This week’s Heavy Music HQ reviews include releases from A-Z, Agabas, Buckcherry, Byzantine, Dolven, Fairyland, Fallujah, Goya, Hexvessel, Leafblower, Malvada, Returning, Sigh and Signeri.
The ratings are on a 5-star scale.
A-Z – A2Z² (Metal Blade)
A2Z², as you can probably deduce from the title, is the second album from A-Z, whose lineup includes vocalist Ray Alder (Fates Warning, Redemption), guitarist Nick Van Dyk (Redemption) and drummer Mark Zonder (Fates Warning). As on their debut, the songs on A2Z² blend the accessibility of hard rock with the complexity of prog.
Alder sounds great, adding an edge to some of the tracks and using a smoother style elsewhere, with his lyrics inspired by the Lovecraft short story The Outsider. The ten tracks hit the sweet spot of having memorable hooks and choruses augmented by interesting instrumental parts. There’s not a weak song in the bunch, but some that rise to the top include “Running In Place,” the groovy “Reaching Out” and the bombastic “I Am Numb.” A2Z² builds on A-Z’s debut, ascending to even greater heights.
Rating: 3.5
(Chad Bowar)
Agabas – Hard Anger (Self)
Hard Anger, the third album from the Norwegian band Agabas features a good amount of groove. It is a fairly mainstream record and this will appeal to a wide variety of people. The band does make use of other elements like horns and screaming and this makes for a varied sound. There’s a guest appearance by Shining on “Jaevla menneske.”
This is still straightforward stuff that anyone should be able to appreciate. It does not have quite the innovative element to win you over completely. In terms of musicianship, the music is pretty simple and not really poignant. It is quite straightforward in terms of the drumming as well. The singing is ordinary and underwhelming. The album is good, but nothing special.
Rating: 3
(Adam McAuley)
Buckcherry – Roar Like Thunder (Round Hill)
Buckcherry’s unapologetically sleazy fare is in many ways a welcome antithesis to plenty of today’s overly slick breed of hard rock acts. They’re hardly “cool” nowadays, and a quarter of a century on from their debut, trends have come and gone, as have a series of members. However, their modus operandi remains the same on album number eleven, Roar Like Thunder. The end result is ten tracks and little more than half an hour of blues-infused, riff-heavy output, with minimal balladry and no surprises. There’s nothing wrong with the latter prospect, really – there are far worse ideals than giving your audience exactly what they want.
Besides, how many modern outfits could get away with such a big, dumb, groovy rock song like “Talking Bout Sex” anyway? The album is bookended by the title track and “Let It Burn,” two raucous efforts with plenty of trademark swagger to compensate for the overt sense of familiarity. Elsewhere, there are some interchangeable songs and riffs throughout the LP, and “Come On” borrows a little too liberally from the AC/DC playbook. Overall, the group has released stronger records in recent years. However, the best cuts here will feature on the tour supporting this album, which is the ideal environment to enjoy Buckcherry’s music anyway.
Rating: 3
(Brendan Crabb)
Byzantine – Harbingers (Metal Blade)
It has been more than eight years since Byzantine‘s last full-length, The Cicada Tree. The West Virginia groovers have issued a live release and EP since then, paving the way for their seventh proper album Harbingers.
Byzantine write songs that are progressive yet groovy, with hooks and catchy choruses flowing into dynamic and proggy sections. “The Clockmaker’s Intention” is a highlight, shifting from mellow to heavy with memorable riffs and extended instrumental sections showcasing their musicianship. They bring the thrash on “Riddance,” while the title track features a solo from co-founding member Tony Rohrbough, who rejoined the band after the album was completed, expanding them to a quintet. Even after a quarter-century, Byzantine remain underrated, but the quality of Harbingers should help draw deserved attention to their long history of excellent releases.
