The Immortal out August 29th, 2025 via Supreme Chaos Records and Dalapop
In Mourning is one of the most underrated bands on the planet. The Swedish Death Metal group has created albums that are forever burned in the fans’ memories. Albums like The Weight of Oceans (2012) mix Melodeath, Progressive, and Gothic elements to create a truly unique listening experience. This is a band I think everyone should pay more attention to, especially with the rising popularity of Insomnium and In Flames. If you dislike the more mainstream direction In Flames has taken, maybe In Mourning can be your new Melodeath favorites. Although, In Mourning do not sound like anyone else to me. They are distinct. Three vocalists, all playing different guitar riffs and licks, and a Prog minded drummer all set In Mourning apart to me. They still have epic guitar solos as well, which is a great deviation from Modern Metal’s lack of guitar eloquence. The Swedish SadBois are back in 2025, but does the new album live up to their previous releases?
In Mourning have finally unleashed “The Immortal” after waiting four years and little teasers. “The Immortal” is everything you’d expect from a Melodeath album, and even more special coming from In Mourning. This album is a special experience. If you’re driving through the mountains in pitch black darkness with reckless abandon and the winter doldrums setting in, “The Immortal” is 47 minutes of soundtrack. It is not just an album, a collection of In Mourningesque ideas; The Immortal is a soundscape, laying out so much material and influences. They return to their roots, so you know it’s authentic, but it is not formulaic. It builds, it ebbs and flows, and it chugs. I had high expectations, but honestly didn’t expect to like this album as much. There’s something up with Me and Metal music this year. I am just continually disappointed with new releases. In Mourning has broken the lull for me.
“The Sojourner” is an instant classic Melodeath track for me. This song has everything I want from In Mourning, the Progressiveness, the longing feeling, the technical solo, the soulful clean vocals: It’s perfection. “Song of the Cranes” is just as good and a track with even more soul crushing depth. Each song stands on its own, but they all have the same moodiness and driving beat that ties it all together. If you’re a recovering Ghost Brigade fan, this album is the closest thing you will get to GB in 2025. “Moonless Sky” is all I love about Melodeath. It is an ode to the bands that have come before them, and a cementing outline of what In Mourning will continue to create. The emotion in this band is nearly unparalleled in 2025. I haven’t heard many heavy releases that really resonated with me this year, but In Mourning smashed the walls down and made me believe in Metal again this year. They go from emotional and moody atmospheric track “Moonless Sky” to Death Metal smasher “Staghorn”. That’s one of the most surprising moments in music for me this year. This song, as well as the rest of the album is so easy to get lost in. That’s what I expect from Metal. I expect an all encompassing, emotionally driving, unique artistic listening experience. I expect the highest level of catharsis. “The Immortal” hits these notes profoundly with each song. Of course, In Mourning always achieves these points on every release, but “The Immortal” packs a serious Death Metal edge that is so very satisfying.
“North Star” is a true tear jerker of an epic Melodeath song, reminding me so much of Insomnium in all the best ways, but even more satisfyingly heavy. The guitars are so tight. The chemistry in this band rivals old Dark Tranquility and Belakor for me. Each element feels so meticulously planned and thought out, but not over produced. It’s tight and clean, but not bloated like so much Metal is for me today. This album could’ve come out in 2010, because of its sheer precision and unfiltered emotion. It doesn’t have 500 layers of Pro Tools edited guitar tracks with huge compression or reverb. It sounds like In Mourning right off the board, which is exactly what I have always loved about them. Yes okay, maybe the songs become a bit predictable after awhile and you know when the instrumentals and soft parts are coming. But there is a “my comfort album” element here to immerse yourself into. It’s just absolutely solid Melodeath and no bullshit.
“The Immortal” closes with one of the best songs on the album, “The Hounding”. It is a blazing Death Metal track with blast beats, Black Metal worthy screams and chilling guitars, and atmospheric elements. What holds this song, and the entire band together is undoubtedly the drums. While they’ve changed drummers from one of my favorite drummers, Joakim Strandberg-Nilsson, now with Dark Tranquility, to Cornelius Althammer, there’s no difference in the Progressive Metal influence that stands out to me. “The Hounding” absolutely sold me on Cornelius Althammer and I am very impressed by his speed.
Overall, “The Immortal” is objectively a great album. The tracks standalone. While the album starts out a bit slow and predictable, it builds and becomes truly great. It will take a few listens to soak it all in, especially if you’re in an over stimulated state like I am these days. The album is worth replays and I think it holds up fairly well to In Mourning’s previous releases. It is nowhere as epic as previous ventures, but it is still surprising and enjoyable. If you like Melodeath, I think this album hits all the right Sadboi goodness. If you don’t like Melodeath, I am not really sure if this is an album to change your mind. If you’ve never heard In Mourning, start with “Song of the Cranes” and then listen to the rest of this album.
