Way back in 2014, when Madam X and I were still just mutual admirers online, she decided to travel from her home country of South Africa to the US to catch the world-famous 70000 Tons of Metal cruise. This had the added benefit of allowing us to finally meet in person since she was flying into New York, where I worked as a regional warlord at the time. We ended up meeting, totally hitting it off, and yada-yada-yada, we got married and lived happily ever after. It took us way too long to catch a 70000 Tons voyage as a couple, but this year we finally did it! After hearing so much about the 70000 Tons experience from Madam X, other AMG staffers, and various random miscreants, I thought I had a pretty good handle on what to expect. I didn’t. This event is one seriously wild ride, unlike anything else I’ve ever encountered. It’s a strange alternate universe where time is the enemy, yet also seems to lose all meaning. You spend every waking moment running from set to set to catch acts you want to see, and in the little spaces in between, you eat, chug brewskis, and study the scheduling app to plot and plan where to run next. You quickly lose track of the days as you adapt to this new lifestyle, and before long, you start to prefer this kind of existence. It’s a 4-day musical treasure hunt with adventure (and alcohol) available around every corner, and you share all the madcap escapades with thousands of like-minded metal maniacs who all seem equally thrilled to be questing. What could be cooler than that? So what was it like to step aboard as representatives for Angry Metal Guy Industries? This is our story.1

Disembarkment: From Snowbound to Southbound

Mere days before we were scheduled to fly down to Florida, the massive bomb cyclone winter storm dubbed “Fern” clobbered most of the eastern seaboard and dropped 15 inches of snow on our Long Island hometown. This scrambled all the central, southern, and eastern US airports something fierce, and with news of thousands of canceled flights in the days leading up to the cruise, we stressed mightily that we might not make it to Miami to catch the ship. The 70000 Tons group on Facebook was littered with tragic tales of folks getting their flights cancelled multiple times, with some opting to skip the airports entirely and try to make it by car from faraway locales.2 As the Metal Gods willed it, we got to the airport, made it to a not-very-sunny Florida on time without any hassles. We reported to the Port of Miami the next day, and the adventure began!

Day One: The Aclimationing

After going through the boarding process and nominally attending our safety briefing, beers were enjoyed as Madam X and I toured our new home. Freedom of the Seas is a typical cruise ship, but it was immediately apparent that this would not be a typical cruise. Aside from the ocean of black shirts and battle vests, all the music played over the ship’s sound systems was metal. This was a surprisingly satisfying touch, as I always wondered what it would be like to have my preferred genre played in places like supermarkets, dentist offices, and malls. This shit should be normalized outside of a niche metal cruise event. Hell, even when you turned on your cabin’s TV, there was a channel playing videos of the bands on board 24/7, and when you went to the shopping or cruise map channels, the background music was 120% pure metal. Nir-fucking-vana, folks!

As everyone boarded, got settled in, and the initial drinks were drunk, the first bands went off at 5:30. As any good primate would do in such circumstances, I chose Vio-Lence since they’re a beloved band from my youth that I never got to see live during their heyday. Prior to the band taking the stage, a stocky, bald gentleman berated a group of people (myself included) for not wearing ear protection. This was laughed off with good nature, and then I realized the man looking out for our aural health was none other than David White, the vocalist of Heathen. It was cool to see the Heathen dudes there showing support for their fellow San Francisco thrashers, and it was a nice way to kick off the festivities. Vio-Lence came out shortly thereafter and proceeded to destroy everyone with loud, vicious renditions of the material off their timeless debut, Eternal Nightmare. They sounded much heavier than expected, and Sean Killian was a man possessed on stage as he delivered the hyperactive and voluminous vocal lines like it was still 1990. They covered almost all of their debut and tossed in “World in a World” and the Dead Kennedys’ classic “California Über Alles” for extra spice, and I left well impressed by how youthful and powerful they sounded.

From there we ducked in to catch Harakiri for the Sky, and though neither Madam X nor I were very familiar with them, they impressed with their atmospheric post-black sound. They reminded me of Agalloch enough to want to visit their catalog, and Madam X was very much enthralled. From there, it was straight to the big theater to see Soen, and I admit to never being much of a fan. They were polished and professional, but their style of radio-friendly hard rock didn’t really fit with the 70000 Tons vibe, and I was bored pretty quickly, though watching Martin Lopez (ex-Opeth) pound away on his kit was entertaining. Things improved greatly when we went on to catch Cemetery Skyline, the Scandinavian Goth rock supergroup. Though the material on their Nordic Gothic debut isn’t all that much harder than what Soen do, the energy generated by Mikael Stanne and Markus Vanhala (Insomnium, Omnium Gatherum) was off the charts. The band seemed to be having as much or more fun than the very receptive crowd, and Stanne in particular seemed to be thrilled to be there. The set was electric, and the energy from the crowd was palpable.

Next up was Kamelot, and though I’m a huge fan of their early albums, I haven’t loved the post-Silverthrone output much. The band did their best to put on a lively performance, and Tommy Karevik sounded fine, but the setlist, taken mostly from the last 3 albums, was somewhat uninspiring, and we left after 5-6 songs. After taking time to get food and brewskis, we headed back to the theater to see Anthrax. A beloved band from my youth, it had been a long time since I last saw them live, but they acted and sounded much the same, opening with the timeless “A.I.R.” and leaning heavily on their Spreading the Disease and Among the Living classics. At one point, Joey started singing Judas Priest’s “The Ripper” before launching into “Caught in a Mosh,” and Scott Ian dubbed the 70000 Cruise as “the world’s coolest prison.” These olde thrash dawgs can still bring it, and the packed crowd ate it up (I especially loved them busting out “Be all. End All” from their State of Euphoria platter).

Last up for our first night was a 12:30 am set by the weird and mysterious Kanonenfieber. Support for the band was apparent, with numerous folks onboard rocking plastic versions of the Pickelhaube (the WWI era pointy helmet worn by Prussian and German soldiers), and they’ve received a ton of love and overratings from the AMG staff these past few years. Somehow, though, I never completely bought into what band creator Noise was doing. Until I saw it all done live, that is. With a stage covered in sandbags and barbed wire, the masked trench warriors supporting Noise came out in matching WWI period soldiers’ clothing to play a somber, ominous intro before Noise himself burst out dressed in full Kaiser gear as things erupted into full boar black death insanity. While their style can at times come across as heavier, faster Rammstein, there was no denying how much punch they packed live, and Noise is a very animated, maniacal frontman. He had the crowd eating from his hand despite an entire set in German. Sure, the multiple costume changes were a bit over-the-top, but they fit the narrative of the horrors of war. Thus pummeled and pulverized, it was time to call it a day.

Day Two: Any Port in the Storm

Due to the huge storm that was sweeping up the east coast, the Captain decided that the ship would head straight to Nassau on Friday rather than Saturday, so rather than bands taking the stage by 10 am, they would hold off til 5:30, and we would be free to leave the ship in the morning and wander around the island. After a few hours sightseeing, we were ready for more molten metal and eager to see Orden Organ kick things off on the newly constructed pool deck stage. Frontman Seeb was injured before the cruise and unable to make the trip, so the band recruited Marc Lopes (Ross the Boss, ex-Metal Church) to fill in. As the ship headed back out ot sea, the band ripped through the big hits of Ogan’s catalog, opening with the massive “F.E.V.E.R.” Dan sounded powerful and convincing, though between songs, he made it clear he was still learning the songs, so not to judge him too harshly. Minus a few missed vocal lines here and there, he did a fine job, got the crowd involved, and seemed really thrilled to be there. As they tore through hits like “The Things We Believe in,” “The Order of Fear,” and “Heart of the Android,” a cold rain began to fall, and by the end of their set, it was getting pretty heavy on the deck.

