Former Slayer drummer Dave Lombardo has teamed with his wife Paula and current Slayer member Gary Holt to cover Scorpions classic Animal Magnetism.
The Lombardos, using the pseudonym Venamoris, have released the rendition to promote their upcoming album To Cross Or To Burn, out on February 28 via Ipecac. Watch the video below.
The song holds a special place in Dave’s heart, as Scorpions were the first band he ever saw live.
“My first concert was May 25, 1980. Scorpions opening for Ted Nugent’s Scream Dream tour,” he comments. “We (Slayer) had covered a couple Scorpions songs in the early years, but I never would have thought of re-imagining one of their songs at that time. Now it seems like the most natural thing to do.”
The drummer continues: “The idea to recreate Animal Magnetism came to me late one night. I could hear Paula’s sultry voice, the song taking on a slightly industrial feel… and I could fully hear Gary Holt play this insane lead. It’s been really incredible to see this idea come to life.
“To release this at the same time this iconic band is celebrating 60 years is a perfect way for me to thank them for an inspiring first show in 1980… and for all they have contributed since.”
Animal Magnetism is the third single taken from To Cross Or To Burn, following In The Shadows and Spiderweb. As well as Holt, the album is set to feature beloved metal musicians Alex Skolnick (Testament), Trevor Dunn (Mr Bungle) and Ra Diaz (Suicidal Tendencies, Korn).
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Paula says: “To Cross Or To Burn has taken us down a darker, very different path than our first album [2023’s Drown In Emotion]. There’s a confidence in this body of work. An overall vibe of heaviness that was unexpected. Verses of hard truths now bound in acceptance. The soul-searching continues.”
Dave drummed for Slayer from 1981 to 1992, then again from 2001 to 2013. Holt joined the band as a live member in 2011, then permanently in 2013 after the death of longtime guitarist Jeff Lombardo. The band retired in 2019 but returned as a live-only force last year.
Since his Slayer exit, Dave has drummed for the Misfits, Mr Bungle, Dead Cross, Testament and Empire State Bastard. He also released a solo album, Rites Of Percussion, in 2023.
As for Scorpions, the German rock legends will start a Las Vegas residency next month, then will tour South America and Europe. Drummer Mikkey Dee (ex-Motörhead) was recently hospitalised with sepsis but is set to perform at all of the band’s upcoming dates.
Steven Wilson has announced a premiere Dolby Atmos screening of the film accompanying his upcoming album, The Overview, which will take place at London’s iconic BFI IMAX cinema on Tuesday February 25 at 6pm (GMT) to be followed by Q&A.
Wilson has also shared a new trailer for the film, which has been produced by collaborator Miles Skarin that features a snippet of music from The Overview.
“It is a 42-minute long journey based on the reported “overview effect”, whereby astronauts seeing the Earth from space undergo a transformative cognitive shift, most often experiencing an overwhelming appreciation and perception of beauty, and an increased sense of connection to other people and the Earth as a whole,” WIlson has explained of the new album. “However, not all experiences are positive; some see the Earth truly for what it is, insignificant and lost in the vastness of space, and the human race as a troubled species. As a reflection of that, the album presents images and stories of life on Earth, both good and bad.””
The album sees Wilson return to a sound that nods to his more progressive past, including classic Porcupine Tree as well as the renownedThe Raven That Refused To Sing, the forward-thinking electronics of The Future Bites and the spatial audio vision that ran through 2023’s The Harmony Codex.
“The idea I had immediately suggested something more long-form and conceptual and, dare I say, more progressive,” he says.
With Wilson handling the bulk of the music himself, The Overview also features studio help from regular collaborators Craig Blundell (drums), Adam Holzman (keyboards) and Randy McStine (guitars) alongside a set of lyrics from XTC frontman Andy Partridge.
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Tickets for the film screening are on sale Friday January 10 at 12pm to BFI members and 4m to the general public.
Spatial/Atmos audio versions of The Overview will be available physically and digitally and vinyl versions of The Overview have been specifically mastered at half speed by Miles Showell at Abbey Road.
Squid have shared a new single, Building 650, as the second preview of their forthcoming album Cowards. The quintet have also announced UK shows for spring.
Cowards is set for release via Warp Records on February 7, and Building 650 is the follow-up to the album’s first single, Crispy Skin, which was released in November.
“It’s a song inspired by our first ever trip to Japan,” says frontman Ollie Judge. “We played the Summersonic festival in 2022, luckily we were booked to play 2 days after the COVID travel ban had been lifted, because of this we felt like some of the only tourists in Tokyo. On the plane I read In The Miso Soup by Ryu Murikami and watched Lost in Translation out of excitement and later decided to write lyrics about being an outsider visiting Japan, including a very particular type of loneliness one can feel visiting a country that is so different from their own. This loneliness feels exaggerated in Tokyo, on the surface it’s hectic and full of people but when you listen, it’s eerily quiet.”
