RWAKE - THE RETURN OF MAGIK (Relapse Records)

14 years from their previous album, one of the most under appreciated of America’s great sludge bands emerge from a cocoon of transformation as the best ever form of themselves. Their mix of barbaric heaviness, psychedelic progressive instincts, and Deep South folk horror has never gelled as transcendentally as this, bringer with them all of the maturation of lived experience in sage warnings like Distant Constellations and the Psychedelic Incarceration, and still the inflammatory conviction in what they do and the power of sharing these experiences together in the title track, a song which also climaxes in the year’s most primally awe-inspiring riff. - Perran Helyes

SCORPION MILK - SLIME OF THE TIMES (Peaceville)

Having established his own personal lineage of apocalyptic post-punk with Beastmilk and then Grave Pleasures, Mat McNerney adds the venomous third piece of this trifecta with Scorpion Milk, a project which takes on the vile and sardonic side of classic post and anarcho-punk more than ever before. Slime of the Times is as incessantly catchy as any of McNerney’s bands prior, but the hooks this time also hurt, barbed and laced with the paranoia and social degradation of our contemporary reality being folded back onto this ever relevant musical tradition.  - Perran Helyes 

HOME FRONT - WATCH IT DIE (La Vida Es Un Mus)

Edmonton’s Home Front emerged with one of the best ideas for a new band in the 2020s, that being essentially synth-oi, drawing together the rowdy communal catharsis of classic punk rock with the mechanized pop of new wave and industrial. It’s an incredibly holistic approach which recognises the spiritual commonality between these branches of alternative music, and on Watch It Die they knock it out of the park with an incredibly vibrant, eclectic, and life-affirming set of songs that pack as many irresistible dance grooves as therapeutic and timeless choruses.  - Perran Helyes

AFI - SILVER BLEEDS THE BLACK SUN… (Run for Cover)

The most chameleonic punk rock band of their generation have long been associated with a penchant for the gothic and macabrely dramatic, but Silver Bleeds the Black Sun… represents the most radical and full-bodied throwing of themselves into a chosen terrain of AFI’s career. Teased in advance as their “vibe record”, with full warning that this would be an atmospheric piece best suited to total immersion, the goth rock tones of the likes of The Cult and Echo & the Bunnymen that they play with here hang perfectly on them producing some of the best and most sonically immaculate AFI songs of the modern era, and evidence how above all else AFI are one of the greats of that classic goth lineage.  - Perran Helyes 

LAMP OF MURMUUR - THE DREAMING PRINCE IN ECSTASY (Wolves of Hades)

With this being his fourth full-length of the current decade one-man project Lamp of Murmuur has not lacked for consistency and proficiency in output, but The Dreaming Prince In Ecstasy really feels like the record this first leg of his career has been building to. Whether it be the goth vampirism that made his early raw black metal works so striking and idiosyncratic, or the mighty raised fist metal heroics of prior record Saturning Bloodstorm, everything that’s made Lamp of Murmuur great is present here, and in the three-part suite of the title track it’s like the goth-black metal fusion of his dreams has truly been coaxed out into the light. - Perran Helyes 

DEFTONES - PRIVATE MUSIC (Reprise Records)

The arrival of Private Music felt so exciting for me as a music lover, because I could only imagine what it must be like for a newcomer to Deftones’ catalogue to have their moment with this album. Imagine if this was your gateway? This is a band who has been steadfast in their approach to sound (not to mention their exploration of it) across a now-whopping ten album spree; boldly threading myriad textures and emotion through a core sonic identity that has evolved with care and intricacy across almost four decades. Private Music instantly compels the listener: from the ferocious nature of “my mind is a mountain” and intensity bred through “cXz”, through to the masterclass of moods Chino Moreno delivers throughout “milk of the madonna” and “I think about you all the time”, it’s a listening experience that beckons you to lose yourself in it. The melodies that swirl as part of the DNA of a song like “infinite source”, matched with the sheer weight of the instrumentation and vocals, make it one of Deftones’ best songs – a strong reminder that this is a band still curious and hungry to expand on the blueprint they set for themselves and the genre so many chapters ago. - Sosefina Fuamoli 

DAYSEEKER - CREATURE IN THE BLACK NIGHT (Spinefarm)