We retreated to the safety of the sports bar for liquid courage before having to go back out in the rain 45 minutes later to see the mighty Amorphis. The pool deck stage was an open-air rain debacle as they came out, and even before Tomi could start roaring, he was drenched and waterlogged. Tomi always looks like a pirate, so it worked for him, and the band sounded as great as ever live, though I felt bad for Santeri Kallio having to constantly wipe off his keyboards as the rain crashed down. The set was tight despite the weather, and they hit all the high points, from gems like “Death of a King” and “The Smoke” to going way back to Tales from the Thousand Lakes to uncork “Black Winter Day.” Nothing can stop these all-weather Finns!

From the deluge, we retreated to see Wolf in the Deck 5 lounge, which is essentially a smallish room without any kind of raised stage. Wolf were game about it and delivered a rowdy set of their NWoBHM-meets power metal, but unless you stood directly in front of them, you couldn’t see jack shit. It was still a good show, aurally at least. We left a bit early to get back to the monsoon deck to see Beast in Black, but their set was moved to 4:15 am due to how awful the weather had become outside. This allowed for a quick detour to catch Ereb Altor at the rink stage, and they were exactly how I imagined they would be: brooding, heavy, and not fucking around at all as they clobbered the crowd with their Viking black metal. As I was swept away to the good olde days of blood eagles and rule by sword, I found myself wondering why the band didn’t also schedule a few sets for Isole, as the same guys are in both bands. Great show, lost opportunity.

From there we beered up and then caught death metallers Skeletal Remains back in the lounge, and they were appropriately heavy and caveman as fook. Perhaps the caveman shit went too far as they blasted way past their allotted time, and soon thereafter, rumors started spreading that a certain band member was getting hammered and way too touchy-feely with the female cruisers. This ultimately led to him being confined to his cabin and the band getting banned from future 70000 Tons events. After Skeltal Remains decamped, we stayed put in the lounge as up next was none other than the one, the only…Jag Fucking Panzer!! A huge staple of my teen years, these Colorado classic US power metal masters dropped the iconic Ample Destruction back in 1985, and I’ve loved them ever since, but never got to see them live. Because we were hanging around as the band set up, legendary vocalist Harry “the Tyrant” Conklin came over to chat and offered us “Tyrant coins,” which are basically a commemorative Jag Panzer challenge coin. We took them happily, and I tried not to be too fanboyish. I also got to speak with founding guitarist Mark Briody, and he was as nice a guy as there is. When Panzer took the stage, they proceeded to rip the crowd a new one with a string of timeless cuts from Ample Destruction and select gems from their later releases. I was floored by how powerful Tyrant’s voice was live, and this was my highlight of the trip thus far. I was very glad we were dead center front row for this one!

After that unbeatable show, we went back up to the pool deck for Kanonenfieber’s second set at 12;30 am, hoping the rain had finally died down. The fates smiled upon Noise, and the skies held off, allowing them to tear through another set of war-horror-themed Germanic madness with Noise commanding the crowd like a battle-hardened general. Though some of the same songs from the first set were done again, it still seemed like a different event entirely, and aside from the odd clash of the masked, uniformed mauraders and the happy, colorful pool deck decorations, it was an immersive open sea air experience.

Day Three: Arctic Winds

Day three was the first where the bands hit the stages early, with some starting at 10:00 am. We dragged ourselves out of bed, got caffenated and made it to the pool deck to see Hiraes take the stage. I hadn’t hear of this Germanic melodeath act until their frontwoman Britta Görtz appeared in the recent Kreator video for “Tränenpalast.” They had an energetic set, and Britta has a shockingly demonic voice for such a charmingly upbeat, tiny woman. Then it was off to catch Wolf in the vastly superior rink stage, and they once again brought the old school metal thunder and showed the crowd how to pull off guitar-driven 80s metal with a touch of Euro-power.

80s Bay Area techno-thrashers Heathen were up next, and they delivered their typically solid, burly set, with frontman David White doing his hyperactive best to stir the theater crowd to violence. Speaking of Vio-Lence, I spotted a few of them in the crowd returning the favor of support. I especially loved when Heathen busted out “Goblin’s Blade” from their 1987 debut, and that song has aged like fine wine. “Hypnotized” was also as great live as ever, and that song should be considered one of the great thrash epics of all time. As we left the theater, Madam X informed me that the vocalist for Heathen was built much like Noise from Kanonenfieber and might be him. And so began several days of speculation as to who the Kanonenfieber guys were and where they might be on the ship.

After food and a merch shopping break, we caught the immortal NWoBHM legends Satan at the rink deck. Long have I wanted to witness them live, and when I finally got my wish, they were even better than I hoped. The ageless Brian Ross sounded like a 25-year-old, hitting all manner of high register wails and screams, often going beyond what was required by the songs. The band was insanely frenetic in a live setting, with guitarists Russ Tippins and Steve Ramsey putting on a shred clinic, sounding like classic Iron Maiden at double speed. They put on a helluva powerful, no-BS metal show, and Ross is a character as a frontman.3

Off to the pool deck we went, thereafter to catch some of Firewind’s set. I wanted to see Gus G wank his way to the moon in person, and I was not disappointed. I was surprised to see Herbie Langhams wasn’t performing vocals, and instead, former frontman Henning Basse (ex-Brainstorm, ex-Metallium) was there on stage. Together they plowed through mighty tunes like “Ode to Leonidas” and “I Am the Anger,” with Gus showing why he’s considered one of metal’s top axe masters. The weirdo semi-death, kinda-Goth Tribulation were next. Unfortunately, they were derailed by technical issues and lost some equipment in transit, and opened their set 20 minutes late. Even when they finally got going, they were still plagued by sound issues. They did their best, but they didn’t get to present themselves properly, and things were a bit lackluster overall.

Next was the one and only time Madam X and I had to part company, as she was dying to see Beast in Black and I needed to see Jag Panzer’s second set and both went off at the same time. This Panzer set was a “drop the needle” on their classic album Ample Destruction, and I couldn’t miss seeing them run through it from start to finish. This time Jag Panzer got the rink stage, which is far better than the lounge, and once again they brought the crowd to their knees with masterful renditions of cuts like “Licensed to Kill,” “Warfare,” and “Harder Than Steel.” Tyrant again demonstrated the sheer power and force of his ageless pipes, and the band made sure to leave everything on the stage. I even ended up with an official Jag Panzer wristband in the process. Sometimes it’s good to meet your heroes. Madam X was equally blown away by the Beast in Black set, making me wish I had caught that show, too.

From there, I raced to the pool deck to catch Paradise Lost. The long-running lords of Peaceville doom put on a solid if somewhat low-key set, drawing from their vast catalog and collection of styles. It wasn’t the most animated set of the cruise, but the songs sounded great, and Nick Holmes was in good form. I appreciated that they didn’t shy away from their Depeche Lost era either.

