And honestly, it doesn’t even have anything to do with my general preference towards God’s adversary, I swear! It’s just… well, have you thrown on a Christian Rock radio station before?? IT. IS. FUCKING. ATROCIOUS. And it all sounds the goddamn same! Here’s a fun game – next time you’re driving around in your car, hit “scan” on your radio and let it cycle through all the stations. I guarantee you, when it inevitably lands on that faith-based rock radio, you will know it within 2 seconds. That utterly generic, instantly recognizable, paint-by-numbers sound hits with all the excitement and passion of a beige cardigan.

Metal and hardcore, on the other hand, has had no shortage of success with the Christians. Seems like that’d be counterintuitive, right? The difference, it seems, boils down to these bands concentrating first on the music, and then adding Christian themes lyrically and aesthetically after. And that’s cool! In a world where there’s a place for super blasphemous, Satan-loving Black Metal, there’s no reason there shouldn’t be a place for the other side of that coin. Live and let live!

Of course, when it comes to the UK’s Wytch Hazel, I’m far from the first person to ever bring up their religious leanings. For what’s now been four albums, they’ve built a hell of an impressive following for themselves in the Proto/Traditional Metal scene, and with good reason! I’d argue the quality of musicianship they’ve shown, the catchiness of their songwriting, it’s on a level that very few in their peers can match. But what’s made their ascension in the world of Heavy Metal even more impressive is that they’ve always strode a very thin line of what you might really even consider “Heavy Metal.” One could argue – very convincingly – that Wytch Hazel is actually a Christian Rock band. *RECORD SCRATCH*

And you know what? They still rule. I’m throwing up the horns whether they like it or not.

I suspect most of you reading this review already know what you’re in for more or less on IV: Sacrament, but for those of you new to the party, Wytch Hazel is much more akin to 70s rock ala UFO and Blue Oyster Cult than they are even the early Heavy metal likes of Manilla Road or Cirith Ungol. More hard-driven riffs on the likes of “Angel of Light” or “Endless Battle” are certainly more than capable of getting a solid head bang started, but it’s really the epic, high-flying Thin Lizzy -inspired melodies and leads that are leading the way here, and goddamned if they’re not absolutely glorious. To prove the point,  you’re hit with a doozy of a lead right out the gate on “The Fire’s Control,” letting you know exactly what to expect moving forward from the get-go. Production-wise, they still certainly understand the assignment, even if, admittedly, I preferred the warmer, more full-sounding tone of III: Pentecost. The mix still very much sounds like it’s coming straight out of South London’s Ramport Studios in the late 70s, home to The Who and a place that took the likes of Thin Lizzy (Jailbreak, 1976) Supertramp (Crime of the Century, 1974) and even Judas Priest (Sin After Sin, 1977) to new levels. After another monster harmonized lead from guitarists Colin Hendra and Alex Haslem to open up “Angel of Light,” the band introduces a Hammond organ into the mix which, why are they not already employing an organist full time into the band? Not only is it thematically a great fit, it just sounds fucking killer! Alas, it’s the only appearance it makes on the album. I don’t want to tell you gents how to do your job but… hire a full time organ player!

That quibble aside, the general uplifting tone of the entire album can’t help but get under your skin and compel you to keep listening. I dare you to listen to the first few licks of “Time and Doubt” and not break out into air guitar hysterics, and when the band kicks into gear and breaks into double-time, the energy is palpable, sending an extra boost directly from your ears to your feet. “A Thousand Years” is so catchy and moving that even this blackened heart can completely look past the preaching and just focus on the immaculate guitar work on display. I’m no closer to accepting Jesus into my heart, but I’ll definitely catch his next gig!

While the majority of this album certainly feels more euphoric and joyous, Sacrament certainly does take on a bit of a darker edge toward the back end of the album, particularly after the instrumental break on “Gold Light. Like a faithful crusader accepting their fate on the battlefield, “Endless Battle,” “Future is Gold” and “Diggin Deeper” all carry a more serious tone of finality and sworn oath to a holy cause that make for a more somber, sobering listen. Make no mistake, all three are excellent tracks, but they certainly are not what I was necessarily expecting from this experience. That said, the back half of swansong “Digging Deeper” is not to be missed, with a sorrowful, emotive bridge that leads into one of the best, if not certainly most expressive solos you’ll find on the record, the kind that you can just feel flowing through the speakers and practically into your blood stream. Without question, it’s one of the band’s crowning achievements, and though tonally it seems so far removed from where the album started, it’s one hell of a way to see it out.

