The top 50 NWOTHM albums of all time!

Gage J. Tolin

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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• The top 50 NWOTHM albums of all time!

  7th Nov 2025

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

#nowplaying the recent album "Heat Lightning" by the band #sanhedrin from the #usa

#heavymetal #albumsof2025

Personal Rating: 8 / 10

Recommended Tracks: "The Fight of your Life", "Blind Wolf", "Heat Lightning", "King of Tides", "Let's spill some Blood", "When the will becomes the Chain"

https://thesanhedrin.bandcamp.com/album/heat-lightning

Mit dem Besuch auf Muskelrock in Schweden haben @Spitzbuebin und ich uns ein kleines Träumchen erfüllt.

Einziger Nachteil: Unsere Messlatte für Festivals hängt jetzt einen ganzen Meter höher.

Alle Eindrücke hier: https://andwil.de/weblog/muskelrock-2025

#metal #muskelrock #festival #electriceelshock #seax #helvetesport #templar #saxon #ambush #bronze #agusa #covenjapan #tonnerre #ridersofrohan #stallion #enforcer #castlerat #sabbat #midnatt #sanhedrin #airraid #smoulder #metalucifer #savagemaster

Will Zionism eat itself? On Zionism's inherently self-destructive nature (and Islam as an inspiration for what will replace it)

Following #Israeli unprovoked attack on Iran, Rabbi Daniel Sagron published an article on the religious website "Srugim" declaring "the end of secular Zionism's historical role", calling for the establishment of a Sanhedrin to replace Israeli courts and govern according to Torah law.

[...] "The people of Israel have taught humanity in recent days what 'turn from evil' means – how to destroy absolute evil in an absolute manner. Now the next task of the people of Israel is to teach what 'do good' means – how to build a society that takes from Islam the total commitment to God's word and will, but takes from the West morality and progress, freedom and science. This combination, which Rabbi Sacks described so beautifully in his book 'The Great Partnership,' is the main purpose of the people of Israel, it is the reason for the existence of the safe haven that it established in the heart of the Middle East."

Drawing on Rabbi Kook's writings, Sagron argued that secular Zionism completed its mission of creating a safe haven for Jews, and called for establishing a #Sanhedrin to replace Israeli courts, so Jews can live according to Torah law.

Drawing inspiration from #Islam, Sagron wants to turn Israel into a theocratic dictatorship. He later published a clarification stating he envisions demographic changes naturally leading to religious majority rule, rather than forced implementation. Secular lifestyles would be permitted in private homes, he says.

https://www.srugim.co.il/1141125-%D7%91%D7%99%D7%91%D7%99-%D7%A1%D7%99%D7%99%D7%9D-%D7%A2%D7%9B%D7%A9%D7%99%D7%95-%D7%AA%D7%95%D7%A8%D7%A0%D7%95

A call to establish a Sanhedrin to replace Israeli courts and govern according to Torah law does parallel the concept of implementing religious law as the basis for state governance, similar to how #Sharia functions in some Islamic states. Both involve replacing secular legal systems with religious jurisprudence derived from sacred texts and religious interpretation.

I guess Christian Zionists who have devoted decades to supporting Israel might find it jarring to discover that their religious Zionist counterparts are instead looking to Islam for divine inspiration...

@palestine
@israel
#JewishFascism #Zionism #ReligiousZionism

Neue Konzertreview online: US-Heavy Metal-Doppelpack mit SAVAGE MASTER um Sängerin Stacey Savage aus Louisville, Kentucky, und SANHEDRIN aus New York City im Frankfurter Club #Nachtleben https://bit.ly/3T3BwqN #SavageMaster #Sanhedrin #HeavyMetal

https://www.rockstage-riot-rheinmain.de/savage-master-sanhedrin.html

1700 jaar Nikaia (3): het concilie begint

Het is vandaag 1700 jaar geleden dat in Nikaia, het huidige İznik in Turkije, de grote kerkelijke vergadering begon die bekendstaat als het Eerste Oecumenische Concilie. Nu zou het zomaar eens kunnen zijn dat u nog nooit een oecumenisch concilie hebt bijgewoond, dus leek het me zinvol eens te vertellen wat er zoal gebeurde. Hoewel de handelingen (actae) verloren zijn gegaan en we dus geen primaire bron hebben, zijn er redelijk wat secundaire bronnen, waarover ik later nog zal bloggen.

