White Mantis | Arrows At The Sun | High Roller Records

 

    White Mantis is a thrash metal band from Bavaria, Germany. Since forming in the early 2010s, the group has developed a strong reputation for their energetic playing and thoughtful songwriting. Their lineup solidified with the arrival of drummer Thomas Taube in 2016 and bassist Jan Strobl in 2018. The band’s 2019 debut, “Sacrifice Your Future,” introduced a raw, aggressive style that leaned into classic thrash influences. Over the years, they’ve expanded their sound by bringing in progressive structures and unusual rhythmic shifts, shaped by the various musical backgrounds of the members. Now, six years later, White Mantis returns with their second full-length, “Arrows At The Sun.”

 “Arrows At The Sun” continues what White Mantis began on their debut, but with greater focus and maturity. Clocking in at just under 47 minutes, the album feels well-paced and purposeful. The band’s style blends fast, razor-edged riffing with unexpected changes in direction, while keeping the core of their music direct and rhythmic.

The guitars from Matthias Pletz and Enrico Pertoso are efficient and aggressive, but not overly complex. Their twin attack is the driving force of the album. The rhythm section, with Strobl on bass and Taube on drums, brings a sense of momentum and precision that helps each track feel distinct without drifting too far from the album’s character.

Lyrically, the album deals with modern concerns such as surveillance, technology, and personal freedom. Tracks like “Reality Exists” and “Altar Of Technology” present their ideas in a way that feels urgent but not forced. Even when the songs lean into abstract themes, the delivery stays grounded.

The vocals are sharp and consistent across the album, with Pletz delivering each line clearly and with purpose. His voice adds weight to the social and philosophical ideas in the lyrics without overwhelming the instrumentation. The mix keeps the guitars forward without burying the rhythm section, and the production balances energy with definition across the board.

There are moments when the chaotic structures pull the listener into unusual territory, and that can sometimes make the songs feel intricate. However, the band never loses control. Everything feels intentional, even during the more unconventional transitions.

“Arrows At The Sun” is an album made by a band that knows what it wants to sound like (an early Voivod offspring, and you’re in) and how to communicate it. It stands on its own, rooted in traditional thrash but not confined by it. There are hints of Voivod and Megadeth, but White Mantis shapes those influences into something of their own.

This is a strong enough second album from White Mantis, marked by thoughtful songwriting, tight playing, and a clear identity. The band doesn’t rely on nostalgia or genre clichés. Instead, they push their sound forward with confidence. “Arrows At The Sun” offers plenty for both longtime thrash listeners and those interested in something slightly outside the usual boundaries.

Score: 8.5

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Cardinal Sin | Spiteful Intents EP | Regain Records

 

    Cardinal Sin was a short-lived but cult Swedish black/death metal project formed in the mid-1990s. The band is most known for including John Zwetsloot, a founding member and former guitarist of Dissection, as well as Jocke Göthberg and Devo Andersson, both of whom were part of the early classic lineup of Marduk. Active briefly, the band released a promo in 1995 and this lone EP, “Spiteful Intents,” in 1996 before disbanding. Despite its short lifespan, Cardinal Sin captured a very specific moment in Swedish extreme metal, blending fast aggression with melodic and somber guitar work in a way that mirrored the scene’s evolution during the mid-’90s.

Originally released in 1996 on the underground Swedish label Wrong Again Records, “Spiteful Intents” is a rare and cult release that embodies the raw, melodic, and cold black/death metal sound Sweden was known for during that period. The EP was recorded at Berno Studio, a location known for shaping the tones of many Scandinavian acts in the ’90s. With only four tracks on the original version and three bonus tracks added to the 2023 reissue, the total runtime now nears half an hour.

The EP has a cold, fast-paced energy driven by tremolo-picked guitar lines, tight rhythmic shifts, and aggressive vocals. There’s an emphasis on melody but without leaning toward the more polished or modernized style that emerged in later years. Instead, the songs are built on repetition, atmosphere, and tightly woven riff patterns. The guitar leads are distinctive, and the changes in pacing from blastbeats to slower, heavy sections give the EP a strong, consistent rhythm without dragging or losing focus.