Feb 17: Liverpool Invisible Wind Factory Feb 18: Manchester O2 Ritz Feb 19: Glasgow Old Fruitmarket Feb 21: Newcastle NSU Domain Feb 22: Sheffield Leadmill Feb 24: Cambridge Junction 1 Feb 25: Norwich The Adrian Flux Waterfront Feb 27: Oxford O2 Academy Feb 28: Southampton Engine Rooms
Mar 01: Margate, Lido Mar 02: Brighton Chalk Mar 04: Birmingham XOYO Mar 05: Bristol Beacon
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Apr 26: London Roundhouse Tickets for the tour are on sale now, here
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Three years on from her 2022 debut, the Preacher’s Daughter has fallen from grace. Rather than softening god-fearing anthems behind a veil of ethereal gothic pop, Perverts foregoes the foreplay; in a tar-smeared drone of corrosive blasphemy and dark ambience, Ethel Cain nosedives into the haunting depths of a sexually tormented and guilt-ridden mind.
Perverts isn’t the kind of record you want to listen to in the dark. Its uncanny ambient whir scratches at your senses, never providing a moment of reprieve; every moment of ‘silence’ is tinged by a low hum background noise, as if something is always lying in wake, preparing to pounce. It’s a listening experience that feels perverted in itself, as if Cain is in the room, breathing down your neck, enjoying the paranoia she is forcing you to experience. Yet it also makes voyeuristic perverts of its listeners; as the opening title-track’s soundscape unfolds, long, droning pauses thick with tension, you slowly edge into desperation, longing for Cain to reveal her secrets.
While Perverts’ post-industrial buzz oozes shame, there’s an overwhelming sense of existential fear and resentment scattered throughout. Sometimes this fear manifests in neurotic pleas for salvation, with Housofpsychoticwomn’s murky, pulsating gloom spurred on by obsessive ‘I love you’s. Yet the record also feels like a purge of bitterness; on the 15-minute long Pulldrone, unnerving scrapes of violin amplify Cain’s obtuse mutterings, her gentle voice at one point asserting “Let me tell you how much I’ve come to hate you since I’ve began to live.” It’s at odds with surrounding professions of adoration, the disillusioned utterance hinting at a desire to denounce God.
Amidst the dark ambient purge on display, a few lighter moments are scattered throughout. The softer injections feel more in-line with Cain’s debut, such as lead single Punish’s echoing vocals.Vacillator is also a tender affair, instrumentals deliciously smooth as the ghost of a guitar riff floats in the background. The gentle contrast is almost paranoia-inducing – it’s like the flickering of a fluorescent light in a pitch black room, a sudden shock to the system.
If you’re eager for more of the dark Americana anthems on display throughout Preacher’s Daughter, you’re in the wrong place. Considering Cain has spoken out about people’s shallow interpretations of her art, it makes sense that Perverts refuses to stick to radio-friendly song structuring or and singalongs. If you’re hungry for some thick, distressingly dark ambience, Perverts might be the twisted sonic exorcism you’ve been waiting for.
Full-time freelancer, part-time music festival gremlin, Emily first cut her journalistic teeth when she co-founded Bittersweet Press in 2019. After asserting herself as a home-grown, emo-loving, nu-metal apologist, Clash Magazine would eventually invite Emily to join their Editorial team in 2022. In the following year, she would pen her first piece for Metal Hammer – unfortunately for the team, Emily has since become a regular fixture. When she’s not blasting metal for Hammer, she also scribbles for Rock Sound, Why Now and Guitar and more.
Over their career, The J. Geils Band released 11 studio albums, including standout records like Love Stinks (1980) and Freeze-Frame (1981), which both achieved critical acclaim and commercial success. Their 1981 album Freeze-Frame topped the Billboard 200 chart, driven by the success of the single “Centerfold,” which became a number-one hit. The band’s fusion of blues-based rock and high-energy pop propelled them to the forefront of American rock music during this era.
The J. Geils Band disbanded in 1985 but reunited periodically over the years, performing until 2015. The passing of J. Geils in 2017 marked the end of an era, but the band’s legacy as one of the most electrifying live acts in rock history endures. Their contributions to blues-rock and mainstream rock remain celebrated by fans and critics alike.
Seth Justman
Seth Justman joined The J. Geils Band in 1968 as the group’s keyboardist, bringing a versatile range of skills that helped define their sound. His organ and synthesizer work became a key feature on albums like Bloodshot (1973), which included the hit “Give It to Me,” and Love Stinks (1980). Justman’s ability to adapt his playing style to fit the evolving sound of the band ensured his role as a central figure throughout their career.
