This isn’t just another release – Engines Of Demolition reinforces what makes Black Label Society unique: gritty groove metal, soaring solos, and bluesy, introspective ballads.
Imagine a smoke-filled, biker/bogan bar; Think whiskey, leather, and music with riffs thick enough to hang in the air – Black Label Society would be the house band. If you blended the vocal tones of Ozzy Osbourne, Chris Cornell, and Layne Staley, you have the band’s singer, Zakk Wylde.
With 11 albums across nearly three decades, Engines of Demolition brings in number 12. This record runs 13 tracks and just over 50 minutes. Written across several years, it came together, as previous recordings, at the Black Vatican. Wylde himself described the offering as “peaks and valleys.”
I will admit, I have not explored much of BLS’s catalogue, so this un-bias review will appeal to both long term fans, a.k.a ‘Berzerkersas,’ as well as those who haven’t come across them yet.
Like me, however, Wylde’s reputation is impossible to ignore and you’ve no doubt heard his name somewhere along the line. He broke through as Ozzy Osbourne’s guitarist in 1987 and never slowed down. Between his Black Sabbath tribute band, Zakk Sabbath, touring for Pantera for the past 4 years and his own impressive empire, his legacy speaks for itself.
Four singles introduced the sound of Engines Of Demolition over the preceding 18 months before release.The Gallows, with raspy vocals, signature guitar solo and dense instrumentation. Lord Humungus delivers stomping depth and chunky chords, standing tall among the heavier tracks. Broken And Blind rides a weighty groove with controlled vocals, an anthemic track.
Opening track and their most recent single, Name In Blood wastes no time putting the pedal to the metal. It launches straight into dense, fast driving guitar work and a commanding chorus. This is a clear standout and my personal favourite. It sets the tone with intent.
Gatherer Of Souls further stokes the fire, with crushing weight and a clear Sabbath influence. Guitars grinding forward with solos cutting through cleanly.
The Hand Of Tomorrow’s Grave is another highlight. Slamming throughout with heavy, hypnotic riffs and raw vocals that give it punch and grit.
Track four, Better Days & Wiser Times, shifts gears completely. Acoustic guitar and piano take over and Wylde adopts more of a southern drawl, giving this a bluesy feel. It slows things down significantly. Not my usual preference, but it brings contrast to the album’s pacing.
Broken Pieces guitar assault is an electrifying, psychedelic squall and The Stranger lifts the pace again, opening with a sharp lead, building into something more chaotic.
Guitar work remains a constant highlight from start to finish. Wylde and Dario (Lorina) both six-string masterpiece magicians, forming a tight, relentless pairing. Juggernaut riffs and soaring solos amidst. This is where the band truly finds its strength.
On Bass, John (DeServio) and drummer Jeff (Fabb) lock it all in with backbone that gives each track its weight, drive, and undeniable punch.
Wylde’s vocal range is impressive, with many layers; Raspy, gritty, but also more soulful tones when needed. It gives the album broader appeal without softening its core. There’s a good flow, even though slower tracks are scattered across the record – really, something to appeal to everyone.
Lyrically, through some darker lines, there is a theme of resilience and purpose. Some favourite lines: On Pedal to the Floor, Wylde sings, “I’ll walk through the fires of hell to get to what makes me feel alive.” On Lord Humungus, he sings, “No more tomorrows; let’s live before we die.”
The closing piece, Ozzy’s Song, is a poignant tribute to the Prince of Darkness and carries raw emotional weight. Even if you prefer heavier material, this one lands. Opening with “I saw you yesterday, before you went away.” For any fan of Ozzy, it’s hard to hard back the water-works.
The lyrics were added to the music after Ozzy’s passing (Wylde earlier playing Ozzy’s final show, ‘Back to the Beginning.’) The skies weren’t the only ones crying during this one. With this track at the end of the album, it feels like the end of a rollercoaster. Name In Blood kicking it al off and then Ozzy’s Song, sending it home.
Engines Of Demolition strikes a compelling balance between sheer force and emotional weight, flowing seamlessly from crushing & high-impact into more restrained, reflective passages without ever feeling disjointed. The result is a well-shaped record that highlights the band’s depth and control, delivered through a sound that feels both unfiltered and finely honed.
Evana Patterson
Engines Of Demolition is out now on Spinefarm Records.
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