Creature In The Black Night, I feel, will be hailed as a Dayseeker classic in years to come. The horror themes are present, sure, but it’s in the seductive nature of the riffs and synths that make a lot of the Creature… songs stick the landing. “Bloodlust” and “Pale Moonlight” reverberate after that first playback for their atmospheric builds alone. “Crawl Back To My Coffin” and “Cemetery Blues” lean into the synth-pop elements of Dayseeker’s sound in a way that adds to the emotional energy of the project, rather than stripping the heaviness from it. The material feels like some of the most concise and confident songwriting from the band to date; Rory Rodriguez has poured emotional intelligence together with sharpened perspective as a songwriter, and it’s excellent to hear that fusion come through here. - Sosefina Fuamoli 

THORNHILL - BODIES (UNFD)

When it comes to Australian releases, Thornhill’s third album Bodies is easily one of the strongest of the year. An accomplished and versatile collection of music that amplifies the elements of Thornhill’s artistry that have propelled the group forward in the last year alone – the spontaneity, the sonic precision, the sheer dynamism of them as a unit – Bodies stands as a striking touchstone. What is so great about Thornhill, is their ambition as storytellers. From songs like “Revolver” and “Silver Swarm”, to the nuance threaded through “Only Ever You” and “TONGUES”, the band has really been able to push themselves creatively without losing the essence of what first made them one of the country’s talented champions of a new wave of Australian metalcore. - Sosefina Fuamoli 

LORNA SHORE - I FEEL THE EVERBLACK FESTERING WITHIN ME (Century Media)

I Feel The Everblack Festering Within Me is likely one of the densest releases you could wrap your ears around from 2025 but man, is it worth it. Lorna Shore have been consistently rising to a high standard they set for themselves and with this album, it’s clear that they’re cooking at a new central temperature. The way Will Ramos’ lyricism conjures notions of inescapable grief and isolation, constantly searching for purpose and solace, gives I Feel The Everblack… shades of maturity and a graduation in songwriting power. Everything about this album feels like an elevation for the group; the diversity in sound, the vocals delivery, the punishing pace and solo work stands as a definitive moment for Lorna Shore and their fans alike. - Sosefina Fuamoli 

SLEEP THEORY - AFTERGLOW (Epitaph)

There haven’t been many albums that have retained their chokehold on me this year, other than Afterglow. I’m still trying to pinpoint what it is about Sleep Theory’s debut that hit me so hard, but I think it’s the overall fun and confidence the band have clearly poured into its creation. This is music that doesn’t necessarily reinvent the wheel when it comes to bringing nu-metal, alt and post-hardcore elements together, but it does feel like a fresh and soulful approach that hopefully brings new fans to the community. Infusing the above with strains of R&B offer moments of clever contrast; songs like “Stuck In My Head” and “Static” can exist alongside “Gravity” and “Words Are Worthless” without missing a beat. The authenticity of the band shines in the songwriting - Cullen Moore’s vocals and charisma are a standout but the same can be said about the way Sleep Theory present themselves as a unit on this project. The ability to weave moments of charged intensity in the lyrics, with a highly polished (sometimes cinematic) bed of instrumentation speaks to the band’s strength in one another’s ability to anticipate the creative direction that best suits each track. - Sosefina Fuamoli 

RIVERS OF NIHIL – RIVERS OF NIHIL (Metal Blade)

My album of the year by some distance. This was the band’s make-or-break record after their 2021 masterpiece The Work and the departure of vocalist Jake Dieffenbach. They smashed my expectations to smithereens. The addition of Andy Thomas of Black Crown Initiate on guitar and vocals gives “Despair Church”, “House of Light” and “Water & Time” layers of melodic majesty. Bassist Adam Biggs steps up to the lead vocalist spot with vigour, giving this album an urgency and attack. The towering scope of Brody Uttley’s songwriting is effortless, simple, complex and sublime, and something to behold. And when they want to crush – on “Dustman”, “Criminals” and “American Death” – just get out of the way. - Dan Franklin

$ILKMONEY – WHO WATERS THE WILTING GIVING TREE ONCE THE LEAVES DRY UP AND FRUITS NO LONGER BEAR? (Lex Records)

I’m not a big hip-hop head, but I heard a track from this album on the radio and was hooked. Following a loose concept based on a children’s book called The Giving Tree, and following up I Don't Give a Fuck About This Rap Shit, Imma Just Drop Until I Don't Feel Like It Anymore, $ilkMoney is fierce, opaque, and when he wants to be, devastatingly direct. Its woozy, bricolage production gives it a quaalude haziness, but his evisceration of Jonathan Majors and the culture around him on “Prolly Wouldn't Be Here If We Woulda Been Killed That Nigga King Bach” is as crystal clear as it is transgressive. And if you want to learn how Ice-T made $500k a day selling hand grenades check out “Bigfatjellydachilidaaawg Luvahluvah’”. - Dan Franklin

