Truth be told, I’m always on the lookout for more talented, up-and-coming metal bands that check all the right boxes. Madrid’s Rave In Fire certainly get the job done (despite the fairly cheesy cover of their second full-length effort here), delivering solid tracks often in the same vein as Dio, Scorpions, or early Iron Maiden.
The instrumental “Prologue of a Delirium” sets things up nicely before “Dark Poison” and “Crown of Stars” each take respective command of their listeners. Other highlights such as “Untiring Eagles” and “Knightwalker” set a perfect tone in their own right as well.
In a genre with such a vast, already-established history such as heavy metals,’ it’s not always easy to stick out from the rest of the crowd. But when you’re authentic and paying tribute to what’s come before without completely ripping it off or becoming just another cliche/parody (plus when each of your two female members have the ability to turn a head or two – sorry, but ultimately I’m still just a guy!), it’s hard not to take some notice. Looking forward to seeing what else is in store in the near future for this act indeed.
To be perfectly honest, several recent personal factors have made the writing process just a tad on the difficult side for me as of late, to say the least (call it what the old-timers used to if you like – writer’s block). But I had hoped that a showing of the limited-release film Megadeth: Behind The Mask, in which the band’s history is chronicled in full and their seventeenth and final studio album, simply titled Megadeth, is revealed, would be enough to snap me out of it, if only for a short time. Thankfully I was right.
I had been following the singles leading up to the release of their historic last magnus opus as best as I could. “Tipping Point” and “Let There Be Shred” were likable enough, while “I Don’t Care” felt a little too juvenile and forced (though the video is on the fun side).
But once you dive in, there’s way more to discover and like, albeit still the occasional filler track or two. Highlights include “Obey The Call,” the extremely relatable “Another Bad Day,”and possibly my favorite of the bunch, “I Am War,” which reaches anthem-like epic proportions. “The Last Note” makes for a fitting grand finale, while a bonus track cover of Metallica’s “Ride The Lightning” is frontman Dave Mustaine’s ode to his own past.
I could feel a wave of sadness coming over me as I knew the end was approaching though; not only at the thought of saying goodbye to a band that has been there throughout so many fond memories during my lifetime, but at the thought of an old friend and fellow fan of mine, whose recent passing not even two weeks ago hit me like a ton of bricks (remember those “personal factors” I had alluded to earlier?) Still, I’ll forever be grateful for the time I’ve had with both. Thanks for everything Dave, and see you on the other side, Daniel.
With Christmas just days away, it felt like as good of a time as ever to finally sit down and give the all-new Stryper album dedicated to the season, which came out roughly one month ago now, a fair try.
The Greatest Gift of All gives longtime fans of The Yellow and Black Attack what they’ve always wanted; a full album of traditional and original Christmas numbers with a rocking edge at a time when the world can surely use them.
While I’ve never been too big of a “Little Drummer Boy” fan, tracks like “Go Tell It On The Mountain” and “Joy to the World” still hold up well, and the likes of “Still The Light” and “On This Holy Night” are hard not to like here.
Admittedly I may not be the prime example of a practicing Christian by any means, but I’m trying to do better in my older years now. And with all the evil lurking out there in the world these days, it’s not such a bad thing to get a little holy now and then.
I didn’t expect a new Testament album on my list for “Best of 2025,” but Para Bellum – the band’s first release with new drummer Chris Dovas – is easily within the top five.
From start to finish, Para Bellum is a relentless assault on the senses that never lets up. “For the Love of Pain” introduces the world to the band’s said latest member appropriately, while “Infanticide A.I.,” “Shadow People,” and “Witch Hunt” all keep the momentum going.
But there’s a couple stand outs here that need to be mentioned; “Havana Syndrome” is pure metal greatness, while “Meant to Be” is epic in all of its seven-plus minute glory. Metal fans rejoice, Testament are keeping the flames lit here indeed.
After years of touring and gaining popularity through word of mouth, British indie rock band The Last Dinner Party made an indelible impact on the scene.