After that, Anthrax took the pool deck stage, and lo and behold, bassist Frank Bello was missing in action. In his place was a guy who looked a whole lot like Joey Vera of Armored Saint, Fates Warning, etc. Turns out it was Joey filling in, as Frank had to leave the ship to get to LA to accept his Grammy for best Live Rock performance for Yungblud’s rendition of Black Sabbath’s “Changes” at the Back to the Beginning concert. I have no idea how Frank got off the ship or how they mailed Joey in, but he fit right in, and Anthrax did another classic set, even hitting “Deathrider” from the debut and “In the End” from Worship Music. Queens, NY, represent!

Day Four: Survive and Endure

As the rigors of nonstop metalling slowly began to set in, we arose on day four, opted to eat a quick breakfast, then jumped in a hot tub on the pool deck while they were fresh, clean, and not full of plus-sized, mega-hairy metalheads. Because of our early arrival, we only shared a tub with a very nice Dutch couple, and as we listened to Xandria playing their morning set about 100 feet away, we discussed the Dutch metal scene, the Roadburn festival, and how The Gathering is superior to most other similar acts. Xandria aren’t my cup of tea, and I couldn’t see them from my tub, but they sounded decent enough for a symphonic power metal band.

After tub time, we caught Tyr on the pool deck as they brought Faroian thunder to the high seas. Their burly sound translated well to the setting, and it was all beefy tales of heroism and swordplay, with “By the Sword in My Hand” and “Blood of Heroes” hitting extra hard. It was extra cool to see Jag Panzer’s Mark Briody right up front in the crowd, throwing horns and celebrating the next generation of metal.

Later on, we caught the second set of Satan, and again they burned the stage down around them, then we wandered into the last 15 minutes of Darkane’s set on the pool deck. After that, Madam X convinced me to try Groza’s set, which was a shockingly harrowing blast of misanthropic black metal performed by dudes in hoods who were from Germany. They impressed and furthered the ongoing Kanonenfieber conspiracy mill considerably.

One of the highlights of the event for me was seeing ultimate underdog 80s thrash act Hirax take the stage on the pool deck as the weather turned windy and cold again. Hirax released 2 obscure albums in the mid 80s that I dearly loved because they were so different from everything else out there. Katon Depena was a truly unique vocalist, singing in a strange up and down pattern over short thrashy songs that verged on grindcore. It was both odd and endearing, and my high school friends and I constantly imitated his wonky singing. They were too cult to ever tour near us, so I always wondered what they would be like live. When Hirax stormed the stage, they were everything I expected and then some. Katon was a complete maniac, running all over, climbing the amps, jumping into the crowd, taking a big fur coat from a fan, and rocking it on stage, all as he ripped through a succession of lightning-fast classics. It was one of the craziest sets of the cruise, and the crowd was eating it up. Hail Hirax.

As the ship steered toward the setting sun, Finnish melodoom gods Insomnium took the pool deck stage to deliver a classically melancholic but heavy set as the weather got colder and colder. They were tight, polished, and amusingly enough, complained about how cold it was on the deck. As they started to play “Down With the Sun,” the sun was slowly disappearing below the watery horizon, and with the cold air blowing, it felt like a weirdly Finnish moment on what was billed as a Caribbean cruise.

In the ultimate whiplash kind of switch up, we raced from the Insomnium set to witness Rhapody of Fire launch their nerd-raging dragon power all over the theater stage. As they catapulted into cheddar manufacturing mode, the crowd brandished waves of inflatable swords and hammers like a full-fledged LARP was about to break out. In the middle of the raging orcstorm, vocalist Giacomo Voli went completely bonkers, wailing, screaming, stirring the crowd up, and even stage diving and crowdriding. Somehow, he kept singing as he was held aloft by the rowdy crowd and pummeled with inflatable melee weapons.4 Though I’m not a fan of the band, I couldn’t deny the entertainment factor and the insane charisma of Voli.

The festivities wound down with a 12:30 am Dark Tranquillity set on the pool deck, and as always, Stanne and company were the consummate professionals, doling out the classic melodeath goods as only they can. Stanne sounded superb and in his glory, and the band put on an appropriately massive cap to a great cruise. After their set, Andy, the man behind the whole event, took the stage to thank all who attended and braved the often-bad weather to enjoy the massive metal spectacle. It was a bittersweet moment, as the 4 days flew by in a crazy blur and now were coming to an end.

Final Thoughts:

70000 Tons of Metal is an extremely well-organized and run event, and it was attended by a large assortment of metal fans who came to have a good time and make memories. I saw no fights, no really bad behavior (aside from certain band-related allegations), and was shocked that I saw so few people hammered into an alcoholic stupor. If you haven’t considered making the trip, you should. It can be pricey, but it’s an amazing time and unlike anything else you’ll ever experience. I went expecting it to be something you do once, but now I want to make it a yearly tradition. I highly recommend it, even if you only like half of the scheduled line-up. Thank you to the ever-amazing Madam X for organizing the trip for us and for being the best possible partner to share the insanity with. You complete me.

Funniest Moment:

-When Madam X and I were waiting for an elevator, one opened up, and standing right in front was Brian Ross of Satan. Madam X was star-struck and loudly exclaimed, “SATAN!” Mr. Ross smiled and waved.

-Everyone complaining there was no Kanonenfieber meet and greet.

Bands We Missed:

Vader and Saturnus were cursed with late-night slots we just couldn’t get to. We feel great shame.

Biggest Gripe:

The weird and draconian merch rules made even a simple viewing of the band’s wares a huge hassle.

Biggest Surprise:

I wasn’t even close to being the oldest person there!

Things I’ll Miss the Most: Those stupid little pizzas served at Sorrento’s. They aren’t much different from store-bought frozen pizza, but the stuff becomes addictive after eating it for a few days, like those dumplings in Old Boy.

Post Ship Depression Syndrome:

It’s a real thing. You feel out of sorts and miss the weird pacing and running between sets all day and night.

I think I may love Beast In Black.

#BeastInBlack

I am listening to 'Enter The Behelit' by Beast In Black.

It's (very) Power Metal. Kinda even 'Aerobics Class Metal'.

It's very catchy.

(Apparently this is some cross promotion with the video game Diablo.)

https://www.youtube.com/watch?v=nxFW6ggUqu0

#BeastInBlack #PowerMetal #Metal

It's Fridaaaaaaay, here's a cover I listen to a lot. This is in my exercise playlist. I love the energy Beast in Black puts into all their music, I am really looking forward to seeing them soon on #70000tonsofMetal

https://www.youtube.com/watch?v=EEpXxV8hRfo

#FridayMetalCovers #MetalCovers #Metal #BeastInBlack

Meinungen gehen auseinander. Die pure Euphorie dürfte der Band um Sänger Yannis Papadopoulos aber entgegenkommen, wenn sie im Herbst 2026 auf Headliner-Tour geht.
Findet alle Dates hier: https://monkeypress/2025/11/live/ankuendigungen/beast-in-black-mit-viertem-album-2026-auf-deutschland-tour/
#Beastinblack #Powermetal #80s #Tour #heavymetal
https://mpgo.ws/qGnod

#monkeypress

Helloween reventó La Cubierta de Leganés con su 40 Aniversario Tour.¡Revive la crónica completa, setlist y todos los detalles de la fiesta de las calabazas más grande del mundo! 🎃🔥
#Helloween #LaCubierta #Leganés #Madrid #PowerMetal #PumpkinsUnited #40Aniversario #BeastInBlack #MetalEspaña

https://rockandblog.net/cronica-de-helloween-beast-in-black-en-madrid-2025-viernes-15-noviembre/?utm_source=mastodon&utm_medium=jetpack_social

https://youtu.be/RbFpDJsLYOU?si=JfzYroPUcUXEvmhM

#music
#beastinblack

🔥 ¡Llega la tormenta del power metal! Helloween celebra sus 40 años con dos conciertos en Madrid los días 15 y 16 de noviembre en La Cubierta de Leganés.
Consulta horarios, setlist y toda la info aquí 👇
#Helloween #BeastInBlack #PowerMetal #Madrid #Conciertos2025 #RockandBlog #ZLive

https://rockandblog.net/helloween-en-madrid-2025-horarios-setlist-y-todo-sobre-su-gira-40o-aniversario/?utm_source=mastodon&utm_medium=jetpack_social

The top 50 NWOTHM albums of all time!