TREMONTI – THE END WILL SHOW US HOW (Napalm Records)

All-American guitar hero Mark Tremonti put this out right at the start of the year, and I’m determined everyone gets another chance to hear it before the year is out. He released it before affirming his position as one of the hardest working people in heavy music, touring with a reformed Creed in the summer, and poised to release a new Alter Bridge album in January 2026. Tremonti has nothing to prove when it comes to his melodic instincts, but his solo band is where he lays the hammer down: “Just Too Much”, “Nails” and “I’ll Take My Chances” are all first-class bangers. He’s been writing insouciantly brilliant songs like “Tomorrow We Will Fail” for nearly 30 years and has a ton of gas left in the tank. - Dan Franklin

SLEEP TOKEN – EVEN IN ARCADIA (RCA)

We’re not doing this list without including Sleep Token are we? Good. With Even In Arcadia Sleep Token didn’t capture the zeitgeist as much as become the zeitgeist itself. The extraordinary commercial performance of the album, and its chart-bothering credentials, tells us that we are in new terrain where genre lines have dissolved. “Emergence” cracked the top 20 as a single. But listen closely to that song and there’s a remarkable amount going on – the piano-led crooning eroticism, the stuttering raps, and then the titanic riff which, yes, takes Steph Carpenter’s blueprint and then runs circles around the new Deftones album. To top off their remarkable year, drummer II was a key component of YUNGBLUD’s show-stealing performance at the Back to the Beginning event in the summer. Sleep Token are unprecedented in heavy music, with a pop sensibility at the band’s core and a genius for taking this culture by the scruff of the neck and saying, “No, we’re going this way.” - Dan Franklin

EMPLOYED TO SERVE - FALLEN STAR (Spinefarm)

Woking’s finest continue to deliver at the highest level with Fallen Star. Consolidating on the breakthroughs they made on 2021’s Conquering, Gothenburg melo-death, New York stomp, and a thoroughly British steel, all combine for a titanic amalgam under the watchful eye of producer Lewis Johns. Their coup de grace here is recruiting Will Ramos for a jaw-dropping feature on “Atonement”. The chorus of the year, with this single ETS even managed to steal the thunder from Lorna Shore’s own very fine effort from the summer. And as for mosh call of the year, it’s been hard to top Jesse Leach”s “When push comes to shove/You’ll be the first one off the edge” followed by a grunt and slowdown that will have you running through your living room wall like the kids at the end of Weapons. - Dan Franklin

DEAFHEAVEN - LONELY PEOPLE WITH POWER (Roadrunner Records)

It was with bated breath that Deafheaven fans anticipated the sixth album by the band that effectively planted the blackgaze flagpole with the success of Sunbather in 2013. Since then, the San Francisco squad has challenged their audience and flirted with mainstream acceptability with the help of frontman George Clarke’s vocal range from black-metal screams to soft singing. But it turned out fans had nothing to fear: Lonely People with Power delivers a punch that will leave listeners reeling deliriously. The new record restores Clarke’s black-metal screeches—sometimes at their most ear-shattering yet—while also producing the punchiest hard-rock riffs proliferating the band’s arsenal. -Kurt Orzeck

ORBIT CULTURE - DEATH ABOVE LIFE (Century Media Records)

After signing with Century Media, Orbit Culture lead vocalist and rhythm guitarist Niklas Karlsson told me that the Swedish melodic death-metal band “now really have to show our worth”–despite having been around for a dozen years. But boy do they ever on Death Above Life. With nary a stinker among the record’s 10 tracks, proved their decision was right to wipe the slate clean with this new chapter in their career and be reborn with seemingly the most massive, loudest sound possible in all of heavy metal. That’s saying something; if you don’t believe it, let your ears be the judge. - Kurt Orzeck

AGRICULTURE - SPIRITUAL SOUND (The Flenser)

To describe what Agriculture’s sophomore record sounds like is as difficult as trying to convey what one went through during a near-death experience. There was a blinding white light, then complete darkness. It seemed like there was some kind of a presence, but it’s impossible to be certain. With the histrionics of Horrendous, the chug-a-lugging of Lamb of God, the blistering blasphemy of Portrayal of Guilt—and, yes, the sensitive and simmering quiet passages of Deafheaven—Agriculture have produced a mutant crop that can’t be replicated, that is too resplendent to discard, that must be studied and preserved for years to come like the Terminator arm stored in triple-security lockdown at Skynet. - Kurt Orzeck

