Review: Mace ‘N’ Chain “Crowned In Grey Skies”

Release date: 26th June 2026

Label: High Roller (Germany), SoundWorks/Season of Mist (France), Sound Pollution (Sweden), Plastic Head (UK and rest of Europe), Silent Future Distribution (North America)

Gage J. Tolin

MACE ‘N’ CHAIN was formed in Sweden at the end of 2020 by David Nilsson (singer of Swedish death metal band Feral) to pay homage to the genre that originally got him into metal in the first place: true, sword-wielding, heavy metal! The debut album “Among Ancient Pillars” was released by No Remorse Records in 2023 with David Nilsson writing and performing all the music. Now, joined by drummer Joey Mancaruso (Fortress, Gravesword, Barren Cross), Nilsson presents the sophomore album, which is highly recommended for fans of Eternal Champion, Manilla Road, Ironsword, and Manowar.

“We are very proud to finally unveil ‘Crowned in Grey Skies’, an album that showcases a wider array of influences than its predecessor, yet still feels like a very natural continuation of Mace’n’Chain’s sound. The songs are both faster and slower than any I have previously put out, and the addition of Joey on the drums this time around has really put the finishing touch on everything.” – David Nilsson, Mace’n’Chain

All music and lyrics by David Nilsson. Recorded in Pagan Hell Studios, Sweden. Drums recorded by Tucker Thomasson at Megadungeon Recording, Bloomfield, Indiana, United States. Mixed by Petter Nilsson at Sonner Sound, Gothenburg, Sweden. Mastered by Arthur Rizk. Artwork and logo by Bram Bruyneel.

LINE-UP
David Nilsson – Acoustic and electric guitar, 4- and 8-string bass, acoustic bass, vocals.
Joey Mancaruso – Drums.
Guest guitar solos by Tucker Thomasson, Shon Vincent, Matte Marklund, Jeffrey Young, Markus Lindahl.

Review

“On the Howling Gale” appropriately featured a brief bit of rainy ambiance, before the riff practically took on the form of a raging tempest itself. Some seriously maniacal stuff, worthy of recognition in the annals of metaldom. In fact, this one was chock full of diabolical instrumentation that all had just the right amount of polish behind them, keeping the rawness that I like in my metal. Nilsson’s vocals are on the Manilla Road side of things and they work so damn well with the music. This was an incredible way to kick off the record!

“Through Blood Red Veils” featured yet another banger of a riff that felt fresh and yet familiar. A breath of fresh air for a genre that can too often fall prey to ‘replaying the hits’. This one had a real Sabbath vibe with the overall groove to it, but the vocals reminded me a lot of Canada’s Gatekeeper (particularly their sophomore full-length with Tyler Anderson on vox). Ooh, the guitar solo being injected with just a touch of Eastern flair was the chef’s kiss. The breakdown near the final third of the track where things get sped up to a great degree featured some killer drumming, and again reminded me of Sabbath songs like ‘Electric Funeral’ (which is my favorite Ozzy-era Sabbath tune).

“In Open Defiance” took a more thrashy approach, with much of the track being played in a frenzied manner. Though it never felt disorganized, and the vocals continued to be a refreshing mix of styles (with even some growls thrown in there). The awesome sequence near the 3 minute mark reminded me a lot of Gregorian chanting and medieval music, or at least the music from medieval fantasy video games. The growls I mentioned before really give this one an identity all its own.

“Triumphant Return” had a riff that I could best describe as ‘Accept-like’, though with the heaviness kicked up a notch. For the most part, that grooving riff persists throughout the majority of the track, never once growing stale or overdone. Vocally, it felt as though Nilsson had injected a little bit more ‘epic’ into his delivery in this one, as that part of the song reminded me a bit of Fer De Lance.

https://youtu.be/Bt_4iNbm_5c?si=OuVQaYL9OqOsHH8L

“The Spine of Night” opened with a sizzling 8-string bass intro that made me recall the Running Wild classic ‘Conquistadores’, before a brief spoken portion that was most likely a sample from a movie (but not one I immediately recognized) to add to the ambiance. All throughout this one the Mancaruso’s drums were crashing down with such fury that it’d shake the venue in a live setting, and that’s not even getting into the bass and the riffing. However, I will take a moment to applaud the incredible solo, and the riff that came after. Furthermore, this one was all-killer and no-filler from beginning to end.

