Granted, the concept of an album where each song tells a story about a distinctive demonic entity with its own unique “physical traits” and “specific weapon” is extremely silly, yet Killerdemons proves to be a catchy and cool affair. Borrower claim Motörhead, Judas Priest, and Dio as their main influences, and they write spare, riff-tastic tunes in their honor. The guitars carry much more heft than their influences, however, with enough reverb to take tunes dangerously close to stoner territory a lá High on Fire and Black Sabbath. This marriage between speed and stoner proves effective. “El Degollador” oscillates between lightning-fast, “Ace of Spades”-inspired riffs and slower, “War Pigs”-style stoner riffs in a performance that’s sure to give you whiplash. Taking a cue from AC/DC, Borrower keeps their song structures simple yet catchy. The rollicking “Stay Alive” best demonstrates this virtue with crisp songwriting and energetic pacing. Each track has distinctive riffs that are far more powerful than the demons it conjures.

In the eight years since their 2018 EP, A Plague Chapter…, Borrower has vastly improved their sound and instrumental prowess. The two Matteos have played a major role in this transformation. Marini’s fuzzy guitar tone adds heft where the EP’s guitars sounded tinny. His blending of Motörhead-style riffcrafting with the density of High on Fire and Mastodon adds an extra oomph to tracks like “Der Todessoldat” and “Tough Fight.” Marzo’s bass takes a commanding presence as well. He adds depth and backbone to the music, making his presence especially felt on the slower moments of “Knocking on the Coffins.” Formoso takes a restrained approach behind the kit, occasionally blasting the cymbals (“Dream on Fire”), but mostly setting the pace with an effective simplicity. The wild card of the group is vocalist Ratano. He seemingly channels Lemmy, Arnold Schwarzenegger, and Fozzie Bear in a truly strange, yet somehow endearing performance. His Italian accent, which drags out the words “kee-ler dee-mons” during the chorus of “Killerdemons,” adds a level of camp that contributes to the goofy fun.

While Borrower keeps Killerdemons to a concise 36 minutes, the record does falter on the two songs that stray from the 3-4 minute range. The first, “Knocking on the Coffins,” has some memorable riffs, including a cool, old school solo, but at over five minutes, it drags on a bit too long. Positioned between the album’s two best tracks, it also proves to be a major momentum killer. The biggest sore thumb, however, is the six-plus minute finale, “A Chaos Vortex.” Not only does it lack memorable riffs, but it falters in its final two minutes as the band sorely misjudges when to best wrap it up. Trimming 2-3 minutes from each of these songs would have immensely improved the album’s otherwise incredible pacing.

As I established last month, metal tends to invite some weird characters, and the killer demon universe created here is certainly an odd one. But that’s also what makes metal so much fun. Bands feel free to try out their off-the-wall ideas, from literary– or video game-inspired themes to the creation of fantasy or sci-fi realms. And sometimes these ideas actually work. Borrower finally sees through their vision, or at least the start of it, and presents it in such a catchy, cool way. I love to see original ideas performed with such care and passion, and I hope these guys continue to cultivate their ideas and musical talents.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: February 13th, 2026

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Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

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After a tasteful instrumental intro, Sacred Leather tan your worthless hide from point Ape to point ChimpanZee on “Spitfire at Night,” powered by the uber-period guitar work of J.J. Highway and Cvon Owens. It’s vintage metal with a speed injection, and it reminds me of long-forgotten German quasi-thrashers Vendetta mixed with Agent Steel. That’s 100% undiluted Steel bait, and the chum is thick and saucy here. Riffs churn and race, over-the-top solos stamp fat exclamation points, and frontman Dee Wrathchild screams and wails like a banshee on banshee meths. It’s a recipe for rowdy, high-energy shenanigans, and in the steady hands of Sacred Leather, this volatile brew sizzles and pops. “Phantom Highway (Hell is Comin’ Down)” delivers more lusty worship of excess. It’s a slick blend of NWoBHM and the most sturdy of mid-80s US metal, and it reminds me of Sumerlands. “Fallen Angel” channels the early days of Jag Panzer with big arena-ready guitars dueling with wanton vocals locked in overdrive as every ounce of meatheaded drama is wrung from the music. Sure, Mr. Wrathchild lets his voice get away from him at times, but that’s freaking metal, folks.