In addition to his keyboard work, Justman took on a significant role in songwriting and production. He co-wrote many of the band’s biggest hits, including “Centerfold” and “Freeze-Frame,” both of which showcased his talent for creating infectious hooks. After Peter Wolf left the band in 1983, Justman assumed lead vocal duties for the albums You’re Gettin’ Even While I’m Gettin’ Odd (1984). Outside of the band, Justman worked as a producer and continued to contribute to the music industry behind the scenes.
Danny Klein
Danny Klein, known as “The Ace on Bass,” has been a constant presence in The J. Geils Band since its inception in 1968. Klein’s steady and dynamic basslines provided the foundation for the group’s music, from their early blues-infused albums to their later pop-rock hits. His work is especially notable on tracks like “Must of Got Lost” and “Looking for a Love,” where his rhythmic sensibility helped drive the band’s energetic sound.
Klein remained with the band until their initial breakup in 1985 and participated in several reunions. Outside of The J. Geils Band, Klein pursued various musical projects, including leading his own blues-rock outfit, Danny Klein’s Full House, which pays tribute to the legacy of The J. Geils Band by performing their classic material. His enduring connection to the band’s music has kept their spirit alive for fans worldwide.
Magic Dick
Magic Dick, born Richard Salwitz, brought a distinctive flair to The J. Geils Band with his harmonica skills, which became a hallmark of their sound. Joining the band in 1968, his contributions were pivotal on tracks like “Whammer Jammer” and “Hard Drivin’ Man,” where his harmonica solos showcased a blend of technical skill and raw energy. His ability to fuse blues traditions with rock sensibilities helped set the band apart.
Beyond his work with The J. Geils Band, Magic Dick collaborated with other artists and explored jazz and blues through his duo with guitarist Shun Ng. His innovative approach to the harmonica has earned him recognition as one of the instrument’s most skilled practitioners in rock music. His legacy as a member of The J. Geils Band remains a defining aspect of his career.
J. Geils
J. Geils, born John Warren Geils Jr., was the guitarist and namesake of The J. Geils Band. As the group’s founder, his blues-inspired guitar playing was the backbone of their music. Geils’ mastery of both rhythm and lead guitar is evident on albums like Bloodshot and Nightmares…and Other Tales from the Vinyl Jungle (1974). His ability to seamlessly blend blues, rock, and R&B elements created the sonic foundation for the band’s diverse catalog.
Following the band’s breakup in 1985, Geils pursued various musical endeavors, including forming his own jazz-influenced group, Bluestime. He also delved into auto racing and restoration, showcasing his interests beyond music. Geils passed away in 2017, but his contributions to rock and blues remain celebrated by fans and musicians alike.
Stephen Jo Bladd
Stephen Jo Bladd, the drummer for The J. Geils Band, joined the group in 1968 and stayed with them through their initial run until 1985. Bladd’s drumming provided the driving force behind the band’s high-energy performances and recordings. His backing vocals and occasional lead vocal contributions added another layer to their dynamic sound. Tracks like “Southside Shuffle” highlight his rhythmic precision and ability to anchor the group’s diverse styles.
Bladd stepped away from music after the band’s breakup and largely avoided the public spotlight. However, his contributions during the band’s peak years remain an essential part of their legacy. His role as the rhythmic backbone of The J. Geils Band is still remembered as a key component of their success.
Peter Wolf
Peter Wolf, born Peter Blankfield, was the charismatic frontman of The J. Geils Band, known for his electrifying stage presence and dynamic vocals. Joining the band in 1968, Wolf’s performances and storytelling ability became a signature of their live shows. His voice drove many of their most memorable hits, including “Centerfold” and “Love Stinks.” Wolf’s collaboration with Seth Justman on songwriting played a crucial role in shaping the band’s biggest commercial successes.
After leaving the band in 1983, Wolf embarked on a successful solo career, releasing albums such as Lights Out (1984) and Midnight Souvenirs (2010). His solo work blended rock, blues, and soul influences, earning him critical acclaim and maintaining his status as a respected figure in the music industry. Wolf continued to reunite with The J. Geils Band for performances, ensuring that their music endured for generations of fans.
Check out more J. Geils Band articles on ClassicRockHistory.com Just click on any of the links below……
Infected Rain have shared multi-cam live video of their entire March 8, 2024 show at Barba Negra in Budapest, Hungary. Check it out below.
Setlist:
“The Realm of Chaos” “Pandemonium” “Vivarium” “Fighter” “Dying Light” “Never To Returbn” “Because I Let You” “Sweet, Sweet Lies”
Infected Rain released their sixth modern progressive metal opus, Time, in February 2024 via Napalm Records.