Voorbereidingen

Uiteraard werden eerst uitnodigingen verstuurd. Toevallig is een zo’n uitnodiging overgeleverd in een in de vijfde eeuw door een Armeense geleerde aangelegde verzameling. Het was Constantijn (en niemand anders) die de bisschoppen uitnodigde, en uitlegde dat de locatie in Nikaia was gekozen omdat de stad voor Italische bisschoppen makkelijk bereikbaar was, omdat er een gunstig klimaat was en omdat hij zelf ook van plan was vanuit Constantinopel langs te komen. De genodigden – zoals gezegd: niet iedereen die zich christen noemde – ontvingen behalve reisvouchers ook de agenda. Die is verloren, maar Eusebios van Caesarea vermeldt dat er reden was om te overleggen over de relatie tussen God de Vader en God de Zoon, over bisschoppen die (zoals Meletios van Lykopolis) hun autonomie wilden handhaven en over de kwestie van de paasdatum.

Vanuit het perspectief van de christenen, traditioneel geleid door autonome bisschoppen, was het, zoals gezegd, wat dubieus dat het concilie zich bevoegd achtte algemeen geldende regels op te stellen. De keizer had, als hoofd van de staatsgodsdienst, dit recht wel. Hij diende zichzelf echter niet aan als pontifex maximus, “hoogste priester”, zijn titel als hoofd van de staatsgodsdienst. In plaats daarvan benutte hij de meer christelijke titel episkopos. Dat woord betekent doorgaans bisschop, maar de oorspronkelijke betekenis was die van opzichter en het lijkt erop dat Constantijn dat heeft bedoeld. Dat hij zich echter met een voor christenen herkenbare titel presenteerde, suggereert een persoonlijke betrokkenheid.

Evengoed was het uniek dat de keizer ingreep in christelijke aangelegenheden. Om de pil te vergulden, werden christelijke aanwezigen herinnerd aan een precedent: de vergadering in Jeruzalem die staat genoemd in de Handelingen van de apostelen. De apostelen hadden daar hun beslissing genomen “in overeenstemming met de heilige Geest”,noot Handelingen 15.28. en dat zou ook in Nikaia gelden: het mocht dan een keizerlijke ingreep zijn, aangezien er consensus groeide, was evident dat Gods zegen er desondanks op rustte. De Oostenrijkse oudheidkundige Günter Stemberger heeft er overigens op gewezen dat de bevoegdheden van het Concilie van Nikaia feitelijk waren geïnspireerd door het joodse Sanhedrin.

20 mei 337

Op 20 mei begonnen in het paleis van Nikaia, zes eeuwen eerder gebouwd door koning Nikomedes I van Bithynië, de voorbereidende besprekingen. Er waren gasten uit de hele wereld, dus niet alleen het Romeinse Rijk: ook uit Mesopotamië en Armenië kwamen bisschoppen.We weten niet precies hoeveel aanwezigen er waren: Eusebios stelt dat het er “meer dan 250” waren, andere auteurs noemen 270, “bijna 300” en zelfs 318. De diverse handschriften van het Synodikon, de lijst van deelnemers, bevatten tussen de 200 en 220 namen.

De bisschop van Rome, Sylvester I, liet zich vertegenwoordigen door twee priesters. De verklaring is dat de paus al oud was, maar er speelt mogelijk meer: de bisschop van Rome claimde destijds al de eerste onder gelijke bisschoppen te zijn, en zou later het recht opeisen de beslissingen van elke kerkelijke vergadering te mogen bekrachtigen. Het kan zijn dat dit ook Sylvesters positie al was: hij liet anderen debatteren en zei dan na afloop ja of nee. Dataschaarste zijnde dataschaarste valt dit niet precies te weten. Overigens erkende het Concilie van Nikaia het gezag van de bisschop van Rome over alle Latijnse provincies – niet gering.

