The Top 100 NWOTHM Albums of All Time (100-51)

After the incredible response to the Top 50 NWOTHM albums of all time list, we decided to expand on it by also shining a light on the next 50. I’d already done all the work anyways haha. We’ll just say this was our plan along, and that we chose to release the list Star Wars style. Also to clarify, this is NOT my personal ranking, but rather one I came to after combing reviews, forums, subreddits, and even interviews to find the most common albums mentioned. I will also stress that this was imperfect, as I did not take into account recency bias. Since the original list also did not take that into consideration, it would feel unfair to do so here. So, without any further ado…

Same rules apply as last time. Limited to 2 albums per artist (so, if an artist has 1 album on the Top 50, they can still have one here. If an artist has 2 in the Top 50, then they cannot), and released after 2008.

100. Dawnbringer – Into the Lair of the Sun God (2012)
Hailing from Chicago, Dawnbringer isn’t a name that is brought up often when it comes to the trad metal scene, and I believe that’s a crying shame! Their brand of black-metal influenced heavy metal came about several years before other acts, such as Nite (also featuring guitarist Scott Hoffman), were doing much of the same, and their lack of thrashier influence led to them not being mentioned alongside underground lords Midnight and Toxic Holocaust. This record, their fifth full-length, and penultimate before their initial breakup, features a magnificent crescendo that at times sounds like Motörhead fused with doom metal, and tells the story of a naive assassin. Chris Black, who handles vocal, drum, bass, and keyboard duties, is a longtime member of the trad metal scene, being involved in High Spirits, Pharaoh, Aktor, and Superchrist.

Bandcamp: https://dawnbringer.bandcamp.com/

99. Night – Raft of the World (2017)
Falling into that odd microgenre within trad metal called ‘adventure metal’ (I have no clue why it’s called that, it’s bands like Wytch Hazel and Hällas), which more or less takes more overt influence from bands like Rush and Blue Öyster Cult than Black Sabbath. The Swedish Night’s third full-length largely eschews a lot of the metal influence that the band had kept attached to their sound on their previous two records, in favor of a more progressive rock direction. In fact, I would say this is a pretty perfect gateway album for new metalheads, as its sound is relatively similar to that of Canadian prog-rock duo Crown Lands, but with a little something extra.

Bandcamp: https://nightband.bandcamp.com/music

98. Legionnaire – Dawn of Genesis (2017)
A band who just recently reunited, as of December 2025, appears on this list with their sole full-length (for now). The Finnish four-piece outfit released an absolute monster of an album that simultaneously intersects between speed metal and epic metal, it’s got that Howardian feel (meaning Robert E. Howard, not Howard the Duck). In particular on the third track, “Shadow Upon the Metropolis”, a decidedly pronounced Manilla Road influence is felt firsthand. Clocking in at just barely over 30 minutes, Legionnaire’s debut album is an outstanding, if all too brief, trad metal offering. With their reformation, I can only wait and see what Legionnaire can cook up in the coming years.

Bandcamp: https://legionnairemetal.bandcamp.com/

97. Vultures Vengeance – The Knightlore (2019)
After two incredible EP’s, the debut full-length from Italy’s Vultures Vengeance did not disappoint. At times towing the line between epic metal and just straight up power metal, but consistently grand in its delivery, its a well-balanced record, despite the occasional lengthy tracks. Truly shining above all else though is the production, with the guitar and bass having just the right amount of fuzz in them to give it a sort of heavy metal grime that a lot of modern metal sorely lacks. Furthermore, Tony Steele’s vocal stylings give the album a pronounced sense of identity that allows it to easily stand out from the plethora of trad metal bands that were just starting to explode onto the scene in 2019.

Bandcamp: https://vulturesvengeance.bandcamp.com/music

96. Sonja- Loud Arriver (2022)
Helmed by former Absu guitarist Melissa Moore, Sonja’s debut release offered a wonderful melding of goth, glam, and grime that few albums have managed to replicate. The level of lust-injected emotionality prevalent throughout the record give it a breathtaking array of uniqueness, and resulted in a trad metal album that skews more toward the Unto Others/Idle Hands side of things. Melissa’s scintillating vocals are, of course, at center stage here, but Loud Arriver is full to the brim with incredible riffs, thundering drums, and riveting basslines. It’s a sexy record, and a sleazy one at that, but I mean those in all of the best ways. This is like if a session of passionate love-making became a metal album, and I love it for that.

