metal-based drug to fail to live up to a name choice as bold as “Axetasy,” that is certainly not the case here. Six-string engineers Johnny Kröner and Izzy Fetch likely skirted industry regulations as they packed enough high-voltage guitar work into this record to set their lab coats ablaze. I’d describe their playing the way my wife might describe my lovemaking: what they lack in virtuosity, they more than make up for with unbridled enthusiasm and effort. These unhinged pyrotechnics, combined with Kröner’s wild vocal delivery, give Withering Tides’ proprietary formula its patent-pending buzz. That buzz is so exhilarating that I’d be tempted to label Axetasy a Class-4.0 controlled substance if more of its songs could match the level of standouts like “Withering Tides of Space,” “Fatal Maze,” “Beyond All Order,” and “Axetasy – of Murder.” The drug’s production process results in an extremely pure sonic profile, with each active ingredient receiving enough room to shine through clearly without dilution.

Axetasy is not for everyone. Those suffering from elitism, snobbery, pretentiousness, fun-averseness or any other form of acute or chronic poser-itis should not take Axetasy, as spontaneous immolation has occurred. Ask your doctor if Axetasy is right or you, and if they say no, ask your doctor about your region’s Death with Dignity options.¹²

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: axetasy.bandcamp.com | facebook.com/axetasyband
Releases Worldwide: January 17th, 2025

The post Axetasy – Withering Tides Review appeared first on Angry Metal Guy.

This was a strange year for old Holdeneye, characterized by relative outer peace and significant inner turmoil. Peruse my last few lists, and you’ll see that I’ve been on a mental health journey for some time now, and this year has honestly been the toughest nut for me to crack. I’ve spent the last few years changing my external circumstances to set me up for interior success, and that has certainly helped. But I’m starting to come to grips with the fact that my choice to follow a career as a first responder, while it has benefitted my family and myself enormously, has come at a cost. Combine with that the absurdities of modern society, and the anxieties and pressures of parenting children, and I’ve been finding my fortitude to be mightily tested. I’m afraid I’m come down with a moderate-to-severe case of cynicism.

George Carlin once said, ‘Inside every cynical person is a disappointed idealist,’ and I strongly agree. I’m by nature a pretty soft-hearted, idealistic person, but with high ideals come high expectations—and high expectations are basically impossible to meet. I spent much of this year (years, really) embracing my newfound cynicism because it seemed easier and less painful than having my impossibly high expectations disappointed again and again. Fortunately, I stumbled upon a book called Hope for Cynics by Jamil Zaki, and it has been an amazing tool for recalibrating my perspective on life. The book proves—scientifically—that Samwise Gamgee was correct when he said, ‘There’s some good in this world, Mr. Frodo, and it’s worth fighting for.’ I highly recommend that anyone and everyone read it—it’s exactly what the world needs to hear right now.

Cynicism is not conducive to creative work, so my 2024 AMG output was abysmal. Instead of listening to new albums, I listened to my Manowar playlist over and over and over. At one point, I finally pulled the trigger and told Steel I needed to step away. I felt good about that decision, that is until my friend Kenstrosity had his home destroyed by a hurricane. The way the Angry Metal community banded together to support Ken broke through the hard crust that had been forming around my tender heart. The staff, and especially you, the readers, jumped at the chance to help, and it was incredibly inspiring—and it once again proved just how wholesome and unique this little internet community can be. I’m resolving to stay involved, producing whatever content I can make time for, but more importantly, to just be around. When times are hard, I tend to withdraw, but I’m finding that those are the times when I really need to fight to stay engaged.

Thanks for your patience and for your even-handed, if brutal, leadership, Steel. Thanks to everyone who makes this place so special; you are all agents in the war on cynicism. Special shoutouts to Dr. Wvrm, Ferox, and Doom_et_Al for hanging out with me in person—extra special to Doomy for letting me crash at his place—and to Crispy Hooligan (Rest In Retirement) for recognizing and chatting with me at a Judas Priest show. It was awesome to take my AMG community into three dimensions this year.

Well, you’ve heard enough from this gloomy goose! Rest assured that I’m looking to 2025 with hope and a healthy skepticism instead of my usual oscillation between idealism and cynicism. Onto the tunes!

#ish. Judas Priest // Invincible Shield – This one comes as a bit of a shock to me. When it first released, I was pretty indifferent. I really enjoyed the previous album Firepower, but I didn’t feel a strong need to hear or enjoy a new Judas Priest album in 2024. I have my ten-year-old son to thank for changing my mind. While I was driving him to school one day, he randomly said, ‘Dad, my favorite band is Imagine Dragons, but my favorite music is heavy metal.’ I knew I had to capitalize on this make-or-break moment, so as soon as I got home, I bought two pre-sale tickets to the Invincible Shield tour. Seeing these legends with my boy was a core memory that I will always treasure, and while I prepped for the show, I began to see Invincible Shield for what it really is: one more gift from the metal gods of old, one that is far more energetic and ruthless than it has any right to be. Sample: “Panic Attack”

