HEAVEN SHALL BURN

Certified legends in their native Germany, HEAVEN SHALL BURN have been steadily picking up steam everywhere else too. At least since the release of 2016's "Wanderer", they have audibly grown in confidence and stature, while embracing as-yet-unconquered territories with newfound alacrity, and generally acting like the biggest band of their kind in Western Europe (which is, of course, exactly what they are).

Five years ago, they released their most ambitious album to date, "Of Truth and Sacrifice". A monstrous, 97-minute double album, it emerged right in the middle of all that irritating Covid business but still won the band some of the most ecstatic reviews of their career. Always at the heavier, darker end of the metalcore spectrum, HEAVEN SHALL BURN were making great records 20 years ago (2004's "Antigone" remains a criminally unsung gem),but it is in recent times that their sound has evolved with greater urgency. Increasingly epic in scope and always considerably heavier than expected, records like "Heimat" are intended milestones along modern metal's inexorable forward march.

As they make impressive inroads into the rest of the world, HEAVEN SHALL BURN clearly know their worth and are audibly dedicated to leading from the front. Never particularly susceptible to metalcore cliches, the Germans have evolved slowly but assuredly over the years, but the widescreen clangor and progressive flair that made "Of Truth and Sacrifice" so irresistible feels like the consequence of a much greater step forward. "Heimat" is a less convoluted and bulky affair than its predecessor, but HEAVEN SHALL BURN's boldly upgraded sound remains intact. The difference this time around is that "Heimat" eschews the double album's indulgent sprawl in favor of a more focused and forceful group of songs.

After a beautifully crestfallen, orchestral overture, "War Is The Father Of All" demonstrates the vastness of HEAVEN SHALL BURN's 2025 vision. Erupting with symphonic pomp cranked up to eleven, it takes the slow, sinister approach to setting out the Germans' stall before building into a ferocious groove metal onslaught (replete with MACHINE HEAD harmonics!),with frontman Marcus Bischoff's scorched earth bellow conducting the chaos. In contrast with the short, sharp superficiality of most commercial metalcore, "War Is The Father Of All" slowly mutates over seven, relentlessly riveting minutes, never losing an ounce of bite or bile, and always sounding like a billion dollars put to good use. Put simply, this album will crush you for fun.

Thereafter, HEAVEN SHALL BURN rattle through their repertoire, causing all kinds of damage. Equal parts metalcore madness and death metal destruction, "My Revocation Is Compliance" is a surefire pit-starter with societal collapse on its mind. "Empowerment" brings straight-ahead heavy rock and state-of-the-art melo-death together for a stirring moment of melodic respite. In contrast, the band's metallic hardcore roots get a vigorous run-out on the brutal "Those Left Behind"; "Dora" is several times heavier than its title might suggest; and "A Silent Guard" brings cinematic might, vicious asides and dark, melodic melancholy together in another masterful weaving of metal threads. HEAVEN SHALL BURN exude authority throughout. They also drop a cover of KILLSWITCH ENGAGE's "Numbered Days" that is, unusually, neither a carbon copy of the original, nor some feeble attempt to reinvent it. Instead, the Germans play it with total conviction, reminding the world what a fantastic song it always was.

The most impressive thing about "Heimat" is how hungry it sounds. Most bands grow weary after a decade or two, but HEAVEN SHALL BURN have never sounded more potent. More glory awaits.