This week’s Heavy Music HQ reviews include releases from An Abstract Illusion, Battle Beast, Biohazard, Coroner, Evoken, Flitcraft, Graveripper, Now I’ve Done It, Paul Lidel’s Scream Therapy, Sabaton, Silly Goose, Sintage, Sweet, Tombs, Tribal Gaze and Void Of Sleep.
The ratings are on a 5-star scale.
An Abstract Illusion – The Sleeping City (Willowtip)
The Sleeping City, the third album from the Swedish band An Abstract Illusion is a very progressive release that has echoes of bands like Enslaved in its soundscapes. Also, there is an avant-garde feeling similar to Ne Obliviscaris. The entire affair is fairly flashy and has a rather modern sound to it. This is a very compelling listen that has a lot of flair and is quite stunning in nature with moments of catharsis and calm, and the disparity is interesting.
In terms of musicianship, there is a great degree of experimentation. The guitars are progressive and somewhat black metal in nature in a fashion similar to Enslaved, and An Abstract Illusion make their mark. There is a great deal of excitement created with the instruments and this makes the album a supreme new effort. There is still some room for growth, but The Sleeping City is a very compelling effort indeed.
Rating: 4
(Adam McAuley)
Battle Beast – Steelbound (Nuclear Blast)
After issuing a live album earlier this year, the Finnish heavy/power metal band Battle Beast are ready to unleash their seventh album Steelbound. They’ll try to make it their fifth consecutive studio album to top the Finnish album chart.
This time around they’ve written an especially catchy collection of songs. There are traditional/power metal numbers like “Burning Within” and “Last Goodbye” alongside poppier songs like the title track and “Angel Of Midnight.” No matter whether it’s aggressive or accessible, Noora Louhimo’s versatile vocals are on point with power and passion. The ten songs fly by, with little filler (the instrumental “The Long Road” leading into the epic symphonic folk track “Blood Of Heroes” is the exception, but it’s only two minutes long), making Steelbound one of Battle Beast’s most well-rounded and memorable albums.
Rating: 4
(Chad Bowar)
Biohazard – Divided We Fall (BLKIIBLK)
A few years ago, the classic Biohazard lineup of Evan Seinfeld (vocals/bass), Billy Graziadei (vocals/guitar), Bobby Hambel (guitar) and Danny Shuler (drums) reunited and played live shows. Now, 13 years after Reborn In Defiance, they have a new album, Divided We Fall.
Even though their members are now in their fifties, Biohazard have not mellowed at all. That’s evident from the blazing opener “F–k The System.” They tear through 11 tracks, a combination of crushing groovers like “Forsaken” and uptempo bangers such as “Word To The Wise” with shredding guitars and gang vocals. The intensity never wanes, but tempos and textures are varied enough to avoid monotony. While Divided We Fall won’t match the commercial success of their major label days, Biohazard’s return is a welcome one.
Rating: 3.5
(Chad Bowar)
Coroner – Dissonance Theory (Century Media)
Legendary Swiss thrashers Coroner’s sixth album is Dissonance Theory, their first since 1992. Known for their technical approach to the genre from the late ‘80s to the early ‘90s, their traditional thrash structures are fully intact. That has made them a band that has historically been compared to Voivod and Artillery among others for their unique, musically tight and near progressive song writing style. After an intro track, the listener is treated to “Consequence” with fat bass and the classic vocals of Ron Royce while Tommy Baron’s guitar lines, especially on the solo here become otherworldly.
”Symmetry” feels more on par as a combination of styles from albums Punishment For Decadence and Mental Vortex, properly marrying the more traditional thrash with something more complex but not settling for anything more than a balance. To keep you intrigued, another later track “Transparent Eye” feels more progressive with ample room for new drummer Diego Rapacchietti to run wild. Dissonance Theory is a welcome return for a legendary thrash band that is still clearly a cut above some of their contemporaries.
Rating: 4
(Tom Campagna)
Evoken – Mendacium (Profound Lore)
Mendacium is New Jersey’s preeminent funeral doom destroyers Evoken‘s first album since 2018’s Hypnagogia, and their seventh overall. Right away their oppressively heavy opener “Matins” is casket dragging doom with frightening death metal vocals mixed in between. The genre is often seen in complete darkness, yet this song’s closure sheds a pale light of hope, allowing for some beauty to be thrown into the sonic suffering of the first 10 minutes of the album.
“Terce” is another plodding procession that envelops the listener, the kind of all encompassing dirge that properly showcases this band’s place in the genre in the present day, even though they have been around since its nascency. After over 30 years of heaviness, Evoken are still not satisfied with their band’s legacy, continuing to outdo themselves even this far along into their career. Mendacium is a masterclass in balancing music extremes, blurring the lines between doom, decimation and delicacy.