Gage J. Tolin

The New Wave of Traditional Heavy Metal is a hard genre to make this sort of list for. It has no definite start point or even any real sound continuity between artists within the movement. In many ways, NWOTHM is less of a genre and more of a movement for bands within the community to say ‘f*ck you!’ to major labels, and over-produced corporate schlock, and return to the DIY ethos that made heavy metal so great and part of what made it appeal to so many. Because of that, you may see some artists on this list who don’t quite fit the mold for what you might believe NWOTHM truly is. After painstakingly combing the internet for reviews, mentions, and even little anecdotes for over 500(!) ‘trad metal’ albums, I was able to narrow it down to 50. Seriously, this took over a year of work. Please clap!

Obviously, more popular acts were going to get more mentions, so my only major criteria was no more than 2 albums per artist, and for an album to have been released after 2008. Similarly, no reunion albums from veteran bands were considered, despite their quality and importance to the movement. That’s a separate list 😉

*2008 was chosen as it was the release year for the debut albums for multiple major NWOTHM acts.

With that out of the way, I would like to quickly shoutout the forefathers of NWOTHM; 3 Inches of Blood, Wolf, Twisted Tower Dire, The Lord Weird Slough Feg, and of course the unholy trinity of Manilla Road, Cirith Ungol, and Heavy Load.

All bands and albums included in this list were selected through extensive independent research, drawing on reviews, interviews, mentions, and community discussions across multiple sources.

50. Spirit Adrift – Divided by Darkness (2019)
Representing a critical point in Spirit Adrift’s history is their 3rd full-length, wherein they begin to more fully shed their doom metal roots in favor of a traditional heavy metal sound. This gives Divided by Darkness a sound unlike the rest of their catalogue, a veritable ‘best of both worlds’ sort of album. While the more slow and doomy tracks like “Angel & Abyss” showcase front man Nate Garrett mastery of the melancholy with his sorrowful sounding words, other tracks, such as the opener “We Will Not Die” are more closer in-line with Spirit Adrift’s later work. Finally, it all culminates in the near-7-minute instrumental triumph that is “The Way of Return”.

49. Tanith – In Another Time (2019)
Reeking of Rush and Uriah Heep influences, plus a bit of Rainbow and Heart thrown in, Tanith might not seem like the typical NWOTHM act, and that’s true. But that’s also what makes them such a great part of the movement, their uniqueness. Featuring the awesome dual vocals of Cindy Maynard and Satan/Blind Fury/Pariah guitarist Russ Tippins, and with standouts like “Dionysus” and “Citadel (Galantia Pt.1)”, Tanith’s debut is one that is not to be missed, and one that I’m very glad I picked up on a blind buy.

48. Sanhedrin – Lights On (2022)
Much like Tanith, Sanhedrin takes a bit more influence from 70s progressive rock than one might expect for a trad metal band, but it’s that aspect that gives the Brooklyn band an easily identifiable sound. On this, their third record, Erica Stoltz’ incredible vocals ring out with tinges of everything from Ann Wilson to Joan Jett to Suzi Quatro, and even some touches of Janis Joplin. I still remember being blown away on my first listen, and there’s no such thing as diminished returns with this one. Standout tracks like “Scythian Women”, “Lost at Sea”, “Death is a Door”, and “Correction” make sure of that.

47. Angel Sword – Rebels Beyond the Pale (2016)
The debut record from the Helsinki foursome arguably remains their best. From the rough and ragged vocals, to the thumping of the drums, Rebels Beyond the Pale is as raw as it gets without it undermining the actual music in the slightest. Still present are Angel Sword’s almost uncanny melodies and the strangely blues-like guitar sections, particularly in the track “Midnight Survivor”. It reeks of NWOBHM influences with riffs straight outta Saxon and choruses like Holocaust, and even the little sprinklings of doom thrown in, but it’s that little jolt of melody that gives it such a cool feel.

46. Helms Deep – Treacherous Ways (2023)
Featuring two members of NWOBHM legends Raven, the perennially underrated John Gallagher and current Raven and former Fear Factory drummer Mike Heller, Helms Deep’s debut offering was a proper shot in the arm at its release. Right away from seeing the cover, I knew we were in for something special, but nothing could’ve prepared me for how perfect this record was. A major boon for this record is undoubtedly its production, something that many trad metal releases can fall short on, but not this one. Each piece of Helms Deep is crisp and clean, but there’s a still a rawness to the production to give it that nice metal sheen. While having that experienced talent behind the music might turn away some folks looking for fresh blood, Treacherous Ways has all of the freshness that a band of young twenty-somethings could put out but with twice the musicianship and technicality. Also, would you believe that this is somehow the first metal band named Helms Deep to put out a full-length record?

45. Gatekeeper – From Western Shores (2023)
Featuring Jeff Black, who is somehow connected to just about every Canadian trad/power band of the last 15 years, and Odinfist vocalist Tyler Anderson, Gatekeeper’s second full-length had a lot of talent behind it, and a lot of hype to live up to. Right from the start, From Western Shores presents itself in a more epic sense than its predecessor, East of Sun, which is still a banger. Of particular note is the way in which some of Anderson’s verses come off as near bardic, evoking some serious Blind Guardian influence. Nowhere is this felt more than in the 3rd track “Shadow and Stone”. Similarly, drummer Tommy Tro is absolutely on fire throughout the record. All of these pieces put together bring a monumental record that culminates in the nearly 9-minute- long triumph “Keepers of the Gate”.

44. The Wizar’d – Subterranean Exile (2020)
Another vanguard of the ‘doomed heavy metal’ micro-genre of trad metal, Australia’s The Wizar’d struck gold with their fourth, and most recent release. With vocals that sound like equal parts Mark the Shark (Manilla Road) and Terry Jones (Pagan Altar), riffs ripped straight from the mid-to-late seventies, think the heavier tracks from Blue Öyster Cult. All told, these pieces allow for the record to sit somewhere on the more Eternal Champion and Sumerlands side of NWOTHM. In this writer’s opinion, the second half of this record is masterful and worthy of more heavy praise. It’s a perfect record to listen to while you try to hunt down the evil warlord who killed your family.

43. Century – The Conquest of Time (2023)
I remember being hooked on Century when their ‘The Fighting Eagle’ single first dropped in 2022, and their debut full-length certainly did not disappoint. Featuring talents from fellow NWOTHM warriors Lethal Steel and Tøronto, there’s an air of experience permeating throughout the otherwise fresh-feeling album. With production to positively die for (seriously the bass-tone in this is immaculate, rivaling Satan ‘Court in the Act’, in my opinion), this stood out from the pack in a very crowded 2023 release lineup. On my relisten for this very list, this one shot up on my personal favorites list.

