Which bands and artists would represent the “Big 4” of rock and metal in 2025?

The “Big 4” is a phrase that’s long described the four bands that served as the foundation of thrash metal — Metallica, Slayer, Megadeth and Anthrax. We’ve since applied it to countless other genres, decades and even generations of dad rock just to showcase who the leaders of each of those groups truly are.

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Last year, we compiled a Big 4 of 2024, which consisted of Creed, Gojira, Knocked Loose and Linkin Park. Each group had a large impact on heavy music in some way during the year, from Creed’s reunion tour to Gojira playing the Olympic Games Opening Ceremony.

With that said, we carefully considered which artists would make up the Big 4 of this year and we’re pretty confident with our selections.

READ MORE: The 51 Best Rock + Metal Songs of 2025

A lot happened this year. There were a ton of new albums released, countless tours, reunions and a massive concert that brought the entire rock and metal community together to say goodbye to one of the most influential bands and individuals of the genre.

There are a lot of bands that made 2025 great, but the four that chose to represent the Big 4 of this year each contributed something unique and powerful that truly made this year one to remember. We made sure to justify our picks, though their contributions to heavy music speak for themselves.

Scroll below to see the Big 4 rock and metal artists of 2025.

 

The ‘Big 4’ Rock + Metal Artists of 2025

The following four rock and metal artists had the biggest impact on the genre in 2025 with albums, tours, a legendary farewell and more.

Gallery Credit: Lauryn Schaffner

Gerard Way of My Chemical Romance

My Chemical Romance

My Chemical Romance had one of the biggest tours of 2025, where they celebrated nearly two decades of their landmark album The Black Parade. They played the album in full at each show, followed by a set of other tracks performed from a B-stage.

MCR didn’t just play shows on this tour, though — they created a story around their fictional world, Draag. Each show featured different characters, interactions between them and other musical modifications that added to the narrative. And we’ll learn more as the tour continues throughout 2026.

The Long Live the Black Parade Tour and its accompanying lore gave a place to both veteran fans who’ve been there since the beginning as well as newer and younger ones who are perhaps just getting into the world of MCR. It proved that an older album can still be just as fresh and alive — and that My Chemical Romance remain one of the bands capable of resonating across generations.

yungblud

Getty Images for The Recording Academy

Yungblud

Yungblud has been around for a few years now and released his fourth album Idols this year, but 2025 really was his year when it comes to receiving the recognition he deserves.

He wowed all of Birmingham’s Villa Park on July 5 with his cover of Black Sabbath’s “Changes” at the “Back to the Beginning” show — as well as the rest of the world watching from behind a screen. He brought the same energy and loyalty to our departed Ozzy Osbourne several weeks later with Aerosmith at the MTV Video Music Awards and then he even teamed up with the legends for an EP.

It may have taken America a little bit longer to catch up, but we all finally have our eyes on the young rocker. He’s already earned the respect of some of the most iconic people in the rock and metal world and it appears that he’s ready to keep carrying the torch on behalf of them.

Three Days Grace – Adam Gontier and Matt Walst

Matt Barnes

Three Days Grace

Three Days Grace had one hell of a year in 2025. It almost feels like it was their comeback year, but they never actually went anywhere.

They revealed the return of original vocalist Adam Gontier to the lineup in 2024 with the song “Mayday,” but this year was when their new era truly began. They played their first show with this new dynamic earlier this year, released the album Alienation in August and hit the road hard — touring as both a support act and a headliner while stacking up major festival appearances.

What makes this chapter stand out is how overwhelmingly positive the fan response has been. That isn’t always the case when a band undergoes big changes, especially in the rock world.

But the success of this era shows just how well Three Days Grace have handled the transition — honoring their legacy while fully embracing the present and proving there’s real momentum for the future.

ozzy osbourne in 2020

Kevin Winter, Getty Images

Ozzy Osbourne

We actually discussed as a group whether it made sense to include such a massive musician on this list because it almost felt too obvious. But when you look at 2025 as a whole, what other artist topped what Ozzy Osbourne did? That’s no disrespect to any of the other musicians who’ve worked incredibly hard all year by touring and releasing albums, but let’s break it down.

