Exodus – Goliath Review By Steel Druhm

Exodus are one of the legends of the original thrash heyday, but since kicking things off with their stone cold classic debut, Bonded by Blood, way back in 1985, they haven’t had the most consistent career or evil. Lineup changes, recording delays, directional shifts, and issues with band identity always seemed to hamstring this Bay Area collective, and when you look back on their decades in the speed biz, they don’t have many albums in the big win column. When news broke that long-time vocalist Steve “Zetro” Souza was out of the band, I was disappointed. When word came that he would be replaced by another ex-vocalist, Rob Dukes, for their 12th album Goliath, I was dismayed. I’m not the biggest Dukes fan, but hey, I still wanted to see Exodus put out another high-flying statement of extremity for the ages and the aged. After a 5-year wait, what does Goliath actually have in store for you, and will it be in your size?

In a nutshell, you get what most of you were probably expecting: a rather tepid “thrash” platter lacking in bestial excess and infernal overkill, with an even more pronounced absence of sticky hooks. Opener and early single “3111” kicks off with an ominously doomy plod before eventually exploding into a thrashing rage with Dukes sounding surprisingly spry and fierce. The classic Gary Holt riffwork is present and recognizable, but the song never pushes past standard-issue. It also lacks much in the way of memorability. “Hostis Humani Generis” feels more vital and forceful, reminding me of the band’s salad days. With slashing riffs and vocals spat out like venom, some moments even recall their mighty debut, making it an album standout (I use that term loosely here, but more on that later). Dukes is joined on “The Changing Me” by Peter Tägtgren (Hypocrisy, Pain), and at first it seems as if you might get a face-ripping speed feast, but an awkward, out-of-place alt-metal/rock chorus blows the song up, wasting a goodly amount of gleefully beefbrained riffage.

Some of the album’s most interesting bits come during the title track, where Exodus opt for a slow, grinding stomp that sounds like it fell off a sludge metal truck heading to Crowbar Meadows. The riffs are legitimately mean, and the song feels massive and weighty. Props to Dukes for his extra intense, throat-rending performance here, which is well beyond anything we’ve ever heard from him before. It’s an interesting tune, though it’s not what I want or expect from Exodus. They follow this up with the best pure thrash track on offer, “Beyond the Event Horizon,” which feels like a throwback to the Shovel Headed era. There’s enough raw aggression and meataheadedness here to win you over. Sadly, things roll back downhill after this mid-album quality spike. Both “2 Minutes Hate” and “Violence Works” feel like retread filler, and the nearly 8-minute “Summon of the God Unknown” is like an ill-conceived homage to the worst Black Sabbath albums. At 54 minutes, Goliath lives up to its name, feeling ponderous and bloated. While I appreciate that only 2 tracks cross the 6-minute mark, many still feel overstuffed somehow.

I want to be clear that Dukes isn’t the issue here. He goes above and beyond to give a gutsy, intense vocal performance that meets, and at times, exceeds what he did on 2005s Shovel Headed Kill Machine. This is one of his best performances, and he brings a level of versatility I didn’t know he possessed. Gary Holt’s riffing is vital enough at times to make you remember the glory days, but then it lapses into recycled chugs and generic thrash idioms. Some tracks have bite, but not nearly enough of them. I want to point out the surprisingly upfront and audible bass work by Jack Gibson. I don’t recall the bass ever being this in-your-face on an Exodus album, and it provides a satisfyingly low-end pop that helps the material. Ultimately, it’s the songwriting that takes this giant down for the count. There just aren’t enough cuts that feel essential or truly memorable. Half of this sounds like leftovers from the Impact is Imminient sessions, and the other half sounds like B-sides to Force of Habit. That ain’t no way to go through life, son.

As much as I wanted a killer new Exodus album, Goliath is a mixed bag of Jolly Green Giant nuts. I won’t reach for this when I want an Exodus fix, and honestly, there’s nothing here that I feel the need to poach for playlists (and that includes the “standouts). Loath though I am to suggest it, it might be time to retire this particular pony and remember the better days. Now I need to go spin Bonded by Blood (the original version only!!).

Rating: 2.5/5.0
DR: NA | Format Reviewed: FVKKING STREAM!!
Label: Napalm
Websites: exodus.bandcamp.com/album/goliath | facebook.com/exodusattack | instagram.com/exodusbandofficial
Releases Worldwide: March 20th, 2026

#25 #2026 #AmericanMetal #Exodus #ForceOfHabit #Goliath #Mar26 #NapalmRecords #Review #Reviews #ThrashMetal
Angus McSix – Angus McSix and the All-Seeing Astral Eye Review By Twelve

When last we saw the mighty power metal heroes of Angus McSix, they were a fledgling group with a noble aim and a mighty quest: the titular starlord offered promises of adventure and whimsy, with epic aims and a glorious future that had nothing whatsoever to do with Gloryhammer, thank you for asking. Angus McSix could do no wrong on his epic trajectory. Then Thomas Winkler (vocals and the titular Angus McSix) opted to leave the band after their debut, so now McSix’s brother Adam (Samuel Nyman, Manimal) will lead in his stead. So that was a surprise. Still, I have nothing against a new hero, so, like Adam himself, I’m happy to roll with the punches and see what Angus McSix have up their sleeves for their descriptively-titled sophomore, Angus McSix and the All-Seeing Astral Eye.