Halestorm will waste no time supporting their upcoming sixth studio album, Everest, booking a seven month world tour that includes a lengthy run in the U.S. and Canada between July and October. This is what Halestorm does best, endlessly tour and make sure their millions of fans have multiple chances to see them.
I am intrigued by the first single of Everest, as it sounds more like “Into the Wildlife” style writing and production.
The band recently revealed the first single from their new album titled “Darkness Always Wins” and now we have the full details of their forthcoming release.
Halestorm on the album:
“Our album Everest is a story of our journey as a band, full of beautiful endings and new beginnings. We weave a tangled web of melancholy, frustration, anger, and the vast purgatory of love and love lost. It is a rollercoaster of epic musical detours, great songwriting and completely unhinged twists and turns. EVEREST is an auditory representation of the 4 pillars of Halestorm. Let us introduce ourselves and invite you into our world…if you dare.”
The album is titled Everest and it’s currently on track for an Aug. 8 release date through Atlantic Records. The group worked with producer Dave Cobb on the set.
Check out the album artwork and track listing below and make sure to get in on the album pre-orders.
Halestorm, Everest Album Artwork + Track Listing
Atlantic Records
Fallen Star Everest Shiver Like A Woman Can Rain Your Blood On Me Darkness Always Wins Gather The Lambs WATCH OUT! Broken Doll K-I-L-L-I-N-G I Gave You Everything How Will You Remember Me?
Halestorm Touring Everest
As stated, Halestorm have a heavy tour cycle ahead of them. The group’s 2025 NEverest touring includes dates supporting Iron Maiden and Volbeat, while the band also has shows that feature Apocalyptica, Lindsey Stirling, Bloodywood and Kelsey Karter and the Heroines.
In addition, Halestorm will be one of the bands playing a set at the Ozzy Osbourne / Black Sabbath Back to the Beginning all-day concert on July 5 in Birmingham, England.
Along with the previously announced North American dates supporting Volbeat, the band just revealed a U.S. and Canada headline run featuring Lindsey Stirling and Apocalyptica. Tickets for the run will go on sale this Friday (May 2) at 10AM local time. Check out all the stops below and get ticketing information through the Halestorm website.
Halestorm 2025 Touring
May 15 – Daytona Beach, Fla. @ Welcome To Rockville (festival date) May 17 – Ocean City, Md. @ Boardwalk Rock (festival date)
European & U.K. Tour Dates
May 27-28 – Budapest @ Sportarena (supporting Iron Maiden) May 31 – Prague, Czechia S Letany Airport (supporting Iron Maiden) June 1 – Bratislava, Slovakia @ O’Nepelu Arena (supporting Iron Maiden) June 3 – Leipzig, Saxony @ Felsenkeller Leipzig (headline date) June 5 – Trondheim, Norway @ Trondheim Rocks (festival date) June 7 – Stavanger, Norway @ Viking Stadium (supporting Iron Maiden) June 9 – Copenhagen, Denmark @ Royal Arena (supporting Iron Maiden) June 12-13 – Stockholm, Sweden @ 3Arena (supporting Iron Maiden) June 16 – Helsinki, Finland @ Olympic Stadium (supporting Iron Maiden) June 18 – Tallinn, Estonia @ Helitehas (headline date) June 19 – Riga, Latvia @ Palladium Riga (headline date) June 23 – Lille, France @ Aeronef (headline date) June 25 – Dublin, Ireland @ Malahide Castle (supporting Iron Maiden) June 28 – London, UK @ London Stadium (supporting Iron Maiden) July 1 – Lausanne, Switzerland @ Les Docks (headline date) July 2 – Eindhoven @ Effenaar (headline date) July 5 – Birmingham, U.K. @ Villa Park (supporting Black Sabbath)
North American Dates
July 17 – Denver, Colo. @ Ball Arena (supporting Volbeat) July 19 – Salt Lake City, Utah @ Utah First Credit Union Amphitheatre (supporting Volbeat) July 21 – Auburn, Wash. @ White River Amphitheatre (supporting Volbeat) July 22 – Ridgefield, Wash. @ Cascades Amphitheatre (supporting Volbeat) July 24 – Wheatland, Calif. @ Toyota Amphitheatre (supporting Volbeat) July 25 – Los Angeles, Calif. @ Kia Forum (supporting Volbeat) July 26 – Phoenix, Ariz. @ Talking Stick Resort Amphitheatre (supporting Volbeat) July 28 – Irving, Texas @ The Pavilion at Toyota Music Factory (supporting Volbeat) July 29 – Houston, Texas @ 713 Music Hall (supporting Volbeat) July 31 – Rogers, Ark. @ Walmart AMP (supporting Volbeat) Aug. 2 – Franklin, Tenn. @ FirstBank Amphitheater (supporting Volbeat) Aug. 3 – Alpharetta, Ga. @ Ameris Bank Amphitheatre (supporting Volbeat) Aug. 4 – Tampa, Fla. @ MIDFLORIDA Credit Union Amphitheatre (supporting Volbeat) Aug. 6 – Charlotte, N.C. @ PNC Music Pavilion (supporting Volbeat) Aug. 7 – Bristow, Va. @ Jiffy Lube Live (supporting Volbeat) Aug. 9 – Camden, N.J. @ Freedom Mortgage Pavilion (supporting Volbeat) Aug. 10 – Holmdel, N.J. @ PNC Bank Arts Center (supporting Volbeat) Aug. 12 – Bangor, Maine @ Maine Savings Amphitheater (supporting Volbeat) Aug. 13 – Gilford, N.H. @ Bank NH Pavilion (supporting Volbeat) Aug. 14 – Mansfield, Mass. @ Xfinity Center (supporting Volbeat) Aug. 16 – Hershey, Pa. @ GIANT Center (supporting Volbeat) Aug. 17 – Cincinnati, Ohio 2 Riverbend Music Center (supporting Volbeat) Aug. 19 – Clarkston, Mich. @ Pine Knob Music Center (supporting Volbeat) Aug. 21 – Noblesville, Ind. @ Ruoff Music Center (supporting Volbeat) Aug. 22 – Tinley Park, Ill. @ Credit Union 1 Amphitheatre (supporting Volbeat) Aug. 23 – Marshfield, Wis. @ Central Wisconsin State Fair (headline date) Sept. 11 – Salem, Va. @ Salem Civic Center (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 12 – Cherokee, N.C. @ Harrah’s Cherokee (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 14 – Bridgeport, Ct. @ Hartford HealthCare Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 16 – Syracuse, N.Y. @ Upstate Medical University Arena at the Oncenter (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 18 – Laval, Quebec @ Place Bell (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 19 – Toronto, Ontario @ Budweiser Stage (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 21 – Madison, Wis. @ Breese Stevens Field (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 23 – St. Louis, Mo. @ Hollywood Casino Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 24 – Cedar Rapids, Iowa @ Alliant Energy PowerHouse (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 26 – Welch, Minn. @ Treasure Island Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 27 – Duluth, Minn. @ AMSOIL Arena (co-bill w/ Lindsey Stirling, with Apocalyptica) Sept. 29 – Bonner Springs, Kan. @ Azura Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 1 – Sioux City, Iowa @ Tyson Events Center (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 2 – Grand Forks, N.D. @ Alerus Center (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 4 – Winnipeg, Manitoba @ Canada Life Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 5 – Saskatoon, Saskatchewan @ SaskTel Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 7 – Calgary, Alberta @ Scotiabank Saddledome (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 8 – Penticton, British Columbia @ South Okanagan Events Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 10 – Vancouver, British Columbis ! Doug Mitchell Thunderbird Sports Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) Oct. 11 – Spokane, Wash. @ Spokane Arena (co-bill w/ Lindsey Stirling, with Apocalyptica)
European & U.K. Dates
Oct. 22 – Wiesbaden, DE @ Schlachthof (with Bloodywood) Oct. 23 – Oberhausen, DE @ Turbinehalle 2 (with Bloodywood) Oct. 25 – Hamburg, DE @ Inselpark Arena (with Bloodywood) Oct. 27 – Stockholm SE @ Fållan (with Bloodywood) Oct. 28 – Copenhagen, DK @ The Grey Hall (with Bloodywood) Oct. 30 – Warsaw, PL @ COS Torwar (with Bloodywood) Nov. 1 – Berlin, DE @ Columbiahalle (with Bloodywood) Nov. 3 – Prague, CZ @ Lucerna Velkỳ Sàl (with Bloodywood) Nov. 5 – Vienna, AT @ Gasometer (with Bloodywood) Nov. 6 – Budapest, HU @ Barba Negra (with Bloodywood) Nov. 8 – Munich, DE @ Zenith (with Bloodywood) Nov. 9 – Zurich, CH @ Komplex457 (with Bloodywood) Nov. 11 – Milan, IT @ Alcatraz (with Bloodywood) Nov. 12 – Barcelona, ES @ Razzmatazz 1 (with Bloodywood) Nov. 14 – Pamplona, ES @ Totem (with Bloodywood) Nov. 15 – Madrid, ES @ La Riviera (with Bloodywood) Nov. 17 – Paris, FR @ Olympia (with Bloodywood) Nov. 18 – Amsterdam, NL @ AFAS Live (with Bloodywood) Nov. 20 – Cardiff, UK @ Utilita Arena (with Bloodywood, Kelsy Karter & The Heroines) Nov. 21 – Glasgow, UK @ OVO Hydro (with Bloodywood, Kelsy Karter & The Heroines) Nov. 23 – Birmingham, UK @ bp pulse LIVE (with Bloodywood, Kelsy Karter & The Heroines) Nov. 24 – Manchester, UK @ AO Arena (with Bloodywood, Kelsy Karter & The Heroines) Nov. 26 – London, UK @ O2 Arena (with Bloodywood, Kelsy Karter & The Heroines)