Their 2024 debut album, Prelude to Ecstasy, proved to be an art rock triumph, further solidifying their status as one of the most original and innovative bands of the post-COVID era. Almost two years later, their second album, From the Pyre, sporadically delivers on the full potential of a band at the height of its powers.
How does one follow such a strong debut? Rock bands like The Strokes, The Killers, and Pearl Jam (to name a few) all had to prove their first success was no fluke, while constantly living in the shadow of their debut.
I offered much praise to Prelude to Ecstasy, considering it a nearly perfect album of unique and powerful songs. It embodied everything I enjoy about modern British rock (e.g., complex, multilayered arrangements, musical depth, grand production, etc.) So, how does the latest album measure up?
I tried my best to temper expectations and listen with an open mind. Hearing a new album for the first time is always a special experience, regardless. Sometimes the music just clicks, other times it doesn’t. From the Pyre didn’t initially resonate, but like many similar works of quality, it took some time to grow on me. It is not a redux of the first album nor a completely different direction. It’s a continuation of their musical journey.
The band described the album as “character-driven,” and its multiple themes weave an existential tapestry under the banner of earthy warriors. The album cover features a collage of band members posing with various set pieces artfully arranged up a grassy hill.
A top the hill, the band ceremonially dances around a pyre near a red neon sign flashing the album’s title. It’s a cover replete with historical references, random iconography, pagan and Christian allegory, vintage fashion, and the baroque style the band is known for.
It also effectively represents the overall tone of bleakness, hope, sacrifice, and survival delivered throughout the album’s forty-two minutes. Totaling ten songs, not a single track wears out its welcome; however, it’s far from perfect.
The music, at best, is fresh, riveting, and cathartic. At worst, it’s meandering, scattered, and even bland in some areas. They also experiment with a range of harmonies (not always to great effect).
The Last Dinner Party is comprised of lead vocalist Abigal Morris, lead guitarist Emily Roberts, rhythm guitarist Lizzie Mayland, bassist Georgia Davis, and keyboardist Aurora Nishevci. Despite dominant percussion throughout most songs, the band has no permanent drummer.
As talented musicians, each band member brings a unique edge to their instrument. They also uniformly provide backing vocals, often culminating in a harmony reminiscent of Texas indie-rock band Eisley.
The album initially delivers a solid four-song lineup that includes “Agnus Dei,”“Count the Ways,” “Second Best,” and “This is the Killer Speaking.” The songs are memorable, catchy, oddly uplifting, and more impactful with each listen. “Second Best” is a dynamic rock number that exemplifies the band’s best qualities. “This is the Killer Speaking” is another standout, representing subtle darkness amidst an upbeat backdrop.
The next song, “Rifle,” has moments of greatness amidst an operatic chorus of dread. The album then slows down with three vocally driven songs with minor percussion and quiet piano. My attention waned during “Woman is a Tree,” “I Hold Your Anger,” and “Sail Away,” but there is undeniably something to be found in each track.
The momentum returns with the standout rock ballad “The Scythe,” before closing on a confident note with “Inferno.” Equally ambitious as their debut, From the Pyre has a lot to unfold amidst references to Joan of Arc, the Middle Ages, love, death, war, and the apocalypse, among other themes.
While it doesn’t carry the same weight as their first album, the band should be commended for their willingness to explore new directions. Bands like The Last Dinner Party remind us that both culture and art are very much alive and well, despite evidence to the contrary.
It’s kind of ironic that Mike Tramp, the iconic voice behind ’80s hard rockers White Lion, would release his latest album of the band’s material re-recorded at a time when I’ve been on a personal kick of sorts of their earlier catalog (specifically the band’s 1985 debut effort, Fight to Survive).
So I was more than stoked when the recent zombie-inspired video for the title track to said first album, “Fight to Survive,” dropped (complete with an appearance from legendary metal DJ Eddie Trunk himself), which is just as fun as it is chessy.
More tracks like “She’s Got Everything,” “In The City,” “If My Mind is Evil,” and “All Burn in Hell” (still one of my personal favorites, both then and now) are all strong numbers. But surprisingly, some of the updated versions found here (such as “Cherokee”) lose a bit of their edge this time around.