Credit in particular has to be given to front man Colin Hendra for seeing this record through, because it came at no shortage of obstacles in its path. The departure of ex-drummer Jack Spencer forced him to also take over drum duties on this recording, and the band experienced a whole bunch of technical issues with amps and cabs basically blowing up seemingly without reason, and like many musicians, working a delicate balance between trying to manage his band, being a present parent and spouse, all while holding down a full-time job. To that end, I suppose it does take a lot of faith to be able to push forward with the hope and drive to make a project like Wytch Hazel work, and full credit due – IV: Sacrament is another superb entry into what is growing into one of the more impressive resumes in the world of Heavy Metal. I don’t care who or what you do or don’t believe in – believe in Wytch Hazel and get your hands on this fantastic album.

I fucking love this album. I would die for it.

Sordid Blade is the kind of Heavy Metal that comes at you fully clad in chain mail, brandishing the most extravagant, least practical sword or battleaxe possible in the name of all things epic and fantastical. It’s Heavy Metal for the kind of person who spends their free time forging custom, ornamental knives and swords, probably while wearing like, a leather kilt or some shit. It’s the living embodiment of every Heavy Metal dork (myself included) who has posed ridiculously for a photo in the middle of the woods in the name of all things trve and metal.

In case this all hasn’t painted a vivid enough picture for you, Sweden’s Sordid Blade is a two-man project spearheaded by Niklas Holm who’s holding down vocal, guitar, bass and songwriting duties, and backed by drummer Micael Zetterberg. The duo are here with the sole purpose of bringing the world an epic helping of the kind of mid-paced, super-anthemic Heavy Metal that made you fall in love with the likes of Manilla Road, Hammerheart–era Bathory and so many others. This might get you thinking, “OK, cool, so uh… why is this a complete hit or miss kind of album then?”

Wellllllll here’s the thing. There’s A LOT of passion going into this project. So much so that, at times, this can almost border a little bit on the side of ridiculousness. For example, while Niklas Holm may not necessarily be the MOST technically proficient singer on the planet, he more than makes up for it with sheer enthusiasm. That said, his vocal stylings are, potentially, a divisive factor. For one thing, my dude rolls his “R’s” A LOT. Personally, I think it’s super endearing and puts a big dumb smile on my face, but I’d understanding if someone might call it a little bit cheesy or ridiculous. Their loss! But, I get it. And there’s some other funky things going on vocal-wise, too. There may be a bit of a linguistic divide or something at play, but sometimes what you hear coming out of your speaker or headphones is nowhere close to what the alleged lyrics say. Prime example: on “Halfway to Heaven,” I swear he’s either saying “Happy to have done” or “How could you have done,” but apparently he’s singing “Halfway to Heaven.” I can’t explain it, you just need to listen to it. It’s weird.

Vocals aside, from a musicianship standpoint, there’s a ton of talent between these two! But hoo boy, the production is all over the place, particularly on the rhythm guitars which often sound recorded off a practice amp or something. I can certainly deal with a fair amount of production deficiency, and Every Battle Has its Glory is hardly unlistenable, but there’s more than a few grating moments, or even really great moments that you just wish sounded better, that you just can’t help but think how friggin’ amazing this would all sound with even just a little bit better recording quality.

But ok, that’s enough of the bad for my liking, because there’s zero sarcasm in my adoration of this album – the biggest reason being Niklas Holm’s ability to write some absolute BANGER metal anthems. The soaring, epic chorus of “Hidden Enthronement” will physically force you to throw an arm around your best Heavy Metal bud and sing along with righteous glee, and don’t even get me started on the clinic Holm puts on with the top notch Proto Metal riffing and melody on display. Weird vocal oddities aside on “Halfway to Heaven,” the main riff rivals anything Eternal Champion or Megaton Sword has yet recorded in it’s ability to get you banging your head and pumping your fists with reckless abandon.

Same can be said for the excellent “Mighty Old Star,” which plods along with the swagger of a kingdom’s greatest and most beloved champion fresh off smiting lesser fools on the battlefield. Truly, Holm’s guitar work is a thing to behold, with fantastic solos and leads that are every bit as indulgent and glorious as you should want with a product like this. If you’re not air-guitaring along on “Every Battle Has its Glory,” somebody better get in there and check your pulse, cuz you ain’t living, buddy.