Song after song hits like a runaway freight train from 1985, and at no point will you want to step off the tracks. “Tear Out My Heart” feels like the bastard love child of Warlord and Savage Grace, with stunning guitars framing the kind of massive vocal drama that only 80s metal can provide. If you were looking for a burly, hard-as-nails breakup song for written for men who don’t cry, this is it. The title track channels the badass anthemic might of the criminally underappreciated Cities, and the band proudly honor their oath to keep the flame of the 80s burning bright. Just as you regain your senses, the big epic closer “Mistress of the Sun” arrives to make you love it or feel the wrath of Wrathchild. This is the same kind of larger-than-life metal tune as Krokus’ immortal “Screaming in the Night,” walking the line between anthem and power ballad and damn if it doesn’t tickle all the same nerve endings. There are no bad tracks, with each activating a major nostalgia bomb. So, what, if any, drawbacks will you encounter amid this most retro metal marination session? There are bits of bloat here and there, like on “Tear Out My Heart,” but not to the point where the songs are seriously undermined. In fact, at a tight 40 minutes, this thing feels like a fast-moving mission statement on how to properly worship the 80s, with a production about as trve to the time as one could hope for.

This is the kind of metal album that exudes guitar magic, and Highway and Owens spare no expense in decorating each song with the trappings of yesteryear. I hear many classic 80s albums referenced in their playing, and they really know the era they pay homage to. The riffs are energetic, beefy, and vibrant, and the harmonies and solos rock hard. Over the top of this solid foundation, Dee Wrathchild channels his inner metal god. Blessed with a broad range, he lets it all hang out, exploring his upper register freely and sometimes in ill-advised ways. He does seem to slip out of tune here and there when going all in, but I don’t especially care. Most of what he delivers is solid and commanding, checking all the boxes of 80s overkill and melodrama.

I love it when I blunder into some December release expecting little but getting my ass handed to me on a gleaming chrome platter. Sacred Leather bring the classic metal thunder, and if you love the sounds of the 80s, you should await the lightning strike. As winter moves ever closer, you too should Keep the Fire Burning. Any other choice would smack of flagrant poserism, and that would mean a visit from the Metal Inquisition. Be true to your olde school.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: King Volume Records / Wise Blood Records
Websites: facebook.com/leathersacredleather | instagram.com/sacred_leather
Releases Worldwide: December 12th, 2025

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Bastard Cröss play Neanderthalic, throwb(l)ack thrash, and it’s clear they poured every ounce of their blood, sweat, and beers into Crossripper as it sounds like a long-lost 1985 album that would’ve had tape traders salivating back in the day. Forged in fires from an age when Slayer were still Showing No Mercy and Bathory had yet to quaff a drop of Blood Fire or Death, and with a pinch or two of punk attitude ala early Motörhead and Anti-Cimex thrown in as well, Crossripper is robustious and raw. Album opener “Parasitic” sets the table by delivering all the Bastard Cröss goods. Infernal Bastard’s pulse-quickening drum intro gives way to Beheader of Priests’ heaving bass and the satisfyingly speedy, dual guitar mayhem of Blasphemous Axe and Heathen Chevalier, who also share vocal duties. Their approach runs the gamut from Quorthonic croaks and Tom Araya-like wails to everyman gutturals that would complement any would-be death outfit to a tee. Adrift in the sea of metal’s retro movement—more modern comparisons to Nocturnal or Deathhammer are apt—Bastard Cröss stand out by injecting perfect amounts of mayhem and melody into Crossripper’s well-written, tightly executed songs.

Bastard Cröss are nothing if not all-out balls-to-the-wall, horns-held-high fun. Memorable moments abound throughout Crossripper’s easily digestible thirty-seven-minute runtime. Whether plodding forth in Morbid Tales-like fashion before death galloping along (“Crossripper”) or wammy diving your ears into liquified submission (“Lycan Knights”), by the time the beer-can popping sound byte accentuates the punk-in-cheek attitude swarming the start of “Satanic Pandemonium,” you should be thrash-stomping your drunk ass all over the living room and smashing empty PBR cans against your forehead. Bastard Cröss even manage to squeeze in an admirable homage to 80s hair-metal cock rock in the form of “Demons at Midnight,” a song possessed by sleazy riffage and another one of Crossripper’s many catchy-as-hell choruses. I even looked forward to the beautifully executed, acoustically driven outro to the excellent album closer “Behead the Priest,” which features some angelic, cherry-on-top vocal emanations from Marisa Monaco.

