Sacred Steel | Ritual Supremacy | Rpm-Roar

 Sacred Steel formed in 1996 in Ludwigsburg, Germany, driven by a devotion to traditional heavy metal and speed-infused riffing in the vein of early Manowar, Exciter, and Omen. From their debut, "Reborn In Steel" (1997), the band established a strong underground following with raw vocals, aggressive songwriting, and a no-frills approach to heavy metal. Frontman Gerrit P. Mutz has remained the constant figure across all releases, pushing the group through stylistic variations across albums like "Wargods Of Metal" (1998), "Slaughter Prophecy" (2002), and "Bloodlust" (2016). Known for their dedication to old-school aesthetics and attitude, Sacred Steel never chased trends and stood firm in their place within the European underground. Now in their third decade, they return in 2025 with their tenth full-length, "Ritual Supremacy," featuring new guitarist Jörn Langenfeld and bassist Toni Ieva, both of whom joined in 2023.

"Ritual Supremacy" sticks closely to the core identity Sacred Steel has cultivated over the years: militant riffing, snarling vocals, and a conviction-driven traditional heavy metal spirit. This is a band uninterested in change for the sake of trend, and the result is a raw, compact slab of heavy metal with roots in early speed and proto-thrash. The guitar tone leans toward gritty and dry, consistent with the band’s past work, avoiding any modern slickness.

Gerrit P. Mutz’s vocal style remains divisive, fluctuating between shrieking screams and chant-like delivery that favors mood over precision. His performance here continues in the same theatrical and aggressive vein that’s defined the band’s discography. Tracks like "Leather, Spikes & Chains" and "Bedlam Eternal" carry the kind of stripped-down songwriting that nods to the spirit of classic Jag Panzer and Running Wild, while slower tracks like "A Shadow In The Bell Tower" give space for more ominous atmospheres. The mix emphasizes rhythm guitar and vocals over bass presence or layered intricacy, resulting in a straightforward punch.

The addition of Jörn Langenfeld brings some new riff patterns that add variation within the band’s parameters, though not a drastic shift in direction. The drumming by Mathias Straub remains locked into a militant groove, rigid but appropriate for the band’s relentless, mid-to-fast tempo assault. Despite a few shifts in pace, there’s a uniform tone across the album that emphasizes intensity over complexity or experimentation.

Lyrically, "Ritual Supremacy" is anchored in occult battle imagery, personal resistance, and dark mysticism—consistent with the band’s long-running themes. The album’s duration is well-judged; it delivers its message without overstaying its welcome, and the closing track "Let The Blackness Come To Me," ends with a sense of finality that aligns with the album’s harsh but unpretentious tone.

Overall, "Ritual Supremacy" is a solid entry in the band’s catalog. It’s not aiming to reach outside the underground or invite new audiences—it’s forged for those already attuned to Sacred Steel’s sound. Listeners familiar with the band will find it in line with their expectations, while newcomers will likely recognize it as part of a very specific tradition in European heavy metal—rough-edged, committed, and deliberately resistant to refinement.

Score: 7.5