42. Haunt – Mind Freeze (2020)
Released right at the start of a thoroughly stacked year, Mind Freeze was Haunt’s 3rd full-length in as many years and the Trevor William Church train showed no signs of slowdown or fatigue. In fact, Mind Freeze is arguably the Haunt album to this day, it’s one that every collector of modern traditional heavy metal should own. The introduction of synthesizers/keys did wonders to set it apart from the crowded NWOTHM scene, and those same synths have been adapted by countless artists since then. With standouts like the title track and “Divide and Conquer”, Haunt’s Mind Freeze is a tour de force of heavy metal goodness.

41. Konquest – Time and Tyranny (2022)
The sophomore release from this Italian one-man project (except for live shows) is a prime example of how metal can remain both raw and melodic without losing any of what makes it ‘metal’, not to mention the exceptional riffage throughout. While the entire album is beyond solid, particularly “The Traveller”, it’s ultimately the 8 minute (9 if you include the penultimate intro) closing track “Warrior From A Future World” that steals the show. It presents a very late Golden Age Iron Maiden (Somewhere in Time/Seventh Son) inspired track with all of the gravitas that one would expect from such a comparison.

40. Smoulder – Violent Creed of Vengeance (2023)
One of my personal favorites of recent years, from a niche genre that I’ve grown quite familiar with of late (that of epic doom). Smoulder’s second full-length, features everything that made the original great, exemplary lyrics of sword-and-sorcery, killer album cover, and an insane set of pipes for vocalist Sarah Ann. When many hear the term ‘doom’, that may evoke thoughts of albums that plod along for over an hour or more and don’t go much of anywhere. Smoulder bucks that trend tenfold with shorter records that embark on great adventure. In particular, “Dragonslayer’s Doom” must be shouted out as an absolute all-timer.

39. Borrowed Time (2013)
Somewhat of a forgotten gem of NWOTHM’s juvenility, and one that has retroactively became something of a ‘supergroup’ project that featured future talents from Gatekeeper, Viperwitch, Demon Bitch, Syrinx, Traveler, and more. While rife with a youthful rawness that would be refined on the members later projects, Borrowed Time’s sole full-length offers straight-up Manilla Road worship a few years before such a style became much more commonplace.

38. White Wizzard – Infernal Overdrive (2018)
The band’s final album before their brief break-up featured the return of vocalist Wyatt “Screamin’ Demon” Anderson, and in many ways is sort of the White Wizzard equivalent to Judas Priest’s classic ‘Painkiller’ record. It’s also one of the more beefy albums on this list, clocking in at over 61 minutes. In fact, that extra meat, combined with the more intricate song structures of earlier albums, gives this one an almost progressive feel at points. If you’re familiar with White Wizzard’s discography, this album is a lot like the second half of their 2011 sophomore album “Flying Tigers”, wherein the final half of the album is much more progressive and conceptual.

37. Smoulder – Times of Obscene Evil and Wild Daring (2019)
From the moment of the first chord on “Ilian of Garathorm”, you know you’re in for something special. This was the album that first turned me onto epic doom, and led to me find the members other projects like Manacle and Olórin, which only dug me deeper and deeper down the dungeon of doom. Ultimately, Smoulder’s debut offers much of the same that its successor would later bring to the table, that being awesome sword-and-sorcery epic doom. Why this one ranked higher than its successor came down to one of the few personal biases I allowed into this list; I slightly prefer the production on this one. Kevin Hester’s drums and Sarah Ann’s vocals just felt like they had a bit more oomph here. But this was a super close one. Smoulder’s EP Dream Quest Ends also deserves a mention, as it’s arguably on par with both full-length records.

36. In Solitude (2008)
The debut from one of the premier acts of the early trad metal revival wasted no time in winning over fans of the old school, with an opening riff ripped straight out of the 80s. Throughout a listen, it becomes clear that In Solitude draws more from the Mercyful Fate/King Diamond side of things as opposed to the Iron Maiden side, but with a bit of the ruggedness of early Bathory or Celtic Frost. They’re very much a band whose influence only continues to grow, as more and more artists in the trad scene harken back to them. With most of the members still in their teens, or just about to leave them, at the time of release In Solitude’s first effort is one that is filled with an angsty youthfulness that is nearly impossible to replicate as a band ages. It’s rough, it’s raw, and it’s pure heavy fn’ metal.

35. Tower – Shock to the System (2021)
Released in 2021, a few years after Tower endured a brief breakup, Shock to the System is an achievement in the more hard rockin’ side of trad metal (a la Freeways). I can’t discuss this record and not talk about Sarabeth’s simple incredible set of pipes, her screams and wails are unlike any other. Seriously, I have no idea how she didn’t destroy her vocal chords after the opening track “Blood Moon”. With additional highlights like “Lay Down the Law” and “Running Out of Time” This is a record that is definitely an example of ‘all killer, no filler’.

34. Skull Fist – Head öf the Pack (2011)
What a strong start these Canadian lads had! It was very much a coin flip between this one and its follow-up ‘Chasing A Dream’. Following in the footsteps of fellow speed/trad metallers Enforcer and Metalian, Skull Fist’s debut presents an onslaught of frenetically paced speed metal with enough melody to leak over into power metal territory. The rip-roaring title track that opens the album is only a tiny taste of the pure and unfiltered speed metal ensemble that awaits further into the album’s 43 minute runtime. In particular, the final two tracks “No False Metal” and the Tokyo Blade cover “Attack Attack” stand as highlights and a great way to close the record.

33. Portrait – Crimen Laesae Majestatis Divinae (2011)
The sophomore release from these Swedish Mercyful Fate worshippers began a streak that continues to this day; one of consistency. Each of Portrait’s now six albums is good-to-great with not a stinker in the whole lot. Per Karlson’s incredibly pipes are on full display throughout, and with their own unique cadence to them in a way that makes them not at all derivative of the King himself. Wasting no time with the near 8 minute powerhouse “Beast of Fire”, CLMD offers more than another MF/KD homage band, the songs are all beefy in length that almost gives them a progressive element. That’s not even beginning to mention the absolute thunder behind the drumming from Anders Persson, or the twin riff beatdown behind the axes, or the nonstop thumping of the bass-axe (Are basses also called “axes”?). Upon a relisten for this list, I found myself falling deeper in love with this record than before. Definitely check it out!

32. Unto Others/Idle Hands – Mana (2019/2021)
Their only release under their original name of Idle Hands, the debut from Unto Others burst out with a unique brand of trad metal that may sound almost antonymic to the term NWOTHM. With influences permeating from deathrock like Christian Death and Sisters of Mercy, to more contemporary metal influences like Ghost and In Solitude. These influences all come together into something that sounds like a modern-day successor to Danzig and Samhain.

31. Riot City – Burn the Night (2019)
Loud, proud, and loud again. Riot City’s debut is as in-your-face as speed metal can possibly get, with frontman Cale Savy’s high-pitched shrieks being reminiscent of some of Cam Pipes’ (3 Inches of Blood) more shrieky moments. No time is wasted, with the opening track “Warrior of Time” being a proper blitz of speed metal goodness. The title track which followed was similar, but it’s after that where Riot City gets to truly showcase what they can do. Flirting with slower more ballad-y type moments, and even dances with punk and epic metal. Furthermore, drummer Chad Vallier, who also drummed on all three Traveler releases, is simply on another level on this record.