#10. Necrophobic // In the Twilight Grey – As someone who gained their black metal fangs because of Necrophobic’s modern-day sound, I understand that I’m unfairly biased to enjoy everything they’re putting out these days. But biased or not, I absolutely dig what Necrophobic have done on In the Twilight Grey. They’ve taken just about every shade of black metal available and incorporated a bit of this one and a bit of that one to construct a varied collage of blackened brutality. The guitar work on this record is exemplary, and it speaks to my classic heavy metal heart with lead after lead that could fit on just about any Priest album. I didn’t listen to much black metal this year, and this album is partially to blame. In the Twilight Grey arrived early on and essentially sated my appetite for blackened platters. Sample: “Shadows of the Brightest Night”

#9. Ironflame // Kingdom Torn Asunder – Consistency is an underrated and often maligned trait when it comes to music, but it’s something I really value. I love when every day is just about the same as the last. I can eat the same meal three times per day, no problem. As I mentioned above, I can listen to the same Manowar playlist on repeat for months at a time. I like consistency because I like to know what I’m getting. Ironflame has become my poster child for consistency when it comes to modern traditional metal, and I while I may know exactly what an Ironflame record is going to sound like before I ever play it, I take an enormous amount of joy finding my preconceived notions to be 100% accurate. Andrew d’Cagna can write killer metal anthems in his sleep, and Kingdom Torn Asunder is full of them. Sample: “Sword of a Thousand Truths”

#8. Vitriol // Suffer & Become – This album definitely tested the limits of my musical taste. Vitriol’s brand of death metal is so punishing that it becomes overwhelming for me, but Suffer & Become includes just enough beauty to let the beast shine by contrast. Full disclosure: I have to be in the right mood for this album. It is so dense, so challenging, so heavy, that it makes me uncomfortable. Without relying on the overt groove or melody that usually anchors the music I enjoy, Suffer & Become manages to hook me through pure violence, leaving me just a few fleeting moments to pop my ahead above the surface to grab a quick breath before dragging me back below. Released back in January, my response to this record was the first indication that my taste (and my list) in 2024 would be trending in a brutal direction. Sample: “The Flowers of Sadism”

#7. Oxygen Destroyer // Guardian of the Universe – As I went to wheel my thrash can to the street, I wondered if it would even be worth the trip. While I didn’t listen to all that many albums in total this year, I had an especially noteworthy dearth of thrash albums that caught my attention. Fortunately, the one album that did end up in my thrash can filled it to the point of overflowing. Oxygen Destroyer has received honorable mention on my year-end list before, but this time around, the band has leveled up in so many ways that it was impossible for me not to put Guardian of the Universe on my list proper. Where previous albums were more of an even death/thrash mix, this one is an absolute thrashterpiece, and every single song has at least one earworm riff that refuses to leave my brain. Lord Kaiju’s utterly pissed-off vocals are the perfect match for what the rest of the band is doing musically, and with one forthcoming exception, there was no better half-hour set of music with which to torture myself this year. Sample: “Banishing the Iris of Sempiternal Tenebrosity”

#6. Aborted // Vault of Horrors – I’m a late-stage Aborted adopter. Vault of Horrors was my first exposure to the band, and the uniqueness of this album is probably responsible for why I’ve come to enjoy the band so much. I was at first put off by all the guest vocalists, but then I remembered that I love hardcore vocals. Aborted’s mixture of brutal death and deathcore is already potent, but when a host of talented hardcore and metal vocalists add their voices to the mix, the result is an adrenaline-pumping, testosterone-boosting beatdown. One of my favorite metal moments of the year goes to witnessing many of these cuts live in the mighty presence of my Angry Metal brothers Ferox and Doom_et_Al. Vault of Horrors has been one of my gym mainstays since its release, and that quality alone is nearly enough to boost an album onto my Top Ten(ish). Sample: “Death Cult”

#5. Unhallowed Deliverance // Of Spectres and Strife – I honestly can’t remember what review it was for, but one of our lovely readers suggested this album in the comments, and I haven’t been able to stop listening to it. Unhallowed Deliverance is another band that mixes brutal death metal and deathcore, but where Aborted goes for the throat nearly 100% of the time, these guys throw in a pinch of atmosphere and a boatload of technicality to create an insanely strong, multifaceted sound. Frontman Arthur Haltrich complements his standard death/deathcore growls and shrieks with some of the gnarliest belches, gurgles, and verbal flatulence I’ve ever heard, giving Of Spectres and Strife’s sonic texture even more depth that its already intricate music provides. The record even includes a collaboration with Kenneth Copeland, the artist responsible for my 2020 Song o’ the Year. Sample: “Treatise on the Lowest Form of Man”

#4. Nemedian Chronicles // The Savage Sword – It’s been many months since Iceberg grossly underrated this absolute gem, and it is a gem that I’ve clutched as greedily as if I’d personally plucked it from a cursed dungeon’s treasure hoard ever since. When I first sampled The Savage Sword, I was intimidated by its 70-minute length, but it took little more than a single listen for me to realize that this album is incredibly well-executed from start to finish. Yes, Nemedian Chronicles made the bold choice to start the record with what are essentially two intro tracks, but they are so epic and genuine that they act as a pair of tentacles, forcefully drawing me into the concept’s Hyborian world and setting me up to enjoy of deep immersion. The rest of the album is a masterclass on how to properly deliver epic heavy and power metal goods, and it is frankly the best Blind Guardian album released since the 90s. Sample: “The Savage Sword”

