First things first: 2025 was not what I consider a lodestar of great metal. I was much more miserly than usual with my high scores, and though there were a lot of albums I liked, there were not many I truly loved. I had fewer issues curating my Top Ten than usual, with a smaller pool of contenders jockeying for slots. That likely means 2026 will be an overwhelming pornocopia of metal goodness, as flat years are usually followed by market booms. Let’s hope the historic trends continue.

On the AMG front, we had a great many seasoned staffers bow out and take time away from the site, which is always a sad event, but we got a healthy infusion of new blood, too. Hopefully, the blend of new and old will provide new perspectives, but it’s sure to result in some awful takes, too. We apologize for that in advance. Fear not, though, for I have it on good authority that a few long-absent writers will be making a shocking return in the new year.

Personally, 2025 was my least productive year in a while as far as the sheer number of reviews churned out. This was mostly due to my taking on the enormous duties of promo sump management, which takes up a significant amount of time weekly. I’ve gotten faster and more efficient at the promo herding over the year, so I hope to push my review production back up to massive aggressive levels in 2026. I love this little blog, and I invest a lot of myself in it each day. It gives me peace and comfort through challenging times, and more importantly, it keeps me off the streets looking for seedy, low-rent metal blogs to write for.

As I do every year, I want to extend a big thank you to all the readers who grace our pages, comment on our reviews, complain about scores, and generally raise a ruckus. We appreciate you, tolerate you, and continue to do our best to entertain you. Behind the scenes, though, we think you are a bunch of overrating, high-maintenance, diva do-nothings. Keep up the good work and tell your friends about us!

I’d also like to thank all the old and new staff members and AMG Himself for their efforts to keep AMG the bastion of high opinions that it has become. It’s easy to suffer burnout here, and there are times when the words all seem to blur together, and it becomes a battle to formulate new ways to describe shitty, lo-fi death metal. There’s something highly satisfying about the work, though, and doing it with a bunch of lovable rejects makes it all the more so. We have a good group of misfits here, and though we bicker and argue, we love one another most of the time. Because of all this goodwill and affection, I hope none of them make me sabbaticalize them this year. The wood chipper is still clogged from last year’s bonanza of retirements, and I’m just too busy to take cadavers apart the old-fashioned way. Onward to new horizons we fly!

#ish: Nite // Cult of the Serpent Sun – Nite is a strange band that challenges me to look past some very one-dimensional vocals to find the beauty in their guitar-driven righteousness. The music they create is so perfectly in my wheelhouse, mixing the classic 80s sound of Mercyful Fate with the burly badassery of Grand Magus, then they slather their compositions with a blackened snarl that rarely shifts or adapts to the epic music. Sometimes it seems this choice holds them back from greatness, but I just kept returning to Cult of the Serpent Sun time and again in 2025. Songs like “Crow (Fear the Night),” “Carry On,” and “The Winds of Sokar” got spun to death this year, and the guitar work across the album is stellar and so metal it hurts. In a nutshell, I’m hooked on this weird little album despite the shortcomings in the vocal department. Give yourself to the Nite.

#10. Disembodiment// Spiral Crypts – One of the death metal albums that really stuck to ribs this year, Spiral Crypts just wouldn’t unstick itself or go away. Disembodiment brings the OSDM hammer down on you with a stinky, putrid sound that rips organs from all the big names to create a shambling monstrosity all their own. It’s Incantation and Autopsy up front, with a vaguely Death-like prog sheen hidden in the back. Yet this won’t impress with techy wanking, because they’re too busy fucking cadavers and eating human flesh. Nasty first wins in the House of Steel, and this shit is gross but so listenable and entertaining. The riffs are slithery, slappy, and powerful, and those vocals are as much like an industrial garbage disposal as you can get without permanent throat disaster. Get yourself some unsanitary napkins and blast this filth really loud. It’s worth the revolting mess.