Bandcamp: https://sonjaband.bandcamp.com/

95. Trial (SWE) – Vessel (2015)
Sweden’s Trial are something of an unsung hero in the trad metal scene, as hardly anyone discusses them or their incredible brand of metal, which is equal parts doom and goth. Featuring the band’s original vocalist, Linus Johnsson, Vessel opens up with a dirge-like title track to usher in the record like a slow boom of thunder. Musically, Trial (SWE) share much in common with their countrymen in Portrait, though they play at a bit of a slower and more methodical pace. This gives the riff an extra bit of crunch behind them that really makes them register. Throw in the incredible drumming of Martin Svensson, and the fact that the lineup has been mostly unchanged since 2007 (barring the switch in vocalists), and you’ve got an album that rolls ahead like a well-oiled machine.

Bandcamp: https://trialheavymetal.bandcamp.com/

94. Savage Master – Myth, Magic and Steel (2019)
The third full-length from Savage Master opens with the killer title track, wherein frontwoman Stacey Savage’s vocals take the vanguard, though the riffing is no slouch, her delivery is simply infectious and one of her strongest vocal attributes. She brings a raw fervor to her vocals as well, something that I feel truly propels the record into feeling like an old metal album, and not merely a modern one that sounds kind of old. In traditional Savage Master style, they dip their toes into the moor doomy side of things from time to time (see “The Owl” and “High Priestess”, which features a sick chant-like chorus), but they never lose that undiluted power and energy. It’s merely a bonus that Deborah Levine of Lady Beast and the late Sandy Kruger perform guest vocals on the track “Lady of Steel”.

Bandcamp: https://savagemasterofficial.bandcamp.com/

93. Evil Invaders – Feed Me Violence (2017)
The second full-length from one of Belgium’s premier speed metal attacks ups the ante set on their stunningly raw debut, Pulses of Pleasure. Nowhere is the power and attitude of Evil Invaders felt more prominently than in the second track “As Life Slowly Fades”, which features a chorus that occasionally borders on blackened speed metal, such as Eternal Evil. Yet this isn’t a one-note album, as the next track (after a brief instrumental), “Broken Dreams in Isolation” slows the tempo down quite a bit and allows Evil Invaders to showcase a nice degree of methodical playing and storytelling. This is much more than a mere speed metal album, it’s a brutal blitz that passes by like a speeding train.

Bandcamp: https://evilinvaders.bandcamp.com/

92. Air Raid – Point of Impact (2014)
Air Raid’s second full-length, and their only release with future Trial (SWE) vocalist Arthur Andersson, might seem like run-of-the-mill modern trad metal on the surface, but a trained ear will pick up on the nuances of the record. Being their only record with Arthur, this one has a less angsty vibe than their debut EP and full-length with Michael Rinkakis and a more straightforward heavy/speed approach than their later records with Fredrik. As was customary for trad albums around this time, the production is fully on-point with firmly rooting the album in a sort of neo-modern sheen. Each piece of the puzzle is appropriately tuned and mixed, but not to a point that it dilutes the music behind the album.

Bandcamp: https://airraidofficial.bandcamp.com/

91. Luzifer – Iron Shackles (2022)
Consisting of 3/5ths of German speed metal band Vulture, Luzifer’s debut album has held a place near and dear in my heart since the moment it released. As I recovered from having my wisdom teeth removed, I had it on repeat as I played the underrated game Blasphemous, and it’s never left my mind ever since. It’s a genuine masterpiece, everything from the riffs to the atmosphere, it all just works. The riff of the title track is the stuff of legends, and the addition of some sick gothic style keyboard pieces throughout the record only help to propel it even further. Even the instrumental interlude track and the Joachim Witt cover, “Der Goldene Reiter”, don’t feel like filler pieces, but rather as integral parts of one cohesive work.

Facebook: https://www.facebook.com/LuziferHM

90. Lady Beast – The Vulture’s Amulet (2020)
Featuring the mighty, and incomparable, vocals of frontwoman Deborah Levine, Lady Beast’s fourth album was the one which turned me on to them. I quickly fell in love with the crunchy riffing and Levine’s storyteller approach to her vocal delivery, and tracks such as “Sacrifice to the Unseen” haven’t left my rotation ever since. An unchanged lineup for over 5 years at the time of release, also featuring Andy Ramage of Argus, the band had achieved a precise level of synergy. By this point in their careers, the band were veterans of the underground, and the concise songwriting and musicianship are a testament to that. This is the type of record that isn’t simply enjoyable, it’s transportive and ripe for the imagination.

Bandcamp: https://ladybeast.bandcamp.com/music

89. Crystal Viper – Crimen Excepta (2012)
The fourth album from Polish trad metal vanguards, Crystal Viper, showcases the perfect midpoint of their style. With incredible mixing, very akin to that of early King Diamond releases, and Marta Gabriel’s incredible high-pitched shrieks and snarls, the behind the boards and microphone everything is at its best. Yet, the instrumentation is truly a show-stealer with a meaty album chock full of incredible riffs, smooth basslines, and some really thunderous drumming. Not to mention the incredible Vader cover as the penultimate track, and Hell vocalist David Bower providing awesome guest vocals for the title track. All-rounder, that’s the best way to describe this record, it’s an all-rounder. It does everything to near peak levels.