The performances feel committed and in-the-moment, with drums and vocals handled by Göthberg, whose vocal tone fits the early black/death hybrid very naturally. Devo Andersson and John Zwetsloot deliver the type of riffing one might expect from artists involved in bands like Marduk and Dissection. The reissue benefits from remastering by Andersson, which gives a bit more presence without modernizing or altering the original spirit. The inclusion of a Death cover, “Infernal Death,” also connects the EP to the band’s broader influences and shows a respectful nod to early death metal roots.

I remember purchasing the first original press edition of “Spiteful Intents” for a quite big amount of €, which reflects the demand and rarity of this title among collectors and fans of obscure ’90s Swedish metal. Its cult status is fully earned, not only because of its scarcity but also due to its authentic snapshot of a unique era in the genre's development. A rare and historically interesting EP that captures the spirit of Swedish black/death metal in the mid-’90s. Worth revisiting, especially now that it’s more widely available through the Regain reissue. It’s a buy-or-die occasion for the fans of the old-school Swedish black/death metal scene.

Score: 9.0

Pungent Stench | Mucous Secretion | Hammerheart Records

 

    Pungent Stench formed in Vienna, Austria, in 1988. From the beginning, they were unlike most bands in the underground death metal scene. Their music was aggressive and raw but always carried a twisted sense of humor and a unique character. They blended horror, absurdity, and brutal sound into something that stood apart from their peers. Over time, they became known for a dirty, grooving death metal style that drew influence from gore, grind, punk, and doom.

The early days of Pungent Stench were shaped by intense rehearsals and rough demo sessions, leading to cult status in Europe and beyond. Founding members Alex Wank (drums), Martin Schirenc (guitars, vocals), and Jacek Perkowski (bass) formed a unit of disgust that operated outside of trends, focused on extreme sound and visual shock value.

Originally recorded in 1988 using a ghetto blaster during rehearsals, “Mucous Secretion” is an unfiltered view into the chaotic origins of Pungent Stench. The rawness of the demo is extreme, even by old-school standards. It's harsh, primitive, and unprocessed—exactly how underground death metal often sounded before studios and labels shaped the genre's more familiar sound.

Hammerheart Records' 2025 reissue presents the original five-track demo along with six bonus tracks from a rehearsal session on April 10th, 1988. Among them are the previously unreleased "Melted Corpse" and a cover of Slaughter’s “Strappado/Incinerator”. This adds historical value, offering a wider glimpse into the early mentality and approach of the band.

The audio is not refined, and that’s the point. The guitars buzz like saws, the drums hammer erratically, and the vocals are low and indecipherable. The sound is hostile and ugly, giving a real sense of what it was like to be in the room with them at the time.

The songs are fast, crude, and often short. There’s a feeling of uncontrolled aggression, with riffs flying by and structures collapsing as quickly as they form. This demo isn’t meant to impress with precision—it reflects the intensity and abandon of a band of young musicians diving deep into the sound of disgust.

Even in this early stage, some personality already starts to emerge. Tracks like “Pulsating Protoplasma” and “Festered Offals” hint at the grotesque themes and strange humor that would later define Pungent Stench albums in the ‘90s.

The inclusion of bonus rehearsal tracks is important, especially the unreleased "Melted Corpse." It’s slightly more developed and catches the band during a more confident moment. The Slaughter cover also shows their roots and influences clearly—raw Canadian proto-death that aligns well with what Pungent Stench was aiming for.

“Mucous Secretion” isn’t an album for casual listeners or those unfamiliar with the early death metal demo scene. It’s a dirty document of where things started—a rehearsal caught on tape, released for those who want to understand the full picture of Pungent Stench’s evolution.