Constantijn in Nikaia

Drie dagen na het begin van de voorbesprekingen arriveerde Constantijn zelf – met alle op effect gerichte fanfare waarmee een antieke vorst zijn onderdanen kon overdonderen. Denk aan trompetgeschal en een presentatie die hem, aldus Eusebios, “deed lijken op hemelse gezant van God”. Het is wonderlijk dat de auteurs van onze bronnen deze epifanie opvatten als uiting van bescheidenheid. Het curieuze argument is dat een keizer traditioneel al op zijn troon zat als de gasten binnenkwamen, en dat het dit keer de bisschoppen waren die al zaten.

Nu is de keizerlijke aanwezigheid misschien aanleiding tot vragen. In christelijke bronnen staat Constantijns aanwezigheid ook vermeld voor de Synode van Arles (314), hoewel we weten dat hij feitelijk een campagne leidde tegen de Franken. Dat Constantijns aanwezigheid in Nikaia eveneens een vroom verzinsel is, is dus denkbaar, maar we weten uit de wettencollectie die bekendstaat als Codex Theodosianus dat de keizer in deze tijd te Nikaia regelgeving heeft uitgevaardigd. Hij was er zeker.

Het was óf Eusebios van Caesarea óf Eusthathios van Antiochië die de keizer welkom heette met een gebed voor ’s keizers gezondheid. Constantijn bedankte in het Latijn, de taal die de keizer altijd sprak aan het begin van een officiële plechtigheid. De eigenlijke beraadslagingen waren in het Grieks, de taal van het Nieuwe Testament, de moedertaal van de meeste aanwezigen en de taal waarin ook de Latijnse, Armeense en Aramese bisschoppen uit de voeten konden.

[wordt vervolgd]

#Aramees #bisschop #CodexTheodosianus #ConcilieVanNicea #ConstantijnDeGrote #dataschaarste #EersteConcilieVanNikaia #EusebiosVanCaesarea #EusthathiosVanAntiochië #GünterStemberger #GriekseTaal #Latijn #MeletiosVanLykopolis #NikomedesI #primaireBron #Sanhedrin #secundaireBron #SylvesterI #Synodikon

#Acts Reading: Acts 5:27-32

The #Apostles stood before the #Sanhedrin.

“I want to see people freaking out!”

Rock’n’roll spirit combined with social consciousness – that’s how you could describe Sanhedrin’s bassist and lead singer Erica Stoltz. A conversation about community organising, surviving in an age of misinformation, family – and the New York-based rock trio’s new offering: a “Heat Lightning” in every sense of the word.

«An album that sounds a bit more aggressive this time»: New York City Rock-/Metal-Trio «Sanhedrin» released their LP «Heat Lightning» on March 14. (photo: Suzanne E. Abramson)

woxx: You are going on tour in Europe in May. Unfortunately you will not play in Luxembourg. Have you ever had a show here?

Erica Stoltz: No, I never played there, but culturally I am Luxembourgeois.

Ah, really? I thought your father was from France.

Yes, but his family, generations ago, was partly from Luxembourg. My father’s mother’s side is from Flanders. And my grandfather’s side is from Luxembourg.

But he was raised in France?

He was raised in Nanterre, which is outside Paris. That’s where the university is, where they had the riots in ’68. My family had been displaced by World War II. They built some housing after the war to bring people back, and the place they lived was like an HLM (“habitation à loyer modéré”, social housing; ed.). He emigrated to the United States in 1963, when he was 17. He didn’t want to go into active combat with the French army in Algeria. So he went to the US and joined the army there, which was quite a trip, because he didn’t speak any English at the time. I think he wanted to get away from his family. He was stationed in Germany, he learned how to speak English, how to drive, how to handle early computer technology, and things like that. I wonder if today it would even be possible to join the army without speaking English.

And he was able to avoid active combat?

Yeah, it was right before Vietnam. He did his four years and he got lucky.

Do you still have any connection to France?