Bandcamp: https://www.facebook.com/crystalviperofficial

88. Ambush – Firestorm (2014)
Another who often tows the line between speed metal and heavy metal is Sweden’s Ambush, who dropped two bonafide classics in the early/mid 2010s, the first of which was Firestorm (more on the other later on!). This is the quintessential love letter to 80s heavy metal, with tracks like the eponymous track feeling like something Judas Priest could’ve had on Screaming for Vengeance. Despite that, the record never feels derivative and manages to communicate across a freshness that can at times feel absent from a lot of trad metal. Also the guitar tone on this record, and really just the production in general, is a masterclass in modern metal production.

Bandcamp: https://ambush.bandcamp.com/

87. Wrathblade – God of the Deep Unleashed (2017)
The Greek heavy metal outfit showcased one of the foremost sophomore soars around when they released God of the Deep Unleashed. While their debut was solid, that was how most felt overall, it was just fine. However, this one improves on every possible shortcoming of that first record. Taking the “epic” name to great and grander heights, and living up as a worthy successor to the likes of Manilla Road and Lost Horizon. The incredible harmonies of vocalist Nick Varsamis, who would also sing for early Serpent Rider releases, perfectly capture that sort of ancient world Greco-Roman style of chanting in their cadence. Another aspect that this record does not skimp out on is heaviness, this album is crushingly heavy! Drums that crash like battering rams and basslines like artillery fire, this is a monster.

Bandcamp: https://wrathbladegr.bandcamp.com/

86. Striker – Eyes in the Night (2012)
One of the first trad metal bands I heard during a late night exploration of YouTube was Striker and their video for “Fight For Your Life”, and for that they’ll always hold a special place in my dark heart. With Eyes in the Night being their debut, and featuring some rad album art, this is Striker in its rawest, most angsty, form. Moreover, Striker’s brand of humor is in full-effect (albeit without the musical masterclass of “Fuck Volcanos”), and I consider them lyrically to be almost analogous to Tankard… but with the beer turned down to like 85% instead of at max. Striker are a band who know how to be serious and take things seriously, it’s just way more fun to be a little bit stupid sometimes. This is great, and Dan Cleary’s extraordinary vocals, which also manage to feel sarcastic most of the time, are a huge reason as to why.

Bandcamp: https://striker.bandcamp.com/

85. Lynx – Watcher of Skies (2021)
Germany’s Lynx falls into that category of trad metal that holds with it a decidedly hard rock-infused edge, immediately sparking recollections of such titans of the past like Thin Lizzy and The Rods. Hugely working to its advantage is a production style that sounds like a perfection encapsulation of the style Watcher of Skies is emulating, seriously that guitar tone sizzles. Featuring Marvin Kiefer of Blizzen behind the microphone this go around, the vocals have a sense of familiarity with them, but his command of his voice also gives it a great sense of identity. The pronounced 70s groove make this a record that stands out from the pack of bands who follow in the footsteps of NWOBHM greats.

Bigcartel: https://lynxofficial.bigcartel.com/

84. Freeways – True Bearings (2020)
Freeways are another band whose sound at first glance might not scream “NWOTHM”, but it is most definitely entrenched deeply in it. The riffs are unapologetically metal, with many not sounding out of place in some NWOBHM classics, and Jacob Montgomery’s incredible vocals give the album an almost hypnotic feel. Like their countrymen in Tonnerre, Freeways are at the forefront of a small, but growing, movement of modern hard rock/metal acts that do the key thing that gives them metal cred (in my opinion), they have their own sound. Freeways are a unique band, there’s an artistry behind every note and harmony that is largely lost in the doldrums of modern mainstream music. Whenever someone says rock or metal are dead, you point them towards Freeways, you show them The Neptune Power Federation, and so many others. While executive and algorithm fueled mainstream is decayed, the underground has never been stronger.

Bandcamp: https://freeways410.bandcamp.com/

83. Attic – Sanctimonious (2017)
While Germany’s Attic are unabashedly King Diamond/Mercyful Fate worshippers, that shouldn’t keep anyone from checking out the sheer majesty on display in their sophomore record, Sanctimonious. A concept album, which tells the story of an abusive abbess who terrorizes the nuns under her care, this is definitely a record best enjoyed in its entirety, rather than individual tracks (though that’s not to say that there aren’t standouts, as there certainly are). Ambitious, lengthy, and at times grandiose, Attic’s Sanctimonious is an incredible album, unique in both its approach and in its execution. An already exceptional album is bookended by an absolute all-timer in “There Is No God”.