Unsurprisingly, the core of the Angus McSix sound is pretty much the same. Nyman even sounds uncannily like Winkler on vocals, and the band’s approach to “join our D&D session, the drinks are already here” metal is largely unchanged. It’s a fairly open session too; joining Angus McSix are Rhapsody of Fire (“I Am Adam McSix”), Van Canto (“Dig Down”), Turmion Kätilöt (“Techno Men”), and Freedom Call (“The Power of Metal”).1 Winkler himself makes a brief appearance in opener “6666” for just long enough to say “help me brother, for I am trapped in a block of ice”2 and pass the torch to Adam. It’s a big number3 too, with exactly the kind of over-the-top, bombastic chorus and structure that made Angus McSix and the Sword of Power such a great album. It seems at first that Angus McSix has not missed a step; they pick up exactly where they left off, which is fine by me.

Unfortunately, the rest of the album is not so consistent, with the songwriting oscillating between classic Angus McSix and shakier ground. In particular, the guitars are pushed way back in the mix. The keyboards are similarly brought way up, and, in contrast to the previous album, focused on synths rather than orchestrations, giving several songs a vague ’00s-dance-pop-meets-power-metal feel. “Techno Men,” for example, plays to the industrial metal feel the Turmion Kätilöt singers bring to the song. The chorus, however, is classic Angus McSix, with Nyman singing his heart out on catchy vocal melodies this band does so well. Still, without a strong guitar presence—and the drums don’t pack much punch either, I’m sad to say—a lot of Angus McSix and the All-Seeing Astral Eye feels passive. “I Am Adam McSix” and “Dig Down” are good examples of this; in both songs, Angus McSix slow things down a bit, but only the latter one brings the energy needed to maintain an adventurous feel. This poppier Angus McSix can be a little hit-or-miss.

One of said misses was really unexpected: contrary to their debut, it feels like Angus McSix are trying to be funny. Many of the narrations are intentionally silly; at one point, a narrator describes Adam’s aims as “utterly impossible,” “even more impossible,” and “all in all, a rather questionable plan, except it wasn’t even a plan” (this all from “The Power of Metal,” an otherwise strong song that would be at home on an Avantasia record). Songs like “Ork Zero” embrace the inherent silliness of Angus McSix’s storytelling without overtly acknowledging it and largely succeed; when they do, it falls flat. I love the story of the uber-ork with a heart of gold, but why do Van Canto comment of Adam, “honestly, his tune is really catchy”? Does the phrase “orkish mumbo jumbo” have to appear at all? These feel like unneeded distractions from a group that actually does storytelling fairly well.4

There are great moments and baffling moments on Angus McSix and the All-Seeing Astral Eye. I strongly believe we need more fun in metal and adore Angus McSix for their success in that department. But I feel they missed a step here, leaning too far away from solid songwriting and too much into on-the-nose humor. I remain fully in Angus—and Adam—McSix’s corners, and will be back for the next chapter. But I hope things will feel more like they did back in the day.

Rating: 2.5/5.0
DR: NA | Format Reviewed: Crappy STREAM!
Label: Napalm Records
Websites: angusmcsix.bandcamp.com | facebook.com/angusmcsix
Releases Worldwide: March 13th, 2026

#25 #2026 #AngusMcSix #AngusMcSixAndTheAllSeeingAstralEye #Avantasia #FreedomCall #Gloryhammer #InternationalMetal #Manimal #Mar26 #NapalmRecords #PowerMetal #Review #Reviews #RhapsodyOfFire #SymphonicMetal #TurmionKätilöt #VanCanto
Lovebites – Outstanding Power Review By Grin Reaper

Returning with their over-the-top, moar is moar philosophy of fun and shred, on Outstanding Power Lovebites cooks up a sugarbomb so explosive it’ll blow your teeth out your earholes. Minted in 2016, Lovebites has been slinging their brand of power metal for a decade, dropping five full-lengths over that time.1 Outstanding Power marks the band’s fifth full-length release and the first since 2023’s Judgement Day, and these women from Tokyo used the intervening three years to cast a platter that shatters any illusion of restraint. With kicks and licks galore, does Lovebites cram in too much of a good thing, or can their latest LP stand the power?