Tracklisting:
“Because I Let You” “Dying Light” “Never To Return” “Lighthouse” “The Answer Is You” “Vivarium” “Pandemonium” “Enmity” “Unpredictable” “Game Of Blame” “Paura” “A Second Or A Thousand Years”
Guitar Meets Science has shared a new video focusing on Slayer’s classic album, Seasons In The Abyss:
“This week, we dive deep into the recording of Slayer’s iconic 1990 album, Seasons In The Abyss. From the intense writing sessions to the creative clashes with producer Rick Rubin, we uncover the stories behind this brutal and influential record. We’ll explore the band’s mindset after the departure of drummer Dave Lombardo (and subsequent return), the evolution of their sound, and the lasting impact of Seasons on the metal world. We will also cover the drama of the recording and touch on some of the band dynamic as they went into recording.”
Fallen Angel has announced the February 21 release of a new Slayer 6CD box set, Blood Spills – Live On Air. Available for pre-order at the Plastic Head Megastore (also listed at Amazon), a description of the set follows:
Superb 6CD set from one of the most influential Metal bands of all time!
Formed in 1981 by guitarists Kerry King and Jeff Hanneman, drummer Dave Lombardo, and bassist and vocalist Tom Araya, Slayer’s fast and aggressive musical style made them one of the “big four” bands of thrash metal, alongside Metallica, Megadeth, and Anthrax. Slayer reached a huge audience and has sold more than 5 million albums in the USA alone. The band has received five Grammy Award nominations, winning one in 2007. This superb 6CD set contains live performances from Slayer recorded at various times during their 40-year career, all of which were recorded for live radio broadcast ensuring excellent sound quality throughout.
Features the tracks “Angel Of Death”, “Raining Blood”, “Seasons In The Abyss”, “Disciple”, “War Ensemble”, “Mandatory Suicide”, “Hell Awaits”, “Chemical Warfare”, “Die By The Sword” and many more.
Tracklisting:
Disc 1: “Bitter Peace” “Deaths Head” “War Ensemble” “Evil Has No Boundaries” “Hell Awaits” “Born Of Fire” “Stain Of Mind” “Postmortem” “Raining Blood” “Dittohead” “Die By The Sword”
Disc 2: “In The Name Of God” “Criminally Insane” “Chemical Warfare” “Dead Skin Mask” “Seasons In The Abyss” “Mandatory Suicide” “Angel Of Death” “South Of Heaven”
Disc 3: “Repentless” “Disciple” “Postmortem” “Hate Worldwide” “War Ensemble” “When The Stillness Comes” “Mandatory Suicide” “Fight Till Death” “Dead Skin Mask” “Seasons In The Abyss” “Hell Awaits” “South Of Heaven” “Raining Blood” “Black Magic”
Disc 4: “Chemical Warfare” “Angel Of Death” “Die By The Sword” “Praise Of Death” “Necrophiliac” “Necrophobic” “Captor Of Sin” “Black Magic” “Reborn” “Postmortem” “Epidemic” “Hell Awaits”
Disc 5: “Raining Blood” / “Killing Fields” “War Ensemble” “At Dawn They Sleep” “Spirit In Black” “Die By The Sword” “Divine Intervention” “Dittohead” “Captor Of Sin” “South Of Heaven” “Sex Murder Art”
Disc 6: “Dead Skin Mask” “Seasons In The Abyss” “Mind Control” “Mandatory Suicide” “Angel Of Death” “Hell Awaits” “Chemical Warfare” “213”
Speaking with Gibson Gear Guide, blues guitar legend, Joe Bonamassa shows you how to dial in an amplifier, and what he listens to when he wants to hit that ‘little hump’ that is the sweet spot on your amp. Check out the clip below.
In a recent edition of My Weekly Mixtape, Bonamassa dove into the stories behind the songs from throughout his entire discography. He also discusses his collection of over 650 vintage guitars, his approach to cover-songs such as “Sloe Gin” (originally written by Bob Ezrin & recorded by actor & singer Tim Curry) and “Prisoner” (originally recorded by Barbara Stresiand); his latest release Live At The Hollywood Bowl w/ Orchestra, his release of “Better The Devil You Know” (a song he co-wrote with Journey’s Jonathan Cain) to celebrate the 10 year anniversary of his Different Shades Of Blue album, and more.
On His Next Studio Album
Bonamassa: “The world doesn’t need another Joe Bonamassa record right away. So we got the Hollywood Bowl. We had Blues Deluxe last year. We’ll put out some singles this year, or maybe next year, and then we’ll just see. I mean, I don’t know how many albums I have left.