Bandcamp: https://attic-vanrecords.bandcamp.com/

82. Midnight Priest – Aggressive Hauntings (2019)
The second English-language release from Portugal’s Midnight Priest is a wonderful affair of gothic and horror movie infused metal (I mean, it opens with a dark and macabre keyboard introduction) before seamlessly bleeding into “Funeral”. At the time helmed by Lex Thunder, who would later found Toxikull, his vocals give a nice bit of sleaze and somehow a bit of King Diamond-isms to the music. At times sounding somewhat glam inspired, and at times the record sounds more like Mercyful Fate worship. Alongside the dearly-missed Ravensire, Midnight Priest sits at the spearhead of Portuguese heavy metal.

Bandcamp: https://midnightpriest.bandcamp.com/

81. Morgul Blade – Fell Sorcery Abounds (2021)
The debut album from the Philly-based four-piece boasts influences and sounds from across the board, ranging from trad metal to black metal to dungeon synth and even a bit of medieval tavern music (see “Oak in the Mist”). From the absolute otherworldly clean-singing at play on occasion, that is never overused, to the sheer brutality during the title-drop in the title track, I’ve never been able to stop listening to this album. It took me by complete surprise when it first released, the blend of black metal and trad metal wasn’t something I’d really heard before then. In fact, I’d say it’s one of the major albums which really sent me down the rabbit hole of more extreme metal, and is one that I proudly recommend to people.

Bandcamp: https://morgulblade.bandcamp.com/

80. Mega Colossus – Riptime (2021)
Raleigh’s Mega Colossus have been around since the mid-2000s, releasing a full-length and two EPs under their original name of simply Colossus. Since that name change, the band has ascended to incredible heights, and their fourth full-length release, Riptime, is their peak as of now. Their uncanny brand of heavy metal brings a sense of adventure and almost whimsy to the crowded, and occasionally overly-serious, trad metal scene. With a sound that varies not just from album-to-album, but from song-to-song, while still keeping the same overall vibe, Mega Colossus are in many ways a sort of spiritual son of trad metal champions (The Lord Weird) Slough Feg. I also have to shoutout the sci-fi inspired lyrics on songs like “Vigilo Confido”, which is the only song about one of my favorite video games (XCOM), so Mega Colossus eternally has my love for that one.

Bandcamp: https://colossusmetal.bandcamp.com/

79. Evil Survives – Metal Vengeance (2008)
This Canadian band arrived in the early days of the trad metal scene, forming in 2008 and dropping the debut album in that same year. Rough, raw, and overflowing with a sense of youthful vigor, Metal Vengeance is a fun record that really picks up in its second half. Tracks such as “Poseidon Pounds the Coast” and the epic closer “The Plains of Ilium/Beasts of the Odyssey” show that there is far more to Evil Survives than just balls to the wall fun and feisty metal. Bassist Spencer Trout is absolutely shredding it, particularly on “Metal”, with sizzling basslines. While Karl Warkentin’s vocal styles might not be for everyone, they are his own and that alone warrants merit and cred. I can’t quite think of a close analogue to his style beyond maybe early Queensrÿche or a sped-up interpretation of Arch-era Fates Warning.

Bandcamp: https://evil-survives.bandcamp.com/

78. Argus – Boldly Stride the Doomed (2011)
The sophomore release from the Pennsylvania-based epic doom quintet is, like the rest of their discography, a masterclass in the genre. Butch Balich’s vocals are reminiscent of both Messiah Marcolin and Mark the Shark, while still holding their own identity. After a brief introduction, Boldly Stride the Doomed opens up with a track that is much more up-tempo than one might expect from an epic doom record, with some of the most groovy basslines I’ve heard in ages. It’s in the name ‘epic’, but this record truly feels like it. The production amplifies the record to grand heights and more than earns its ‘epic’ moniker. Nothing I say can truly prepare you for the sheer wizardry at play during the course of the penultimate track, “Pieces of Your Smile”. It needs to be heard to be believed.

Bandcamp: https://argusmetal.bandcamp.com/music

77. Flight – A Leap Through Matter (2018)
Another from the vaguely defined “adventure metal” microgenre, Norway’s Flight soared to great heights on their sophomore release. It’s the sort of 70s prog rock love letter (but more Rush and Wishbone Ash than Pink Floyd or Chicago) that can fall in between what is and isn’t heavy metal, but as is common in the genre, the songwriting and instrumentation are rooted in heavy metal (after all, heavy metal and prog rock developed and blossomed together). This is a concise and complete record that acts as a homage to so many different pieces of music history that it’s almost hard to pin down.