#9. Helstar // The Devil’s Masquerade – I grew up loving Helstar, and their Burning Star and Remnants of War albums were in constant rotation during my high school years. They’ve had an up-and-down career since 1989’s Nosterfatu, so them hitting their stride again in 2025 on The Devil’s Masquerade was a huge thrill for Yours Steely. Their textbook blend of US power metal and prog burns bright once more, with nods to thrash mixed in liberally for added asskickery as the guitars shred and impress. Vocal legend James Rivera still sounds enormous and powerful, and the songcraft is shockingly good and consistent. Certain moments scream classic Helstar while also hinting at Rivera’s criminally underrated Destiny’s End project, and there are several nods to prime Nevermore as well. The Devil’s Masquerade does the Helstar legacy proud, and it’s easily the best thing they’ve done since Nosferatu. Let this one in for a bite.

#8. Brainstorm // Plague of Rats – Brainstorm have been one of, if not the most reliable metal acts of the last few decades. Album after album brings a muscular, burly blend of classic metal and power, and time after time they kill it with massive anthems and sick hooks you just can’t shake. Plague of Rats follows the great Wall of Skulls and almost equals it in terms of memorable songs and metal magic. Andy B. Franck continues to be one of the best vocalists in all of metal, and when given tremendous songs to work with like “Garuda (Eater Of Snakes),” The Shepherd Girl (Gitavoginda),” and “Beyond Enemy Lines,” you get molten metal gold. The writing is rock solid with several Songs o’ the Year contenders, and the riffs and vocals are a thing of savage beauty. I love these guys more than I love red meat and hobo wine (almost).

#7. Under Ruins // Age of the Void – Formed by members of the highly underappreciated Lansfear and the cheesy King Diamond wannabes, Them,1 Under Ruins bring a polished, super slick form of epic power metal to the party on their Age of the Void debut. What makes their sound so immediate for me is how it ranges from Manowar-esque chest-thumping anthems to massive epic metal like Atlantean Kodex, and on to old-timey prog metal akin to the early days of Fates Warning, with some other interesting stops along the way. It’s enough like Lansfear to hook me in, but Under Ruins operate with a much broader vision and scope. “Whispered Curses, Woe Unleashed” is my Song o’ the Year, full of melancholic emotion but still bringing the thunder in the way vintage Tad Morose and Pryamaze did. The chorus has been ringing through my head all year, and I can’t escape it. Nor should you. Get under these ruins.

#6. Ambush // Evil in All Dimensions – When traditional and power metal are done properly, they can kick your ass and provide a massive jolt of fun at the same time. That’s exactly what Sweden’s Ambush does all over Evil in All Dimensions. Taking equal measurements of trad and power, they craft rip-roaring anthems to thunder, fire, steel, and make sure the hooks are plentiful. I defy you to blast the title track, “Maskirovka,” or “Bending the Steel” and not feel a rush of power in your veins. The riffs are pure 80s magic, and let me just mention Oskar Jacobsson’s vocals, because they are HUGE. This shit is 100% balls-to-the-walls energy; the songs have legs and demand repeat spins. This is one of the most infectious albums of 2025, and I think I may have underrated it a tad. Get your sack to the partition, pronto.

#5. Anchorite // Realm of Ruin – Taking the classic doom template of Candlemass and Solitude Aeternus and injecting it with the burly machismo of trve metal usually works, and in the case of Anchorite’s Realm of Ruin, it works extra hard! Beefy riffs drive the material to epic heights as doomy harmonies decorate the war wagon. Over the top of it all, Leo Stivala delivers strident, commanding vocals to embiggen the spirit. Cuts like the massive “The Lighthouse Chronicles” merge Paradise Lost with Crypt Sermon and deliver emotional doom with a touch of Nevermore’s moody power. Standout “The Apostate’s Prayer” is a top moment of 2025, and Stivala soars to grand heights, carrying the listener along with him, and “Kingdom Undone” brings in a touch of power metal with grand results and a killer chorus. A surprisingly varied and nuanced album, and one of the top doom platters of the year.