I mean, it’s like how many… I’m not even sure if the album format is going to be relevant in 10 years, it’s like, who’s making CDs? Who has a CD player? I’m on a tour bus… a music tour bus. There’s no CD player in here. You don’t even have them in the new cars, so the concept of a 12 song, 59 min record, I’m seeing it become less and less relevant. I think we’re back to A and B-side singles, because even the general notion, when you’re dealing with a streaming kind of business, you’re releasing 10 of the 11 songs anyway, before the album comes out to keep the algorithm or whatever the Spotify thing is. And so you’re basically just churning out singles. And then the 12th song or the 11th song is your… that is a full length album. But like, who cares at that point? They’ve heard most of it. And you’re gonna dump the junk at the end. And you’re gonna put the good songs first, I mean that’s just how it’s gonna work. So I don’t know. I don’t know when the next one is.”
On Retiring From Music
Bonamassa: “I don’t have many years left in this thing. I’d like maybe a decade before I just retire. I’ve done this 36 years. We’re taking this thing up to, maybe a 45 year career, and that’s great enough. You know, let me go enjoy my life and not work every single day. And everybody goes ‘No, you’re still a young man. You can go for another 35, 40 years.’ That’s not me. That is not gonna happen. There’s only so many pitches in this arm and use them wisely from here on out.”
Check out the interview below or via Spotify here.
Venamoris, the heavy, brooding noir outfit who blend darkwave and metal, featuring Paula and Dave Lombardo, release their sophomore album, To Cross Or To Burn, on February 28 via Ipecac Recordings.
Alongside the album announcement, Venamoris unveil “Animal Magnetism,” a striking cover of Scorpions’ 1980 love song. The haunting rendition features a guest appearance from Dave’s former bandmate, Gary Holt (Exodus, Slayer). The song is accompanied by a Displaced/Replaced created video. Watch below.
Dave reflects on the personal significance of including “Animal Magnetism” on To Cross Or To Burn: “The first rock concert I ever attended was on May 25, 1980, with Scorpions opening for Ted Nugent’s ‘Scream Dream’ tour. We (Slayer) had covered a couple Scorpions songs in the early years but I never would have thought of re-imagining one of their songs at that time. Now it seems like the most natural thing to do. I could hear Paula’s sultry voice, the song taking on a slightly industrial feel… and I could fully hear Gary Holt play this insane lead. It’s been incredible to see this idea come to life. To release this at the same time this iconic band celebrates 60 years is a perfect way for me to thank them for an inspiring first show in 1980 and for all that they have contributed since.”
The married duo teased To Cross Or To Burn’s 2025 arrival with the 2024 singles “In The Shadows” and “Spiderweb,” which were praised for their unique sound.
Paula, who wrote the album’s nine-original songs, offers insight into the album: “To Cross Or To Burn has taken us down a darker, very different path than our first album. There’s a confidence in this body of work. An overall vibe of heaviness that was unexpected. Verses of hard truths now bound in acceptance. The soul-searching continues.”
To Cross Or To Burn is available for pre-order now with the collection available digitally, on CD and on both white and limited-edition red vinyl. Pre-order here.
To Cross Or To Burn tracklisting:
“Stay With Me” “In The Shadows” “Truth” “Stain Of Pain” “Spiderweb” “Burnt Paper” “Holding On To Nothing” “Animal Magnetism” “Numb” “To Cross Or To Burn”
“Animal Magnetism” video:
“Spiderweb” video:
“In The Shadows” video:
Guests include:
Ra Diaz – bass on “Stain of Pain” Trevor Dunn – contrabass on “Stay With Me” Gary Holt – guitar on “Animal Magnetism” Alex Skolnick – guitar on “Stain Of Pain” and “Burnt Paper”
The indefatigable Dave Lombardo’s bona fides as a world-class drummer are well-known. While he drafted the blueprint that would define thrash-metal drumming, he’s also applied his finesse to solo percussion (2023’s Rites Of Percussion), hip hop and classical music, as well as boundary-pushing recordings and performances with everyone from John Zorn’s ensembles to punk icons Misfits and Mr. Bungle. To Cross Or To Burn is another milestone in his storied career, where he’s added guitar, bass and considerable production techniques to his sonic skill-set.
Canadian-born Paula Lombardo began her musical career at 18 as a backing singer for Las Vegas icon Wayne Newton, performing multiple shows in the demanding Vegas circuit before relocating to Nashville to further her musical career. A dynamic musical force, she combines impressive vocal prowess, a deftness on piano and synthesizers with a natural instinct for crafting alluring lyrics, melodies and arrangements.
2024 is done! But, with the dust still settling and the world not yet fully awake and into 2025, we figured we’d offer some final look backs at the year that was to crown the best releases according to you – our fine readers.