Bandcamp: https://flightheavymetal.bandcamp.com/

76. Portrait – At One With None (2021)
Their fifth record continued the band’s seemingly unending upward trajectory, with their standard blend of gothic, power metal, doom metal, and Mercyful Fate-style black metal, once again coming together to form something unique in the genre. Unlike some prior releases though, this is where Portrait really began to let some more progressive elements shine through, particularly in the song structure, with most songs clocking in at nearly 5 minutes. Nowhere is this shift felt more apparent than in the 9-minute-long “Ashen” which, despite the length, never once feels like a drag. That is also what I can commend for the album as a whole, it teeters near an hour in length, but it’s no slog to get through. There’s an occult-tinged atmosphere at play here that gives the album a little extra something special.

Bandcamp: https://portraitsweden.bandcamp.com/

75. Ironflame – Blood Red Victory (2020)
The album that launched Ironflame to the frontlines of the trad metal scene, an even-more impressive feat when considering that it’s technically a solo project (and I do mean solo). Andrew D’Cagna, vocalist of Icarus Witch, performs all instruments and vocals himself and uses a set of musicians for live performances only. To say that Andrew is a top-notch musicianship would be an understatement; his vocals are staggering, the riffs are tight, the bass is smooth, and the drums are pounding. Lyrically, this is stuff that would make Crom proud, it’s the perfect sort of sword-and-sorcery stuff that really works with this style of music.

Bandcamp: https://ironflame.bandcamp.com/

74. Lord Fist – Wilderness of Hearts (2020)
An under the radar pick to be sure, but one that makes every moment of its sub 35-minute runtime count. On their second, and most recent (as of 2025), release, Finland’s Lord Fist ironed out the few kinks from their first record to an almost absurd degree. It can’t be overstated just how tight this record sounds and feels. Vocalist Perttu Koivunen has a oddly melodic approach to the more traditional speed metal style of vocals, like if you crossed Bruce Dickinson and Dan Beehler of Exciter. Most impressive though is the sense of blues injected into the guitars, it’s almost imperceptible at first, but it really becomes apparent by the halfway mark and kicks the album up a notch.

Bandcamp: https://lordfist.bandcamp.com/

73. Bewitcher – Cursed Be Thy Kingdom (2021)
The third album from Portland’s own black/speed warriors, Bewitcher, opens in a way one might not expect, with a gorgeous acoustic piece conveying melancholy and reflection. This brief introduction showcases just how talented the lads behind the music truly are, showing off their mastery of melody before unleashing a proverbial onslaught of nonstop excellent riffs and abrasive vocals. Yet despite that, Bewitcher retains the harmonies and melodies of speed metal all throughout, mixing them into a wonderful array of metal goodness. It’s like when a cookie has both white and dark chocolate chips on it (that’s a good thing).

Bandcamp:

72. High Spirits – Another Night (2011)
Influenced more by the likes of Scorpions and Dokken than by the more commonly cited bands like Iron Maiden and Black Sabbath, High Spirits infuse just a bit of glam and sleaze into their brand of trad metal, and it gives them a wholly unique feeling and atmosphere that really only Hitten comes close to. Bursting right out of the gate with the anthemic title track, and never once letting up for a second. Don’t be fooled or put off by the mentions of glam and sleaze above, this is nothing like the likes of Wig Wam or Crashdïet or Steel Panther. If those acts are a parody of glam as a movement, then High Spirits is an homage. Also of note that High Spirits is another one-person project, with all instruments and lyrics performed by Chris Black in studio, and using a live line-up for touring.

Bandcamp: https://highspiritsmetal.bandcamp.com/

71. Night Demon – Darkness Remains (2017)
Helmed by Jarvis Leatherby, who is more-or-less the NWOTHM scene’s equivalent to a 5-star general who does countless work for the community and movement as a whole. Jarvis is at least partly responsible for the reformation and subsequent ascension of Cirith Ungol, who went from a nifty oddity in heavy metal history to an absolute titan that became respected by the entirety of metaldom. Night Demon, his premier project in which he delivers gruff and sometimes near Danzig-like vocals as well as plays bass, has also grown to grand heights, becoming a stalwart vanguard of the NWOTHM scene as it too exploded in the late 2010s. The incredible riffs, glorious guitar solos, scatterbrain inducing basslines, and of course the great drumming from Dustin Squires that often evokes Burr and Powell. Night Demon’s second album is practically the ultimate trad metal album. The “Planet Caravan”-like closing title track is an immaculate way to end the already fantastic album.

Bandcamp: https://nightdemon.bandcamp.com/

70. Holy Grail – Times of Pride and Peril (2016)
The final album from the titans of the early days of NWOTHM has become a turning point in the chapter of trad metal, right when we entered a new phase of the movement. Featuring blood from Huntress, White Wizzard, Persekutor, and Intranced, all of whom deliver their own personality to the music. In terms of production, Holy Grail has always felt the most modern of the trad metal scene, with its sound crisp and clear, though it still retains the DIY edge. Obviously at the forefront is James-Paul Luna’s absolutely insane vocal performance throughout, which is sensational. But the drumming of Tyler Meahl is in particular on another level, as is the basswork of Blake Mount, and the twin guitar attack of Eli Santana and Alex Lee.