This is one for fans of extreme beginnings—fans of Repulsion, Autopsy, or Impetigo will understand the charm. It’s crude, chaotic, and absolutely sincere. The reissue offers value through the restored audio, the added tracks, and the archival presentation.

Score: 7.8

VOID | Forbidden Morals | Shadow Kingdom Records

 

    Void is a thrash metal band from Lafayette, Louisiana, formed in 2021. In a short span of time, they’ve managed to create a distinctive identity in the underground scene, beginning with digital singles and the impressive debut album "Horrors Of Reality" in 2023. Their style combines classic thrash with eerie, gothic themes and elaborate storytelling. After catching the eye of Shadow Kingdom Records, the band reissued their debut and followed it with the "Return Of The Phantom" 7", further establishing their unique aesthetic rooted in horror and medieval imagery.

"Forbidden Morals" is the second full-length release from Void, and it continues the band’s rise with even more ambition and power. Spanning 10 tracks and clocking in at 46 minutes, this album deepens the band’s dark fantasy universe—filled with haunted castles, phantoms, and ancient curses—while delivering aggressive and fast-paced thrash metal.

The atmosphere is strong and consistent from start to finish. Guitars are aggressive and tight, with complex riffs and solos that feel inspired by the golden age of late ‘80s thrash and bands like Toxik and Realm. The drums are intense and precise, pushing the tempo in dynamic bursts. Vocals are theatrical and expressive, adding character and personality without going over the top. There is a clear structure to the songs that makes the album sound flawless.

Songs like "Forbidden Morals," "Gateways Of Stone," and "By Silver Light" carry a strong energy, while the closer "Beneath... Lives The Impaler" stands out with its epic length and sprawling structure. The reappearance of "Return Of The Phantom" connects the past and present for those who followed the band early on.

This is an album built with care and imagination. It has the raw force of traditional thrash metal but leans into storytelling and fantasy elements with confidence. For fans of Testament, Forbidden, Megadeth, Annihilator, Toxik, or Realm, "Forbidden Morals" feels like a natural discovery—something familiar yet very much its own.

Void continues to evolve, and with this release, they are solidifying a sound and visual world that sets them apart in today’s metal scene. They’ve moved far beyond the early buzz and now seem fully in control of their creative direction.

Score: 8.8

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Naevus | Back Home | Dying Victims Productions

 

    Naevus was formed in 1991 in Bietigheim-Bissingen, Germany, beginning as a death metal trio before gradually shifting toward doom metal with clean vocals. After early demos of "Quixotic Dreams," "A Sad Illusion," and "Autumn Sun," the band gained recognition for their traditional doom sound influenced by Trouble, Pentagram, Saint Vitus, The Obsessed, and Black Sabbath. Their debut album, "Sun Meditation," appeared in 1998 through Rise Above Records, followed by a long hiatus after a few more appearances and lineup shifts. Uwe Groebel, Oliver Grosshans, Mathias Straub, and Sven Heimerdinger eventually reunited in 2012, leading to the 2016 release of "Heavy Burden." Now, nearly a decade later, Naevus returns with their third album, "Back Home," released via Dying Victims Productions.

"Back Home" stays firmly grounded in doom metal tradition. The sound is warm and steady, with smoldering guitar passages and steady pacing. The vocals by Uwe Groebel are emotional and melodic without being theatrical. Rather than aiming for extremes, the album leans into feeling personal and grounded. Every track seems crafted to serve the whole, with no sudden shifts or detours. There is a sense of patience in the playing—everything is measured, controlled, and honest.

Guitar work is detailed and supportive, without overstepping. The rhythm section of Heimerdinger and Straub lays a strong foundation across the album, never rushed, never dragging. The production avoids modern excess, sounding timeless but not outdated. The album artwork by Roland Scriver complements the music perfectly—inviting and emotional, without relying on typical doom imagery. Lyrically, "Back Home" speaks of grief, memory, and hope. The emotion comes through clearly, but the album never becomes dramatic or heavy-handed. It's balanced, thoughtful, and steady from start to finish.