MCLUSKY - THE WORLD IS STILL HERE AND SO ARE WE (Ipecac Recordings)

The British post-hardcore trio’s first album in over 20 years is outlandish, ostentatious and even outrageous. Mclusky’s unwaveringly rollicking, raw sound is only matched in ballsiness by the political screeds vocalist/guitarist Andy “Falco” Falkous rips into in much of the band’s material. Mclusky didn’t have a concept for The World Is Still Here and So Are We, but the message is clear, with Falco sending up British politicians and commoners in general for their corrupt and lazy approaches to governance and engagement, respectively. - Kurt Orzeck

MESSA - SPIN (Metal Blade Records)

Messa hit the bullseye with fourth record and first studio effort in three years. The Italian quartet ditch their Pallbearer-esque slow, heavy, chunk guitar sound from their previous full-lengths. And the results are illuminating. That the band flaunts its ability to crafty catchy, metal-pop probably wasn’t too high on anyone’s bingo card. The record also gives vocalist/percussionist Sara Bianchin more opportunities to showcase her expertise in singing without a lick of irony or pretense. Add in some intriguing passages pockmarked with synthesizers and horns, and what you have here is a great, if not perfect, record. - Kurt Orzeck

LANDMVRKS - THE DARKEST PLACE I’VE EVER BEEN (Arising Empire)

LANDMVRKS have always flirted with greatness, but The Darkest Place I’ve Ever Been is the moment they fully ascend. This is metalcore blown out to stadium-sized proportions - massive riffs, cinematic orchestration, bone-snapping breakdowns, and some of the most memorable choruses of the year. The Marseille band folds in influences from modern trap beats and French hip hop, melodic-driven metalcore, and vicious, headbanging instrumentals that give each track its own distinct flavor. Yet the whole record still feels entirely cohesive - like one unified scream of defiance and release. It’s easy for a record this polished to feel overproduced, but LANDMVRKS sidestep that trap entirely. These aren’t just loud songs; they’re fully crafted. Every tone, every breakdown, every dynamic shift is purposeful. From choir-backed walls of sound to razor-sharp grooves, to pummeling riffs to tender introspection, the band constantly finds the sweet spot between familiarity and surprise. This is their magnum opus, the culmination of everything they’ve been reaching for. If you’ve ever thought that metalcore’s power and influence was waning thin in 2025, this is the album that proves there’s still room to go bigger, deeper, and better. - Nicolas Degadillo

SCOWL - ARE WE ALL ANGELS (Dead Oceans)

With their latest release, Are We All Angels, Scowl push further into the singular lane they’ve carved out for themselves, expanding their sound without sacrificing an ounce of the ferocity that gave them their name. The hardcore foundation remains firmly in place - two-step-ready rhythms, biting guitars, and relentless forward motion - but it’s now threaded through with sharper hooks and a growing alt-punk sensibility. You can hear flashes of Garbage, No Doubt, and ‘90s alternative swagger, all filtered through Scowl’s own uniquely restless energy. It’s heavy, but it’s also undeniably fun, with grooves that are hard not to move to, hard not to feel. Kat Moss’ vocal presence and lyricism anchor everything in a mood all their own, balancing confidence and vulnerability in a way that feels both assertive and searching. That emotional tension of sounding joyful yet melancholy, bright yet bruised, is what gives the album its real weight. Every song builds toward something bigger and more cathartic, reinforcing the sense that this is a fully realized statement rather than a mere stepping stone. Scowl have been unavoidable in the scene the past few years for a reason, and this record captures exactly why while making it clear they’re only getting bigger from here. - Nicolas Degadillo

BETWEEN THE BURIED AND ME - THE BLUE NOWHERE (InsideOut Music)

Between the Buried and Me return with The Blue Nowhere, their eleventh studio album and first since 2021’s Colors II, marking the longest gap in nearly two decades for the Carolina band. The newly reconstructed group continues to revel in their free-flowing, experimental ethos, delivering songs that twist through moods and styles without ever losing their identity. This is unabashed Progressive metal with a capital P - constantly shifting, unapologetically weird, and full of unexpected detours that will keep even longtime fans on their toes. Tracks like the opening “Things We Tell Ourselves in the Dark” fuse unpredictable hooks with sprawling instrumental exploration, while longer pieces like “Psychomanteum” move from technical virtuosity to wild left turns to hauntingly melodic passages with ease. For most other bands, a collection of this caliber would read like a greatest hits; a culmination of decades’ worth of effort. The Blue Nowhere demands patience and replays and rewards it with dizzying creativity, reaffirming BTBAM’s place at the vanguard of progressive heavy music once again. - Nicolas Degadillo