“Writhe, Oh Wyrm” kicked off with a banger of a drumroll before flowing nicely into a sweet ‘Holy Diver’ esque riff. The delivery on the chorus had such venom and power behind it that you could really feel the hatred the narrator has for the titular wyrm. Nilsson gets a huge belter of a scream in there too, that felt perfectly pained and almost triumphant. This was incredible, I loved the repetition of the chorus throughout, like you really wanted the wyrm to be in serious pain. Good stuff, reminded me of old Conan stories.

“The Portal of Power” had a slower, and more acoustic, opening with some subdued guitar work and the occasional background vocalization. That was all quickly evaporated, or disintegrated, by the furious onslaught that came after. Everything was on full speed ahead from then on, my legs got tired just listening to the insane drumming from Mancaruso on display. Though I did seriously appreciate that Nilsson’s vocal never once lost their melodic qualities, even when he threw in the occasional scream or growl.

“Risen Above the Light” was the longest track on the album, at just over 7 minutes, and had a more epic doom opening à la Smoulder. This was one of those tracks where it’s hard for me to put it into words. It’s like an onion, or an ogre, it’s got so many layers. I do have to shoutout the gorgeous guitar solo a little before the 5 minute mark though, because my god was that special. The slower pace really does a lot for this one as well, making each chord strike just a bit harder and every lyric more poignant.

Conclusion

Mace ‘n’ Chain’s sophomore effort both improves and refines everything from their debut release, which was already incredibly strong (It was one of my favorites of 2023). While their first record may have had that sort of “death metal guy plays trad” sort of niche, and that was what it was going for, “Crowned in Grey Skies” feels a lot more like both a natural evolution of the style set-up on that debut, and more of what Nilsson envisioned from the onset. Mace ‘n’ Chain’s second album joins the ranks as another strong release in an already overflowing year.

TheNwothm Score: 9.5/10

Links

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

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

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

Label: https://www.noremorse.gr/

Read More Reviews

• Review: Mace ‘N’ Chain “Crowned In Grey Skies”

  06/21/2026

• Review: Iron Kobra “Eternal Dagger”

  06/12/2026

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  06/10/2026

• Review: Dead Kosmonaut- “Retrospectre”

  06/05/2026

Review: Iron Kobra “Eternal Dagger”

Release date: 19th June 2026

Label: Dying Victims Productions

Gage J. Tolin

DYING VICTIMS PRODUCTIONS is proud to present IRON KOBRA’s highly anticipated third album, Eternal Dagger, on CD, MC and vinyl LP formats. Additionally their two previous albums will be re-released at the same time.

Formed in 2008, Germany’s IRON KOBRA began with a noble mission: to bring heavy metal back to its unpolished, rough, and weird roots. Influenced by heroes of old like Iron Maiden, Cirith Ungol, Living Death, Manowar, and Tank with a sprinkle of punk, the band brewed up a venomous concoction of catchy-yet-speedy heavy metal with maximum potential for engagement – whether it was singing along to, banging your head, and / or raising your fist! Their first few years were busy, releasing the Cult of the Snake demo in 2009 and the Battlesword EP the year after.

After playing extensively all throughout Europe and earning a reputation for being a force to be reckoned with live, IRON KOBRA teamed up with DYING VICTIMS in 2012 for the release of their momentous debut album, Dungeon Masters, and three years later for their more refined second album, Might & Magic. The years after – especially those around the pandemic – brought the band’s external momentum to a crawl. But behind the scenes, they were still writing and playing select shows, even venturing as far as Japan.

Now, at very long last, IRON KOBRA return to stake their claim as kings of swords & sorcery metal with Eternal Dagger! Granted, the characteristically amazing cover artwork suggests a sci-fi bent, but the timeless HEAVY METAL the Germans unleash here is vintage IRON KOBRA: immediately recognizable as them, but still reflecting on (and refining) their past, incorporating influences from their favorite bands to result in something that will be YOUR favorite soon enough!

Aided by the gleaming & glorious production of Stefan Castevet (Vulture, Luzifer), Eternal Dagger explodes with excitement at every turn, its nine songs ranging speed metal tracks like “Trembling Dungeons” to NWOBHM-fueled rockers like “Shibuya Nights” and epics like “Mountains of Madness.” It goes without saying that IRON KOBRA’s arsenal here offers a wide variety of pure metal gold, evoking the likes of Exciter, Brocas Helm, Diamond Head, and early Running Wild but, of course, with their undeniable personality and panache.