May 27 – June 28: Supporting Iron Maiden (where noted) July 5: supporting Black Sabbath July 17 – August 22: Supporting Volbeat (where noted) September 11 – October 11: (co-bill w/ Lindsey Stirling, with Apocalyptica) October 22 – November 26: Support from Bloodywood November 20 – November 26: Support from Kelsy Karter & The Heroines
Danny is a powerhouse with a pretty impressive range used widely over Voyager’s 20+ year career. He uses an eclectic throwback sound to the New Wave days in the 1980’s and layers in Power Metal influences and occasional grunts. It’s an incredibly complex vocal that I don’t think anyone else could replicate. You hear him sing one note and you know it’s him immediately. No matter what style Danny may emulate, Voyager is an absolute party to listen to and a truly happy Metal band with sick riffs and catchy vocals.
Devin Townsend
My favorite singer of all time and one of the most technical on this list. Devin has a four octave range that he utilizes in over twenty styles of music and 25 years of creating. He is a vocal shapeshifter, switching from harmonic screams to tenor vocals in the smoothest transition. It is astounding to watch what he can do with his voice as he goes to the absolute limit in every performance, “Screaming until he tastes blood” doesn’t get any more brutal than that. I will definitely cover this astonishingly beautiful artist throughout my entire career as a Metal writer. He is one of the greatest singers, forget genres, forget tastes and subjectivity, he is supremely talented.
Phil Romeo- Countless Skies
One of the most surprising voices on this list, Phil Romeo is an operatic tenor Power singer and bassist in British Melodeth band Countless Skies. The first time I heard Phil sing was on the track Zephyr, and not knowing anything about this band, I thought it was a Devin Townsend feature. I was astounded to find out that it wasn’t Devin and that it was this unknown bassist laying down one of the most passionate vocal lines I have ever heard.
Tom Englund- Evergrey
I know, Evergrey is a well known Power Metal band with nearly 30 years of experience under their belt, but I have to say that Tom is a hugely underrated vocalist. I don’t see him come up on any vocalist list and I think he’s overlooked. He has such a unique and recognizable smooth tone. It’s almost a bluesy style, but with insane power. Nobody sounds like Tom.
Joseph Michael-Witherfall
I only discovered this incredible Doomy Progressive Metal band last fall and I was utterly bombed by Joseph’s voice. His delivery of vocals in the cover of Foreplay/Long Time by the great Boston is absolutely spectacular and not what I expected in the slightest. Witherfall is one of the most musically talented bands out there today, and Joseph is the frontrunner of the dynamics.
Dan Cleary- Striker
Striker (not to be confused with 80’s Stryper) is a Epic Power Metal band from Alberta, Canada that is known for playing throwback traditional style Metal. They are a nostalgic cheesy Metal band part of a collective touring group NWONMB, that features Lords of The Trident, Unleash the Archers, Seven Kingdoms, and more. Dan has immense power and range that definitely reminds me of Dokken, Queensrhyche, and Whitesnake. It’s just good clean Metal with soaring vocals.
Daniel Helman- Lost Horizon
One of the more unknown names on this list, Dan Helman led the great Lost Horizons from Sweden and created a sound that would go on to influence some of the newest and most powerful singers today. I hadn’t heard of him until Brittney Slayes of Unleash the Archers mentioned LH as an influence. The song below is an absolute vocal masterpiece of shocking proportion.
Joacim Cans- Hammerfall
I can’t talk about male singers without talking about Joacim Cans. I don’t see this fantastic melodious Power singer on any list, and it’s an absolute crime. He is one of the best vocalists I have ever seen live. His control, consistency, and power belts are unreal. Hammerfall has been around for three decades and hasn’t received nearly enough credit.
Damian Wilson- Threshold, Ayreon, and more.
Damian is one of those singers nobody talks about, and yet has one of the most distinctive voices of all time. I was introduced to Damian Wilson on Arjen Lucassen’s Star One and was blown away by his tone. It’s unlike anything I’ve ever heard. He goes from singing soft ballad vocals to high powerful belting. No matter what he’s singing, his vocals are angelic and crystal clear.