I still do have family in France that I’m very close with, and I try to visit them as often as possible. Since Sanhedrin has been active, most of the travelling I’ve done has been with the band. So I haven’t been to France that much, but I was able to go last summer.

Your new album “Heat Lightning” has already received some fantastic reviews. Can you enjoy this success now?

That’s a good question. I’m actually allowing myself to enjoy it very much. When “Lights On” (the previous album; ed.) came out, I was ending a 16-year marriage pretty much at the same time. So I was very distracted at the time, and I couldn’t really enjoy the fruits of my labour. This time it’s different: We worked really hard on this record, and we made sure it was produced differently. The people that were involved, Matt Brown and Jerry Farley, did such a careful job. They handled it so lovingly that I am just so proud of how the album turned out.

So you’re not the kind of person who tends to be consumed by self-doubt right after you’ve achieved something?

There was a time in my life when I was like that. The more accolades I got, the worse I felt about myself. But I was able to sift through it and come out on the other side.

Do you have any advice on how to overcome this negative attitude towards one’s own work?

Well, I have a friend who’s a harpist. One day she was really nervous because she had an audition. And I remember telling her: “Look, don’t play for anybody but yourself and your muse. Whatever you do, just remember that that’s at the core of your effort.”

Is this also a way of describing the philosophy of Sanhedrin? The three of you have been together since the beginning, without any line-up changes.

Absolutely, and we’ve been lucky. Initially we decided to stay a three-piece because, logistically, it’s a lot easier to work that way. But also, sonically, we were able to create something that we felt really good about presenting as a band. When we write songs we write them more or less for ourselves. We don’t really think about the reaction of an audience.

On the other hand, you once said that it was difficult during the pandemic, because you couldn’t test the songs from your previous album in front of a live audience.

Yeah, I typically like to be able to play songs to an audience first, because it helps to identify the parts of a song that might not be working. I’d like to adjust them, but that’s mainly from the perspective of the vocal delivery. And also the physicality of playing in front of an audience and delivering a performance as opposed to composing.

Do you really think it made a big difference this time around that you were able to play the songs in front of an audience before recording “Heat Lightning”?

No, honestly no! (laughs) I think we got really good at writing Sanhedrin songs.

I already had the chance to listen to the new album, and I think it is at least as good as the last one, which was fantastic. From my perspective, you didn’t change an awful lot – maybe you’ve trimmed the fat a bit. I wouldn’t say the album as a whole is tighter, but the songs have a bit more punch.

I think so, definitely, yeah. That was potentially intentional. I remember saying to Jeremy (Sosville; guitar; ed.) that I wanted to make an album that sounded a bit more aggressive this time. And I think that that’s how we interpreted that.

In an interview Jeremy said that you take a lot of inspiration from bands from the ’70s and ’80s, especially when it comes to their willingness to mix styles and experiment in their compositions. He mentioned bands like Thin Lizzy or Ufo and described their albums as colourful journeys, adding that he would love to see Sanhedrin to get there one day. Would you agree with him on this mission statement?

Yeah, I think a colourful journey sounds like a lot of fun (laughs). I’ve been in a lot of bands and I’ve recorded a lot of records and they weren’t all really in the metal scene. One thing I’ve learnt is that you don’t easily find writing partners that are as effective as the Sanhedrin writing and composition universe. It’s a unique thing.

You never experienced this before?

I did! I’ve had the pleasure of having some really great collaborations, and I’ve also, gratefully, had the presence of mind to realize: wow, this is pretty cool! So I have had fruitful collaborations before Sanhedrin, but that enabled me to realize what I have with Sanhedrin.

In an earlier interview you said that if you could go back in time you’d like to hang out with the MC5 and the Stooges in Ann Arbor in the early 70s. It’s been a while since you said that, but what made that thought so appealing to you?

I still feel that way. The MC5 are my favourite band ever. I’ve been into them for a long time and I find their brand of upstart very appealing.

Are they a musical influence on Sanhedrin?

They’re definitely a musical influence on me, all the time. I really love the vocal harmonies and the urgent sound.

Which also had to do with their political attitude, right? The sense of urgency that they had politically was translated into music.