Bandcamp: https://holygrail.bandcamp.com/

69. Blazon Rite – Endless Halls of Golden Totem (2021)
Very much worshipping at the altar of Manilla Road, Blazon Rite is the sort of arcane heavy metal that is practically designed for DnD and sword & sorcery nerds like myself to enjoy. Vocalist Johnny Halladay is truly flexing his storytelling chops with his delivery. A steady lineup since their formation, Blazon Rite has been operating like a well-oiled machine for some time now, and the sheer level of cohesion on this, their debut full-length, cannot be overstated. Pierson Roe pulls triple duty as lead guitarist, bassist, and synths, and he somehow manages to slay it at each one of them. The riffs are memorable and the tone is crisp. Rhythm guitarist James Kirn trudges along with gusto and precision, while drummer Ryan Haley is shining bright (particularly on “Executioner’s Woe”). The incredible closing track that at times bridges both doom metal and speed metal together is a standout to be sure.

Bandcamp: https://blazonrite.bandcamp.com/

68. Manacle – No Fear to Persevere… (2018)
Clocking in at just a hair below 30 minutes, Manacle’s sole release (for now!) might be considered an EP by some, but as a lot of trad metal albums tend to float that half-hour mark, it’s a necessary inclusion. Featuring previous members of Axxion and a future member of Smoulder on bass, No Fear to Persevere… is a wonderful mix of raw heavy metal chops and a nice coat of polish overtop it. Vocalist Kevin Pereira delivers a jaw-dropping performance throughout, showcasing his incredible set of pipes. Like many on this list, this is another one that benefits so greatly from the incomparable production. Falling somewhere between heavy and speed metal, Manacle’s debut album is a quick listen, and with the talent behind the music, is simply not one for trad metal fans to miss.

Bandcamp: https://manacleheavymetal.bandcamp.com/

67. Cauldron – Burning Fortune (2011)
The sophomore album from one of the faces of trad metal, Cauldron’s Burning Fortune dropped as one of the first droplets that signaled the forthcoming storm of NWOTHM bands. Their style is much in-line with Enforcer, albeit slowed down, and even more so with Haunt. Yet there is one band that stands above the rest in terms of where Cauldron draws influence, and that being Dokken. At times this record is straight up Dokken worship (and rightly so, as while they’re a respected act of 80s metal, they truly deserve hallowed status), while it still manages to retain its own identity. From the onset with the infectious “All or Nothing” through to the scintillating closer “Taken By Desire”, Cauldron’s second release offers a more polished experience than their debut (more on it later). And oh god, the bass tone on this record is so groovy.

Bandcamp: https://cauldronmetal.bandcamp.com/

66. Walpyrgus – Walpyrgus Nights (2017)
Featuring members from Daylight Dies, Twisted Tower Dire, and While Heaven Wept, Walpyrgus’ debut and, to date, sole, album brings together a crescendo of influences from across the metal sphere to create something unique. Right from the get-go, this one kicks into high-gear and never once lets up. It’s easy to quickly fall in love with the melodic vocal style of Jonny Aune (TTD), specifically on the album opener “Dead of Night”, and he’s not afraid to make it gruff when need be (see “Dead Girls”). A major show-stealer for me is the arrangement of the album in general, everything just fits in a way that I can’t quite explain. The little nuggets of keyboards are fun extra sprinkles on top of an already complete piece.

Bandcamp: https://walpyrgus.bandcamp.com/

65. Chevalier – A Call to Arms (2017)
The debut release from Chevalier is included here as a bit of a technicality, as, while it is officially designated as an EP, it is over 30 minutes long and that puts it within the same range as many other NWOTHM full-length records. A Call to Arms sits most likely among the most raw sounding releases on this list, the sheer level of intensity and angst delivered behind every pluck of the guitar or bass strings and the force of every drum. Frontwoman Emma Grönqvist’s vocal style has a bit of every thing, most notably Kate de Lombaert from Acid and Wendy O. Williams (RIP) from Plasmatics.

Bandcamp: https://chevalier.bandcamp.com/

64. Ambush – Desecrator (2015)
Returning for the second appearance on this list, Sweden’s Ambush took everything that worked on their already stellar debut record and kicked it up a notch. With the same lineup as the debut, Desecrator is very much an album that tells the story of growth for the young band. “Possessed by Evil” kicking it off with a no-nonsense approach, straight into the earwormy “Night of the Defilers”, and then the incredible title track. It’s definitely an album that unleashes the opening salvo with full-force, but never once did it let up or feel like a drag. The closer “The Seventh Seal” being an absolute mind blower is proof of that, seriously it needs to be listened to.