Mike Mills- Toehider, Ayreon
Possibly possessing one of the biggest ranges on the list, Mike Mills has been Arjen Lucassen’s go-to singer for fifteen years. The Australian Singer, Guitarist, and Songwriter does vocal gymnastics in any song he’s ever done. He pushes the limit of male vocals, reminiscent of the great Freddie Mercury with his high Soprano operatic vocals and having easily a four octave range. I have honestly never heard another singer like Mike. The song below is just five percent of what this guy can do. I highly recommend checking out his entire discography.
Patrik Selleby- Bloodbound
There’s quite a lot of Power Metal vocalists on this list, not on purpose but by sheer will of talent. The subgenre of Metal just has a knack for using the best, most versatile vocalists. Patrik Selleby has that belting higher range vocal that just captivates crowds. He has so many different techniques he uses. He can do soffty tenor vocals, dipping into baritone. He can scream and wail with precise vibrato reminiscent of 80’s Heavy Metal. He can also use fry vocals to accentuate vowels. I absolutely love his style and Bloodbound’s overall sound.
Isahn- Emperor
Isahn has one of the most piercing and soul haunting screams I’ve ever heard, but his clean vocals are what truly astonished me. I hadn’t heard him sing until the release of the EP “Pharaohs” and I have craved his voice ever since. If you could ever describe a man’s voice as sultry, it would be Isahn’s.
Einar Solberg- Leprous
Out of all the singers on this list, Einar possibly has the most shocking and distinctive voice on the list. This man’s voice is breathtakingly beautiful. I don’t describe male vocals as “beautiful”, but it’s the word that comes to mind. It is light, airy, and angelic upon every note he sings. His range is just massive, reaching into the rafters with soprano operatic and epic falsetto that bring chills and tears alike. It is impossible not to listen to Leprous and not get emotional. Nobody sounds like Einar. He is absolutely sensational. He’s just a brilliant vocalist and songwriter. The song below says more than I can ever say.
Mathias Blad- Falconer
Falconer is a legendary Medieval Folk Power Metal band with quite the cult following. The band tried to hang it up in 2016, but due to a high demand, they keep returning for exclusive performances and one final album. They officially disbanded in 2020 sadly, but Mathias’ legacy lives on.
Kobi Farhi- Orphaned Land
I have always been enchanted by Middle Eastern vocals since Sting’s “Desert Rose”. It’s never been a style I thought “oh, that would work in Metal”, but it absolutely does. Kobi Farhi of the Israeli Heavy Metal band proves the unique technique fits the Western Heavy Metal instrumentation. This singing style, Mizahi or monotonic, requires a lot of control and technique to stay in pitch. His ability to switch into this and keep it perfectly within the music is spectacular. He is truly one of the most talented male singers out there.
Spencer Sotelo- Periphery
I could write an entire article about this vocalist and his range. I didn’t expect to become obsessed with his voice as it is a lot higher than I am usually into. Spencer has insane control over his instrument, able to switch from screams to falsetto to a softer vocal. He also has a nu-metal style fry rap in “Marigold” which is just sublimely executed. He’s effortless in his delivery, as with most singers on this list. His range also frequently rises to harmonics, which is one of the highest sectors in music. He is an unbelievably skilled vocalist and truly doesn’t get enough credit.
Jeff Scott Soto- Sons of Apollo, Yngwie, Trans Siberian Orchestra.
I only see this guy talked about in Prog channels and not more globally honored for some reason. Soto has a unique style that blends 90’s Hard Rock, Power Metal, and Soul aspects into one powerhouse vocal. Sons of Apollo is an American supergroup of some of the most talented musicians of all time. Soto fits this bill and the resounding emotive Heavy Metal style. He brings the melody so smoothly on top of very rhythmic music, which is hard to do. He has a massive range from Baritone to high screams, and I don’t think there’s a limit to it.
Terje Haroy- Pyramaze
Now, I know 99% of Metal listeners have never heard of Terje, making him one of the most unknown on the list, but he is a MUST hear vocalist. The power, the emotion, the clarity, and the grit of this singer is monolithic. He produces so much sound from just one held note. I have no idea how he pushes it to the limit while staying in perfect pitch. His vocals range from deep drones, to power belting, screams, and sounds I cannot even begin to describe. Pyramaze has been around for two decades and has been led by some amazing vocalists, but this guy is on a whole other level. His vocal energy could probably power the entirety of North America. The song below is one of the best vocal performances I have ever heard in my twenty two years of listening to Metal.