Everything about Crossripper oozes speed-laced, devil-metal nostalgia. From the primitive, yet perfectly rendered, Sandy Rezalmi cover art to the cheeky, we-mean-business band aesthetic and appropriately raw, period-style production, Bastard Cröss nail so many things on Crossripper, I’m left with little to complain about. In fact, I can’t look back on any part of my time with Crossripper and say I didn’t enjoy it. I suppose my lone critique would be that if Bastard Cröss continue swimming in the pool of retro-80s speed-blackened thrash metal, it might be a bridge too far for them to cross and achieve any level of innovative greatness. Not that this is a death sentence by any means. Should Bastard Cröss continue to put out this level of quality horror-loving retro metal, they’re poised to enjoy a pretty solid career.

I’m not the biggest fan of the phrase ‘mileage may vary,’ but I feel it’s appropriate when it comes to summarizing the Bastard Cröss experience. Crossripper doesn’t do anything you haven’t probably heard before. But what it does do is pretty damn good. In this digital age, when there’s more music at your fingertips than at any other moment in history, it’s assessing what music warrants your time and, in some cases, hard-earned cash that has become the commodity by which reviewers provide the most value. And I can assure you, spending thirty-seven minutes with Bastard Cröss and Crossripper this Halloween is definitely worth yours.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Morbid and Miserable Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 31st, 2025

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Aquilla’s authentic sound immediately makes it clear they’re not messing around. Since the last time they heeded the call, they’ve been through some lineup shifts, vocalist Captain Paradox and rhythm guitarist Jaspar de Phaser both joining in 2023. The resulting shift in sound is both obvious and a major positive. Captain Paradox is the star of the show, his vocals thoroughly combining the best of the ’80s and wailing wild and free like Kai Hansen (Helloween debut, Gamma Ray) or Michael Knoblich (Scanner debut). But the speed and power metal elements in Sentinels of New Dawn don’t stop at the vocals, they are firmly present in the dueling guitar work of Jaspar de Phaser and Kris Invader as well (“Creed of Fire,” “Technocrats’ Tyranny”). The bouncy and varied drum patterns, together with an ’80s Helloween-coated bass performance (“Technocrats’ Tyranny”), round out the rock-solid, energetic foundation of the album.

The greatest strength of Sentinels of New Dawn is its potent, to-the-point songwriting. Mankind’s Odyssey was at times charming, but had a fairly narrow scope and often forgot the ‘speed’ half of speed metal. Here, Aquilla dedicate much more of the album’s runtime to an all-gas, no-brakes approach, something sorely missing from many others of its kind. The record has plenty of tricks up its sleeve, with dual-harmonized NWoBHM leads (“Plunder & Steel,” “Mountains of Black Sleep”) and fun classic-sounding gang vocals (“Plunder & Steel”) increasing the anthemic factor further. But the band also shows songwriting maturity and variety by dipping into Queensrÿchean melodic segments (“Mountains of Black Sleep,” “Battalion 31”). While the combination isn’t seamless—the middle of the album unevenly packed with most of the slower bits—it suits Aquilla well and makes for an entertaining and multifaceted album. Furthermore, relying less on Iron Maiden worship and being more German speed/power metal-informed (“Creed of Fire,” “Battalion 31”) has improved their songcraft significantly. As a result, it feels like the band has now found their element and figured out their sound, combining aspects of old and new(er).

Aquilla is having fun, and it translates into a frenetic and inspired album. At just under 50 minutes—45 minutes omitting the intro and outro—Sentinels is a brisk and empowering experience. Even the 10-minute epic “The Prophet” flies by; a great combination of an Iron Maiden and Gamma Ray epic, with the second half having some of the best and most triumphant guitars of the bunch. The dramatic intro and synthy outro fit in oddly well, too, neither one overstaying its welcome. That being said, there are still some quirks to iron out. The harsh vocals at the start of “The Curse of Mercurion” aren’t too damaging, but they are a rough listen and feel unnecessary. “Bound to Be King,” though competent, lacks a hook that the other barn burners feature. Nevertheless, every song here is a good time at least, and many of them show signs of brilliance at best.

Sentinels of New Dawn shows a young band developing into form. Aquilla is here to kick ass and take names, and their mix of old and new is lively and exciting to listen to. The songwriting has made major strides in the span of three years; their speed and energy has only grown, and the Polish metal scene is all the richer and more varied for it. I hope Aquilla fleshes out their craft even further for the next one—with this lineup, they’re on the cusp of greatness.