Score: 7.7

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Der Märtyrer | Der Märtyrer | EAL Productions

 

    Der Märtyrer is a collective with mysterious origins, formed through chaotic creation methods. According to the label, the project grew out of altered states, with music shaped by sleep deprivation, substance use, and an obsession with raw, dissonant intensity. The sound draws from extreme electronic, industrial, and black metal sources—especially bands like Mysticum, Blacklodge, Atari Teenage Riot, Antaeus, In Slaughter Natives, and The Prodigy. Over the years, four tracks were slowly built, torn apart, and reassembled through deep sonic manipulation, involving multiple unnamed contributors. Now, their debut offering is released under the German label EAL Productions.

“Der Märtyrer” is a heavy, aggressive work built around distortion, repetition, and noise-driven rhythms. The electronic elements often dominate the mix, with pounding pulses and warped samples colliding with hostile, buried vocals and mechanical percussion. It feels mechanical but also ritualistic. There’s little separation between industrial harshness and black metal atmosphere—they merge into one swirling, violent expression.

The structure of the album leans toward long-form tension. There’s repetition, but also constant changes in texture and layering. Static, noise, processed voices, and broken digital fragments appear throughout. Some moments are more rhythmically focused, with pounding sequences that lean toward techno or power noise, while others collapse into slow-moving chaos. Guitars are present but often reduced to feedback, drones, or heavily treated bursts of sound. Vocals are harsh, processed, and buried under multiple effects. Lyrical content is difficult to understand, likely by design.

The production feels dense and overwhelming. It blends into one engulfing wall of sound. The album feels physically heavy from its constant volume, saturation, and layering. Even though the album contains only four tracks, the listening experience is intense and not easy to digest at once coz industrial is quite far away from my musical tastes.

The result is an album that focuses on pressure, discomfort, and pushing limits—sonically and psychologically. It has more in common with ritual noise or violent electronic art than metal in the classic sense, though the spirit of black metal is present throughout. “Der Märtyrer” is a powerful and immersive debut and exists somewhere between industrial, black metal, and extreme electronic music without sitting comfortably in any of them.

Score: 7.0

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Mouth Of Madness | Event Horizon | Darkness Shall Rise Productions

 

    Formed in Germany in 2013, Mouth Of Madness began as a slow-burning presence in the underground metal scene. Their only public output before 2025 was the self-titled “Mouth Of Madness” EP in 2016—a concise yet distinctive release that hinted at the band’s broader creative scope. The duo, Florian Exner (vocals, guitar, bass) and Marko Bieniek (drums), worked mostly in silence for years. Refusing to follow trends or seek attention, they stayed in the background, crafting their long-awaited debut full-length on their own terms. With production and recording handled internally and help from a few trusted collaborators, the result is now here: "Event Horizon."

"Event Horizon" continues the sound from the band’s earlier EP but goes further. The album has nine tracks. Three of them—"Transhimalaya I, II & III"—are ambient songs made by Frank Fiedler from the band Popol Vuh. These tracks give the album a wider and more open feeling and work well between the heavier metal tracks.

The other six songs are where the band shows what they’re about. The music is mostly based on death metal, but it includes black metal parts, doomy sections, and epic moments. Some guitar riffs sound like old Morbid Angel or early Swedish bands like Unpure.

The biggest and most complex track is "Fireborn." It brings together many parts of the album’s sound—fast and slow, heavy and calm. It feels like the song the whole album builds toward. The production is natural and not overdone. The vocals are raw and fit the music well.

Fans of bands like Tribulation, Chapel Of Disease, or Venenum will likely enjoy this album, especially if they like metal that sounds dark, original, and serious without being flashy.

"Event Horizon" is a strong and focused debut. Mouth Of Madness took their time to create heavy, creative, and personal music. It mixes old-school ideas with something new, without trying too hard. It’s a great album for people who want death metal that’s not easy to label but still easy to enjoy.