Markus Vanhala- Insomnium, Omnium Gatherum
A backing vocalist normally known for his songwriting and guitar playing, doesn’t get much credit as a vocalist. But when Markus’s clean vocals come in, it sets the whole tone for any track. You know it’s going to be a deeply emotional track when Markus sings. His tonal quality and breath control is astounding to me. He can hold notes for two measures without any vibrato or notational deviation. I had to include him because he is just so distinctive and such an underrated musician. After hearing him sing live in person twice, I have been in love with his clean vocals ever since. He could honestly front a band all on his own instead of being in the background.
Yannis Papadopoulos- Beast in Black
One of the craziest voices I’ve ever heard (besides Mark Slaughter) Yannis has what is best described as a Soprano Male Vocal. He is only one of the only males I’ve mistaken as a female, and that definitely makes an interesting reaction. After hearing this guy do operatic soprano, fry vocals, and crazy high screams, I never thought I’d hear him use a more beautiful and emotive vocal. Once you hear Floor Jansen sing “Ghost Love Score”, you may say it is the only version, but I highly recommend Yannis’ beautiful cover of the Power Ballad. He has immense range and one of the highest technical abilities I have ever heard. I think he’s one of those singers that could sing just about anything. So, I really want a covers album from this incredible Norwegian Power Metal band.
Honorable Mentions
JB- Grand Magus
Dino Jelusick- Trans Siberian Orchestra/Whitesnake
PelleK
Andrew Kingsley- Unleash the Archers, Sleeper Ship
Fang VonWrathenstein- Lords of the Trident
Todd La Torre- Queensryche
Tommy Giles- Between the Buried and Me
Rou Reynolds- Enter Shikari
Who did I miss this time? Who are your favorite male vocalists?
Disclaimer: This article is written based on my opinions. It is not meant to be taken as a factual research paper.
So, 2022 is looking like a feast of tasty Metal fit for the Vikings of Iceland. 2020 was immense with some of the best Metal releases of all time, and 2021 was no slouch either, with too many special albums to name in one article. The past two years have been a testament of strength for any band. We lost many greats during and post-Covid. It’s been the most tumultuous time since the Cold War, and we had amazing releases in music during that time as well. These trials prove that the worst of times can cultivate the most beautiful and complex art.
I consider Metal one of the purest art forms. It has a Classical approach that requires discipline. These musicians in the genre have studies in Music and an appreciation for the highest technicality. The standards of the genre are set extremely high. These musicians, having backgrounds or interests that nurture a high technicality, can tap into a deeper emotion and even rich subject matters that show a vulnerability that Bach may even appreciate. This vulnerability and rawness of the music captivate even those who never expected to like Metal, in the first place. I have seen a great conversion of music fans to the genre of Metal just through the phenomenon of Reaction videos.
The first reaction to come from great tracks like Awakening by Unleash the Archers, Ghost Love Score by Nightwish with Floor Jansen, and Kingdom by Devin Townsend is pure emotion. Whether it is just pure shock, tears of greatness, or speechlessness from the sure speed, Metal is the best genre to grab people by their hearts. And, I believe this reaction is starting to become more common because Metal is continually raising the bar of quality and depth of content. Below is a list of songs released this year that prove there’s so much Metal to be excited about
Arch Enemy
After a long wait, the classic Melodic Death Metal band is releasing a brand new record July 29th. I am a huge fan of all things Arch Enemy, since the days Angela ruled the Legions, but the addition of Alissa White-Gluz and legendary Jeff Loomis has only amped me up. The band has already released four incredibly diverse singles. Sunset Over the Empire is a heavy throwback to long before War Eternal in the beginning with blast beats and chugging bass lines. It showcases Alissa’s signature amazingly low growls and perfect annunciation. Micheal and Jeff really have the guitars dialed in on this record and this track is a great sample of what’s to come on “Deceivers”. The lyrical content has gone back to the apocalypse, and I am living for it. Handshake With Hell is a crazy new catchy track with driving rhythms, but a surprising twist with absolutely brilliant power belting for Alissa. It’s one of the most dynamically interesting tracks they have ever released. I am obsessed with this particular song. It took me a while to warm up to it, “Clean vocals in Arch Enemy? This is just weird.”. Deceiver, Deceiver is another classic Arch Enemy track that’s got that Hardcore Punk rhythm that you find in classic Death and Thrash. Also, House of Mirrors is another incredible track that is a perfect mix of Modern Melodeath and classic. It is reminiscent of Nemesis, but screams Alissa’s usual dynamics. This album, based on three tracks, is going to be the quintessential Arch Enemy. It is one of my most anticipated albums of the year as I think it’ll be way more successful and interesting than the last album.