Facebook: https://www.facebook.com/Ambushsweden

63. Wytch Hazel – III: Pentecost (2020)
England’s Wytch Hazel offer something wholly unique in the trad metal sphere, an uncanny sound that feels reminiscent of Church of the Cosmic Skull and acts like Ashbury. They’re another that falls within that vaguely defined ‘adventure metal’ moniker, and another that makes that niche even harder to give definition to. Their music feels equal parts old school and bardic, to modern and hymnal. While their faith-based lyrics might put off some listeners, I find them to be captivating. Coming from someone who doesn’t subscribe to any faith, Wytch Hazel’s lyrics are rooted in the grandiose sides of Biblical storytelling, and less in the more ‘religious’, for lack of a better term, aspects. All of this uniqueness comes together in a way that is strangely entrancing and near impossible to put down or shut off.

Bandcamp: https://wytchhazel.bandcamp.com/

62. Cruel Force – The Rise of Satanic Might (2010)
The debut from the German blackened speed outfit remains a linchpin of the genre. A perfect storm of grime-ridden distorted riffs and pained growls, and though that ‘speed’ moniker may turn some off, Cruel Force knows when to slow things down a bit. This manipulation of tempo allows them to increase the strength of the eventual thrashier sections. Many may not believe that black/speed/thrash belongs on a list like this, but I disagree, the overall riffs and tone of the guitar are so rooted in NWOBHM (this record is unashamedly Venom worship), and the First Wave of Black Metal, that Cruel Force is certainly a part of the scene.

Bandcamp: https://cruelforceofficial.bandcamp.com/

61. Cauldron – Chained to the Nite (2009)
Another act making their second appearance on this list, Cauldron’s debut offers arguably the rawest sounding album on this list (seriously the tone for the guitars on this one is the stuff of legends). At its core, the production on this record reminds me of early Chastain and Hellion releases, it’s gritty and it’s dirty and it’s perfection. From the sultry cover art down to the incredible Black ‘n’ Blue cover song to close out the album, Cauldron’s sophomore release is a time capsule to the nescient days of NWOTHM and a testament to their status as a vanguard of the movement.

Facebook: https://www.facebook.com/CAULDRONmetal

60. Christian Mistress – Possession (2012)
A band who has more in common with the likes of Cauchemar, with their folkish tinged metal that occasionally flirts with the psychedelic and with doom, but with riffs that are more in line with Diamond Head and early Iron Maiden. Helmed by vocalist Christine Davis, who commands the album with equal parts gravelly singing and other times hypnotic, much akin to someone like Jinx Dawson of Coven. The dual-guitar attack of Sparbel and McClain bring enough extraordinary riffing to fill the Nile (pretty sure that’s a saying), as evidenced especially in the opening riff of the title track. If psychedelic doom metal is a thing, then I would definitely call Christian Mistress ‘psychedelic heavy metal’.

Bandcamp: https://christianmistress.bandcamp.com/

59. Capilla Ardiente – The Siege (2019)
Epic doom is one of the NWOTHM movement’s main splinter groups, and Capilla Ardiente has risen to become a major player in the scene. With crushing riffs, a grand atmosphere, and occasionally near-operatic vocals, The Siege, their sophomore release stands proudly on this list as a true standout in a burgeoning genre. And at less than an hour of runtime, it’s anything but bloated or dull. The tracks are long because they have to be, not because the band drags their carcasses to the finish line. Also shoutout to Procession, another epic doom metal project that features multiple members of Capilla Ardiente.

Bandcamp: https://capillaardiente-northernsilence.bandcamp.com/

58. Lunar Shadow – Far From Light (2017)
The first album from this German act that manages to blend both heavy metal and post-punk together into one brooding smoothie is a treat to the ears. Comprised of lengthy instrumental sequences that, for some reason, remind me of both Lord of the Rings and of Blue Öyster Cult. Alex Vornam delivers an almost melancholic and mournful performance as lead vocalist on this, his last release with Lunar Shadow. With only one of its eight songs clocking in below 6 minutes, and two of them at over 9, this is a beefy record to be sure. Yet the influences are so varied from across not just metal, but rock n roll as a whole, that it’s such a fun listen to try and pick out where all of the fragments came from.