Rating: Very Good!
DR: 6 | Format Reviewed: 320kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

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The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.¹ The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.² The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Saunders’ Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

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Speed metal fans will be happy to hear that Night Danger consistently fulfills the promise of the genre’s adjective, with quality performances across the board. All but one of its songs gallop at the pace of the steed adorning its cover. To the list of Revenge’s self-professed classic influences, I would add the contemporary heavy metal band Century as a sonic touchstone, insofar as Night Danger tends to keep things up-tempo and, production-wise, traditional. The first half of the album races through songs that veer more in the classic direction, offering harmonized guitar melodies (“Black Sight”), fist-pumping choruses from Esteban ‘Hellfire’ Mejía (“Night Danger”), and impressive solos from lead guitarist Night Crawler (“Soldier’s Heart”). On the back half, Revenge delves into thrashier terrain, building songs around more menacing riffs (“Desire from Pain”) and stompier bridges (“The Devil Race”) that allow drummer Hell Avenger to show off his double bass skills. Despite really having only one speed, Night Danger doesn’t overstay its welcome; no song feels overlong, and the album sensibly clocks in at just under 40 minutes.

Even for speed metal aficionados, though, Night Danger will read less like a holistic album and more like a collection of similar songs. The title track, for example, follows up opener “Black Sight” with a similar kind of introduction: a riff punctuated by drum accents before blastoff. From there, “Night Danger” also mirrors the opener’s pre-solo, half-time bridge. By the time the intro riff to “Soldier’s Heart” rolls around at the midpoint, the listener feels as if they’ve already heard a version of it as the intro to “Night Danger.” Closer “Crushing Death” is one of the stronger cuts on the album, morphing its righteously thrashin’ riff into a jaunty verse and a chorus with uber melodic guitar tags. Nothing about it, however, makes it feel like a closer; it could just as easily live somewhere in the middle of Night Danger.

This is not to say, however, that there’s no songwriting variation to be found here. As the only mid-tempo track on Night Danger, “Misty Night” first comes to mind. Beyond its tempo, the song’s solo also contains a minute variation, picking up on the melody of the main riff before shredding the listener’s face off. Speaking of solos, “The Devil Race” refreshingly opens with one (and, yes, has one during the bridge). On the low end, bassist Camilo Hernandez is periodically noticeable, adding countermelodies that would make Steve Harris proud (“Night Danger,” “Desire from Pain”). Switching from strings to voices: Hellfire is a solid vocalist, but the gang vocals on “The Hammers Fall” add a refreshing flavor to the mix. All of these variations, however, are infrequent and virtually imperceptible.

Speed metal is gonna speed metal, but the lack of variety on Night Danger will likely pose issues for devotees and neophytes alike. Fans of the genre should dig this, but they’ll also crave a few more mid-tempo tracks to keep things interesting. Those less familiar with Revenge’s influences won’t easily forgive the album’s mono-temporality. Night Danger probably won’t turn you into a speed freak, but if you already are one, it’ll satisfy your need.

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: revenge666.bandcamp.com/album/night-danger | facebook.com/revengespeed
Releases Worldwide: October 17th, 2025

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Have I ever wondered what Judas Priest might sound like if they teamed up with Blaze Bayley to write Screaming for Vengeance II? No. But Ültra Raptör approximates that hypothetical effort on Fossilized. Musically speaking, Fossilized sits comfortably between Priest’s 80s era and modern Riot V. Slick guitar leads, rumbly bass grooves, and punchy drums support hooky-as-fook choruses and flashy solos. The music is kinetic, and anyone who appreciates a slice of NWoBHM should find plenty of toe-tapping, headbangable moments. Ültra Raptör doesn’t do anything new on Fossilized, but they never claim to. These fellas are just here to cook up tales of heavy metal, dinosaurs, and haulin’ ass, and by God, they do that with aplomb.

Fossilized charms effortlessly, churning out melodies and earworms so sticky that I can’t shake them from my gray matter. The first four tracks set an imposing standard, where “Fossilized” and “Hard ‘N Fast” are my personal favorites, and “Spinosaurus” and “Living’ for the Riff” never falter. Guitarists Criss Raptör and Zoltan Saurus lead the assault, with riffs, licks, and leads blitzing your ears with cocksure blasts.¹ From the opening moments of “Fossilized,” the six-string theatrics never let up. I’ve listened to my share of albums where I was duped by a single, only to discover the rest of the album failed to live up to the soaring heights promised. Ültra Raptör peddles no such dreck. Growling bottom-end Dick Van Heuß bolsters each track with brawny bass. Though spotlights are rare, Van Heuß constantly lurks below, ever present if you listen past the rest of the electrifying onslaught. No laggard himself, drummer Tony Bronco revs up the kit and does a tremendous job of setting a searing pace (“X-Celerator”²). Meanwhile, vocalist Phil T. Lung croons through nine tracks with his gritty baritone. I expect his voice will be the most divisive part of Ültra Raptör’s sound, and while he’s capable, it’s not the typical torsion-induced falsettos regularly featured in the genre. Though he mostly evokes Blaze Bayley, a few moments ring of Dave Brockie. The ensuing amalgam is a potent brewski—one best consumed with a mullet and a pack of cigs crammed into your denim jacket.