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

Outstanding Power by Lovebites

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

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

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

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

Maddog

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

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

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

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

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



Rating: 4.5/5.0

#2026 #40 #45 #ChildrenOfBodom #DireStraits #Feb26 #Galneryus #GammaRay #HeavyMetal #ImperialCircusDeadDecadence #IronMaiden #JapaneseMetal #Kryptos #Lovebites #NapalmRecords #OutstandingPower #PowerMetal #Review #Reviews #Riot #RiotV #SonataArctica #Sunburst #SymphonyX
Tailgunner – Midnight Blitz Review By Steel Druhm

After staggering off four crazy days at sea for the 70000 Tons of Metal cruise, my ears and brain are fried unto merciless death. Luckily, I anticipated this contingency and left myself a fairly easy bounce-back to reality with the sophomore album from England’s classic metal rockers, Tailgunner. I was a fan of their 2023 Guns for Hire debut and found their modernized take on NWoBHM antics to be an entertaining ride. They slot into the same category as acts like Enforcer, Wolf, and Skullfist, and they have enough talent to sell traditional metal thrills like they’re something new. On Midnight Blitz, they rock a slightly more polished variant of what we heard last time with less of an obvious NWoBHM core, but their basic attack plan is still there. It’s all high-flying dual-guitar assaults, soaring vocals, and thundering drums, forced through an anthemic stadium-metal filter to create catchy, crunchy little metal nuggets ready to dip in shitty beer. It’s as cutting-edge and innovative as a stick, but sometimes brainless is better anyway. Now shut up and get in the gun seat!

Things open up effectively with the exuberant title track, which delivers all the classic metal goods and recalls Iron Maiden’s “Aces High” in subtle and unsubtle ways, especially in the lusty guitar noodling. The chorus is immediate and hooky and works as intended, and you will suffer involuntary fist-banging disorder as you prepare to strike at something at midnight. They manage to keep things in this winning window for much of the runtime with catchy tidbits like “Tears in the Rain,” which pays homage to the coolest lines from Blade Runner in appropriately big ways with a huge chorus, and the stupidly infectious “Dead Until Dark,” which rocks hard and rides free with a big Euro-power chorus that sticks like peanut butter mixed with Gorilla Glue. Some of the tracks punch above their weight and really win you over, like “Barren Lands and Seas of Red” and “Blood Sacrifice,” which thread that tiny needle between 80s metal and Euro-power to deliver hot guitar work and larger-than-life choruses.

Elsewhere, “Night Raids” reminds me of something off Human Fortress’s immortal Defenders of the Crown album, so that’s a win. Even the big, overwrought power ballad “War in Heaven” hits harder than you’d expect, sounding a bit like Primal Fear, though it does blunt the album’s momentum somewhat. Not every song is as clutch as the top dogs, and there is a minor bloat factor on a few songs, but no track feels like filler or an afterthought, and at 44 minutes, Midnight Blitz flies by like a gloaming onslaught. The production is a bit too clean, and I’d prefer more bite on the guitars, but you can hear everything the band does clearly.

Craig Cairns leads the air attack for Tailgunner, and he sounds more polished and professional here than he did on Guns for Hire. He no longer reminds me of Blaze Baley or Brian Ross of Satan, and his clear, commanding vocals skew more to a Euro-power style now, but there’s still enough grit to get the job done well. Much of the impact comes from guitarists Zach Salvini and Rhea Thompson. They rob the vaults of 80s metal wantonly while dabbling in various levels of Euro-cheese making, but never go too far down that rabbit hole to find the pirate shirts. There are ripping riffs, melodic harmonies, and overblown solos aplenty, and they keep the energy levels sky high for much of the runtime.

Midnight Blitz is a successful evolution of the Tailgunner sound. I might prefer the slightly more raucous sound of their debut, but what these cats do is still in the wheelhouse of Steel, and I eat it up like fruit leather and old Twinkies. If you like high-energy 80s metal designed to get the head nodding, Tailgunner is the caliber of act you should load up and blast. Fun will be had, and planes will be felled. It’s it’s a Midnight Blitz!



Rating: 3.0/5.0
DR: NA | Format Reviewed: Fucking Stream
Label: Napalm
Websites: tailgunner.bandcamp.com | facebook.com/tailgunnerhq | instagram.com/tailgunnerhq
Releases Worldwide: February 6th, 2026

#2026 #30 #Enforcer #EnglishMetal #Feb26 #GunsForHire #HeavyMetal #MidnightBlitz #NapalmRecords #PrimalFear #Review #Reviews #Tailgunner #Wolf

Review: Tailgunner- Midnight Blitz

Release date: 2/6/26

Label: Napalm Records

Greg D.