TALLAH - PRIMEVAL: OBSESSION // DETACHMENT (Earache)

With Primeval: Obsession // Detachment, Tallah continue to prove that making a truly distinct sound in the crowded heavy metal field isn’t just a goal but an essential part of their entire identity. There is no other band that sounds like Tallah. When a Tallah song hits, it’s unmistakable; a sonic soundscape all its own that’s immediately recognizable in its sheer chaos and precision. The rhythm section of Max Portnoy and Joel McDonald is once again absurd in the best way possible: drums and bass locked into dizzying, impossible patterns that feel less like traditional metal beats and more like controlled detonation. The bass in particular doesn’t just support the songs - it actively drives them, constantly demanding attention, giving Tallah their distinct primal sound. Then there are the vocals. Justin Bonitz has long been the band’s not-so-secret weapon, and fans have known for years that he’s the real deal and then some. Primeval gives him endless space to flex his wildly versatile, unpredictable range, snapping between registers, textures, and emotional extremes without warning. The fact that his performance on this album was captured in a single, continuous take is astonishing to think about. This album doesn’t just reinforce Tallah’s uniqueness, it doubles down on it, sounding like a band completely unafraid to push themselves, their listeners, and the genre itself further into uncharted territory. - Nicolas Delgadillo

SANGUISUGABOGG - HIDEOUS AFTERMATH (Century Media)

Hideous Aftermath is ridiculously heavy and absurdly, gleefully brutal, but never sacrifices groove, rhythm, or the dark, headbanging danceability that separates elite death metal from faceless extremity. It’s a razor-thin balance few bands can strike at this level of violence, and Sanguisugabogg continue to prove they outright own it. The album feels like their truest statement to date, bolstered by appearances from heavy music royalty both old and new: forward-pushing extremists like PeelingFlesh and Defeated Sanity alongside longtime standard-bearers such as Cattle Decapitation and Full of Hell. Rather than feeling like guest spots, these collaborations reinforce the sense that Sanguisugabogg belong in the upper echelon of modern death metal. Lyrically, it’s as grotesque and perverse as the genre demands, staring directly into the filth and violence of the world. Sonically, it’s immaculate. Especially the drums delivered by Cody Davison, which are impossibly, consistently fast, vicious, and crystal clear. If unrelenting death metal can ever be considered accessible, Hideous Aftermath might be the gateway. - Nicolas Degadillo

H09909 - TOMORROW WE ESCAPE (999 Deathkult / Last Gang Records)

The punk, hip hop, hardcore, industrial hybrid of H09909 have stayed the course creatively over the last decade plus and have seemingly found their stride on Tomorrow We Escape. While the duo's live presentation and bombastic on record bravado has afforded staying power, Tomorrow We Escape is the album where theOGM and Yeti Bones narrow their sonic focus with a collection of songs that combine their bedrock of influences with the same fluidity as force - making for a much more effective weapon. Along with a broad spectrum of collaborators with Nova Twins, Greg Puciato, Chelsea Wolfe and Pink Siifu all guesting on the album, the Triple 9 have unleashed a multi-genre masterclass that speeds far ahead of the subcultural learning curve. - Ramon Gonzales

TURNSTILE - NEVER ENOUGH (Roadrunner Records)

BORE - FERAL (Silent Pendulum)

It is wild to think the New York metallic hardcore hybrid in BORE delivered such succinct calculated chaos for their debut full length, and moreso, sat on the album for nearly two years trying to figure out how best to release it. For those of us that miss the shit out of bands like Every Time I Die, Feral packs a familiar wallop of metallic volatility while ensuring BORE's own signature doesn't get lost in the worship. The tandem of Branden Gallagher on vocals and Danny Kopij on guitar is feverish and fluid in a way that makes each track hostile, urgent and busting at the seams. And yet while the pace of Feral is as the title would suggest, there is a technicality that is evident in the torrent, hinting to a mathcore DNA that makes BORE hard to pin down and impossible to ignore. - Ramon Gonzales 

THE CALLOUS DAOBOYS - I DON’T WANT TO SEE YOU IN HEAVEN (MNRK)

