This week’s Heavy Music HQ reviews include releases from Aeons, Bloodbound, Calcraft, Cassidy Paris, Danko Jones, Def Leppard, El Muerto, Karu, Midnite City, Morbikon, Sainted Sinners, Slaughterday and Stryper.
The ratings are on a 5-star scale.
Aeons – 6EQUJ5 (Layered Reality)
Aeons, who hail from the Isle Of Man, follow up last year’s The Ghosts Of What We Knew with the 23 minute long single song EP 6EQUJ5. It has a somewhat subdued feeling to it similar to Pink Floyd. It also has the vibe of floaty progressive metal like Haken and other such bands. There is a dynamic sound with vocals from Skippy Hilton that recall some grunge and alternative metal, making for a diverse listen.
The musicianship on 6EQUJ5 is solid with crunchy guitars that float between progressive and alternative stylings. Hilton is able to alternate between styles in a heartbeat and really adds color to the EP. It is not as flashy as some progressive metal. It is pretty solid and endearing though not quite as outstanding as their previous release.
Rating: 3.5
(Adam McAuley)
Bloodbound – Field Of Swords (Napalm)
Field Of Swords is the latest studio album from the Swedish power metal band Bloodbound, following up last year’s live album The Tales Of Nosferatu: Two Decades Of Blood (2004-2024). They have been very consistent in output, generally releasing a new album every two years or so since their inception 20 years ago.
The lyrical concept is set in the Middle Ages, on topics such as the crusades. Musically, Bloodbound deliver the expected epic, soaring, melodic songs with plenty of guitar solos. They amp up the tempos, especially on songs like the opening title track and “Land Of The Brave.” The album closes with the dramatic “The Nine Crusades,” featuring Unleash The Archers’ Brittney Slayes. Field Of Swords doesn’t break much new ground, but Bloodbound’s musicianship and songwriting is on point.
Rating: 3
(Chad Bowar)
Calcraft – Reborn Through Torture (Lifeforce)
Calcraft want a thematic death metal experience with their debut album, Reborn Through Torture. There’s an interlude and outro track to set the ominous tone they want, and most of the songs have a sample of some kind to heighten their murderous traits. And the band loves their samples, whether they fit into a particular song’s theme or not.
The samples are overused, some of them taking upwards of a minute, and almost always at the end, too. They leave more of an impression though than the efficient death metal riffs, taking cues from genre giants like Immolation and Suffocation. Reborn Through Torture tries its best to be the playlist for a serial killer’s workout routine.
Rating: 3
(Dan Marsicano)
Cassidy Paris – Bittersweet (Frontiers)
Australian singer Cassidy Paris emerged in 2023 with New Sensation, influenced by classic ’80s singers but also injecting a modern vibe. That template is followed on her sophomore effort Bittersweet.
Tracks like “Nothing Left To Lose” lean towards hard rock, while songs such as “Getting Better” are more in the mainstream rock vein. They are radio friendly, with plenty of hooks and singalong choruses. Paris’ vocal style is engaging, with a lot of color and expression, especially on ballads like “Can’t Let Go.” There are several memorable songs on Bittersweet, but a few filler tracks dilute the overall impact of the album.
Rating: 3
(Chad Bowar)
Danko Jones – Leo Rising (Perception)
“Deep and meaningful” has never been high on Danko Jones’s agenda. Sure, there’s value in such ideals; the Canadian power trio just realized long ago it isn’t their primary function. Being prolific and bursting at the seams with conviction is, though, and Leo Rising is their twelfth studio record of hook-laden hard rock. It’s straight-up, meat and potatoes fare, bustling with AC/DC-channeling riffs, punk energy and the infectious power-pop of “Every Day Is Saturday Night.”
None of these tracks reach the four-minute mark, and the taut, economic execution works as several cuts are instantly likeable. Guitar hero Marty Friedman (ex-Megadeth) makes a rollicking guest appearance on KISS-inspired “Diamond in The Rough.” Meanwhile, “Pretty Stuff” brings the sleaze-metal vibe, “Hot Fox” packs a riff-heavy swagger, and “What You Need” feels tailor-made for live interaction. There aren’t really any surprises for the already initiated, but Leo Rising gets the job done, and then some. Our advice? Catch one of their shows for the full effect.
Rating: 4
(Brendan Crabb)
Def Leppard – Diamond Star Heroes: Live From Sheffield (UMe)
Over the years Def Leppard haven’t played a lot of stadium shows in their hometown of Sheffield. In May of 2023 they made a triumphant homecoming, playing to a sold-out crowd of about 40,000 at just their second Sheffield stadium concert. They play two songs from their latest album, 2022’s Diamond Star Halos, but the other 15 songs are nothing but the hits.
From “Rock Of Ages” to “Love Bites” to “Pour Some Sugar On Me,” most of their popular songs are covered. The inclusion of the underrated “Promises” from 1999’s Euphoria was a nice touch. The production does a good job of capturing Def Leppard’s live sound with all its power and punch without making it overly glossy. For a band that’s been around for nearly half a century, Def Leppard still bring energy and passion to their live shows, connecting with fans old and new. Diamond Star Heroes: Live From Sheffield, available in Blu-ray +2CD, CD and LP versions, chronicles that very well.
Rating: 3.5
(Chad Bowar)
El Muerto – Lost And Amsterdamned (Self)
El Muerto was formed from a place of internal crisis that swarmed through the mind of musician Ricardo Botello, who made El Muerto as an alter-ego to express some of his darkest thoughts. This is done on Lost And Amsterdamned with tales of Nordic goddesses and cannibal murders.