Rating: 4.5
(Tom Campagna)
Flitcraft – Transmission Echo (Pitch Black)
Flitcraft are a trio from Melbourne, Australia, and the band’s music is a sort of prog rock with influences from diverse genres such as 1970s classic rock and alternative rock. Despite never having heard the band before, for some reason I had high hopes for their new album Transmission Echo. Too high, it would seem.
The lead vocals sound weak, the guitars are a bit dreary and the drumming, while occasionally showing promise, feels unimaginative. As hinted, Transmission Echo has an eclectic style, which is one of the album’s assets but I wasn’t quite taken by the passion levels of Flitcraft’s delivery. I must also mention that in the weeks following the first draft of this review, my ears thawed slightly to these songs – so perhaps Transmission Echo is the type of album that needs time and repeated listens to be appreciated.
Rating: 2.5
(Chris Galea)
Graveripper – From Welkin To Tundra (Wise Blood)
Graveripper emphasize the black metal in their black/thrash metal on their second album, From Welkin To Tundra. Vocalist/guitarist Corey Parks is the only member to return from their 2023 debut, Seasons Dreaming Death, as the lineup has been reorganized and pared down to a trio. With this shift comes a sound that bites harder than before, with blast beats and raspy bellows being mainstays on “Hounds From Hell” and “New Gods, New Masters.”
They still love thrashing out on “Bring Upon Pain,” which is needed after plodding instrumental opener “Welkin, Now Tundra.” Though much of the album whizzes by, the last few songs get the opportunity to try out new techniques, such as the bouncy rhythm work pulsing through “…And Now It’s Dark.” From Welkin To Tundra ends with a few great songs to help offset its shakier moments.
Rating: 3
(Dan Marsicano)
Now I’ve Done It – An Ill Guest (Self)
Now I’ve Done It are the manifestation of the theater kid with a secret Cannibal Corpse obsession, one who puts up posters of the Broadway hit Rent and Mr. Bungle’s Disco Volante on their walls. An Ill Guest is swing music done up with a coat of progressive death metal makeup. Lively piano solos sit alongside barbed screams on “Offering,” while “Panache” is a full-blown cabaret number with trumpets and gyrating guitars.
Peter Hraur and Dan Reynolds, the duo behind Now I’ve Done It, have the sort of camaraderie that develops from high school friends who started this group 15 years ago. The long lead-up to their debut album imbues these songs with an audacious energy. They are creating from a place of openness to any and all genres, as long as they make it their own.
Rating: 4
(Dan Marsicano)
Paul Lidel’s Scream Therapy – Are You Ready (Perris)
Paul Lidel previously made a name for himself as guitarist/vocalist with Dangerous Toys and Dirty Looks. His own band Paul Lidel’s Scream Therapy does have some of the hair metal swagger of those bands but the music on Are You Ready is perhaps rougher and more direct.
“Are You Ready” is a treasure trove of great songs, replete with heavy hooks and cathartic refrains…all enveloped in a warm 1980s sound. Some tracks are better than others, but numbers such as “We Got Rock ‘n’ Roll” and “Stop At Nothing” are veritable rock anthems made to be played loud. Fans of Helix, Aerosmith and AC/DC take note.
Rating: 3.5
(Chris Galea)
Sabaton – Legends (Better Noise)
After two albums about World War I, Swedish power metalers Sabaton tackle a different subject on their latest album Legends. They span the ages singing about legendary historical figures. That includes individuals such as Napolean Bonaparte (“I, Emperor”), Joan Of Arc (“Maid Of Steel”) and Vlad The Impaler (“Impaler”) along with events like the trials and dissolution of the Knights Templar (“Templars”) and the crossing of the Rubicon River led by Julius Caesar.
Sabaton chose a wide variety of subjects, going all the way back to Sensuret III (“The Cycle Of Songs”), the Egyptian pharaoh who ruled from 1878 B.C. to 1839 B.C. In addition to well-known figures, they also spotlight more obscure but no less interesting people like the Chinese general Lü Bu (“A Tiger Among Dragons”) and Japanese swordsman Miyamoto Musashi (“The Duelist”). Musically the band follows their well-established path of soaring power metal and Joakim Brodén’s distinctive vocals. Legends‘s subject matter is interesting, the songs are entertaining and familiar, and will continue Sabaton’s slow and steady rise to power metal’s upper echelon.
Rating: 3.5
(Chad Bowar)
Silly Goose – Keys To The City (Blue Grape)
They say imitation is the sincerest form of flattery, and nu-metal newcomers Silly Goose have taken their Limp Bizkit inspiration and released their second album Keys To The City. “The music goes in directions you might not expect,” is an appropriate description of the album given by vocalist Jackson Foster.
Each song bounces between feeling silly like with “The Great Dino Escape” with its interlude track “Dino Interlude” to an almost Linkin Park feeling with “Split.” With an aim to be better than their 2022 album The Streets Heard It First, and they have succeeded at just that. They have honed in on their own take on the Limp Bizkit sound and made it work for them.