Rating: 4
(Chad Bowar)
Dolven – In My Grave…Silence (Fiadh)
Acoustic instrumentation has been used in doom metal before, but there haven’t been many bands who use them exclusively as Dolven does. This isn’t a new thing for them, as In My Grave…Silence is their third studio album to fully invest in their brand of acoustic doom. There’s a medieval/folk slant to their melodies; however, they are stifled from turning into something joyful by the despondent lyrics.
New vocalist Jori Apedaile sells lines like “You can suffer in silence/You will die alone and you’ll wonder why” as if all aspirations have been dashed. Then there are the three instrumentals, any of which could be at the top of someone’s “sad vibes” playlist. The trick to In My Grave…Silence is how Dolven are able to use acoustics without sacrificing the album’s prevalent starkness.
Rating: 4
(Dan Marsicano)
Fairyland – The Story Remains (Frontiers)
French symphonic metallers Fairyland have been through a lot in their 27 year history. A split up of the original lineup in 2006 and the passing of original frontman Philippe Giordana in 2022 have made it difficult to release their fifth studio album The Story Remains. But in the end they were able to deliver this new masterpiece.
Much like their earlier albums, The Story Remains feels like a storybook, with narration even being used to bookend the album making it feel like a cohesive narrative. “Samasara” and “Karma” are just examples of how this album has all the fillings that would make any symphonic metal fan happy from heavy synth use to the grandiose scale these tracks have. Despite all the hurdles the band faced releasing this album, it’s awesome to see that they have not lost their touch and were able to release The Story Remains.
Rating: 4
(Dalton Husher)
Fallujah – Xenotaph (Nuclear Blast)
Xenotaph finds Fallujah continuing their rebound after the misstep of Undying Light, channeling the ambition of The Flesh Prevails while incorporating surprisingly effective clean vocals. The album balances brutal, dense instrumentation with dreamy textures, achieving a colorful chaos that’s both punishing and beautiful. It’s like getting jumped in a snow globe.
The first half is phenomenal, with tracks like “Kaleidoscopic Waves” and “The Crystalline Veil” standing out. The momentum changes in the second half, but it’s still enjoyable. The production remains loud and mechanical, a signature at this point, and the lack of a killer closer stings. Still, Xenotaph is a worthy chapter in Fallujah’s unpredictable journey — flawed, bold, and deeply atmospheric
Rating: 3.5
(Carlos Tirado)
Goya – In The Dawn Of November (Blues Funeral)
It took Arizona stoner doomsters Goya a while to write their fourth album, the follow-up to 2017’s Harvester Of Bongloads. They worked with legendary producer Jack Endino (Nirvana, High On Fire, Soundgarden, Bruce Dickinson) on In The Dawn Of November.
The opening title track is an 8-plus minute opus, showing the band’s songwriting versatility with the thick riffs you’d expect along with shifts in tempo and texture. “I Wanna Be Dead” is another epic, the 12-minute track unfolding slowly in both pace and complexity before really hitting its stride. Goya are equally skilled in writing more focused songs, like the uptempo “Depressive Episode.” In The Dawn Of November is a wide-ranging musical journey that should satisfy stoner/doom aficionados.
Rating: 3.5
(Chad Bowar)
Hexvessel – Nocturne (Prophecy)
Hexvessel have always thrived on transformation — shifting from psychedelic rock to neofolk, from occult atmospheres to blackened doom. That genre-defying approach has shaped their sound over the past sixteen years, guiding them deeper into the ritualistic and philosophical realms of musical darkness. Nocturne, a natural continuation of 2023’s Polar Veil, dives further into this territory; the rituals of invoking darkness and surrendering to the shadows of philosophy.
As the album unfolds, its impact deepens. Doom metal laced with black metal elements evolves into a post-black expression touched by the ecstatic ache of neofolk while still bearing the hallucinatory echoes of psychedelic rock. The result is a theatrical, narrative-driven soundscape that’s immersive, haunting, and richly textured. Though Nocturne may feel like the middle act of a trilogy, Hexvessel remain unpredictable, always capable of shifting direction. Nocturne enthralls completely, delivering a dark parade that mesmerizes for a full, electrifying hour.