White Lion is without a doubt one of the most underrated acts of their era, and the fact that Tramp is still keeping the music alive is a testament to his tenacity; give this one a spin with an open mind and you might just discover something you never knew you loved.
2025 has been somewhat of an odd year so far for underground music, especially in the world of metal sub-genres, where bands such as 2000’s metalcore act Blessthefall are now making new music once again after an over five year recording absence.
As soon as I heard (and saw the tongue-in-cheek video for) album opener “mallxcore,” I was instantly brought back to the band’s earlier days. Tracks like “Wake the Dead,” “Drag Me Under,” and the title number are all equally-filled with brutal energy. Conversely the likes of “Somebody Else” and “Fell So Hard, Felt So Right” all show the band’s lighter side.
Earlier this year I was able to catch the band live for the first time in fifteen years at the annual Welcome to Rockville festival in Daytona, which no doubt helped sparked excitement for the band’s “comeback.” All in all, Gallows is filled with ten (mostly) intense tracks that should pacify just about any fan of the band.
I can’t say I had “Listening to the new Thor album” on my agenda for 2025, but a recent revisit of the 1986 Police Academy-inspired Recruits, which features frontman Jon Mikl Thor himself in one of his first acting roles, caused me to revisit some of the band’s earlier material, as well as research what they’ve been up to these days.
The results of course are now known to be a covers album by the name of Rock the Universe, a somewhat uneven, albeit like-able enough affair.
The Sweet track “Action” kicks off the proceedings with some mild urgency, while covers of “Love Me Two Times” by The Doors and “Back in the USSR” by The Beatles are the strongest outputs that stand out here.
More obscure choices like “Mama Let Him Play” by late Canadian musician Jerry Doucette and “Sky Pilot” by The Animals might not hold much interest for the casual listener, but I’m sure there’s likely good reason behind each selection here. Definitely not for everyone, but a decent effort nonetheless.
My introduction to the latest from Billy Idol (his ninth full-length studio album overall) was via the video for rowdy first single “Still Dancing.” I was alone in a hospital bed at the time, recovering from a recent surgery and unable to sleep in middle of the night. Yet somehow, seeing Idol still doing his thing at age 69, gave me a certain level of hope that I needed.
One of the things on my agenda once free again was to check out the rest of Dream Into It. And it didn’t take long to realize after fully digging into things that it was worth the decade-plus wait (not including a handful of recent EP’s).
The title track sets up the record on a sleek path, while other numbers like “People I Love,” “I’m Your Hero,” and “Too Much Fun” are, well…pretty fun. There’s also some interesting guest spots from the likes of Avril Lavigne on “77,” Joan Jett on “Wildside,” and Alison Mosshart on “John Wayne” (surprisingly one of the strongest tracks here).
While it might not be perfect, it’s great seeing Idol and long time guitarist/collaborator Steve Stevens back together again and doing what they do best. I genuinely hope there’s more of this left in them for years to come.
I can remember it vividly; my hip, older cousin and her girlfriend coming up to me shortly after we both watched Ministry play at the House of Blues in Orlando circa 2008 (on their “C-U-Lay Tour”) and proclaiming, “I hardly even knew any of those songs!” While I may have been privy to a few more tracks than my innocent cos may have been that night, I too was fairly lost via the angry, anti-Bush set list at the time, and longing for the more carefree, agenda-less days of the band.
Thankfully after all these years, Al Jourgensen has finally realized there is still an audience – and a usefulness – for the music he created early on in his career, and has re-recorded many of those early ’80s songs of his (albeit with a heavier/more modern sound) here with The Squirrely YearsRevisited.
I knew as soon as I heard fan favorite “Everyday is Halloween” I could finally get into Ministry again. So many brilliant songs are finally unearthed and shown the light of day here once again. Tracks like “All Day,” “Same Old Madness,” and one of my personal favorites, “Revenge,” are all suddenly worthwhile again.
I honestly have not been able to listen to much of the near-communist rhetoric that passes for new music from the band these days, and I don’t foresee having much interest in a so-called “final” upcoming studio album from them, either. You can keep that version of the band for yourself, while I keep mine (to each their own I suppose).