Score: 8.2

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RIP to the greatest frontman of heavy metal. We love you!!

 

Dragon’s Kiss | The Return Of The Wild Dogs | Firecum Records

 

    Dragon’s Kiss is a heavy metal band known for their no-nonsense, full-throttle approach to speed metal and rock’n’roll. Formed in Portugal, the band gained a dedicated following after the release of their 2014 debut, “Barbarians Of The Wasteland.” Their music leans heavily into the fast, raw energy of early metal and punk-infused speed metal, paying tribute to classic metal heroes while staying grounded in straightforward songwriting and pure aggression. The band includes two lead vocalists—Tiago “Bastard” Teixeira and Adam “Rock’n’roll Outlaw” Neal—backed by the twin-guitar attack of Hugo “Rattlesnake” Conim and Dário “Tornado” Granadeiro, with António “Thunder” Seixas on bass and Marco “Pain” Dores on drums.

 “The Return Of The Wild Dogs” is exactly what the title promises—loud, furious, and straight to the point. Dragon’s Kiss wastes no time getting down to business. The guitars bring a punkish, rock’n’roll swagger, cutting through with dirty, energetic riffs that lean more on attitude than speed. There’s a rough-edged looseness to the sound, giving the songs a barroom brawl kind of feel—less about precision, more about impact.

The vocals are riffraff, with a street-punk flavor and shouts in a way that keeps the momentum alive. The drums hit hard and steady, driving the songs forward with confidence and grit. It’s the kind of rhythm section that sounds built for denim, leather, and fists in the air.

Everything about the album feels alive and loud. The six tracks—like “Seekers Of The Night,” “Road Warrior,” and “Wild Dogs Revenge”—carry the same fired-up spirit from start to finish. There’s no drag, no detour, and no filler. Just six slabs of heavy metal rock’n’roll that sound like they were made to blow out speakers and get heads banging.

The sound stays rough and loud without getting messy. Everything feels live and in your face, unfiltered and intense, capturing the energy straight from the source. Dragon’s Kiss aims to hit hard, and they do. For fans of Motörhead and Tank, “The Return Of The Wild Dogs” will hit the spot. It’s an honest, wild album that doesn’t pretend to be anything other than what it is: loud, fast, and ready to smash its way into the metal underground.

Score: 7.0

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Sunniva | Hypostasis | Svart Records

 

    Formed in 2016 in Turku, Finland, Sunniva brings together elements of sludge, death doom, and post-metal into a dense, crushing sound. The band’s name, drawn from Old English Sunngifu, meaning "gift of the sun," reflects the contrast often found in their music—weight and atmosphere, collapse and lift. Previous releases like "The Holy Mountain" (2017), the self-titled "Sunniva" EP (2020), and the 2018 single "This Reality Only Speaks In Blood" have steadily shaped their profile in the underground heavy music scene. Drawing inspiration from groups such as Amenra, Neurosis, and Dark Buddha Rising, Sunniva continues to carve its own place with a sound that is immersive, slow-burning, and forceful.

"Hypostasis" is a focused and cohesive work. Across its six tracks, Sunniva builds a massive wall of sound that feels lived-in rather than calculated. The pacing is deliberate, with long stretches of low-end weight and sustained tension giving way to climactic surges. There’s an emphasis on repetition, not as filler, but as a tool for creating a trance-like pull. The instrumentation feels locked in—bass and drums heavy and unforgiving, guitars grinding and drawn-out, and vocals raw and buried just enough to feel part of the landscape rather than sitting on top of it.

Each track blends seamlessly into the next, creating a continuous experience. “Mercurial Bloodstreams” introduces the album with a focused intent, and the flow continues through to the closer “Hung From The Sky” without any break in atmosphere or intensity. The album doesn’t shift direction sharply or rely on contrast—it moves like a slow river, steady and pressurized. Even the shortest moments carry weight.