Rating: 4
(Dalton Husher)
Sintage – Unbound Triumph (High Roller)
On Unbound Triumph, Sintage inject their heavy metal with an anthemic charm stocked with a wild side. This unrestrained version of themselves is in the unexpected speed metal kick of “Prisoned By The Dark” and “Electric Walls,” which is not a permanent fixture in either song. It’s as if to say to the listener, “We can throw down whenever we want,” but wisely don’t overuse this strategy.
The addition of second guitarist Chili gives founding member Julez a suitable partner for his own guitar work. The harmonies they collaborate on in closer “One With The Wind” are grandiose, further amplifying the song as one of the best on Unbound Triumph. Heavy metal is still a viable sound in 2025, as proven by albums like this.
Rating: 3.5
(Dan Marsicano)
Sweet – Live At The Marquee 1986 (Metalville)
Over the past year Metalville has been gradually re-releasing Sweet’s back catalog. Now it’s time for the band’s live album recorded at the Marquee, the legendary London live venue, where everyone has performed, from Jimi Hendrix to Metallica to Dream Theater. Formed back in the mid-1960s, Sweet’s huge influence is undeniable and to get an idea about this, you only need to see how many bands have covered Sweet’s songs over the years. The timing of this reissue is particularly opportune since the album’s singer, Paul Mario Day (the first singer of Iron Maiden) passed away just a couple of months ago.
The tracklist is classic Sweet (one that also leans on the heavier side on their repertoire) and there’s really a great vibe that permeates the album with a strong band/crowd rapport. “Set Me Free” (covered by bands such as Saxon, Stryper and Vince Neil) is given a spirited delivery with Day’s vocals in damn good shape. “Action,” which opens the album/gig, hooks you in from the get go and this version of “Fox On The Run” is notable for its vocal harmonies and its extended outro. The performance is never mechanical and individual musicians often go at a tangent, giving the songs added freshness. Hopefully this and other Sweet re-releases will help keep the band’s music alive for new generations of fans.
Rating: 4
(Chris Galea)
Tombs – Feral Darkness (Redefining Darkness)
Five years have passed since Tombs‘ last studio album Under Sullen Skies, though they have released an EP and a live record since then. Feral Darkness is the band’s sixth full-length. As on previous releases, they explore a variety of style and genres while maintaining cohesiveness.
Black metal is front and center on tracks like “Glass Eyes/Ghoul,” while sludgy riffs drive songs such as “Feral Darkness.” It’s a dynamic album, with frequent changes in speed and intensity. There are numerous vocal styles as well, with fierce harsh vocals the predominant approach. However, those are tempered by melodic gothic vocals on “The Sun Sets” and a guest appearance from Sera Timms (Ides Of Gemini, Black Mare) on “Nightland.” Feral Darkness is full of twists and turns, which with Tombs always leads to someplace interesting.
Rating: 3.5
(Chad Bowar)
Tribal Gaze – Inveighing Brilliance (Nuclear Blast)
The Texas death metal quintet Tribal Gaze emerged with an EP in 2021, following that with their debut full-length The Nine Choirs in 2022. That drew the attention of Nuclear Blast, who signed them for their sophomore album Inveighing Brilliance. The word inveighing means to speak or write about something with great hostility, and Tribal Gaze explore subjects like an outside force annihilating humanity and the suffering embedded in every living moment.
Their brand of death metal is old school, shifting between groove and chaos. While some tracks are fairly standard, compositions like “Emptying The Nest” display more originality. They are equally adept at compact tracks shorter than two minutes like “The Irreversible Sequence” and lengthy songs such as the nearly seven-minute closer “Lord Of Blasphemy.” There are a few lulls, but for the most part Inveighing Brilliance will satisfy death metal fans.
Rating: 3
(Chad Bowar)
Void Of Sleep – The Abyss In Which We All Have to Stare (Aural)
Italy’s Void Of Sleep have more then fully committed themselves to gloom, and the existential crisis, with their fourth album The Abyss In Which We All Have To Stare. Their offering channels heavy atmospheres paired with what I can only describe as tracks reminiscent of mid-2000’s gothic rock, rather then strictly adhering to the progressive sludge flag they fly. Though, of course, there are some well-placed moments that still ground this album well within the metal genre.
A lot of surprises await anyone willing to commit to a full listen. Not only does this album provide one of the most effective cathartic experiences I’ve personally experienced in years, but also some genre bending elements going as far as saxophone solos for those who like a progressive edge to their melancholy. That, and at no point does The Abyss In Which We All Have To Stare fall into the trap of riff salad, as so many progressive-laden albums have done (for better or worse), providing seven solid tracks that ensure the album never really falls into the categories of top or bottom heavy either. The only downside, if you can call it that, is that the lyrics can sometimes be a bit overly committed to gloom. They can be a bit cheesy at certain times, which might be jarring for those not accustomed to those gothic rock themes mentioned earlier.
Rating: 3.5
(Keith Ham)