For all the acclaim earned by their 2022 barrage, Celebrity Therapist, The Callous Daoboys managed to streamline their eccentricity on a follow-up that leveled up creative ambition while showcasing serious musical chops on I Don't Want To See You In Heaven. Authentically unconventional, rather than weird for effect, the collective corral elements of power pop, free jazz and metalcore into a molotov that is both meticulous and unpredictable. The entirety of the album is a sonic riddle that comes together with the kind of cohesiveness that had to be carefully curated throughout. From the unhinged hurl of "Schizophrenia Legacy" and "Douchebag Safari" to the bold breaks of entries like "Lemon" and the approachable weirdness of "Two-Headed Trout," The Callous Daoboys beat the binary out of contemporary heavy music. - Ramon Gonzales 

CASTLE RAT - THE BESTIARY (Blues Funeral/King Volume Records)

A potent meld of sorcery and spectacle with theatric, retro doom style points, Caste Rat has delivered their breakout entry with The Bestiary. Riley Pinkerton emergence as The Rat Queen channels the lineage of Joan of Arc and Ronnie James Dio to become the sword-wielding heavy heroine that leads by force, rather than relying on schtick. Doubling as both guitarist and vocalist, Pinkerton performance asserts a masterful balance of poise and power, resulting in sophomore full length that pays homage to the classics while penning an important new chapter in heavy music lore. - Ramon Gonzales

ABIGAIL WILLIAMS - A VOID WITHIN EXISTENCE (Agonia)

US black metal veterans Abigail Williams have never been musical slouches, but they may have outdone themselves on A Void Within Existence. For 45 minutes, the band weaves through seven tracks that not only smother the listener in frenetic extremity. But there are passages throughout that are filled with such melodious triumph that your spirit may want to explode out of your body. - Jon Garcia 

TRIBUNAL - IN PENITENCE AND RUIN (20 Buck Spin)

It took only one album for gothic quintet Tribunal to make their mark on the doom scene, and with their sophomore record In Penitence and Ruin they’ve cemented themselves as a presence that cannot be ignored. Combining influences of Candlemass, My Dying Bride, Paradise Lost, Draconian and more, Tribunal uses dual vocals, cello, and lugubrious melodies to transport the listener into their realm. Morose, gloomy, and impossible to get out of your head, this burgeoning band have created one of the best albums of 2025. - Jon Garcia 

IMPERIAL TRIUMPHANT - GOLDSTAR (Century Media)

It’s kind of funny that a “streamlined” and more “accessible” Imperial Triumphant album will still sound like cacophonous nonsense to most people not familiar with their work. Following the wandering and sometimes tediousness of Spirit of Ecstasy, Goldstar dispenses with any pretense and gets straight to the point, dressed in the trimmings of an old time cigarette ad. It’s impossible to guess where the demented trio is going to go next, and while you probably won’t be humming “Lexington Delirium" or “Pleasuredome” during your commute, the ear candy they’ve scattered about the album hits you like a cool breeze on a hot day. Try new Goldstar. Die for Goldstar. - Jon Garcia 

TOWER - LET THERE BE DARK (Cruz Del Sur Music)

Traditional heavy metal from the city that never sleeps, Tower incinerate everything in their path with their third record Let There Be Dark. While the album charges ahead with high-octane guitar solos, bass gallops and enough artillery in the drums to defend Stalingrad, vocalist Sarabeth Linden steals the show. Her powerful croon sounds like Cher fronting Iron Maiden, and on songs like “Under the Chapel”, “Don’t You Say”, and incredible album closer “The Hammer”, you’ll wonder why this band isn’t on massive stages bringing these songs to life with pyro and pageantry. The spirit of heavy metal burns brightly within Tower, so crank it, pump those fists and raise those horns. - Jon Garcia 

CONJURER - UNSELF (Century Media)

On their 3rd LP, Conjurer combines the heft and power of their gargantuan sound with the weight and emotion of finding and living your authentic self. From the folksy beginning of the title track, all the way through the bookended closer “This World Is Not My Home,” the quartet taps into the very essence of what it feels like to be a lonely, confused person in this increasingly hostile world. The dissonance, aggression, and catharsis of each song amplifies those feelings, probably none more so powerful than “Let Us Live”. Unself will be a beacon in the dark for generations of people questioning themselves, their identity, or their sexuality, as well as those just trying to live their lives their own way. This record will save lives, and it’s truly rare when the lasting, tangible impact of an album matches (or exceeds) its musical quality. - Jon Garcia