In December we asked you to vote on the very best metal records of 2024, offering a wide selection from across the year covering just about metal subgenre from goth to metalcore, death metal to thrash. We already revealed that death metal cosmonauts Blood Incantation had taken the Hammer critics’ poll crown, but who did you choose? Below you’ll find the 20 best metal albums of 2024, as voted by the readers of Metal Hammer. Here’s to 2025 – and another year of fantastic new music!
20. Orange Goblin – Science, Not Fiction (Peaceville)
With a six year gap between albums and some significant anniversaries celebrated in the time between, its perhaps unsurprising that OG were in a more reflective state lyrically on Science, Not Fiction than their usual horror and pulp sci-fi fare. Vocalist Ben Ward stating outright on opening track The Fire At The Centre Of The Earth Is Mine, “I will not apologise for the bastards I’ve been“.
This newfound reflectiveness had no major impact on their wider sound however; Goblin still riff like a motherfucker and continue to produce some of the finest stoner metal on the British isles. Science… is testament to this, the likes of (Not) Rocket Science and Cemetery Rats among the finest tunes they’ve ever put out.
19. Zeal & Ardor – GREIF (Redacted)
It’s testament to the creative genius of Manuel Gagneux that even after devising one of the most fascinating stylistic collisions in heavy music – delta blues and black metal, if you somehow missed the band’s stellar early releases – the Swiss artist is still pushing out the boat with Zeal & Ardor.
After rediscovering his, erm, Zeal for the project on 2022 self-titled, GREIF found Manuel back at the drawing board, devising entirely new directions for the group to go. The blues elements are still there – albeit more finessed than on the group’s first two records – and the black metal still hooks like barbs into flesh, but there’s added industrial grime and even desert rock spaciness that opened up new possibilities for the project going forwards. Considering they’re headlining London’s Desertfest this year, it’s safe to say those desert rock elements are here to stay – for now, at least.
18. Leprous – Melodies Of Atonement (InsideOutMusic)
Over the past 15 years, Leprous have risen to become a truly formidable force in prog metal. The sometime backing band for black metal icon – and fellow prog explorer – Ihsahn, Einar Solberg’s group have only grown more confident and impressive on each new release, marrying a sense of technicality with undeniable hooks that throws back to prog’s flirtation with pop sensibilities that turned the likes of Pink Floyd and Genesis into arena-filling bands.
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Little surprise then that Melodies Of Atonement continues that trajectory, Leprous turning out some of the catchiest, most infectiously brilliant tunes of their career in a sleek, strutting package. That they’ve done this while also rediscovering their riffier, harder edges is nothing short of a marvel, the added bite to tracks like Atonment and Like A Sunken Ship reminding everyone that this is a band with serious range and the chops to seriously bother the mainstream.
17. Wheel – Charismatic Leaders (InsideOutMusic)
By frontman James Lascelles’ own admission, Wheel could “release a hang-drum odyssey with seagull noises and somebody would still say it sounds like Tool”. Such is the Anglo-Finnish band’s lot, but glib comparisons to one of prog metal’s most maverick forces aside, there’s an undeniable sense of innovative spirit and creativity that has made them rising stars of contemporary prog metal.
On their third album, Wheel kicked things up a gear, opening track Empire tapping into an urgency and forcefulness that had been seldom seen in their catalogue up to that point. Blended in with their usual meditative melodies and cosmic sonic leanings, it made for an impressively vital and energetic showing of what the band are capable of.
16. Alcest – Les Chants de l’Aurore (Nuclear Blast)
20 years ago, Alcest got the jump on just about everybody when they released Le Secret, their debut EP fusing the dream-like melodies of shoegaze with the frosty fury of black metal. 19 years and seven studio albums later, the French post-black metallers remain masters of the form, their latest outing continuing to refine the subgenre even as it becomes increasingly populated.
Les Chants de l’Aurore is a gorgeous showcase of the style Alcest helped create, seamlessly blending emotional, sublime tones with explosions of blackened fury and force that can still be felt in everyone from Svalbard to MØL.
15. Devin Townsend – PowerNerd (InsideOutMusic)
Mixing the profound with the absurd, Devin Townsend proved to be just as unhinged and brilliant as ever on PowerNerd. 22 (solo) studio albums in, his maximalist tendencies were on full display with forceful riffs and surprisingly catchy tunes in the likes of the title track, Knuckledragger and Gratitude.
There’s characteristic weird and wacky tendencies from Hevy Devy too; from the cat miaow on PowerNerd to a song dedicated to coffee (Ruby Quaker) that goes from folky acoustic ditty to full country thumper with piano and even a blast-beat. Pure Devin, pure brilliance.
14. Saxon – Hell, Fire And Damnation (Silver Lining)
With 24 studio albums, its a safe bet Saxon know what they’re doing. The NOWBHM heroes have stayed the path throughout their near-five-decade career, producing fist-pumping classic metal anthems on each new album to remind fans they’re one of the bands that helped define the genre in the first place.