Bandcamp: https://lunarshadow.bandcamp.com/

57. Blazon Stone – Return to Port Royal (2013/2020)
Initially a studio-only band, with Cederick Forsberg handling instrumental and arrangement duties and the first album featuring vocalist Erik Nordkvist (later of Candle). Since 2019, following a brief break-up, Blazon Stone has become a full-fledged touring act, and one of their first acts after reforming was to re-record their 2013 debut album. You can take your pick on which version to put here, as they are more or less the same, with some difference for trained listeners and fans to note. BS falls into the quasi-genre of ‘pirate metal’, which basically means they’re a heavy/power band that sings about pirates sometimes. However, they take the Running Wild approach in that, while that is their lyrical themes sometimes, they don’t make being pirates their gimmick, and instead they portray themselves as a serious and legit band, and their music is a testament to that. No gimmicks here, just balls to the wall heavy metal.

Bandcamp: https://blazonstone.bandcamp.com/

56. Sumerlands – s/t (2016)
Featuring vocalist Phil Swanson, Sumerlands’ debut release offers a rawer approach to epic metal than its successor. Hitting you right in the face out of the gate with “Seventh Seal”, and not letting up for the entirety of its breezy 32-minute runtime, Sumerlands’ first outing stands as one of the formative records for the NWOTHM scene. Released in the same month as Eternal Champion’s debut (more on that later), the pair helped to lay the groundwork for what would soon become an explosion of epic metal bands, opening up a fresh vein for trad metal to tap. Also, I can’t explain this, but this whole album reminds me of the Sovngarde portion of Skyrim’s main story, do with that what you will.

Bandcamp: https://sumerlands.bandcamp.com/album/dreamkiller

55. Haunt – Burst Into Flame (2018)
The first album from the California workhorses began a hot streak that we still haven’t seen extinguished. The brainchild of Trevor William Church, who pulls double-duty as both vocalist and guitarist, Haunt have steadily released 9 full-length albums, and an unplugged album, in the years since their debut. Church’s vocals are uncanny and breathy, giving an odd sense of weight behind them, while I found the more melody-driven guitar playing to be reminiscent of Mott the Hoople (for some damn reason). With drummer “Wolfy” Wilson, guitarist John William Tucker (a frequent collaborator of Church’s), and bassist Matthew Wilhoit, in tow and Haunt’s debut record is a tour de force of heavy metal goodness. As an additional bit of praise, I positively adore the guitar sound all over this record.

Bandcamp: https://hauntthenation.bandcamp.com/

54. Spell – Opulent Decay (2020)
Spell are a curious one in the trad metal scene, as their style is what I would call as being acidic and psychedelic (as evidenced clearly from this album’s opener “Psychic Death” and beyond). When the Metal Archives say your most similar artists are Cauldron, Haunt, and Wytch Hazel, three bands that Spell sounds nothing like, then you know that the band has a truly unique approach to heavy metal music. The vocals are hauntingly ethereal, with some crazy Rush-like basslines, and genuinely smooth riffing, this is a total package, even if it might be a bit of an odd one at first. Seriously, on my first listen of this record, I couldn’t get into it, but now I see it as a modern classic.

Bandcamp: https://spellofficial.bandcamp.com/

53. Evil Invaders – Shattering Reflection (2022)
Five years removed from their sophomore release, Feed Me Violence, Evil Invaders returned with a vengeance in 2022. The overall rawness has been refined with a maturity that doesn’t sacrifice the intensity of the music behind it. There’s a touch more melody behind the tracks this time around, and Evil Invaders even plays around a bit with dipping into ballad territory (see “In Deepest Black”). Though their previously discussed occasional touches into black metal do remain drizzled throughout, like powdered sugar over a cake. As it stands, this is Evil Invaders most complete work, with some incredibly high highs.

Bandcamp: https://evilinvaders.bandcamp.com/

52. Skull Fist – Chasing the Dream (2014)
Their debut landed a spot on the original list, and its follow-up only narrowly missed the cut in joining it. With a largely unchanged lineup, drums are now played by Chris Stephenson in a session role, the overall vibes are similar to the debut album yet they also contain senses of growing maturity. This is present in both the instrumentation and in the lyric writing, as Chasing the Dream features a number of tracks that I couldn’t picture on Skull Fist’s killer debut. This was also their last album before their brief initial breakup. I seriously challenge someone to turn off the incredible earworm that is “Bad For Good”.

Bigcartel: https://skullfist.bigcartel.com/

51. Kerrigan – Bloodmoon (2023)
With a line-up consisting of most of the funeral doom band Lone Wanderer, you might expect Kerrigan to be on the slower side of trad metal, but you would be dead wrong. This is practically speed metal at points, while retaining the melody and harmony of heavy metal. The whole vibe of the title track is cohesive and arranged to absolute perfection, while “Against the Westwind” injects a bit of epic doom into the formula. Full disclosure: I was never able to get into this one at release, but in re-listening to it for this list, it’s definitely became a personal favourite in recent years.

Bandcamp: https://kerrigan.bandcamp.com/

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Thank you kind stranger

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There is trouble afoot

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Go away before I taunt you a second time