30. Traveler – Termination Shock (2020)
The second record from the Can-Am connection flourished a slightly sharper production and more comprehensive songwriting. “Shaded Mirror” hits high right out of the gate with its anthemic chorus and locomotive drum and bass, while the title track radiates of glam/AOR influence in its vocal deliveries. The real show-stealer here is “Deepspace” which a never ending speed metal assault with some of the hardest hitting drumming I’ve ever heard in trad metal.

29. Triumpher – Storming the Walls (2023)
One of the bastions of trad metal in recent years is that of Greece, and that is in no small part due to the efforts of Triumpher. Though only two records into a great career, they’ve sallied forth as a vanguard of the Hellenic metal scene. Right from the onset of “Journey/Europa Victrix”, you know you’re in for something a bit more on the epic side than traditional trad metal (trad-trad), as vocalist Mars Triumph lets out some insane Halford-like screams. As the album progresses and the influences become more apparent, including with some growls akin to Cradle of Filth, an even richer tapestry becomes apparent. Triumpher’s debut is truly something special among NWOTHM.

28. Steelwing- Zone of Alienation (2012)
Dearly departed Swedish Steelwing makes their first of two appearances on this list, with their sophomore effort being released right as trad metal was just beginning to erupt from the under-underground. Sci-fi inspired lyrics, an all-time album cover, and all of the youthful vigor that a band could ask for. “Full Speed Ahead” stands out as a highlight, as well as the first Steelwing track I heard. That one track might mislead you into thinking this was a standard heavy/speed album, but no, its influences stretch even into glam territory. While Steelwing is no more, its members, for the most part, continue in other projects, namely the epic doom band Below.

27. Pharaoh – Bury the Light (2012)
Definitely one that skews much further to the power metal side of the NWOTHM spectrum, but one that should still be viewed as a trad metal masterclass. Featuring former Control Denied vocalist, the late and great Tim Aymar, and Chris Black (High Spirits, Dawnbringer, Aktor) on drums, Pharaoh’s penultimate release is a testament to the experience behind the music. The Eric Adams’ like screams of Aymar are a major piece of why this record is so good, and why his loss continues to be felt deeply within the underground metal community.

26. The Night Eternal – Fatale (2023)
The second full-length from the German goth-infused trad metallers boasts even more of the infectious vocals of Ricardo Baum, who has a truly captivating voice highly akin to Glenn Danzig. After an already strong eponymous EP, and an incredible debut album, The Night Eternal effectively shot into titan status of the trad metal scene. Most impressive is that the otherwise gothic sheen over the music somehow does not lead the music down the path morosity, instead then music skews closer to The Cramps than to Sisters of Mercy or Joy Division. Of particular note is the incredible guitar tone, and of course the lyrics themselves, lending themselves well to scene painting in one’s own head.

25. Briton Rites- For Mircalla (2010)
The most straightforward doom metal release on this list by far, but I ultimately felt like Briton Rites was worthy of inclusion (as did a lot of other folks!). With Howie Bentley (Cauldron Born) on bass and guitars and Phil Swanson (Seamount, Upwards of Endtime) on vox, there’s no denying the experience and talent behind Briton Rites. Don’t be put off by that earlier ‘doom metal’, this is less Electric Wizard or Sleep and more Reverend Bizarre or Cathedral (with a lot of Trouble and Pentagram in there). With the shortest of seven tracks still clocking in at nearly 7-minutes, this is a beefy album, and it’s one that needs to be played loud.

24. Visigoth – Conqueror’s Oath (2018)
Boasting the same lineup as all previous releases, Visigoth’s sophomore album immediately puts to bed any notions of a slump, as Conqueror’s Oath officially kicks off a hot streak for the band. As the anthemic “Steel and Silver” begins the album with a bang, one is met with an album that is a bit less D&D lyrically speaking and more straight-up sword and sorcery. Of particular praise is the drumming of Mikey T. which pounds and thunders throughout the album, but in particular on the track “Outlive Them All”.

23. Sonja – Loud Arriver (2022)
Another in the lineup of trad metal/goth rock hybrid acts of recent years, Sonja features talents from primarily black and death metal acts like Crosspitter and Absu. The biggest thing this album has going for it is by far the hypnotic vocal stylings of frontwoman Melissa Moore, though that’s not to take anything away from the remainder of the three-piece. A sense of sensuality infects the music as well, largely from the lustful lyrics, and Melissa’s voice, that gives the entire a album a sort of sleazy/glam vibe to it, that I think truly works wonders and allows Sonja to stand out brightly from the pack.

22. Herzel – Le Dernier Rampart (2021)
Sung entirely in French, Herzel’s debut stands unique among the epic metal crowd with lyrics that primarily focus on history (particularly that of the band’s native Brittany) as opposed to more fantastical elements. I feel that the French language really lends itself to rock and metal for reasons that I can’t quite explain. This is 36 minutes of pure perfection, where every single moment of each of its six tracks is a vital component to the story told throughout the runtime. I also have to shoutout the production on all instruments, and the recurrent leitmotif that later acts as an outro for the record.

21. Lucifer’s Hammer – Be and Exist (2024)
Their final record before the horrific murder of frontman Andrés Adasme “Hades” was a strong one that now acts as something of a bittersweet epitaph to a titan of the underground metal scene. A highlight of the record is of course the incredible “Son of Earth”, which begins with an insane wail from Andrés, and later include some serious NWOBHM inspired soloing and basslines ala Satan. Wonderfully produced, expertly written, and played to absolute perfection, if this is to be the final bow of Lucifer’s Hammer, they couldn’t have went out stronger. RIP Andrés.

20. White Wizzard – Over the Top (2010)
Released back in 2010, just as NWOTHM was beginning to really establish itself as a movement, White Wizzard’s debut featured what one would expect from such a thing: a record practically overflowing with youthful angst and Maiden-isms. With riffs right out of the New Wave of British Heavy Metal, but more crisp production like some late 80s glam (but not the super over-produced stuff), White Wizzard’s sound laid the groundwork for later bands like Hitten, Cobra Spell, and Blizzen. However, White Wizzard does still buck the trend a bit, with the near-prog track “Iron Goddess of Vengeance”, which features everything from death growls to a Steve Harris bassline.

19. Phantom Spell – Immortal’s Requiem (2022)
One which is infuriatingly not included on Encyclopaedia Metallum, however, I won’t let that stop me from including a modern classic on this list. Brainchild of Seven Sisters guitarist/vocalist Kyle McNeill presents a trad metal album that leans more heavily into progressive rock, a lot like how Saracen was for NWOBHM bands. The vocals remind me of everyone from Brad Delp of Boston to Gary Moore, with a little bit of David Byron (Uriah Heep) and Buck Dharma (Blue Öyster Cult) in there as well. These influences, compounded by the positively grooving vibe throughout the record make Phantom Spell’s debut record a true masterpiece of NWOTHM, and one with which none sound alike.