No surprise that Hell, Fire And Damnation is more of the same then, triumphant old school metal with lyrics touching on everything from the Norman invasion of England to Roswell conspiracy theories, the French Revolution and 60s pirate radio, all tackled with gleeful enthusiasm that’d make you forget they’ve been at this for 50 years, in one form or another.
13. Kerry King – From Hell I Rise (Reigning Phoenix)
It didn’t take long after Slayer announced their planned retirement in 2018 for guitarist Kerry King to clarify that he was still very much planning to forge ahead. Although it took six years to materialise, Kerry king’s solo debut proved well worth the wait.
From Hell I Rise saw King team back up with long-time drummer Paul Bostaph to produce some top-tier thrash metal. With Death Angel’s Mark Osegueda on vocals, former Hellyeah player Kyle Sanders on bass and ex-Machine Head man Phil Demmel adding extra guitars, King had an all-star line-up to achieve his vision of continuing the journey he started over 40 years ago, producing some of his finest material this side of the millennium in the process.
12. Knocked Loose – You Won’t Go Before You’re Supposed To (Pure Noise)
Knocked Loose may just be the breakout success story of 2024. Already a beloved rising force in metalcore, You Won’t Go Before You’re Supposed To firmly booted down the doors of the mainstream without sacrificing any of the heft and frenzied energy that made the band so beloved in the first place.
A caterwauling, careening whirlwind of destructive force, the album nonetheless managed to reach number 23 on the Billboard 200, while an incendiary performance of Suffocate with Poppy on Jimmy Kimmel live saw them breach late-night TV – and earn a few complaints from concerned parents.
11. Poppy – Negative Spaces (Sumerian)
From hyperpop maverick to ascendant metal star, 2024 was a big year for Poppy. With some production assistance from ex-Bring Me The Horizon keyboardist Jordan Fish, Poppy’s sixth full-length embracing the metal flirtations she’d hinted at in the past, with spectacular results.
From the electro-infused metalcore thrum of opener Have You Had Enough? to the all-out hammering of They’re All Around Us, Poppy showed off the sheer diversity of her craft across the album, mixing heaviness and radio-friendly sensibilities with a canniness that felt like a perfect throwback to the nu metal era where even the heaviest band could produce an all-conquering hit.
10. Bruce Dickinson – The Mandrake Project (BMG)
Being the frontman of Iron Maiden is busy business. That goes some way to explain why there was an almost 20 year gap between Bruce Dickinson solo albums, but when The Mandrake Project arrived, it proved well worth the wait.
A sprawling heavy metal opera with tie-in comics to flesh out its story, Dickinson was firing on all cylinders as he returned to the darker sonic realms of his solo output. This being Bruce Dickinson, some of the Maiden-isms certainly persisted – not least in Eternity Has Failed which was written for this album and cribbed by Maiden into the excellent If Eternity Should Fail on 2015’s Book Of Souls – with galloping riffs and huge, near-operatic vocals, but there was no denying Dickinson still had plenty of ambition to burn as he spread his wings away from Maiden once again.
Although not afforded the same chart success as its predecessor Rise Radiant, the sixth album fromCaligula’s Horse showed the Aussies were still a rising force to be reckoned with.
Gorgeous, intricate melodies were tightly woven into prog metal epics, a four-movement title-track just skimming the surface of their colossal ambition. Vocalist Jim Grey stands out as the MVP, his powerful pipes building on already emotionally-layered compositions to single him out as one of the best singers in contemporary prog metal.
8. Nightwish – Yesterwynde (Nuclear Blast)
Symphonic metal titans Nightwish certainly haven’t lacked for ambition on their recent releases. But if the likes of Human. :II: Nature. perhaps sacrificed some of their immediacy and songwriting craft in favour of weighty concepts and ideas, Yesterwynde was a glorious reminder that this band have fought their way to become an apex force within their field.
While they might not beNiaghtwishthe album, Yesterwynde nonetheless soars with the enormity and all-consuming ubiquity of a band that can pack out arenas and headline festivals around the world. From the theatrical grandeur of An Ocean Of Strange Islands to the elegance of Perfume Of The Timeless and anthemic thunder of Spider Silk, Yesterwynde seemed to bring the very best out of the Finns.
7. Bring Me The Horizon – Post Human: Nex Gen (Sony)
It’s been a long road for the second installment in Bring Me The Horizon‘s Post Human series. After 2020’s Survival Horror, the group maintained momentum with a steady stream of singles and festival headline appearances – including headlining Download Festival for the first time – but delays owed to self-admitted quality control issues meant it took four years for Nex Gen to emerge.