So strap yourselves to your seats, maniacs: the Cult of the Snake is back, bringing you heavy hymns that will pierce your eardrums like a heavy metal drill

Line-up:
Matze – Bass
Björn- Drums
Ela – Guitars, Vocals
Steffen – Guitars

Review

“Trembling Dungeons” was balls to the wall speed metal goodness from the get-go, with a production that amplified every crash of the drums and the sizzling riffing at play. Thanks to the backing vocals for the chorus, this is the kind of song that is perfect for a crowd setting. A quick little thrasher that seems shorter than it actually is and definitely doesn’t overstay its welcome, it’s a recipe for a perfect album opener.

“Forbidden Fruits” had some killer drums to kick it off, and really all throughout the track. Less frenetic and more melodic than the opener, but no less speedy, this one was largely soldiered forward by the incredible drumming (and some really nice basslines beneath it all. I did find the vocal delivery a touch odd, but in ways I’m not quite sure how, but I know something was up with it. Still, this was a more than solid romp.

“Fliehen” had a very bass/drum forward approach to the production, with the vocals taking a slight bit of a backseat. I’m also going to assume that they’re in German, or a mixture of German and English, it’s hard to tell exactly due to how fast Ela is delivering. That said, this is incredibly hectic in all the best ways.

“Shibuya Nights” was much more subdued than the prior track, featuring a more mid-tempo and more melodic vocals. This one reminded me a bit of that brief era of “proto power metal” in the early 80s, talking pre-Walls of Jericho. With all that in mind, this one wasn’t quite connecting with me, despite the admittedly catchy chorus and the solid, if simple, riffing.

“Silver Strings and Iron Wings” opened with a pretty stellar riff, simple but effective. This was a more than solid track for the bulk of its runtime, but around 2/3 of the way through it is when things kicked it up a notch. A killer mosher of a riff, followed by a frankly stunning little solo, and the band eventually adding in some ‘oh-oh-ohs’ and some sizzling basslines for a little something extra.

https://www.youtube.com/watch?v=W-XtCXpEQk0&pp=ygUKSXJvbiBLb2JyYQ%3D%3D

“Eternal Dagger” opened with a riff that instantly took me to Kill em All-era Metallica, and that’s always a good thing. This one was chock full of some incredible riffing, really stellar, almost soulful drumming, and probably my best vocal performance on the entire album thus far. Seriously, there is a monstrously evil riff at around 1:45 that was near legendary.

“Unchained & Untamed” had some insane drumming to kick things off, Björn was all over his kit. This another on the more frenzied approach to speed metal, like some earlier Exciter and maybe Hellion too. A more contemporary act that this one reminded me was that of Stälker from New Zealand, albeit not quite as balls to the wall. Another great track.

Ooh “Treacherous Tyrant” had a disgusting intro, in a good way. Loved that bend to kick things off, always great stuff. The delivery of the chorus was some seriously tight stuff, with some great riffing to back it up. As is customary for speed metal, the drumming is simply insane and Björn’s calves must be huge. I really enjoyed this one, super catchy and addictive.

“Mountains of Madness” was the longest of the album, at just a shade over 5 minutes, and also opened with possibly the heaviest section of the entire album. Instant headbanging riff right from the get-go! The riffs simply did not stop coming in this one, it was banger after banger. Huge fan of Ela’s vocals on this one as well, and the little bridge section near the 2:30 mark. Great way to close out the record, what an epic closer.

Conclusion

Much has changed in the trad and speed metal scenes, and in the world, since Iron Kobra’s last full-length back in 2015 (I was in high school), but they have showed no signs of rust or weariness. In fact, in their time away from the studio, it seems that the band has only further ironed their brand of speed metal to new heights. While I’m not sure if Eternal Dagger is “better” than their earlier work, as it’s been some time since I revisited those releases, I can say with certainty that it is a damn good speed metal album, and one that is worthy of picking up. It’s also worthy of recognition in my CD archive, and I can’t wait to spin it again.

TheNwothm Score: 8.5/10

Links

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

Facebook: http://www.facebook.com/CultOfTheSnake

Label: Dying Victims Productions

https://www.youtube.com/watch?v=modFaAVuKiQ&pp=ygUKSXJvbiBLb2JyYQ%3D%3D

Read More Reviews

• Review: Iron Kobra “Eternal Dagger”

  06/12/2026

• Review: Elle Tea “Travelling”

  06/10/2026

• Review: Dead Kosmonaut- “Retrospectre”

  06/05/2026

• Review: Louder “Devil’s Night”

  06/01/2026

When Crystal Viper disbanded last August, the Polish power metallers left behind a consistent catalogue of (mostly) good-to-great albums. Shuttering the project left me with pangs of sorrow for what might have been and closed the chapter on a band I’ve followed since Queen of the Witches. In his review of that album, Grier loosed one of his most lucid and succinct observations to date: ‘Marta Gabriel kicks ass.’ That was true throughout Crystal Viper’s discography, and I’m happy to report it remains true on First Spell—Gabriel’s solo debut under the Leatherwitch banner. Yet it takes more than kicking ass to deliver great tunes. Shed of her former band, we must judge whether this Leatherwitch ensorcels with her First Spell, or if the incantation leaves us thinking, ‘Witch, please.’