18. Crypt Sermon – The Ruins of Fading Light (2019)
Philadelphia is sort of the heavy metal capital of the United States in the 21st century, with a proverbial horde of great bands hailing from the City of Brotherly Love, and chief among them are the epic doomers Crypt Sermon. Their second release includes “Key of Solomon”, which is honestly reason enough to warrant its inclusion on this list. A sense of rawness seeps throughout the record, but in a way that still manages to sound polished, and a lot of this stems from the incredible vocal performance from Brooks Wilson.

17. Sumerlands – Dream Killer (2022)
Sumerlands sophomore effort, and first with vocalist Brendan Radigan (Savage Oath, Magic Circle), blew me away from the moment it release and it has never once failed to sweep me off my feet. While, of course, Brendan’s vocal talents are at the forefront, giving this record a completely different vibe to it than their debut, the instrumentation offers a sensible meeting of heavy and intelligible, without losing the rawness that makes separates metal from hard rock. The main riff in the opener “Twilight Points the Way” is enough to warrant this album a place on this list, but it never loses its luster throughout it’s incredibly brisk 35 minute runtime.

16. Steelwing – Lord of the Wasteland (2010)
Opening with an air raid siren is generally always a good move, and that continues to be true for this album, the debut of Steelwing. This record presents the Swedish five-piece in a slightly more raw form than on Zone of Alienation, but it’s that bit of roughness that gives it a bit of fun character. “Roadkill (…or Be Killed)” is the first true standout on the album, and one that reminds me heavily of Mad Max, though that might just be because of the black muscle car on the album cover. From the high pitched vocals to the incredible riff-work on display from the guitar tandem, this is like if Mercyful Fate was on speed.

15. Enforcer – From Beyond (2015)
One of particular importance for yours truly, as, not only was Enforcer the first NWOTHM band I heard, this was the first trad metal album that I can recall hearing. I remember being distinctly bewitched by their corny, in a good way, music videos for tracks like “Undying Evil”, as well as the anthemic wails on “The Banshee”. The freneticism of their speed metal, combined with Olof Wikstrand’s ear-piercing and occasional King Diamond-esque shrieks. This entire record was on repeat for me during my high school years (I’m only 27 haha) and was what I’d show my classmates when they’d ask what kind of music I was into. If this list were solely subjective, expect this one to easily be in the Top 5.

14. Blood Star – First Sighting (2023)
While the debut single/EP from Salt Lake City’s Blood Star was my first exposure to the band, their debut full-length was just as mind-blowing. Featuring talents from their NWOTHM kinsmen like Unto Others and Silver Talon, First Sighting struck me first and foremost as more genre-bending than I’d first thought. Madeline Smith’s vocals are unique and divine, and the track “The Observers”, in which guitarist Jamison Palmer takes up the mic was the perfect jolt of versatility to an already great record. Standout tracks like the aforementioned “The Observers”, as well as “Fearless Priestess” and “Wait to Die”, only help to further the growing legend of Blood Star.

13. Savage Oath – Divine Battle (2024)
Brendan Radigan makes another appearance on this list with the spell-bounding debut record from heavy/epic metallers Savage Oath. From the get-go, the stage is set with lions roars and rattling chains, that sense of looming battle drawing near. Of course, Brendan’s vocals are second to none and that’s not in question here, but I’d also like to highlight the incredible drumming from Ryan Mower. The tempo he keeps throughout the album is insane, even in just the opening track “Knight of the Night”. Of the seven songs, one of which being a 3 minute interlude, there is not a moment wasted, and final trifecta of tracks after that aforementioned interlude are truly something special.

12. Traveler (2019)
The debut album from the Canadian/American band began what would become a great and consistent, albeit brief, run that only just culminated at the top of 2025. Featuring an all-star team of trad metal musicians from bands like Striker, Hrom, Among These Ashes, and Kontact, Traveler’s debut is a testament to the talent behind the music. Wasting no time by ripping out “Starbreaker” right out of the gate, and not letting up for even a moment during its sub 40-minute runtime. Even the brief intermission track “Konamized” has its place on the record as a wonderful dash of savvy instrumental fun.

11. Argus – Beyond the Martyrs (2013)
The third full-length from these Pennsylvania epic doomers builds upon the already masterfully chiseled foundations of their self-titled debut and Boldly Stride the Doomed. Released still during the earlier years of NWOTHM, Beyond the Martyrs stands alongside few others (more on them soon) as the catalyst for the resurgence of epic doom that would be spearheaded by Crypt Sermon, Smoulder, and others. With chuggingly brutal riffs and some proper near-operatic vocals from Butch Balich, Argus’ third record is not only one of the finest releases in trad metal, but also one of the best in epic doom. I must also single out “The Coward’s Path” as being a true banger!

10. Atlantean Kodex – The White Goddess (2013)
One of several albums on this list that I debated including, not for lack of quality, but if it actually qualified as NWOTHM or not. I eventually determined that Atlantean Kodex’s brand of epic heavy/doom counted (deal with it). While their debut record was marvelous, in my opinion, it was on their sophomore release where AK really came into their own and very much became the modern day equivalent of Manilla Road. This is an album that would be difficult to review, as it simply needs to be experienced to fully understand how good it is. It’s an all-timer, bar none.

9. Visigoth – The Revenant King (2015)
For many, 2015 is the year that they first heard the term ‘New Wave of Traditional Heavy Metal’, and Visigoth’s debut is a huge reason why. While not the first ‘epic metal’ band by a longshot, Visigoth was the first who worshipped at Pagan Altars and Manilla Roads, the latter of which they covered on this record, to achieve some semblance of mainstream success. With lyrics that are equal parts Dungeons & Dragons inspired and just general sword and sorcery themes, the songwriting feels like the perfect blend of nerdy cheesiness and serious musicianship. At no point does the record feel like it’s taking a stab at its own audience (something some nerdy bands should work on), instead it feels like a perfect homage to the earlier days of heavy metal. Also, the track “Dungeon Master” is an all-timer.

8. Sacred Outcry – Towers of Gold (2023)
Initially active from 1998 to 2004, Sacred Outcry was little more than a footnote in heavy metal history for ages, even after their 2015 reformation. Their debut was a masterclass in old school power metal, and its follow up was just as strong (possibly even stronger, depending on who you ask). With former Lost Horizon vocalist Daniel Heiman on vocals this time around, giving a sense of gravitas to the record. If you’re not familiar, Lost Horizon casually dropped two all-time records in the early 00s before breaking up. On this release, Sacred Outcry has weathered the storm a bit, aging like a fine wine as they hone their already impressive skills even further. Their remains a show-stealing 15 minute title track as the penultimate offering, but not a moment of this album is skippable. The final track, the shortest proper track by far, “Where the Crimson Shadows Dwell” is of particular quality. On top of that, there are some seriously incredible riffs to be found throughout.

7. Eternal Champion – Ravening Iron (2020)
Another band who proudly flies the banner previously carried in triumph by Manilla Road and Manowar is Eternal Champion. With loud and rowdy, and yet still tight, instrumentation, combined to perfection with the almost bardic way in which frontman Jason Tarpey delivers each lyric. Every crash of the drums hits with the force of a shield wall, while the thundering basslines throughout boom out like bombs. Much akin to Visigoth, this is perfect music to pillage some coastal villages and slay some slumbering serpents, but it’s also just perfect tunes to chill out and play Skyrim or Witcher.