#4. Professor Emeritus // A Land Long Gone – Professor Emeritus may have one of the worst names in the metalverse, but their take on trve epic metal and doom more than make up for that oversight. A Land Long Gone is everything a fan of the trve genre could want, with big, bombastic compositions with hooks, bells, and whistles aplenty. This stuff brings the Manowar to the Candlemass recording session, with big loincloth energy adding to the slow-burning doom power. There are hints of Doomsword and Manilla Road along the road to high adventure, and everything is kept sword-friendly and mighty. “A Corpse’s Dream” is one of my favorite songs of the year, and I love the blending of styles they achieve, and “Zosimos” brings in copious Iron Maiden influences to bedazzle the Crypt Sermon-esque doom they deliver with aplomb. This is the kind of Professor I wish I had during my school years, so listen and learn!

#3. Paradise Lost // Ascension – I’ve followed Paradise Lost since 1991s Gothic release, and I stuck with them until they became Depeche Lost circa 2000. I came back when they went metal again, and though none of their third-stage albums floored me, I liked them enough to keep buying what they sold. That pattern changed with Ascension, which is every bit as powerful, heavy, and vibrant as their glory days, while showing a maturity and sophistication even the classics lack. Let me just come out and say it: I underrated this album, and for that, I feel some degree of fault. Ascension plays like a grand tour of the varied Paradise Lost eras, but nothing ends up feeling recycled. “Serpent on the Cross” is a killer opener featuring everything I ever loved about the band, and cuts like “Tyrants Serenade” and “Salvation” are amongst the best songs of their long-running career. Where I originally felt like the back half of the album was less stellar, I’ve come to love the complete package, and I think this is among the best Paradise Lost albums. Olde dogs can still bite!

#2. Fer De Lance // Fires on the Mountainside – Competing with Anchorite and Professor Emeritus for the best trve doom album of 2025, Fer De Lance brought the biggest sword to the warfield. Fires on the Mountainside has it all; massive trveness, battle-ready classic metal, nods to black and Viking metal, it’s all here and ready for action. Take one listen ot the mammoth title track, and you’ll accumulate more back hair in 7 minutes than you did in all of 2025 as the music takes you from Crypt Sermon-esque classic doom on through Hammerheart era Bathory with touches of folk along the way.2 This is music for heroes who laugh in the face of death. When the black metal element comes forward, you get gems like “Ravens Fly (Dreams of Daidalos),” and when they dial down to the epic doom side, you get monsters like “Death Thrives (Where Walls Divide)” where vocal maniac MP Papai goes all in, and channels Lost Horizon’s Daniel Heiman. If you spin this thing and don’t gain 2 inches on your biceps, you have Chronic Untrveness Disorder.

#1. Structure // Heritage – In a year when I was merely whelmed by much of what I heard, Structure came out of nowhere to drop an industrial earth mover of atmospheric doom on my life. The brainchild of Bram Bijlhout (ex-Officium Triste), Heritage finds him delivering a massive treatise on emotionally harrowing sadness and grief, aided by the killer vocals of Pim Blankenstein (Officium Triste, ex-The 11th Hour). Over the 50 minutes of Heritage, the duo drag you to the heart of sadness, loss, and despair as only thoughtful, well-executed doom can. Yet there are faint rays of light and hope in the inky black, mostly in the form of Bram’s beautiful, delicate guitar work, which weaves ethereal magic through the dour, downtrodden material. Heritage is a very dark album, but it’s rife with genuine beauty too, just as life often is. I’ve spun this thing more than any other 2025 release, and it keeps calling me back to its black womb. There’s something truly special here, and you shouldn’t miss out on experiencing it. This is your Heritage now.