And that’s the crux of what makes this such a great album. I stand by my prediction that this is a totally hit or miss affair, but if it hits? IT HITS. It’s got just such an infectious energy that keeps drawing you in like a moth to flame. My quibbles with the production quality may be genuine, but in a weird way it does make you want to root for Sordid Blade even harder like they’re the plucky underdogs entering the arena against a sea of titans. I love this band because you can just feel the love these two musicians have for what they’re doing in every note and beat. In that regard, I feel the same way about this band that I felt the first time listening to Greyhawk and fell for their Heavy Metal bleeding heart charms. You can’t help but get caught up in the passion of it all.

At the end of the day, Every Battle Has its Blade is an album from a band well aware of who their audience is, who hellbent on giving it what it wants – glorious Heavy Metal anthems that bury themselves in your head and put a big damn grin on your face. To that end, Every Battle Has its Glory is a ROUSING success.

Absolutely NO ONE is gonna have more fun than these dudes.

Certainly, the world of Heavy Metal is no stranger full blown, tongue-in-cheek fuckery, which is just as well. If you’re going to take yourself too seriously while writing songs about medieval, fantastical worlds of dragons and bards and wizards and shit – you’re kinda spoiling it all, right? Blazon Rite are, most certainly, not guilty of this. I figured that out about 30 seconds into reviewing their debut EP Dulce Bellum Inexpertis last year. Theirs is a mighty, relentlessly upbeat brand of traditional Heavy Metal that wears it’s glorious, hobbit-loving heart on its sleeve, led by the enigmatic voice of front man Johnny Hallady, who once again is here with his merry band of raucous, mead-swilling gents to take us on quite a journey.

One thing that’s clear from the start, Blazon Rite’s signing with Cruz Del Sur subsidiary Gates of Hell Records has made a big difference in terms of recording quality. Thought certainly not approaching anything close to “overproduced,” Endless Halls of Golden Totem boasts a much cleaner, more pleasant listening experience than their debut EP. With that also comes a band with a tighter, more focused and, dare I say, more restrained sound than what the band showed in their first outing. For me, this comes with bit of an inherent risk. Part of what made Blazon Rite such an endearing experience on Dulce Bellum Inexpertis was their fuck-all, full throttle approach they took towards everything. Unrefined? Sure. But that lack of pretense only added to the fun of it all. Thankfully, while Endless Halls… sounds like a band trying to be taken a little bit more seriously, they haven’t abandoned the unbridled joy that first got me so pumped about these dudes. “Put Down Your Steel (Only for the Night)”, from what I can tell, is the fantastical bedroom anthem I never knew we all needed, with the story’s protagonist propositioning a warrior lady (or dude? Doesn’t specify) to lay down their weapons and share one night in bed together before he heads out on his quest the next morning. It’s much more eloquently and poetically put than that simple explanation, but you get the point – the fun is still very much here. Similarly, “Alchemist’s Brute,” with its tale of a rune-conjured beast running wild, offers up a friggin sweet little organ-led break midway through the song that transports you to some evil, moth-ridden laboratory in the bleak castle of some far-off land. Just an absolute blast.

Beyond the continued emphasis on the fun, as I mentioned, is an increased focus on songcraft and writing. The riffs on “The Night Watchmen of Starfall Tower” are some of the band’s best yet, sure to inspire banged heads across the land. Guitarists Pierson Roe and James Kim really have raised their game here, churning out quality riffs and catchy melodies one after another. The end of the album’s title track pulls you in and, in due time, will surely whip crowds into a fist-pumping, sing-along frenzy. The same can be said about “Consumed by Glory Light” and its earworm of a chorus that showcases Johnny Halladay’s all-or-nothing approach to singing that, for the most part, is kept slightly more in check this time around, but still finds occasion to just let it rip.

To be totally honest, Endless Halls… took a couple listens for me to really embrace. A couple standout tracks immediately caught my attention, namely the excellent “Executioner’s Woe,” but overall I wasn’t hit quite with the immediate impact of their first EP. I think I was still enamored with their debut’s more raw, frenetic energy. But after a while, the increased focus and musicianship put into this record really began to shine through, and while I’m not sure what kind of expectations anyone had for this release, I can confidently say that already-established fans will absolutely love this, and new fans have plenty of reason to get excited about Blazon Rite. It’s an album with real staying power, and one to be taken just seriously enough to appreciate the work that went into it, but not so much to ruin the fun. So grab your drinking horns, sharpen your blades, and hop on the wagon to glory, friends! Blazon Rite is taking us on a wild ride.