6. Sacred Outcry – Damned For All Time (2020)
This was a long awaited debut, and one that simply could not have possibly prepared anyone for how good it would be. Since its release, Sacred Outcry have been putting out some of the best old school power metal heard this century. Upon release, this record injected a sense of non-nonsense and no-frills energy into the power metal scene to break it free from the trite clutches of meme bands. Everything about this record, and its sequel we discussed a bit ago, is what power metal should be. With vocalist Yannis from Beast in Black behind the microphone (But not officially a member), there’s a familiarity with the vocals, yet it still feels somehow retro in a good way. Not even beginning to mention the near 15 minute title track that is assuredly an all-timer.

5. Satan’s Hallow (2017)
Now this is truly an all-star project that featured future members and founds of Black Sites, Midnight Dice, Lethal Shöck, and Fer de Lance, and that backs the eponymous album Satan’s Hallow a true piece of trad metal history. It’s a pity that it’s out-of-print and, to my knowledge, not available on any streaming service. This is an album that will reach legendary, near mythical, status in the years and decades to come. Mandy Martillo’s vocals have a heavy influence from the Metal Queens of Yore; Doro Pesch, Ann Boleyn, Lee Aaron, Leather Leone, and even a bit of Jan Kuehnemund of Vixen (RIP). Featuring some of the best bass tone ever heard in NWOTHM, courtesy of Lee Smith (Professor Emeritus), and some incredible drumming from Pat Gloeckle (who is also a co-owner of Hoove Child Records). That’s not even scratching the surface of the simple immaculate axe-work on display from the duo of Von Jugel and Lethal Beaudette. This record also boasts a Heavy Metal Hat Trick, with an eponymous track on the eponymous album.

4.. Eternal Champion – The Armor of Ire (2016)
From the moment I first thought up this list, I knew that Eternal Champion’s monumental debut would be high on it. Even at a first glance, the Adam Burke painted album cover tells you exactly what you’re in for, some proper Manilla Road worship, and while that’s undoubtedly what Eternal Champion is, this record is much more than a mere homage. There’s a doom-tinged bite to the riffing, and the drums crash like army on the march. Given when it released, it’s so easy now to look back and see just how much this record influenced the modern trad metal scene, but back then, there wasn’t anything like it out in the mainstream (or close to it). I first heard “Last King of Pictdom” on Pandora, of all things, back around release, and it was clear then that Eternal Champion was offering something truly special. But even I couldn’t have guessed that they’d effectively kickstarted the revival of epic metal, a microgenre kept afloat for decades by a few dedicated artists and fans, that was now on the frontline in the fight against over-produced corporate schlock.

3. In Solitude – Sister (2013)
Next we go from a triumphant debut to an awe-inspiring swansong, with the final record from Sweden’s In Solitude. Befitting for a last album, Sister shows a maturation of the band’s sound right out of the gate. “He Comes” is slower and almost dissonant track set to sparse, and almost melancholic guitarwork, its almost avant-garde or even post-metal. Building upon that is a gothic sense of atmosphere for the whole album that In Solitude had been gradually leaning toward, with their previous record “The World, The Flesh, The Devil” signaling that nicely. Nothing, and I mean nothing, could possibly prepare you though for how damn good “Lavender” is. It’s unlike anything In Solitude ever did, there’s almost a funkiness to it, but also with a touch of horror movie scores and deathrock. From then on, the album drifts into an almost near-progressive quality, with Rush-like basslines and Dream Theater riffing. In fact, the entire back half of Sister is some of the best metal that I’ve ever heard, trad notwithstanding.

2. Demon Bitch – Hellfriends (2016)
Our penultimate entry on the list is the debut record from the Motor City’s own Demon Bitch. Clocking at a brisk 35 minutes, Hellfriends is one that both doesn’t overstay its welcome and has precisely no filler. Equal parts epic and raw in its production, it’s a record that is without compare in the realm of NWOTHM. Demon Bitch’s unique sound is one that few bands have been able to come close to, and that uncanniness is a part of what gives it such gravitas. Less NWOBHM-worship than most trad metal acts, and more of a natural evolution of what metal could’ve evolved into without interference from major labels and corporate execs. With the brutal punchiness of black metal and the crisp vocal work of power metal, Demon Bitch’s Hellfriends is a totem of what modern trad metal should be, could be, and would become.

1. Enforcer – Diamonds (2010)
The sophomore release from one of trad metal’s biggest bands could very easily be argued as a coming out party for NWOTHM. Produced to absolute perfection, with that familiar Enforcer gnarl from the guitars, a grooving bass tone, and some insane drumming from Jonas Wikstrand, and of course Olof’s banshee shrieks. This record combines all of what makes metal metal, there’s pieces taken from power metal, speed metal, glam, and even more extreme sides of things like black and death metal. Far more than a flash-in-the-pan Iron Maiden clone, Enforcer not only made their name known, they forced people to scream it from the rooftops. It’s in-your-face, and unceasing, and yet somehow polished. In short, it’s perfect. From the opening drumroll and bluesy intro guitar of “Midnight Vice”, all the way through the closing notes of “Take Me to Hell”, Enforcer’s Diamonds is not just the greatest NWOTHM album, but it’s one of the strongest metal albums of the 21st century, period.

Thanks for reading! If you’ve made it this far, I’ll reward you with a little teaser for my next (smaller) list:
NWO_HM. Up the Irons!

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• The top 50 NWOTHM albums of all time!

  7th Nov 2025

#1 #2 #3 #3InchesOfBlood #4 #5 #6 #7 #8 #9 #Absu #Aktor #AmongTheseAshes #angelSword #Argus #atlanteanKodex #bathory #BeastInBlack #Below #BlackSites #BlindFury #BlindGuardian #Blizzen #bloodStar #blueOysterCult #BorrowedTime #Boston #britonRites #Cathedral #CelticFrost #Century #cirithUngol #CobraSpell #ControlDenied #CradleOfFilth #Crosspitter #CryptSermon #DD #Danzig #Dawnbringer #demonBitch #DoomMetal #doro #DreamTheater #DungeonsDragons #ElectricWizard #enforcer #epicDoomMetal #eternalChampion #FearFactory #FerDeLance #Freeways #gatekeeper #ghost #Halford #haunt #Heart #HeavyLoad #HeavyMetal #HelmsDeep #Herzel #HIGHSPIRITS #HITTEN #Holocaust #hrom #inSolitude #IronMaiden #JoyDivision #JudasPriest #kingDiamond #Konquest #Kontact #LethalShock #list #LostHorizon #LuciferSHammer #MagicCircle #Manacle #manillaRoad #Manowar #mercyfulFate #metalian #midnightDice #MidnightDive #NewWaveOfTraditionalHeavyMetal #nwobhm #NWOTHM #Olorin #paganAltar #Pariah #pentagram #PhantomSpell #Pharaoh #portrait #powerMetal #ProfessorEmeritus #rainbow #raven #ReverendBizarre #riotCity #SacredOutcry #SaintVitus #Samhain #sanhedrin #satan #SatanSHallow #savageOath #saxon #SilverTalon #SistersOfMercy #SkullFist #Skyrim #Sleep #sloughFeg #SMOULDER #sonja #speedMetal #SpiritAdrift #Steelwing #striker #sumerlands #Syrinx #Tanith #TheCramps #TheLordWeirdSloughFeg #TheNightEternal #TheWizarD #thenwothm #thenwothmCom #tokyoBlade #tower #traveler #triumpher #UntoOthers #UriahHeep #viperwitch #visigoth #vixen #WhiteWizzard #Wolf