Rating: 4
(Arash Khosronejad)
Leafblower – Burn Cruise (Max Trax)
Out of the eight songs available on Leafblower’s debut album Burn Cruise, half of them are instrumentals. That seems like a high percentage until the realization of how engaging they are. From the driving rush of “Night Sweat” to the backyard jamboree with banjo, piano and theremin on “Stoopin’,” they aren’t just unfinished jams meant to pad out the running time. They each offer a new angle to the band’s sound.
The songs that utilize vocals stumble due to the vocals themselves, which sound like a few bong hits too many were done before recording them. Their 2017 demo had the same issues, though this release at least brings psychedelic charm into their sludgy hardcore. Burn Cruise is on point when Leafblower are riffing off each other without the vocals.
Rating: 3
(Dan Marsicano)
Malvada – Malvada (Frontiers)
The Brazilian hard rock quartet Malvada formed at the beginning of the pandemic, and the debut album from the all-female band paved the way for numerous live shows and festivals. Now signed with Frontiers Music, they worked with Brazilian Grammy-winning producer Giu Daga on this self-titled album.
Indira Castillo’s vocals are varied, both in style and language. She is able to croon melodically and belt it out with a bluesier style in both English and Portuguese. The album has some memorable tracks, like the catchy opener “Down The Walls” and the cinematic “Fear.” A couple filler tracks dilute the overall impact a bit, but Malvada has a lot to like as the band tries to conquer the global market.
Rating: 3
(Chad Bowar)
Returning – Numinous (Bindrune)
The Olympia, Washington atmospheric black metal duo Returning emerged in 2023 with an independently released album. Severance drew the attention of Bindrune Recordings, which signed them for their sophomore effort Numinous.
There are just three tracks on the album, but this is not an EP, as it clocks in at around 45 minutes. Opener “Sacred Decay” gets off to a somber and sparse start before the intensity kicks in, followed by ebbs and flows. “Shadow Portal/Endless Dance” stays mellow throughout, with a lengthy acoustic guitar section. Closer “Offerings To The Great Circle” brings back the contrast between extremity and accessibility, with both harsh and melodic vocals. For those who appreciate good Cascadian black metal, Numinous will hit the spot nicely.
Rating: 3.5
(Chad Bowar)
Sigh – I Saw The World’s End (Hangman’s Hymn MMXXV) (Peaceville)
I Saw The World’s End is a complete re-recording of 2007’s Hangman’s Hymn to fix what Sigh main man Mirai Kawashima says were sloppy guitars, monotonous drumming plus a desire to do this with “better musicians.” The original album marked a heavier representation of classic thrash metal among some of the typical Sigh idiosyncrasies, those more in line with the classic oddity that was Imaginary Sonicscape. “Inked In Blood” has some phenomenal guitar lines that sound much better than the original recording of the album, allowing for the musicianship to come across as more fully realized.
“Me-Devil” is another classic track of the band’s that has infinite replayability for pulling double duty for being both a Sigh track and being accessible, not usually something said within the same breath. Since Sigh transitioned from their Scorn Defeat days and moved into more avant garde direction, this album has stood out as one of the band’s heaviest records. I Saw The World’s End is the proper version of Hangman’s Hymn that fans deserve and it sounds as fresh as ever.
Rating: 4
(Tom Campagna)
Signeri – Signeri (ViciSolum)
Signeri are in a “dark metal” mode on their self-titled debut, which translates to a melodic form of death/black metal. This isn’t a rip-roaring sort of album, as the band keeps a crunch to their tempos. Just because they don’t go fast doesn’t mean they skimp on the creepiness with their passion for the occult, which is ever-present even with some appealing choruses.
The brass instruments on “Häxa,” the keyboards on “Setting Fire To Worthless” and clearly sung vocals on a couple tracks provide ingenuity and gravitas to the album. Signeri are purveyors of the dark arts, conducted in a way that isn’t closed off or stifled by overwrought performances.
Rating: 3.5
(Dan Marsicano)