The production fits the music naturally, keeping everything grounded. The mix stays unified from start to finish, allowing the slow tempos and drawn-out structures to keep their strength. There’s space in the sound without sounding distant. It feels close, heavy, and personal.

"Hypostasis" power lies in its consistency and patience. Sunniva has made an album that stays within its world from start to finish, without feeling stuck or repetitive. There’s confidence in its pacing and structure. It invites immersion rather than immediate reaction.

Score: 7.4

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Hunger | Ruler Of The Wolves | Jawbreaker Records

 

    Hunger is a heavy/speed metal band formed by underground veterans who know their craft. The band includes Dizzy D. on vocals, Jara Solís and Rudolf V. on guitars, and Vick Rodríguez on bass. For this EP, drums are handled by session musician Fabio Alessandrini, known for his work with Annihilator, Bonfire, and Enforcer. With experience and passion rooted in the metal underground, Hunger delivers a raw and energetic take on a style that lives on stage and in rehearsal rooms rather than polished studios.

"Ruler Of The Wolves" is a fast, focused, and intense six-track EP that captures the spirit of early heavy/speed metal. The songs are lean and direct, with riffing that recalls the energy of bands from the 1980s European and US scenes.

The opening instrumental, “Descent Into Abyss,” sets a scene with mid-tempo riffing and a steady climb. From the second track onward, the tempo rises and stays high. The title track, “Ruler Of The Wolves,” brings in melodic guitar lines and a galloping rhythm that sticks in your head. The band’s chemistry is tight, with every member contributing to a unified and energetic sound.

Vocals from Dizzy D. are raw, forceful, and filled with attitude. There’s a balance between rough edge and control that fits the genre well. Guitar work from Solís and Rudolf V. brings in memorable phrases without drifting into excess. The bass from Rodríguez holds everything together, and Alessandrini’s drumming is steady and fast, matching the intensity of the songs without drawing too much attention to itself.

“Sabotage” stands out for its fast rhythm and layered vocals, with a guest appearance from Aitor Navarro (ex-Hitten). It adds a bit of variety without breaking the tone of the EP. The closer, "Beware The Demons," is a special inclusion, a cover of a rare Stormwitch song that only ever existed in live form. Hunger gives it their own form without straying too far from its roots.

The production is raw but balanced. The vocals sit well in the mix, and the guitars are loud without drowning out the brilliant rhythm section. It keeps the energy high without losing the individual parts. This isn’t overproduced, and that works in the band’s favor.

"Ruler Of The Wolves" shows that Hunger is a band worth paying attention to. Their direction is clear, their sound is rooted, and their energy feels genuine. The underground metal has a lot of gems out there.

Score: 8.7

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Harvested | Dysthymia | Self Release

 

    Harvested is a death metal band from Ottawa, Ontario, Canada. Their music blends elements of brutal, technical, and old-school death metal, rooted in influences from Suffocation, Dying Fetus, Deicide, and Cannibal Corpse. The band first gained attention with their self-titled EP in 2022, a five-track release centered around themes of mental illness and human suffering. Known for their precision and aggression, Harvested embraces the early 2000s era of death metal while incorporating a modern production style. With “Dysthymia,” the band takes a step forward both conceptually and musically, remaining independent and self-released, yet ambitious in their scope and execution.

 “Dysthymia” is the first full-length release from Harvested, consisting of nine tracks and just under 32 minutes in length. The album keeps its structure compact and urgent. Rather than expanding song durations or veering into experimentation, the band has opted for intensity and focus. The lyrical theme revolves around the darker layers of mental illness, ranging from individual trauma to systemic psychological dysfunction. Each track examines these ideas without relying on exaggerated horror or gore.