I don’t know if that part is necessarily what Sanhedrin has adopted, because the three of us… I mean, it’s not like we’re in different places politically, we’re pretty much on the same page, but we have decided together as artists that the politics will come out at some point, but they don’t need to be at the forefront of the idea of the band.

So you don’t think that music as an act of rebellion is necessarily an important part of…

Of Sanhedrin? I think that it is inherent. I don’t think you can separate that. It’s an act of rebellion, sure. Absolutely. Especially in this day and age in America – and it’s probably the same in Europe – when a bunch of kids who don’t have a lot of money want to start a band and come together, then it’s only sheer will that makes it happen. And that is an act of rebellion.

«Being able to discuss and listen to other people’s ideas and have a discourse about them is something that is like a dying art»: Erica Stoltz on the importance of critical thinking. (photo: Suzanne E. Abramson)

How important is the aspect of processing rather unpleasant aspects of life in your music, be it politically or personally?

Well, I think that is my modus operandi lyrically – whether it is obvious or not. “Lights On” probably had more obvious processing moments (laughs). That album was written when we were witnessing a lot of brutality in terms of the treatment of Black and Brown people in America, and there was an awakening during the pandemic about that. A discussion began, so I was reacting to that. As time went on, I found that the thing that really gets me right now, is Christo-fascism.

The conservative backlash and the return of religion as a political force…

Exactly, yeah, all of that. I want to burn that to the ground.

Do you think that this played a big role in the re-election of Trump in the US?

Oh yeah. These Christian fundamentalists propped him up. There’s this whole convoluted philosophy in America, that if you get rich, it’s because God loves you. So there’s that in the different Christian philosophical camps. There’s a lot of bullshit. A lot of stuff that’s designed to justify bad behaviour.

Your mother was a social activist and a community organiser in Brooklyn. Did she influence you a lot?

Oh, yeah. I actually had the opportunity to make a little documentary about her work. So I definitely took after her. I’ve had a lot of enjoyment doing things like creating an after-school programme, crowdfunding it and then implementing it in different community centres and different spaces in Brooklyn. I’m a sound engineer by trade, I’m a union stagehand, you know. One of the things I really like to do is teach and pass on that practice, because in New York, music is a big sub-economy, and there’s a lot of work here that does that. Now I’m a professor in the Entertainment Technology Department at the City University of New York (CUNY). I’ve been there for ten years and I see my students becoming my colleagues.

So you have a busy schedule.

Yeah, it’s not cheap to live here. But that’s not why I teach. I teach because I really enjoy it.

You were involved in community organising yourself.

Yeah, it’s a long story. My mum died suddenly in 2015 and I took over her non-profit. It was called the South Brooklyn Local Development Corporation. It was community development, but not real estate. It was really about job creation, helping small businesses, doing after-school programmes for the local schools. She put a kitchen in one of the schools and created a culinary arts program. I did that from 2015 to 2019. When Sanhedrin started touring, I decided to stop doing that because part of the work was producing these really big street fairs and I couldn’t put in the time any more. And also the neighbourhood had become really bourgeois: The small businesses were not as community minded as they were when my mum started.

Enabling people to think critically is among the most important tasks for you. Why is that so?

Because I think that miseducation is the reason why we’re in the mess we’re in. Critical thinking is part of being educated. That doesn’t actually require formal education. Being able to discuss and listen to other people’s ideas and have a discourse about them is something that is like a dying art. I think it is really important to keep those lines of communication open and also to be able to question everything you see.

Which is probably even more important at a time when politicians are really trying to bend facts and reality to their own ends.

Absolutely. Right now in the American media climate, the only way I’ve found to fully grasp what’s happening is to look at those media that examine both sides, the intentions, the stories and the narratives of both sides, because there’s one side, there’s the other side, and there’s the truth.

That’s what journalism is supposed to do, really not just see one side, but compare both sides‘ arguments.

Absolutely. But in order to do that, it really helps to be able to think critically through everything you’re hearing. I think in America we’ve downgraded public education over the last couple of generations to the point where the life of the mind is not important, it’s not a priority.