Ültra Raptör’s fearlessness begets a raucous and engaging listen, though adjustments could have elevated Fossilized. In total, they deliver forty-one minutes of filler-less heavy metal (less instrumental “Le Voyageur d’Oort,” a decent but unremarkable minute). The mix permits everyone to shine and contains enough depth to appreciate what passes for nuance in such an outrageous concept. Revisiting the vocals, Lung is proficient and never lacks the gusto to match the music’s energy. Despite that, I wish there was more variety in his singing. Either harnessing more falsettos like on debut Tyrants or bringing in a guest singer could add enough extra spice to kick things up a notch. Singing aside, the chief knock on Fossilized is a lack of originality. I don’t believe this will or should prevent anyone from enjoying what Ültra Raptör does here, but it defines a ceiling that’s extremely difficult to push past.

Ültra Raptör pumps testosterone-fueled, chest-thumping vigor into Fossilized, constructing an over-the-top arrogance that would crumble with less conviction. The album exudes fun because of the utter commitment to the bit, and unless you’re allergic to a good time, I highly recommend checking out Fossilized. It’s not an album that will change anyone’s mind about what heavy or speed metal offers, but it is an excellent example of what makes a very good record within those confines.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 7th, 2025

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Crucible really likes the ’80s. Throughout Hail to the Force, Crucible administer Judas Priestly heroics at Riotous speeds, ripping Defenders of the Faith leads on the title track and injecting “Savage Weapon” with Thundersteel adrenaline. Openers “Deathdealer” and “Embrace of Steele” are as archetypically speed metal as they come, awash with thundering drums and bass by Ole Iversen and Kenneth Frandsen respectively, soaring vocals by Phillip Butler (Pectora) and massively palm-muted riffs by guitarists Thomas Carnell (Impalers) and Jon Brogård. “Manic Minute” sees Butler deliver power metal wails as the band rages with Motörhead delinquency, while “Far Beyond the Grave” revels in the retro futuristic aesthetics of Iron Maiden’s Somewhere in Time. They even recall fellow throwback acts, deploying belligerent vocals on “Evilforce” reminiscent of Livewire and the modernly loud, yet organic production of Riot City. Without question, Crucible is married to their influences.

Crucible brings talent and vitality to Hail to the Force, but never escapes their influences’ shadows. Stomping the pedal down and rarely letting up, with “Evilforce” and “Mad Minute” showcasing their most frantic capabilities, Crucible can’t be accused of sluggishness. Neither could their guitarists be justly labeled as shlubs: their solos are brimming with sharp, vintage shredding and tasteful sweeping. But too often, Crucible stick to the speed metal playbook like glue. “Deathdealer,” “Savage Weapon” and the title track mimic thrashy power metal riffs and piercing wails done countless times before them, leaving little of their own DNA in the mix. Rhythmically, Crucible keeps it basic, only flirting with groove on “Far Beyond the Grave” and some surprise stop-and-starts throughout. Unexpectedly, the instrumental “While My Guitar Gently Sweeps” with its Bladerunner-evocative synth-scape, relaxed tempo and root-note-escaping bass lines showcase Crucible at their freshest and reveal how one-note much of the other songs can be. Hail to the Force is undeniably fun, but its derivativeness leaves it stuck in the realm of mere tribute.

Sadly, awkward songwriting pulls Hail to the Force down further. Crucible’s short-and-sweet songcraft is admirable, demonstrating a willingness to self-edit, but many tracks feel somewhat half-baked. “Deathdealer’s” solo ends anticlimactically, while “Mad Minute” wraps up with little resolution following its solo. Despite short runtimes, over-repetition remains a problem, with “Redwing” wearing thin its Maidenesque “oh-oh” bridge and the title track wearing its name out with overuse. Vocals can also flounder, as Butler’s lines—kept primarily to a high, strained register—are sometimes clunky. “Embrace of Steele’s” chorus sounds off-balance, like it’s rushing through its last couple lines, while the melismatic runs in “Far Beyond the Grave” don’t sound strictly in-key. Butler’s best performance is on “Splashed to the Four Winds,” a Judas Priest-like bruiser where he plays a veritable Halford and, coincidentally, sings lower than normal. Nothing on Hail to the Force is bad or—worse—boring, but enough nitpicks keep most of Crucible’s offerings from reaching their fullest potential.