#3. Brodequin // Harbinger of Woe – More like Harbinger of Whoa, amirite? I could probably sum this album up with just that single word ‘whoa,’ but Steel would most likely force me to sit on that old-timey chair on the cover art if I didn’t elaborate. This was another comment section find, and I’ll be damned if it didn’t grab me almost immediately—a rare occurrence for music of this level of intensity. The production on this album raises it so far above much of its comparable competition because it so perfectly balances the material’s speed and chaos with an overwhelmingly tangible heft. Harbinger of Woe’s 30-minute runtime is so bludgeoning that my watch sometimes registers my listening sessions as cardio, so I’d like to think that this album has made me a healthier person in 2024. Brodequin, or Brother Quinn as I like to refer to them, can take comfort in putting out one of the finest brutal death metal albums in a year filled with quality brutal death metal albums. Sample: “Of Pillars and Trees”

#2. Keygen Church // Nel Nome Del Codice – In what is perhaps my greatest musical surprise of the year, this album instantly bewitched me body and soul, and I love, I love, I love it, and wish from this day forth never to be parted from it. I’ve enjoyed some of Victor Love’s work in Master Boot Record, but as someone who is drawn to liturgical expressions of spirituality, Keygen Church’s inclusion of Baroque organs and choirs absolutely godsmacked me from moment one. If you asked me to name the greatest song of all time in any genre, I’d probably go with Bach’s “Toccata and Fugue in D Minor,” so it should come as no surprise that Nel Nome Del Codice feels as if it were tailormade to tickle me right in the pipe organs. I have no idea how music like this is produced, but my hat is off to Love for creating such a powerful aural experience. Sample: “Sulla Via Della Gloria”

#1. Hell:on // Shaman – When I dropped a 4.5 on this back in May, I was pretty confident that nothing else would be able to top it, and since I’m almost always right, I was right, of course. Hell:on’s mix of death metal, throat-singing, ritualistic rhythms, and Eastern instrumentation makes me feel like I’m trapped within some infernal combination of a death metal concert and a Witcher III boss fight, and it’s a feeling that has yet to get old. The band went all-in on the inclusion of their Ukrainian cultural elements within their music this time around, and it was an incredible success. In a year where death metal made up the majority of my top records, Shaman had to fight to keep its place upon the top of the heap, but no other album felt as spiritually dense to me in a year where I’ve fought to find my own personal peace. The textures offered here both exhilarate me and help me into a meditative state, and the resulting empowerment has been a Godsend to me. Sample: “What Steppes Dream About”

Honorable Mentions

• Brothers of Metal // Fimbulvinter
• Pneuma Hagion // From Beyond

Olde Record (and Hot Take) o’ the Year

Manowar // Warriors of the World – When I wasn’t listening to new music in 2024—which was really, really often—I was probably listening to Manowar. I listened to them so much, in fact, that my streaming platform placed me within the band’s top 0.1% of listeners worldwide. Warriors of the World was the first true heavy metal album that I ever purchased, and so many of its songs remain personal favorites to this very day. As I ravaged the band’s discography this year, I came to the realization that Manowar circa 2002 is the absolute highwater mark for heavy music. This album has some weird inclusions that make it feel somewhat unbalanced and goofy at times, but I’m convinced that if the band had cut a bit of the fluff and added in the two cuts from the Dawn of Battle EP, Warriors of the World would have been a 5.0 and the greatest metal album of all time. Disagree? Then you’re not into metal, and you are not my friend. Just kidding. We can still be friends, poser!

Disappointment o’ the Year

In Aphelion // Reaperdawn – After In Aphelion’s debut Moribund pummeled its way into the top tier of my Top Ten(ish) of 2022, I had huge expectations for its follow-up, Reaperdawn. Whether it is because several of the band’s members released a similar-sounding and stronger album with their main project Necrophobic or because these songs just don’t match up to the debut, this one just didn’t do it for me. It has a nice blackened aesthetic and some quality moments and performances, but it lacks the edge that made Moribund feel so genuinely dangerous. I hope to hear something new from these guys in the not-so-distant future, because I know they’re capable of going for my throat.

Song o’ the Year

Hell:on // “I Am the Path” – This song resonated with me from the very first time I heard it. The way the song swings back and forth between brutal death metal and ritualistic groove strikes the perfect balance for me, and the folk instrumentation adds even more layers to the experience. I can’t tell you how many times I’ve listened to “I Am the Path” this year, but just about every time I do, I feel my eyes wanting to roll into the back of my head so I can commune with the primal spirits of the earth. The track’s title and chorus have become something of a personal mantra for me as I’ve struggled to find inner harmony this year. It reminds me that I can make all the positive external changes in the world, but if I really seek health and joy, I must walk that most challenging of all paths: the path within.

The post Holdeneye’s Top Ten(ish) of 2024 appeared first on Angry Metal Guy.