The instrumental work is sharp and detailed. Guitars cut through with precise riffing that is both rhythmic and dissonant. The tempo shifts often, but transitions feel natural. Drumming is constant and tight, clearly played with intent and control rather than chaos. There’s a strong balance between technical execution and traditional death metal structures. The influence of bands like Decapitated and Cattle Decapitation is present in the stop-start rhythmic patterns and grooves, especially in songs that lean heavier on breakdowns.

Vocally, Adam Semler delivers deep growls that are clearly influenced by George “Corpsegrinder” Fisher, but without direct imitation. He performs with consistency across the album, keeping the aggression even without relying on distortion or studio tricks. The lyrics are phrased clearly, avoiding repetition or overused phrasing.

The production, handled by Joe Lyko at Darkmoon Productions, brings each instrument forward without crowding the mix. The tone is modern but not overcompressed. Basslines follow the rhythm closely and add depth, which suits the direct style the band is going for. The drums are mixed with impact, particularly the kick and snare, which punch through the guitars with clarity.

“Dysthymia” does not stretch far outside of genre boundaries, but what it does, it does with intent and consistency. The songs are short, aggressive, and cohesive. While there is variation in pacing and structure between tracks, the band avoids dramatic shifts in direction or overly long build-ups. It’s a straight path through psychological violence, presented in musical form. The album artwork, created by CJ Bertram, is symbolic of the album’s focus—chaotic, visceral, and grounded in emotional disorder.

  “Dysthymia” is a compact and focused death metal release that balances aggression with detail. It shows a band that is tight in both concept and execution. There are no gimmicks or over-the-top theatrical elements—just well-structured, intense music with a consistent vision. Fans of fast, brutal death metal with a psychological edge will find this to be a strong release. Recommended for fans of Cannibal Corpse, Decapitated, Aborted, and Suffocation.

Score: 7.8

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Crusader | In For The Kill EP | Independent

 

    Crusader is a four-piece hard rock/heavy metal band from London, UK. The lineup consists of Tommy Baptiste on vocals, Kyle Stevens on guitars, Scott Rae on bass, and Nik K. on drums. Drawing heavily from the glory days of 1980s melodic hard rock and metal, they bring forward a style that is instantly familiar but full of personality. The band released their debut EP, “In For The Kill,” independently in 2025 and have already drawn praise from critics and fans across Europe and beyond.

"In For The Kill" runs just over 14 minutes and delivers three well-crafted tracks with clear focus. The songwriting sticks to familiar territory: driving riffs, tight rhythm section, and melodic vocals. The opening track, "Wanted Man," sets the pace with a strong chorus and confident vocals. "Time (Never Stops Running)" follows with a mid-tempo beat and a layered structure that holds the listener’s interest. The best of the three and most representative. The title track "In For The Kill" wraps up the EP with energy and a steady blend of hooks and leads.

The production by Rocco Pezzin is punchy and suits the band’s aesthetic. The instruments are evenly balanced, and the overall mix is clear and direct. The band clearly understands their strengths and plays to them, sticking to concise arrangements that don't feel rushed or overdone.

Vocally, Tommy Baptiste is powerful and confident, drawing influence from iconic 1980s frontmen (Coverdale/Elliott/Dokken) without sounding like a copy. Kyle Stevens provides guitar work that is precise, with a clear grasp of classic metal leads. The rhythm section supports the tracks with tight playing and solid drive.

The front cover, featuring a roaring black panther in a style reminiscent of Tygers Of Pan Tang’s "Wildcat," gives an early signal of the band’s influences and direction. All three tracks are immediate, engaging, and have that “replay value” that makes them stick around long after they’re over. The choruses are catchy, the leads sharp, and the songwriting never loses focus. There’s confidence in how straightforward everything is, and the band knows exactly what they’re doing and how to deliver it.

With “In For The Kill,” Crusader steps onto the world stage sounding like rockstars. This is not just a well-made debut; it's a calling card from a band that has everything it takes to be the next big name in melodic metal. If there’s any justice, we’ll be talking about them in the same breath as Whitesnake or Def Leppard in the years to come.

Score: 8.7

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