If you saw the Paramount+ documentary Ozzy: No Escape From Now or read his latest memoir Last Rites, you know how much more Ozzy was struggling than what the public was aware of. He suffered another broken vertebra, blood clots and blood pressure problems, multiple bouts of pneumonia, more hospitalizations and sepsis — all on top of his ongoing battle with Parkinson’s disease.

His family wasn’t sure he’d make it to the Back to the Beginning concert, which was announced in February of this year, but he did.

And what a hell of a performance he gave. He sang five solo songs and another four with Black Sabbath. While he performed sitting down, his spirit was as alive as ever. He poured every ounce of passion and determination he had into his words and the world soaked it all in, cherishing hearing his voice live for the last time.

What none of us knew in that moment was that it really would be the last time. Just over two weeks after that night at Villa Park, Ozzy died of a heart attack. And while we may not have known his moments on that stage were some of his last, it seems as though he did.

He really did give fans a final goodbye. And he was finally able to rest and be at peace once it was all over.

Many of us have never seen a rock star’s death have such an impact on pop culture in our lifetimes, but Ozzy’s did. It shook the world. It was the first time in a long time that people from all walks of life grieved the same loss. Even people who weren’t fans of his music were affected.

So if a legendary performance, a book (which he finished just days before his death), numerous documentaries and a departure that shook the earth isn’t enough to justify why Ozzy belongs here, we don’t know what possibly could.

The 51 Best Rock + Metal Albums of 2025

We’re more than half way through the decade! Let’s revisit the best rock and metal albums of 2025, in the order they were released.

See how many of your favorite albums from this year made the list!

Contributions by Chuck Armstrong (CA), Jordan Blum (JB), Rob Carroll (RC), Chad Childers (CC), Joe DiVita (JD), John Hill (JH) and Lauryn Schaffner (LS).

Gallery Credit: Loudwire Staff

Paleface Swiss, Cursed

Paleface Swiss

Paleface Swiss, Cursed

Release Date: Jan. 3

Just barely into the new year, Paleface Swiss delivered a sub-30 minute beatdown that threatens to reshape the delightfully mangled face of deathcore. They lean less on the genre’s most extreme facets, trading artillery fire blasts for pulverizing, swinging groove.

Cursed is riddled with tension, threatening to snap into a deranged fit of rage at any moment. This heart-of-a-killer intensity is best unleashed live, which is why Paleface Swiss have become one of the scene’s biggest, most unrelenting players.

—JD

hazzerd third dimension album art

M-Theory

Hazzerd, The 3rd Dimension

Release Date: Jan. 17

If you love flashy lead guitar in thrash, you better know Hazzerd, the four-piece based out of Calgary, Alberta in Canada.

The best new school thrash not just pays tribute to all our mutual ‘80s thrash gods, but also wields influence from other developments in metal since the subgenre’s heyday. Quite a lot of Hazzerd’s guitar playing would fit comfortably on any melodic death metal record and this vibrant sense of melody bursting from The 3rd Dimension is the dominant difference maker.

—JD

Dream Theater, Parasomnia artwork

InsideOut Music

Dream Theater, Parasomnia

Release Date: Feb. 7

Hello and welcome back, Mike Portnoy!

Dovetailing into Dream Theater’s 40th anniversary is Parasomnia, a landmark release in the prog metal legends’ catalog as its the first to feature their classic drummer since 2009.

More of a thematic album than a conceptual one, the band offers something unique for fans to chew on without overshadowing the moment with a wildly ambitious record just because Portnoy is back.

There’s a comforting sense to the magical chemistry between the drummer and the rest of his bandmates. While it all feels familiar, Parasomnia is far from a retread or self-parody, leaning into what Dream Theater have always done best — take you on an epic journey.

Opener “In the Arms of Morpheus” informs us this ride is going to be a dark one. What else would one expect with a theme revolving around abnormal sleep disturbances?

The catch-all “Night Terror,” the hard-charging “Midnight Messiah,” the beautiful “Bend the Clock” and nearly 20-minute closer “The Shadow Man Incident” offer the depth prog fans demand. And this is Dream Theater, so repeat listens are mandatory in order to detect the full scope and nuance of what these musical geniuses have done so well for so long.