The NWOTHM. The New Wave Of Traditional Heavy Metal. Not just the name of a website, but a musical movement, obviously. When did this movement begin? That answer is in the eye of the beholder, however, there was a moment for me that precipitated it coming back as such a force that it ultimately warranted a familiar acronym to describe it. That moment is Enforcer’s 2008 album, “Into The Night”. It just seemed like it set something off, and suddenly more & more bands of that ilk had a presence that elicited greater awareness. That was eighteen years ago.

2026. February 6th. Eighteen years after the NWOTHM, arguably, kicked off, the movement may finally have an album, and a band, destined for larger pastures. Tailgunner, England formed in 2022, have kicked up quite a storm in an alarmingly short period of time. Debuting with the EP “Crashdive”, (oddly enough, produced by Olaf Wikstrom of Enforcer) also in 2022, and following it with their first full length “Guns For Hire” in 2023. Admittedly, “Guns For Hire” didn’t garner much of a look from me. Is it good? Yes. Did it hold my attention? Not really. Enter their newest album, “Midnight Blitz”.

First of all, the promotion for this album has been unavoidable. Music/lyric videos, tours, Metallica tribute albums. They’ve been everywhere. Getting a seal of approval from a bonafide heavy metal legend (album producer, K.K. Downing) is sure to get a few extra looks their way as well. With all that in mind, and with eyes and ears open and pointed at Tailgunner, they have stepped up to the plate with an album that is, simply put, arena ready. Anyone coming here expecting blatant Judas Priest, or Iron Maiden, worship, will leave either surprised or disappointed. This album probably has more in common with Euro Power Metal than classic British heavy metal, but they definitely have more muscle than your average Euro Power Metal band.

Like ginormous choruses? If you do, you’ll be pleased to know that Tailgunner does as well. Every song has sing-a-long qualities to it, which are no doubt great in a live setting. Singer Craig Cairns’ tone is PERFECT for this kind of metal. Good range without getting screetchy, and delivered powerfully. “Tears In Rain”, & the title track, surge with all the glory and anthemic splendor that you’d want from steamrolling heavy metal. Dig burning guitars? The guitar work throughout the record is all right on the money. Check out “Barren Lands And Seas Of Red”, it swings a little riffier to let axefolk Rhea Thompson & Zach Savini stretch their legs more aggressively. Now, it’s one thing to be able to blast forth and kill, but the song “War In Heaven” is where Tailgunner really backs up their bark and shows they’re not fucking around. Subduded, Savatage level dramatic, & epic, this song should probably be the next single as it reveals the band’s ability to downshift seemlessly.

“Eulogy”. This song is a helluva way to end an album. Storming, speedy, and y’know how we were talking about choruses earlier? This is the biggest and best one yet. The kind of thing that says, “stick around for the next album”. A great piece of post production in the sequencing putting it last, very well done. It’s hard to find any fault with this record. If I was going to imagine this kind of metal album, this is exactly what it would be. The band has delivered, & it’s hard to ask for more than that, innit?

https://www.youtube.com/watch?v=nnsTQq_8mR8&list=RDnnsTQq_8mR8&start_radio=1

Conclusion

Now, I don’t know how this works with other styles of music, but in hard rock/heavy metal there seems to be a time honored tradition of baton passing. I have a tendency to say: “If you want to know what the future is going to sound like, pay attention to who’s riding in on the backs of the present.” Van Halen with Black Sabbath, Iron Maiden with Kiss, Metallica with Ozzy Osbourne, and a handful of others, are all examples of this. Now, with this second album from Tailgunner, I don’t know that the saying I mentioned applies to them in the same way it did for Van Halen, Iron Maiden, or Metallica. Tailgunner is not shaking things up, or taking the sound into another dimension. They’re simply reinforcing things that are already great. However, that aforementioned saying might apply to Tailgunner in a much simpler, and direct way.

People generally seem to want their own heroes, they don’t always want the heroes of their older siblings, parents, etc. While Tailgunner are legend approved, they have a long way to go to become legends themselves, and it’s looking like they have a lot of things lining up for them. They are young, they are talented, they appear committed, & it sure seems like they have strong backing on the business end of things. All of those things are VERY important. That said, the most important thing is if this album sucked, none of that would matter. This album does not suck. Get into it.

TheNwothm Score: 10/10

Links

Bandcamp:https://tailgunner.bandcamp.com/album/midnight-blitz

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

Instagram:https://www.instagram.com/tailgunnerhq/

Label:https://napalmrecords.com/english

https://www.youtube.com/watch?v=iNrUYShK_38&list=RDiNrUYShK_38&start_radio=1

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#CraigCairns #HeavyMetal #kkDowning #napalmRecords #NewWaveOfTraditionalHeavyMetal #NWOTHM #Tailgunner #thenwothm #thenwothmCom