…YOU MISSED • As part of our yearly recap the …You Missed series attempts to collect interesting releases I’d otherwise missed, didn’t cover, or didn’t appreciate until later. This is -NOT- a best of, but a collection of interesting curios worth mentioning as we reflect upon the year. // In an attempt to be more conversational these are more easygoing and casual than longform reviews, so relax and think for yourself. — If you find something you dig go tell the band on social media and support them with a purchase! If you’d like your music reviewed, read the FAQ and send promos to: grizzlybutts@hotmail.com

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For their debut full-length album Siegen, Germany-based quintet ÆTERNIA take us to Meduseld, not for mead so much as their exploration of late 80’s/early 90’s European power metal inspired sounds, a reaction which finds its idol in the golden era of the post-‘Painkiller‘ underground. This is to suggest that the rooting of their work is a combination of speed metallic rhythm guitars set to charge while (early) Blind Guardian conscious vocal expressivity demands tightened conversational (or, narrative) development. While this brand of power metal is often wordy in its delivery and not so focused on ear-worming riffcraft these folks stick to ~4-5 minute heavy metal songs, rock structured galloping and bardic tunefulness which should click in mind nearby the main chorus for “Five Rode Forth”. Rather than find seven iterations upon one mode most every song here finds its own verve, such as the stamping mid-paced glory of “Trial By Fire and Water” or the epic trod of “The Descendant”. Though it is hard to really sink into this one at just ~34 minutes without being left wanting for more ‘Into the Golden Halls‘ is an ideal introductory LP in the sense that it is heavily repeatable, sports a clear ideal as well as well-thought variety and it seems every detail from the lyrics to the artwork was long considered. If your taste in heavy metal errs on the side of “classic shit done right” and less whatever gimmickry is abounding this year or that, you’ll likely be a fan of these folks work.

The great lack of the last two years or so per my own experience has been a void of demo submissions from traditional heavy metal (and thrash) bands so it was a great surprise to find Berlin, Germany-based quintet BITTER PRICE in my inbox earlier this year with this four song demo cassette. ‘The Orwohaus Tapes‘ is first and foremost sublimely melodic in the most classic Maiden-fan sort of way and despite the sometimes thrashing hand applied to their rhythms. “Outer Frontline” does most of the charging in this sense and we get more of a vocally driven walk through the snappier mid-80’s twinge of “Meadows of Sorrow” afterward. While juiced production values and a bit of well-placed reverb could turn this all into a vortex of glittering heavy metal I’d appreciated that the sound on this tape was full and present but not overblown, especially as standout “Spellbound” hit. The tape is well worth grabbing just for that song alone in my opinion and I hope that balance of muscle and sort of power-metallic build is an indication of where they’re headed next. One to watch for my own taste.

Athens, Greece-based power/heavy metal trio BLACK SOUL HORDE have been extremely prolific over the course of the last five or so years releasing three of their now four LPs alongside numerous other projects. Formed back in 2012 between John Tsiakopoulos (Night Resident, Inside it Grows) and vocalist Jim Kotsis (Mahakala) as a pure heavy metal outlet the style they’ve cultivated over the years is more melodic than it is confrontational, rarely leaning into the riff over a dramatic vocal line per an approach fans of Eternal Champion should appreciate despite this being more built upon 90’s power metal muse. There are a couple of pieces on this album, particularly “The Creates of the Night”, where they’re just right on the edge of a Mercyful Fate-esque soar but never quite launch into anything so wild. Still you’ll find some vibrato applied to verses from several songs which might perk your ears, such as “Julian Graves”. While this is a solid record which is extremely consistent in is songcraft and performative qualities their melodic sense is a bit “one note” for my taste, delivering similar lines for the duration of its ~44 minute run. Not a bad record though not a huge standout.

Sporting a predominantly USPM inspired sound reinforced by European melodicism and a shake of new-aged trad metal revision Denver, Colorado-based quintet (now quartet) CHAMBER MAGE certainly make a strong first impression via cover artwork, a sort of tongue-in-cheek band name, and a keep it true sort of sound implicated. How that face value examination stacks up to the music itself is not squarely equal, particularly as the sluggish and struggling “Blades on the Rampart” leads as the big feature up front, but the charm of ‘By Light of Emerald Gods‘ does eventually reveal itself in the slow burn through its lengthy ~49 minute duration. There is a not-so brash hand applied here which is weirdly charming and I don’t think you’ll fully hear it ’til you’ve sat through the rambling and kinda fiddly “Bishop’s Vengeance”. The vocals aren’t amazing nor are the lyrics but I see the potential ambitions shining here on songs like “To Spires Deep and Caverns High” where shouted choirs and bopping basslines bring character to the piece, it isn’t exactly Atlantean Kodex just yet but it does feel like their storytelling could juice up to that level of bombast if given a chance. Their performances aren’t fully there yet but it is a solid debut LP, there is no doubt some great potential for something more focused from these guys in the future.