—JD

Jinjer, Duel album art

Napalm

Jinjer, Duél

Release Date: Feb. 7

Ukrainian metal force Jinjer found their sound in a lot of different styles a few years ago and have been sharpening the blades ever since. Duél is no wholesale reinvention and, impressively, it doesn’t take the slightest step down as a result, either.

What Jinjer do best is going full-tilt in whatever direction they lean in. When it gets technical, it’s dizzying. When they hit the grooves, they’re digging trenches. When they step out and get hypnotic, you’re in a trance. Everything here feels so calculated and intentional, but possesses a feral energy.

The intangible quality here can surely be tied to the lyrical inspiration behind these songs as Jinjer’s home country remains at war with neighboring invaders Russia.

—JD

Lacuna Coil, Sleepless Empire

Century Media

Lacuna Coil, Sleepless Empire

Release Date: Feb. 14

A new Lacuna Coil album is always exciting. While we understand the gothic darkness will always be pervasive, the matter of which form it will take this time is a mystery until those first couple singles drop.

Sleepless Empire balances arena-ready hard rock euphoria with the extreme elements that continue to dazzle, countering resplendent beauty with robust brawn. No matter what’s going on musically, the message overwhelmingly encourages individuals to stay strong and keep fighting whatever battle lies ahead.

—JD

scorpion child i saw the end as it passed right through me album cover

Noize in the Attic

Scorpion Child, I Saw the End as It Passed Right Through Me

Release Date: Feb. 14

On their third album (and first in nine years), Austin, Texas’ Scorpion Child put the Led Zeppelin and Deep Purple comparisons to bed and deliver an evocative blend of goth, post-punk and anthemic hard rock that lands somewhere between Judas Priest and The Cult.

Lead singer Aryn Jonathan Black marshals the band with his raspy howl, propelled by tasteful double-bass drums and guitars that oscillate between shimmering chords and fleet-fingered shredding.

“See the Shine” and “Godskin” combine menace and mysticism, while the stadium-sized “Outliers” proves these Texans aren’t afraid of honest-to-god pop hooks.

—BR

killswitch engage this consequence album cover

Metal Blade

Killswitch Engage, This Consequence

Release Date: Feb. 21

Killswitch Engage’s ninth album delivers in spades the brawny, hook-laden metalcore that catapulted them to the top of the genre’s leaderboard more than 20 years ago.

Tracks such as “Discordant Nation” and “The Fall of Us” explode with tremolo-picked riffs, dizzying blast beats and pulverizing breakdowns, while Jesse Leach switches effortlessly between mid-range screams and melodic cleans.

Killswitch Engage aren’t trying to reinvent the wheel on This Consequence — they’re just steamrolling their competition.

—BR

mean mistreater do or die album art

Dying Victims

Mean Mistreater, Do Or Die

Release Date: Feb. 21

With a clear love of and respect for old-school metal, Austin rockers Mean Mistreater have put together a timeless collection of thrash tracks on their sophomore LP, Do or Die.

Led by the ferocity of frontwoman Janiece Gonzalez, Mean Mistreater’s latest effort embodies all that is timeless about metal: It’s raw, it’s intense and it smacks you in the face in the best possible way.

—CA

architects the sky the earth and all between

Epitaph

Architects, The Sky, the Earth & All Between

Release Date: Feb. 28

It is possible for a band to continue to evolve even after 11 albums into their career?

Architects raised the bar even higher with this record, which is a no-skip listen. The album opens with “Elegy,” a song that puts Sam Carter to his greatest vocal challenge yet, while tracks such as “Black Hole,” “Whiplash” and the House of Protection-featuring “Brain Dead” continue to push the envelope of what an Architects song can be.

—CC

jethro tull curious ruminant album

InsideOut Music

Jethro Tull, Curious Ruminant

Release Date: March 7

After ending a 22-year drought between albums in 2022, Jethro Tull leader Ian Anderson has been prolific in his mid-70s with Curious Ruminant being the third LP of the 2020s and the band’s 24th overall studio album.

Although the singer and flautist’s voice isn’t as robust as it once was, his hushed approach still offers plenty of charm and enriching personality alongside the classic-sounding songs.

Anderson summons a range of emotions — dark and pensive (the title track), uptempo and overly melodic (“The Tipu House),” horny and lustful (“Savannah of Paddington Green”) and openness and acceptance (the nearly 17-minute “Drink From the Same Well”) — all bound by his unrivaled storytelling.