Full disclosure: I have been a massive Eluveitie fan for twelve years now. I am Scot-Irish and German, so I’m a sucker for Celtic-style music, but Eluveitie is my favorite Celtic band. They flawlessly mix Death Metal and Celtic folk based on ancient Gaulish stories. The music is truly as crazy as it sounds if you’ve never heard it, but it 100% works. It feels like forever since the release of my favorite Eluveitie record “Ategnatos” in 2019, and Aidus is definitely my most anticipated album of the year. Eluveitie is a band of multi-instrument virtuosos. There’s a mix of Metal with blast beats and Thrashy guitars, and a medieval Hurdy Gurdy, impossibly fast Celtic violin from Nicole Asperger, Celtic Harp, and anywhere from Alpine yodeling vocals to fry screams to belts from immensely talented Fabienne Erni, and tin whistles and mandola and eclectic bagpipes. Everything you hear in Eluveitie is played live. The arranging by harsh vocalist, writer, arranger, composer, and pretty much Gaulish all-father Chrigel Glanzmann is spectacular. The new single, Aidus (Gaulish for Fire), is a feat that Eluveitie has never done before. It is a new era of charged dynamics. It is as if Heilung, Myrkur, and Arch Enemy had a very heavy Gaulish baby. It has every aspect of classic Eluveitie, but on utter steroids. I won’t spoil the surprise for you, but check out the vocals from Fabienne Erni. It is unbelievably amazing. It has quickly become one of my favorite tracks by them. If Aidus is any indication of what this record has in store, we’re all going to need time off to be crushed by this record.
Xandria
As you already saw on this page, Xandria is back in the world with a new single Reborn, and a new singer Ambre Vourvahis. It was a complete surprise to fans a week ago, and a great surprise at that. Xandria has been one of the most consistent Symphonic Metal bands for two decades now. Due to poor management and a constant scheduling battle with singers being reportedly overworked, the band went into hiding and lost five members including Dianne Van Giersbergen. Now, Xandria has seemingly figured out their issues after a much-needed break. Reborn is an addictive rhythmic track that throwback to the Middle Eastern timbre of Xandria’s music. It is stunningly rhythmic, layered with choirs and echoing orchestral, and then beautiful vocals that range from sweet and sultry to growls to soaring operatic. Ambre has so much range and style dynamics. From what I’ve heard, she may be the most fitting singer the band has ever had. I hope Ambre is treated with the immense respect she deserves, as previous singers have received the utmost pressure to the point of health issues. If not, Ambre no doubt has the talent to go far beyond Xandria. I am hopeful that Xandria will have this lineup for many years to come, and that another ego in Symphonic Metal doesn’t squelch the talent of a female singer.
I am a huge Power Metal fan, so loving Helloween and anything they release is no surprise. Getting a chance to hear two of the best male vocalists of the past forty years on the same record; It’s impossible not to be excited about. Michael Kiske and Andi Deris have created these mesmerizing dual male vocals, mixing raspy and soaring screams. So far, it’s sounding like a classic late 80’s NWOBHM album mixed with a mainstream catchiness like that of Priest’s Turbo Lover. I have no clue what to expect from the rest of the record, but being Power Metal, it’ll probably be consistent in style. This brand has been pretty consistent since 1984 and the classic release of Keeper of the Seven Keys in 1987. Check out the latest single below, and let me know what you think of this decade of Helloween.
Lorna Shore
Lorna Shore has become one of the biggest and most talked-about Metal bands in the last two years. I never expected a Deathcore band to be on the charts in America, let alone most of the planet. Lorna Shore’s EP And I Return To Nothingness bore the epic and bombastic track To The Hellfire in 2021 that showcases singer Will Ramos’ insane grunt range. This song took the world by wildfire, converting millions into Deathcore fans. While I believe tracks like this only arrive once in a career, that doesn’t mean new tracks will disappoint. No specific word on a new album yet, but they releases Sun Eater last month. The new track showcases more epicness from guitarist Adam De Nicco, possibly this decade’s virtuoso.
One of my favorite bands of all time and great people, Seven Kingdoms, spent their spring killing it on Kickstarter to fund the print and release of 2022’s Zenith. This band has come farther than 99% of the bands out there. It’s a complete evolution from 2007 from a small Power Metal Fantasy act, to an absolutely thrilling Speed Power Metal band with one of the best singers I’ve heard since Ann Wilson. Sabrina Valentine joined the band in 2009, and I think the band has really found its sound since then. The EP Empty Eyes released in 2019 really showed this evolution flawlessly and skyrocketed the band to open for titans Unleash the Archers and Beast In Black. The band has a blue-collar shredding and down-to-business attitude with absolutely gorgeous vocals and 1980’s vibes, working their way into every crowd’s hearts they play to. “Zenith” is my most anticipated album of the year. Tracks like Empty Eyes, Diamond Handed, and Universal Terrestrial is heart-pounding and full of juicy layers (just like a good cheeseburger). It’s shocking how good this band is, and yet even more shocking that no one has ever heard of them. I hope this record skyrockets this band of genuine and talented human beings to the success they deserve. This will undoubtedly be the independent album of the year.