It’s only suitable then that El Muerto uses black metal as the catalyst for this pain, with “Enthroned In The Tower Of Shadows” an exhausting way to open Lost And Amsterdamned. This feeling persists through most of the EP, though “A Song For Ran” starts out like a B-side from Opeth’s Ghost Reveries with the effective singing and sly bass guitar leads. Botello uses this project as a way to climb out of a place of endless sorrow.
Rating: 3.5
(Dan Marsicano)
Karu – Perdition (Rockshots)
Karu have made the transition into symphonic death metal on their second album, Perdition. It was only a year ago with Hydra that the band was even considering that move, as they were still into melodic death metal. On Perdition though, it’s full-blown orchestration and eloquent songwriting with several long-form suites. All of it is for a concept going back to feudal Japan, as a villager deals with the aftermath of an attack on his home by demons.
As our main character gets lost in the forest and encounters hellish creatures, the songs become denser and unbothered by experimentation. “Alone In The Forest” is a nine-minute ballad featuring melodic vocals and acoustic guitars, while “Trail Of Fire” matches its title with a deliver that’s equivalent to napalm falling from the sky. Karu embrace the excesses of symphonic death metal.
Rating: 3.5
(Dan Marsicano)
Midnite City – Bite The Bullet (Pride & Joy)
The heyday for glam metal/hair metal was the ’80s and ’90s, but it’s alive and well in the 2020s. In addition to the legion of bands from that era that are still around, a new generation of bands are flying the flag, such as the UK group Midnite City.
Their latest album Bite The Bullet pays homage to the glory days of melodic rock. Rob Wylde, who was with Tigertailz for a decade or so, has the voice perfect for this style of music. Songs like the midtempo “It’s Going To Be Alright” and the rousing “Running Back To Your Heart” would have been huge on Headbangers Ball back in the day, with giant hooks and earworm melodies. While Bite The Bullet is derivative of previous eras, the quality of songs Midnite City bring to the table make it a worthwhile blast from the past.
Rating: 3.5
(Chad Bowar)
Morbikon – Lost Within The Astral Crypts (Tankcrimes)
Municipal Waste/Iron Reagan guitarist Phil “Land Phil” Hall successfully went all in on black metal with Morbikon’s 2022 debut, Ov Mournful Twilight, and holds course with Lost Within The Astral Crypts. The lineup has changed between albums (fellow Municipal Waste member Dave Witte is no longer involved) but the sonic starkness has remained. Finntroll vocalist Vreth is back, his raspy howls sending a shiver through the listener.
The closing title track is an eight-minute saga with everything from atmospheric synths to a rushed tempo ready to capsize at any moment. There’s a nastier energy to Lost Within The Astral Crypts, resisting the temptation to go even bigger with the orchestration. Songs like “Heavens That Burn And Eons Divided” and “Unending Legions Of Bael” make their mark by basking in the friction black metal produces.
Rating: 3.5
(Dan Marsicano)
Sainted Sinners – High On Fire (ROAR)
After a three year creative process, German hard rockers Sainted Sinners have released their fifth album High On Fire. Continuing to capture their blues-infused hard rock sound, this album is another solid notch on their belt.
The use of organs sprinkled in throughout the album add a nice flayer to tracks like “Empty Days of Wonder.” With ripping guitar solos that are reminiscent of the classics that influence them like Led Zeppelin, it’s obvious they take their influences seriously. Outside of their 10 original tracks, their version of The Who’s “Who Are You” is a decent cover and it feels like an original track if one is not paying attention. They say if it isn’t broken don’t fix it, and Sainted Sinners have shown us just that.
Rating: 3.5
(Dalton Husher)
Slaughterday – Terrified (Testimony)
Slaughterday, one of the powerhouses of German death metal over the past decade, have always carried the torch of old-school death metal. Inspired by pioneers like Grave, Autopsy, and Massacre, they’ve consistently showcased their prowess through simple yet deadly riffs. Terrified, the band’s first EP since 2018’s Abattoir, is a fascinating and engaging foray into the world of grindcore savagery.
Terrified is a short but powerful release. It doesn’t aim for any grand concept or message — instead, Slaughterday created it for the sheer joy of playing and to explore the musical architecture of the grindcore genre. Across four ferocious, hard-hitting tracks, the band pays tribute to those who brought grindcore to the forefront of extreme music, and to the visionaries who fused it with death metal, transforming it into a Lovecraftian slasher beast that still stalks the underground. The album cover says it all.
Rating: 3.5
(Arash Khosronejad)
Stryper – The Greatest Gift Of All (Frontiers)
There has been talk of a possible Stryper Christmas album for decades, ever since the band released the single “Reason For The Season” back in 1985. They’ve finally finished that holiday record, The Greatest Gift Of All. It consists of five originals and five renditions of classics like “Little Drummer Boy,” “Silent Night” and “Winter Wonderland.”
The new material is good, especially the opening title track, an upbeat and catchy carol. “Reason For The Season” is the type of holiday song you’d expect from Stryper, combining a catchy melody with a deeper message. Adding a hard rock/metal spin to familiar holiday classics along with Michael Sweet’s distinctive voice works well. Alternating the originals with the covers was a smart move in terms of album flow. The Greatest Gift Of All could well become a holiday staple for rock and metal fans.
Rating: 4
(Chad Bowar)