When I was making selections for this list I was clearly in the mood for higher energy variations on traditional heavy metal and 80’s speed/power metal but we’ll find a very different angle on this debut LP from Italy-borne but Barcelona, Spain-based quartet CRIMSON STORM. It makes sense to compare some of their tendencies to Riot and of course generations of similarly Priest and early Sunset Strip inspired bands as these folks cover broader interest than expected, veering into hard rock territory nearby the start of Side B. Although I can’t really hang with this record after maybe “Abuse of Power” or nearby its energy is up, the ‘tude is right and these folks are clearly pros between the render, performances and overall tightness of ‘Livin’ on the Bad Side‘.

Melbourne, Australia-based hard rock/heavy metal quartet FLY! hit like a Motörhead inspired metalpunk band out the gates but their rumble eventually sorts itself as a gruffly snarled heavy rock n’ roll experience, always running and swinging through its foot-tapping stance. It really ain’t any more complicated than that in their hands, every song hits around the same tempo and about as mean as the last and they’ve not much room to flex with the vocals (a few guests spark up later on) so the major point of expression here is in winging a few leads, tamping down some biker bar worthy punk n’ roll pieces (re: “Loser”), and keeping the energy at eleven. “Sweet Leaf” was the song that introduced me to heavy metal/hard rock as a kid so it was cool to see a slopped-up, punkish version of it unlike any over version I’ve heard. This type of music, and such a focused album for that matter, really is meant to impress on stage or in-garage but I think ‘…Or Die‘ sells their energy well enough either way.

Though they’ve switched vocalists in the eight years since their last record Athens, Greece-based quartet REFLECTION remain steadfast in terms of style and vision. I know the band best from the obscure ‘Οδύσσεια’ (2003) and specifically for its concept/theme so it was cool to discover this record in my inbox a few months ago and find the band’s general style and rhythmic interplay intact so many years later. For ‘The Battles I Have Won‘ the focus is certainly more succinct in terms of not indulging in multiple lead guitar breaks per song, employing symphonic elements sparingly, and giving equal focus to the vocal directive as well as riffcraft. They’re still working with archetypes popularized in the 80’s of course but with their own personage applied. The best example for my taste is standout “Siren’s Song”, though the style of this song deploys a familiar modus the level of personalized embellishment via the vocalist and general sidewind of their rhythms lends their work its own grand aura. A few big choruses (“March of the Argonauts”) and a generally sharp use of vocal harmonies for emphasis make for a purely classics-minded spin here, probably edging toward power metal rather than “epic” this time around and definitely intensifying in quality towards the second half of the full listen. Not the most memorable record in this style I’d hit this year but a great example of pure heavy metal.

While most folks were hyping over ‘Opus Eponymous‘ in the early 2010’s, and rightfully so, there was an impressive influx of Mercyful Fate/King Diamond-esque bands springing up either before or nearby (incl. Attic, Portrait, Trial et al.) but it wasn’t until a number of years later that United States/Germany-based group THEM took on the larger idea of concept albums centered around a horror inspired narrative. Known for addressing shred, bombast, and bringing some extra aggression on their earlier releases these folks were over the top from their first LP and now ten years and five albums later ‘Psychedelic Enigma‘ they’ve almost played it straightforward, no less layered and focused on storytelling but delivering a pretty approachable power metallic spin this time around. Once we get to songs like “Remember to Die” you’ll get the full effect of their roll but I couldn’t help but feel like they’d held back a bit for this record in general, keeping it tight without doubting their weirding side. The mid-point of the album really is the crux of it and the full listen kinda demands patience in that once we cross that threshold it becomes more of a page-turner. Steamhammer released a ton of great metal records this year (Sodom, Vicious Rumors, Rage) but I think this one is the sleeper for my own taste as a huge fan of anything MF/KD inspired.

While you’re no doubt going to hit play on this record from New Mexico-borne and now San Antonio, Texas-based trio POWERHOUSE and lower the volume due to the trash production values applied to the drums it doesn’t bother me at all as a fan of all things underground thrash/speed metal. The band’s sophomore full-length ‘American Rebel‘ feels like a crunched out tribute to not only the early Bay Area speed/heavy metal affect (Metal Church, etc.) but grimier stuff inspired by it a la Deathwish or even Détente. Presented as a series of six songs roughly ~5 minutes apiece this album is kinda uglied up in its own admirable way, representing the heavy rock roots of late 70’s/early 80’s heavy metal while delivering it like its 1983 sans any too-serious polish applied. I like the raw edge showing, the album art and all that as the overall effect had me thinking this is the kind of band that’d have put out a CD with Wild Rags or whatever in the late 80’s. “American Rebel” and “Rock Bottom” were my favorites of the lot.

Lisbon, Portugal-based quintet DOLMEN GATE received a fair deal of hype for their debut LP last year and surprisingly enough they’d quickly followed up on that momentum with a sophomore record here in 2025. ‘Echoes of Ancient Tales‘ serves as a direct expansion of their brand of heavy rock spiced epic heavy metal, a unique tonal variant. While I am typically a fan of this type of vocal affect, softly tuneful yet barely performative (via heavy psych, occult rock etc.), it does feel like a missed opportunity to match the energy of the music itself and I think the brilliant standout “The Maze” is the best example of how these things don’t quite square up. With that said this is what essentially gives the band their own flavor, a polished and dramatic showcase with a somewhat distant, disconnected narrator sans any real gumption or force applied. Worth mentioning for its unique sound and generally very high level of polish.

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