Swedish Melodic Death Metal Vikings have been pounding out incredible albums since 1992. But, the rise in Viking and Lord of the Rings popularity has served this band well in this new millennia. These guys play hard, fast, and with a passion beyond anything, I have ever seen. If there’s ever been battle-ready music, it’s written by Amon Amarth. Berserker in 2019 is possibly one of my top twenty albums (trust me, that’s a big deal). Listening to Amon Amarth’s music is a ritual for me and for the fans out there. It is not unlike Wardruna or Heilung, and yet the music is the complete opposite. It’s transcendent music that takes you to another place, maybe the shores of Iceland with Erik The Red screaming to row your ass off as crows sit upon the boat’s edge. The new track “Put Your Back Into the Oar” is a perfect example of this sound. But, this time we’re rowing our journey to the shores of Great Britain to invade the powerful catholic Englund. I imagine you could watch Vikings whilst listening to this record and have the Viking experience in your own home. “Get in the Ring” is an absolutely sinister track with a more classic Amon Amarth sound than Berserker. The dueling guitars chime in, and I am transported to the 90s where Thrash still reigned supreme. “The Great Heathen Army” is sounding to be an eclectic mix of everything Amon Amarth. It is out on August 5th with Metal Blade Records. It’s a long wait, but always worth it for these guys.
Texas Doom Metal band, Oceans of Slumber have made a unique cornerstone in this Avant-Garde Soul aspect that the world has simply never heard before. It’s old-school Doom and old soul Blues, but such a new take on Metal. Once I heard the first album, Winter, with Cammie Gilbert I was swallowed in this gloomy and moody aesthetic. She is a poet, a songstress, and one of the most unique voices I have ever heard. She captures you like a siren wading up on the shore. Underneath her sultry, emotional, and even belting vocals is a million layers of sound from an eclectic mix of influences. There are blast beats, Death Metal finger bass, howling guitars with delay, intense and passionate piano composition, and driving rhythm guitars. It’s incredibly difficult to put this band in a genre box, and they refuse to be pigeonholed. The New album, Starlight and Ash (out July 22nd), is even different than Oceans of Slumber (self-titled) in 2020. It’s even more Doom-centric with Texas Rock and Soul-laden throughout. It’s an album of a lifetime. Check out the two new singles below.
Dark Sarah
The symphonic Gothic Metal band led by genre veteran Heidi Parviainen is coming back in 2022 with another bombastic album Attack of Orym. The group has put out concept albums that may even make Tuomas Holopainen of Nightwish cry. Every Record this band puts out is a brilliant Symphonic Rock album in the making. This band begs for a full orchestra, choir, and theatrics in a live setting. It’s certainly not for your average Metal listener, but its quality outweighs the ridiculous stigma against Rock Operas. Heidi’s voice is incredibly smooth and light, dancing upon the melodies and the rhythmic chugging guitars. Attack of Orym is a “cinematic Metal” album crowd-funded to 108% on indiegogo.com. It combines orchestral with a horror-themed story. There’s not much more on the album yet, but I bet my ass it’s going to be epic.
Devin Townsend, the creative Progressive Metal madman from Canada, has been working on a project called Lightwork for nearly two years. And when Devin has too much time to think about a project, you know it’s going to take longer than he anticipates. Though, his projects are always worth the wait and reading convoluted descriptions of said projects. I love Devin; He’s undoubtedly my favorite artist of all time. He is a genius and a virtuoso far beyond any normal standard. Empath, released in 2019, was a proving ground of soloist measures for Devin after disbanding DTP. Empath was a concept that was larger than life, big picture themes, along with enormous layers of sound. It is one of the craziest albums I have ever heard and I love everything about it. It was 100% unfiltered and untamed Wild Canadian Boy on speed. But, I truly believe Devin is at his best when he is challenged and dialed back by a producer. This second voice shunts Devin’s perfectionism and musical neurosis, allowing him to relax into the music and not overcomplicate the sound to live up to his unrealistic expectations. Transcendence, produced by the incomparable Nolly Getgood, was an exemplary example of this. However, I expect an even greater example of Devin’s music.
Lightwork, from what I gather, is going to be a mix of Epicloud, Dark Matters (disc 2 of Z2), and Empath. It is going to be heavy, but more friendly and entry-level than Empath. It sounds interesting. I have yet to hear any clips from it or get any succinct descriptions, but I expect it’ll be pretty Riffy and Vocal-centric based on the information Devin has given out. We shall see what he conjures up this time. Out in September
Metal Valkyrie 