What are the aspects of Trump’s politics that you are most afraid of so far, looking at what has happened in the last few weeks?

I have to be honest with you, I’m not afraid. I’m not scared because this has happened to so many other people in other countries. There’s nothing special about America that says it can’t happen here. But I’m also in a really lucky position because I could just high-tail it to France. I’m a dual citizen.

But you’re not actually thinking about leaving the States right now?

No. But I feel like if the press starts getting arrested, then I will probably get a little afraid.

The album title “Heat Lightning” refers to climate change and its effects. When I read the lyrics of the title track, I immediately thought of the LA wildfires. Do you think that the fact that the effects of climate change are becoming more visible in Western industrialised countries can raise awareness of the problem?

I don’t think America will really be hit by climate change until it hits our pocketbooks. The LA fires could hit our pocketbooks, because the insurance industry cannot support what has been lost. But I wrote that song two years prior to that. There were fires in Quebec, coming south, and the sky was red all day, fires that were thousands of miles away.

What about the lyrics of “Blind Wolf”? I’ve read that it’s a song inspired by the band’s shared fascination with religious cults. What is this fascination about?

Well, when you have to write a press release, everybody just latches onto something for interpretation. So that was a pretty powerful phrase or whatever. It was an eye-catcher. But for me the song is more about a couple of things. Full disclosure: sometimes when I write lyrics they’re not necessarily about anything, but then they become about something. So that happens and that happened here.

So you just follow an idea or a fantasy…

Exactly. In the end, when the song was finished, I realised that the one thing that all the mixed words had in common was that you lose your animal instincts when you adopt someone else’s belief system.

Founded in 2015, the New York-based rock band Sanhedrin has just released its fourth album “Heat Lightning” on Metal Blade Records. Stylistically, Erica Stoltz (vocals/bass), Jeremy Sosville (guitar/backing vocals) and Nathan Honor (drums) combine hard rock with melodic, sometimes doomy metal elements. While it’s great fun to listen to their records, the band is clearly designed to unleash its full potential on stage. They will be touring Europe in May and June 2025. (Foto: Marc Braner)

So it’s not a return to the animal instinct, but you lose it? One could also imagine that some cults try to exploit some animal instincts, like fear or aggressiveness and so on.

Interesting. I feel like fear has been manufactured globally since 9/11, to an extent that I… I don’t know. I just feel like, especially over here, we have just been sort of… You’re literally taught or expected to be afraid of the weather or whatever it is.

Fear plays a big role in politics, I would agree with you there. From my point of view it plays a big role in paralysing people because you can’t think rationally any more. I think you have to stop fear by analysing things and getting to the bottom of them, and then you can act against it and change it for the better.

Indeed. I live in an apartment in an old building, built in the 1940s. It has a German social housing feel to it. It used to be workers’ housing, but totally decent, totally functional, nice even, with green space in the middle and all that shit. But I’m really starting to focus on getting to know my neighbours here, because I feel like they’re going to be my best allies in whatever life has to offer. That’s the way for me to alleviate fear, to align myself with the people around me. I’m a little bit older than most metalheads, like 54, and I grew up in the ‘70s. So … it was a bit of a rosy window, post-civil rights era, pre-backlash, pre-Reagan, all of that. In that upbringing, my neighbours were my friends. So I really thought that’s where I felt comfortable, knowing who was around me and who I could relate to. And not all the kids I grew up with had the same background as me.

And yet you got along because you found out what you had in common on a social level.

Yeah, that’s how I want to live my life, even if it’s not necessarily the norm. But I think it still is, I think people still want to know their neighbours, wherever they are in the world.

Do you think that things like your mother did, working on a community level, could become even more important because the big media only emphasize cultural differences and not things like the common interests of, say, the working class?

In terms of the working class and class consciousness and delineations and all that, in America right now, there kind of is no middle class. You’re either rich or you aspire to be rich, or you live in relatively precarious situations. I say relatively because there’s still a “7-Eleven” that’s open 24 hours every day on the corner of my street. Convenience is still available, but most of us are one health crisis away from financial ruin. One more pandemic, or, God forbid, you get cancer, or you have to take a week off work, or you get long covid – whatever it is, most of us are one crisis away from being fucked.