Consider this album the fruits of thier labours, then. Nex Gen is a release befitting one of the most impactful and trend-setting forces in the modern metalcore/alt-metal sphere, blending radio-friendly sensibilities and massive choruses with a genuine sense of experimentation and stylistic magpie-ing that sees them incorporate everything from electronica and hyperpop into a record that sounds truly ahead of just about everyone else in the game.
If extreme metal at its very best is an excercise in boundary pushing and trangressive innovation, then Blood Incantation’s fourth full-length was the genre’s promise fulfilled.
The Colorado death metallers had already proven themselves as a rising force with their three previous releases – even up-ending their sound entirely on the synth-driven ambient stylings of 2022’s Timewave Zero – but Absolute Elsewhere kicked things clean out into space, embracing everything from krautrock and psychedelia to 70s prog to craft something truly spectacular, even nabbing top spot on Hammer‘s Critics’ Poll.
5. Amaranthe – The Catalyst (Nuclear Blast)
Amaranthe have never particularly cared for being boxed into any one subgenre. With each album offering new stylistic leaps, its little surprise that The Catalyst continued that adventurous spirit, the Swedes striking a balance between the technical mindset and hefty chugs of djent and impossibly catchy songcraft.
The result was somehow both one of their heaviest yet catchiest releases to date, each track crammed with massive floor-filler moments that lent a sense of infectious energy throughout. From the bouncing Insatiable to the almost symphonic grandeur of Damnation Flame all the way out to big ballad Stay A Little While, Amaranthe’s seventh was a magnificent showcase of why Amaranthe are a fast rising force in European metal.
4. Linkin Park – From Zero (Warner)
2024 was a big year for surprise comebacks, from Oasis to Slayer. But in the metal world, nothing had a bigger impact – or was more widely debated – than the return of nu metal giants Linkin Park. With new vocalist Emily Armstrong and drummer Colin Brittain, LP returned to their roots to recapture some of the magic of their 2000s output and while there were outspoken naysayers, there was an undeniable joy in seeing the band back at full force.
From Zero is the sound of a band reigniting the sparks that united them in the first place, the record packed with callbacks to their past whilst producing infectious new earworms that helped propel the record to the top of international charts including the UK, Australia, Canada and Germany, even nabbing the band a number 2 spot on the Billboard 200.
Propelled to international fame – and top of the charts in their home nation of Finland – after their 2021 Eurovision entry Dark Side, Blind Channel found the pressure mounting when it came to writing a follow-up to 2022’s Lifestyles Of The Sick & Dangerous.
Thankfully, that pressure seems to have manifested in a record even more immediate and propulsive. Exit Emotions is still very much rooted in thedel band’s nu metal revivalist roots, but also honed their songwriting craft to include even more massive anthems that could get crowds roaring and bouncing along, honing their pop sensibilities to live up their self-affixed title as “the Backstreet Boys of metal”. With the band now set to take a break to recharge, Exit Emotions feels like a perfect break point to delight old fans and usher in new listeners alike.
2. Judas Priest – Invincible Shield (Sony)
As one of the bands that helped define heavy metal culture and iconography in the first place, perhaps it shouldn’t be surprising that Judas Priest are also a shining beacon for legacy acts still producing top-tier material. Half a century on from their debut, Invincible Shield arrived with a sense of indomitable triumph, even more so given the passing of former members and near-death experience of guitarist Richie Faulkner in 2022.
Invincible Shield wasn’t just another brilliant Priest album – continuing the excellent form of 2018’s Firepower – but a reminder that trad metal need not feel tired or cliche, the band producing world-class, fist-pumping anthems that feel every bit as powerful and hefty as the likes of Painkiller, Judas Rising or Hell Bent For Leather.
1. Opeth – The Last Will And Testament (Reigning Phoenix)
With lead single §1, Opeth set the internet ablaze as Mikael Åkerfeldt deployed his imperious death metal growls for the first time since 2008’s Watershed. But while that excited fans who’d long clamoured for the return of extremity, it wasn’t even close to the best thing about the Swedes’ fourteenth studio album.
A decade-plus of headlining some of metal’s biggest festivals – not to mention the world’s most illustrious venues – has made Opeth feel like a genuine institution and The Last Will And Testament felt like the band proving they could still strive for new shores and take risks. The prog-heavy instrumentation of their most recent records is still front and centre, buoyed by some genuinely sublime production flourishes and symphonic underpinnings that added to their natural ambition and songcraft in truly phenomenal ways.
Guest appearances from Jethro Tull’s Ian Anderson and Europe’s Joey Tempest added to the record’s star quality, while Opeth flexed their lyrical craft across a narrative with more than a few twists and turns. If Blood Incantation are a barometer of how extreme metal continues to innovate, Opeth reminding everyone that they were the band that set the standard some 20 years ago and remain masters of the craft even as they largely departed the realms of extremity.