Fans of Crystal Viper will find the transition to Leatherwitch as smooth as changing lanes on the open freeway, and just as inviting. First Spell boasts a slew of tracks that ache to be played at volumes unsafe for car stereos and eardrums, and that’s repeatedly how I engaged with it. Compared to Gabriel’s former band, Leatherwitch conjures a more stripped-down heavy metal mostly divested of power trappings. Just don’t mistake streamlined for simplistic—First Spell enchants with hook-studded earworms and invokes the likes of Running Wild, Iron Maiden and Warlock. In total, Leatherwitch’s debut punches with the force of a semi at cruising speed, and throughout First Spell Gabriel casts beguiling heavy metal moxie.

Crystal Viper ended on a tremendous burst of heavy power, and given how many responsibilities Marta Gabriel shouldered on their swan song,1 Leatherwitch feels like a natural progression. First and foremost, Gabriel is the consummate frontwoman, flaunting charismatic vocals that spellbind with might and conviction. Songs “Heroes and the Dice,” “Living in the Fast Lane,” and “The New Beginning” showcase her vocal range and grit, establishing her magnetic presence. Unsatisfied to limit her performance to vocals, Gabriel lays down memorable leads (“Living in the Fast Lane”), classic heavy metal riffcraft (“Two Tons of Steel”) and brawny low-end heft (“Silver Stallions,” where the bass tone immediately evokes Seventh Son) across First Spell’s runtime. The only aspect where Leatherwitch falls short is the drumming. It’s perfectly serviceable, but compared to other performances, the kit-work remains conspicuously tucked in the shadows.

Evaluated as a whole, Leatherwitch delivers a catchy album that never errs, yet takes few risks. The strengths of First Spell stem from Gabriel’s vocals and winsome songwriting, a consistent thread carried over from Crystal Viper. While I’m unsure why she made the decision to pursue a solo venture, Marta proves that she more than meets the challenge with Leatherwitch. Across forty-three minutes of unpretentious heavy metal, songs entice me to repeat them immediately (particularly “Heroes and the Dice” and “Living in the Fast Lane”), their melodies firmly lodged in my gray matter. The production aids Leatherwitch’s uncomplicated approach, granting plenty of room for the instrumentation and vocals to stake their claim in the mix without stepping on toes. The only interruption to First Spell’s summoning comes from “The New Beginning,” which offers a reprieve from the album’s otherwise aggressive pacing. While slower songs can mitigate otherwise homogenous tempos, just because a song is slow doesn’t mean it has to be long. At over seven-and-a-half minutes, “The New Beginning” could be trimmed and be more effective for it. Otherwise, Leatherwitch crafts chest-thumping, fist-pumping anthems for metalheads of any stripe.2

First Spell doesn’t change the course of metal, but with it Leatherwitch bestows a worthy entry into the annals of classic heavy metal thunder. First Spell supplies a welcome respite from life’s burdens—music you can get lost in, especially with the windows down and an open stretch of road ahead. Though I was initially disheartened by Crystal Viper’s demise, Leatherwitch renews my hope and convinces me that Gabriel’s vision hasn’t dulled for the change. Whatever hex comes next for Leatherwitch, I’ll be ready for Marta’s magic.

Rating: Very Good
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

It's a black flag waving amid sharp riffs and seas of steel, where every song smells of gunpowder, rum, and lawless freedom. 🤘🏽🤘🏽🤘🏽🏴‍☠️

Es una bandera negra ondeando entre riffs afilados y mares de acero, donde cada canción huele a pólvora, ron y libertad sin ley. 🏴‍☠️🤘🏽🤘🏽🤘🏽🏴‍☠️
#heavymetal #music #runningwild #metal #vinyl

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#BraveWords
RUNNING WILD – Pile Of Skulls To Be Reissued On Deluxe Picture-LP

https://bravewords.com/news/running-wild-pile-of-skulls-to-be-reissued-on-deluxe-picture-lp/

#RUNNINGWILD #LP #PileOfSkullsToBeReissuedOnDeluxePicture #album #reissue #BraveWords #metal #music

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The belle of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

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

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

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

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



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