Honorable Mentions:

• An Tóramh // Echoes of Eternal Night – Massive, crushing funereary doom with a great sense of atmosphere
• Phobocosm // Gateway – One of the best slabs of oppressive cavern-core death metal you’ll be squished by this year
• Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell – One of the oddest and endearing death metal albums of late
• Depravity // Bestial Possession – Brutal, blasting, splatterifying death metal that cannot be contained or reasoned with
• Diabolizer // Murderous Revelations – Fast, brutal, burly death metal that gives no fucks as it activates your dental plan
• Guts // Nightmare Fuel – Groove-heavy death metal with big stoner rock vibes should not work, but it does here
• Black Soul Horde // Symphony of Chaos – Epic heavy/power metal with more hooks than the local meat packery run by I. M. Pinhead
• Starlight Ritual // Rogue Angels – Imagine Lemmy joined Di’Anno era Iron Maiden and wrote some epic shit
• Amorphis // Borderlands – Amorphis return to form in a fan service release full of hooks and classic Amorphy moments
• Wytch Hazel // V: Lamentations – Maybe not their best album, but you can’t escape the ear glue of their NWoBHM meets 70s prog rock style

Triumph o’ the Year:

Our little blogworks received a glowing mention in none other than Rolling Stone Magazine, and no one was more surprised than we here at AMG International. It’s nice to see our efforts getting noticed, even in the world of professional music journalism, which we don’t discuss with fans.

Tragedy o’ the Year:

The passing of Ozzy Osbourne. We all knew it was coming, but not this soon. I didn’t expect it to hit me quite as hard as it did, or for the feeling of loss to linger as long as it has. This marks the definitive end of an era and the loss of a Founding Father of metal without peer. At least he went out the way he wanted: with a loud bang and crash. Have a glorious journey into eternity, Ozzman. You will always be missed.

Song(s) o’ the Year:

Under Ruins – “Whispered Curses, Woe Unleashed” – Massive epic goodness with big emotions.



Brainstorm – “The Shepherd Girl (Gitavoginda)” – So damn metal it gives me an iron hangover.



Disappointment o’ the Year:

Dark Angel // Extinction Level Event – What a prophetic album title this was, eh? After 1991s Time Does Not Heal, Dark Angel promised a new album. They promised it while I was in college, then grad school, then law school, during my first marriage, after my divorce, and over the next several decades. When they finally deliver something, and it’s the equivalent of third-rate re-thrash with only vague nods to their original sound, calling it disappointing doesn’t begin to cover it. We received the promo for Extinction Level Event in time to review it, and I was eager to do the job. After one listen, however, I realized the public was going to brutally savage this thing, and I didn’t see the point in adding another head stomp to a band I grew up worshipping. This is now the primary example of why it’s best to leave a legacy safely in the past, where it can live evergreen.

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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#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

Professor Emeritus – A Land Long Gone Review

By Steel Druhm

There are some pretty disastrous band names out there, and Professor Emeritus is up near the tippy-top. Why anyone would name themselves after a retired college instructor is beyond me, but their 2017 Take Me to the Gallows debut was an entertaining dose of epic/trve/doom metal with enough muscle and magic to win me over despite some rough spots and vocal missteps. Nearly eight years later, we get the follow-up, A Land Long Gone, and the lineup has undergone a massive overhaul, with only guitarist Lee Smith (ex-Satan’s Hallow) remaining. In comes vocalist Esteban Julian Pena of Acerus, along with several former members of Black Sites, and the result is an entirely different beast. The epic/trve/doom template is still in place, but the sometimes amateurish, goofy moments of the debut are replaced with serious, somber, and memorable songcraft and musicianship. Throughout A Land Long Gone, you’ll hear influences ranging from Candlemass, Crypt Sermon, Manilla Road, Argus, Tad Morose, and Doomsword, and that’s good company to be in. It’s also the most potent of Steel chum, and since it brought me to the yard, I will stay until I slake my mighty thirst with the blood of my enemies (I’ll settle for Pabst in a pinch). On with the retirement party!