Hail to the Force is enjoyable, but I know Crucible have more interesting material in them. Crucible know how to trim down, which is half the battle of good music, but now they need to learn when to let loose. If the power and chutzpah Crucible exhibited on this record were to appear on a more adventurously diverse sophomore release, it would make for a gangbusters follow-up. But as is, fans of the olde school will likely appreciate Hail to the Force’s retro aesthetics, youthful enthusiasm, and proficient musicianship. I just hope Mother Nature cuts Crucible a break for their next one.

Rating: Mixed.
DR: 6 | Review Format: 320 kb/s mp3
Label: From the Vaults
Websites: crucibledk.bandcamp | facebook.com/cruciblespeedmetal | instagram.com/cruciblespeedmetal
Release Date: September 12^th, 2025

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Sölicitör

As Holdeneye described in his review of Spectral Devastation, Sölicitör’s style isn’t as straightforward as it appears on the surface. They find inspiration from ’80s speedy heavy acts like Judas Priest and Iron Maiden, only this time around, they add more melodic elements reminiscent of Bloodletter. The resemblance to the latter is apparent early, as the combination of speed and melodic leads gets “Paralysis” going right out the gates. “Iron Wolves of War” and “We Who Remain” continue this streak while also including some catchy choruses that channel Sölicitör’s influences. When Carlson sings “Flee! Flee in horror!” on “Iron Wolves of War,” I couldn’t help but think of Dickinson’s iconic chorus on “Run to the Hills.” Then, on the chorus of “We Who Remain,” it sounds an awful lot like she’s singing “Defenders of the faith.”¹ Sölicitör inject plenty of spirit into their speed, and the addition of melodic leads adds depth and a layer of infectiousness.

Enemy in Mirrors is not just speed, however. The record combines up-tempo velocity with mid-tempo grooves, pianos and synths that build suspense, and, of course, Carlson’s formidable voice to perform songs that prove Sölicitör to be effective storytellers. “Spellbound Mist” is the first to dabble in this more nuanced storytelling, beginning at a slower pace as Carlson croons and casts her spell over the listener. Then it takes a sudden turn on the back half towards furious shredding and thrash that gave me flashbacks of the twists and turns that Helms Deep took on Chasing the Dragon. The final two songs similarly impress in their ability to spin a yarn, beginning with synths that create ghostly atmospheres before melodic riffs and a thrumming bass add to the enchanting soundscape. With this patient buildup, Carlson eventually gets fists pumping with well-timed vocal entrances—singing “I am the deceiver” on “Black Magick (Part I)” and throwing out a creatively pronounced “Ooooh yeah!” on “The Devil’s Hand (Part II).” Both tracks end Enemy in Mirrors on a high note, showcasing Sölicitör’s maturity in songwriting.

I see a parallel between Sölicitör and Helms Deep in that both bands churned out longer sophomore albums than their debuts. In Sölicitör’s case, the length isn’t due to longer songs, but more of them. Unfortunately, this proves my lone gripe, as there’s a slight sag in quality in the back half, which keeps Enemy in Mirrors shy of the coveted 4.Ö. These songs aren’t lacking in the speed department, but they fail to utilize the melodic leads present on the rest of the record. “Fallen Angel” isn’t the longest cut, but it feels like it due to its more uniform structure and lack of hooks. “Crimson Battle Beast” begins with a classic speed intro, but the chorus comes off awkwardly and a bit silly. What these tunes do isn’t necessarily bad, but they sound more bland than the rest. Whether these two, plus the other weaker track, “Enemy in Mirrors,” work for you or not is likely going to be a key deciding factor in how much you enjoy the album.

Enemy in Mirrors is a welcome return after a five-year break, and it’s a promising direction for these talented musicians. If you enjoyed the debut, you’ll be happy to know Sölicitör doesn’t make any core shifts in their sound, and what they do add is a definite improvement. While we would certainly prefer beloved bands to release records more frequently, the most important thing is quality, and Sölicitör has quality in spades. If you like fun, if you like speedy and melodic metal, you owe it to yourself to check this out.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Gates of Hell Records
Website: Bandcamp | Facebook
Releases Worldwide: September 19th, 2025

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