Quick note first: this is not a heavy underground record. But every band on this site exists because of Tony Iommi, so when he puts out his first solo album in 21 years, it gets covered here. Call it the godfather exception.

From The Dark came out October 23 on BMG, his first solo record since Fused in 2005. Jorn Lande sings the whole thing and co-wrote all eight songs. Becky Baldwin plays bass, Karl Brazil plays drums, and Brian May adds a guest solo on Death Wake.

There is no breakout song on it, and that is fine. What it has is good songs all the way through, and the whole record is a good listen start to finish. The songwriting does not sit in a simple repetitive loop. There is a progressive side to how the songs are put together, some of it leaning into doom, some of it leaning into sludge, all of it metal.

For me, the production is what grabs me. Mike Exeter and Andy Sneap mixed it, and the sound is great all the way through. The guitar tone is great, and there is an unpredictable streak in Iommi's playing that keeps the songs moving. Jorn's vocals sound great too. He changes the tone and the character of his voice from song to song, and it fits every one of them.

I have played it a few times now and I keep going back to it. No filler, no coasting. A really great album, and a surprise how much I am enjoying the sound of it.

Bygone sits in a late 70's to early 80's hard rock space, with a strong focus on groove and melody. The vocals are confident and forward in the mix, with a classic hard rock feel that fits the music well.

The guitars are the real strength of the album. The tones are warm and full, clearly rooted in classic hard rock rather than metal, but they still have some weight to them. The riffs are well written and do what they need to do, and the lead parts feel natural and musical instead of flashy. There’s a good sense of groove throughout, and the band knows when to pull back and let things breathe.

There are subtle space-rock touches throughout the album that add depth to the songs. Light synths and atmospheric layers show up at the right moments, adding to the arrangements without taking over.

The production is clean and punchy, with a slight early 80's shine to it. The guitars sit up front where they should, the vocals are clear, and nothing feels overworked. It has a classic feel, but it still translates well in modern times.

Bygone is a great record. The songs hit hard, the tones are full and rich, and the mix lets everything breathe. It’s the kind of album you want to play all the way through, and it gets the sound it’s going for exactly right.

NOVEMBER 2025 BEST NEW HEAVY ALBUM RELEASES

BLACK MAGIC TREE - TERRA

Black Magic Tree's Terra album is a feel good experience, blending great, somewhat classic guitar riffs with a modern production style. The music is characterized by catchy guitar lines and a brilliant fullness of melodic vocal hooks and clever vocal phrasing. The entire band feels rooted like a magic tree, and the energy is contagious.

For more information follow >> https://blackmagictree.bandcamp.com/album/terra

Mothertomb's “Beware” hits from the first note with a slow, dark intro that pulls you into a weighty, ominous world. When the full band drops in, the riffs thicken, the groove locks in, and the track settles into a doom-laden crawl that refuses to rush.

Alice Gawlinski’s vocals cut through perfectly. Haunted and distant, her voice floats above the riffs, adding space and mood without losing any of the heaviness. She commands attention without trying to dominate, giving the track a subtle but undeniable power.

The band keeps it simple but deadly effective. Solid riffs, steady atmosphere, and hints of psychedelic and gothic flair make the track feel layered without overdoing it. Everything lands exactly where it should. They know their sound and ride it all the way.

As a debut, “Beware” is a statement. Dark, immersive, and heavy as hell, it shows Mothertomb has a clear vision and a natural groove. By the end, you’re left wanting more, and you know whatever comes next is going to hit just as hard.

For more information about Mothertomb, please follow the link >> https://mothertomb.bandcamp.com

The Great Lie – Songs for a Monday Morning

The Great Lie delivers six fast and furious tracks on Songs for a Monday Morning, and there’s nothing sleepy about it. This EP hits hard right from the start and doesn’t let up. It’s pure, old-school hardcore with a smart edge.

The first song, "Fractured," kicks in with raw energy and lyrics about how everyone’s a little broken. Deep stuff packed into a minute and a half of chaos. "Rinse and Repeat" and "Another Way" keep the energy high and the anger real. Every song is tight, focused, and just rough enough to feel alive.

"Head Low" shows a slightly more thoughtful side, while "Lay Down" is quick and intense, like a musical punch to the gut. The closer, "Critical Thinking," leaves you thinking, not just headbanging.

The production keeps things sharp without cleaning it up too much. It still feels raw, which fits the vibe perfectly. If you’re into hardcore that’s real, loud, and doesn’t waste your time, this one’s worth the short but solid ride.

The Chris Rolling Squad – Damn You All to Hell  

If you're into rock that's loud, gritty, and unapologetic, Damn You All to Hell is right up your alley. The Chris Rolling Squad throws down 15 tracks of no-nonsense rock 'n' roll that mixes punk speed, hard rock attitude, and a dirty garage sound.

It opens with "Pendejos 666," a short, chaotic blast that sets the tone. The title track and “Loaded Gun” bring fast riffs, catchy choruses, and serious swagger. "Blind (So Fucking Blind)" and "Headshot 1st" keep the speed and rawness going strong.

“Cannonball Holocaust” is back from a previous release, and it still rips just as hard. The album wraps up with "F-world Song," which sums up the band’s ‘no rules, no filters’ attitude.

This record doesn’t try to be fancy, it just rocks hard. Fans of Motörhead, The Hellacopters, or anything loud and fast will feel right at home here. It’s a wild ride from start to finish, and it doesn’t ask for permission.

Earl of Hell – Earl of Hell

Earl of Hell’s debut full-length is heavy, dark, and drenched in attitude. The Scottish five-piece brings a mix of stoner rock, punk, and metal that sounds like it crawled out of the underworld—and that’s a good thing.

“Satan Is Real” starts the album with a punch, and the intensity stays high through “The Infernal Dream” and “Impaler.” The guitars are thick, the vocals are gritty, and the mood is straight-up sinister. There’s melody buried in the chaos, but it never loses its edge.

Tracks like “Calling, Is The Crow” and “Macabra Cadabra” get a little weirder and moodier, adding some creepy atmosphere. “Waiting to Die” and “Bloodlines” close things out in dark, doom-soaked style.

The production is solid, it’s rough enough to keep the energy raw, but clear enough to hear every heavy hit. Fans of bands like Red Fang, Electric Wizard, or early Mastodon will find plenty to like here.

This debut proves Earl of Hell knows exactly who they are, and they’re not afraid to turn up the volume and drag you down with them.