You don’t need a fancy college degree to know you want to open your album with a slobberknocker of a tune, and Professor Emeritus does this with “A Corpse’s Dream.” Coming out of the gate with burly, beefy riffs that alternate between doomy and trve, you feel the difference from the debut right away. This is musclebound trve doom that wants to smack you in the face with a warhammer. It hits hard while remaining surprisingly polished and, dare I say it, tasteful. It reminds me of a heavier Memory Garden mated with the chest-pounding bravado of Argus, and that’s a winning chili recipe! Pena kills it with a great vocal performance, and you’ll be impressed. “Zosimos” adopts Iron Maiden-isms to lay the groundwork for an epic tale, then the big trve riffs hit the beach and the raid is on! The melancholy vocal harmonies are memorable and well-executed, and the sadboi guitar work is regal but downtrodden. It works like an iron charm. “Passage” sounds like something off the early Omen albums mixed with Helstar, so that means it rocks to fucking Hell and back as meaty riffs gallop and Pena adopts darker, meaner tones. Armies are raised with shit like this.

Another high point arrives with “Defeater,” which is all Manowar loincloth sweat and Doomsword blade fetishizing. It’s such a macho, triumphant stanza that there’s no way to hear it and not seize a sizeable portion of your neighbor’s lawn as war booty.1 When Pena roars, “Do NOT be defeated again!” I guarantee you’ll gain between 3-5 inches on your pec-scrotal tie-in. Elsewhere, a strong Manilla Road vibe emanates from the folksy, atmospheric badassery of “Hubris,” where the careful listener may also divine traces of Darkest Era. The guitar work here is especially regal and captivating, and the piece at 4:36, where Pena comes in after a stupendous guitar solo will give you chills. In a show of diversity of approach, the album wraps with the 9-minute “Kalopsia Caves,” which reads like an effort to marry Warning and early Candlemass. It has the oversized bombast of the latter and the sullen, stripped-back minimalism of the former and it fucking works. It’s a beautiful doom voyage with delightful side quests into folk, Something Wicked This Way Comes era Iced Earth, and Bruce Dickinson’s Chemical Wedding opus. That should NOT work, but it totally does!

This is one of those albums where you want to lay the plaudits at every member’s feet. Pena does a great job vocally, solving all the issues from the debut and elevating the material to lofty heights. I admire the way he shifts vocal styles often, slipping from majestic crooning into harsher intonations effortlessly. He brings a ton of charisma and gravitas to the songs and makes you pay attention. Lee Smith and new axe Tyler Antram shine brightly as they shower the listener in muscular trve metal riffs, crushing doom leads, and sadboi trilling as needed. The whole band is excellent, and the writing is vastly superior to what the debut offered.

I was somewhat surprised to see a new Professor Emeritus promo pop up at all, and I certainly didn’t expect an album THIS good. This thing is now riding high on my Best Of 2025 list, and I can’t stop spinning it. It’s a great companion piece to the recent Beholder album, but it’s much better. Judge them not on the awful name. Hear A Land Long Gone and let the metal do the talking. Hail the Professor!

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: No Remorse
Websites: professoremeritus.bandcamp.com | facebook.com/professoremerituslives
Releases Worldwide: June 13th, 2025

#2025 #40 #ALandLongGone #AmericanMetal #DoomMetal #EpicHeavyMetal #HeavyMetal #Jun25 #NoRemorseRecords #ProfessorEmeritus #Review #Reviews #TrueMetal

#NoamChomsky (born December 7, 1928) an #American #Linguist, #Philosopher, #CognitiveScientist, #HistoricalEssayist, #SocialCritic, and #PoliticalActivist. Sometimes called "the father of modern linguistics", #Chomsky also a major figure in #AnalyticPhilosophy & one of the founders of the field of cognitive science. He is a #LaureateProfessor of #Linguistics at the #UniversityofArizona & an Institute #ProfessorEmeritus at the #MassachusettsInstituteofTechnology (MIT).

https://en.m.wikipedia.org/wiki/Noam_Chomsky