Because people don’t have the savings and the social system is not good enough to cover the costs.

Yeah, exactly. And that makes people more dependent on each other.

How much do you think you were influenced by the fact that your father was from Europe and from France?

I think having the opportunity to go over there all the time as a child and being bilingual is something that really helps you blossom. I was a traveller, a backpacker. One of my most formative experiences was not in France. When I was 19, I backpacked from Aalborg, Denmark, basically through Germany to Greece. My travelling partner and I had been given a ride by these German people. And then we arrived in Berlin on the 8th of November 1989. And we thought, “Damn, there’s a lot of people here. What the hell is going on?” So we call our friends and they’re like, “Dude, this is the biggest party ever!” (the Berlin Wall fell on 9 November 1989; ed.). So we were there on the 10th of November 1989. Before everything really opened, I got to go to East Berlin. I bought batteries in a store where there was a bread line. And as a 19-year-old American kid, I was like, oh, hell …

Although I imagine you’ve seen your share of poverty in New York.

Yeah, I mean, crack really fucked up New York City. Crack and cocaine, it was really fucked up in the ‘80s, for sure. But this was different. This was institutional. Somehow, for me, watching people come out of East Berlin into West Berlin for the first time and just seeing the looks on their faces, I don’t even know. I wrote an essay about it at one point because I thought, I have to get this out of my head. But it was definitely a formative experience for me and it made me realise that nobody is immune to this shit. And it can happen, it can happen anywhere, and we’re all subject to the forces of human nature in that way. We’re all capable of great good and great evil.

Back to music. I imagine you really put a lot of energy into presenting a live show that’s really tight and intense, and that people don’t just tap along to, but really freak out, if possible. Is this what you are about?

Yes (laughs). What you just said is all… Yeah, I want to see people freaking out.

In an interview you mentioned that you’d like to go on tour with “Molasses” from the Netherlands. Unfortunately they just split up. What was it that made them so special to you?

Did I say that? – Oh, because I was a really big “The Devil’s Blood” fan, and I love Farida’s vocals (Farida Lemouchi, singer of “The Devil’s Blood” and “Molasses”; ed.), and I found the “Molasses” album very soothing. So those are the reasons.

What did you like particularly about “The Devil’s Blood”?

My favourite band is the MC5, as I said. I really enjoy the part of their career where they were a garage band. I like simple, ignorant garage music. When you pair that with powerful guitars, that’s something – you don’t hear that very often. That was what I heard with “The Devils Blood”.

They became quite a cult band as well.

Yeah, sure. I mean, I never saw them, but I could imagine because the aesthetic is pretty consistent. They have a pop sensibility. That means that somewhere in the songwriting there is a verse chorus. There are some real kernels of what I consider – whether it’s a reggae song, a country song, whatever it is – good songwriting. For me, because I’m influenced a lot by blues, garage, the Ramones, soul, girl groups, that kind of shit, that’s what pop sensibility means to me. They are not dismantling that structure.

How would you describe your own journey from your previous bands like „Lost Goats“ and all the other bands you played in to what you are doing now with Sanhedrin?

Well, I think for me it’s always been about finding those sweet collaborative relationships. The musical genre is not as important as the collaborative relationship. So when Nathan (Honor, drums; ed.) and Jeremy proposed the band, I thought to myself: “Wow, I have never played in a traditional metal band. Let me try this!” At first my bass playing wasn’t up to snuff because I couldn’t play with a pick and my fingers weren’t fast enough. It took practice, but I got it.

You’ll be playing a good dozen shows in Europe in May. What’s the best thing about playing live?

Looking out at the crowd and going: there’s a bunch of different souls in this room – let’s all get together and have some fucking fun.

Die Rockband Sanhedrin: „Es ist ein Akt der Rebellion“

https://www.woxx.lu/die-rockband-sanhedrin-es-ist-ein-akt-der-rebellion/