—JD

Spiritbox, Tsunami Sea

Pale Chord / Rise

Spiritbox, Tsunami Sea

Release Date: March 7

If there’s one thing Spiritbox have proven, it’s that they know how to craft solid albums. Their songs are great on their own, but they work even better as part of a full project.

With Tsunami Sea, they once again succeeded in balancing the pummeling, heavy moments with the soft and melodic perfectly, resulting in a seamless listen from start to finish.

They also experimented with some new sounds (particularly heard in tracks such as “Crystal Roses” and “Ride the Wave”), showcasing their ability to keep things fresh and exciting without ever being redundant.

—LS

whitechapel hymns of dissonance album art

Metal Blade

Whitechapel, Hymns in Dissonance

Release Date: March 7

With the intent to return to the outright violent and ultra heavy nature of their early material, Whitechapel succeed in their aim, but Hymns in Dissonance is far from just a stylistic retread. With The Valley and Kin, the deathcore titans pushed the genre to one of its furthest evolutionary reaches. Here, they retain the atmospheric touches, applying them to the extreme devastation of blasts ‘n’ chugs.

Enveloping this all is one of Phil Bozeman’s many high points as a lyricist, telling the tale of a demonic cult’s dimension-transporting leader and his quest to amass power. Throw in some insanely fun guitar solos and Whitechapel are in total domination mode yet again.

—JD

dorothy the way album cover

Roc Nation

Dorothy, The Way

Release Date: March 14

The Way is Dorothy’s fourth studio album and she’s managed to maintain evolution, each with their own entirely unique sound. The one thing that unifies them sonically is her powerful voice, which only seems to get stronger over time.

The Way stands out because of the country flavors that are present throughout. The twang is especially heard in “Tombstone Town” (which features the one and only Slash on guitar), “Haunted House” and “Puttin’ Out the Fire.”

At the same time, the record features some of the heaviest riffs in her entire catalog, particularly on the songs “I Come Alive,” “The Devil I Know” and “Mud.”

—LS

warbringer wrath and ruin album art

Napalm

Warbringer, Wrath and Ruin

Release Date: March 14

Roaring back from a five-year drought since 2020’s excellent Weapons of Tomorrow, Warbringer re-light the flame to their hot streak on the mighty successor, Wrath and Ruin.

This taught eight-song/40-minute LP strips the paint off thrash with its intensity, balancing black and death metal flourishes while vocalist John Kevill stretches his range, executing searing high-pitched shrieks atop the chaos.

We’ve probably said this about each of the last three records now, but Warbringer really may have topped themselves yet again.

—JD

cover of the overview by steven wilson

Fiction Records

Steven Wilson, The Overview

Release Date: March 14

The Overview sees the Porcupine Tree mastermind returning to his signature progressive/psychedelic rock roots after the electronica/synth pop detours of 2021’s The Future Bites and 2023’s The Harmony Codex.

Broken into two lengthy suites – “Objects Outlive Us” and “The Overview” – its existential themes (related to “the overview effect”) are as movingly thought-provoking as the piano odes, spacey soundscapes and tricky jams that represent them.

It’s a journey that reveals more layers with each listen, too, so be sure to put on your headphones, turn out the lights and pay attention as you drift away.

—JB

imperial triumphant goldstar album cover

Century Media

Imperial Triumphant, Goldstar

Release Date: March 21

Calling Imperial Triumphant weird and heavy is like calling the Grand Canyon a big hole in the ground: It’s technically true, but it hardly does them justice.

The avant-garde metallurgists sixth album has no shortage of guttural vocals or blistering breakdowns, but it tempers its blunt-force brutality with dissonant riffs, jazzy bass lines and unconventional song structures. There’s a tongue-in-cheek quality to the poppy bass break of “Gomorrah Nouveaux” and the crackling, old-timey interlude constituting the title track.

These moments of levity are brief but welcome, before Goldstar returns to its business-as-usual head-splitting.

—BR

Arch Enemy, Blood Dynasty Album Art

Century Media

Arch Enemy, Blood Dynasty

Release Date: March 28

A dynasty indeed. Arch Enemy’s fourth album with the dual-threat Alissa White-Gluz at the vocal helm reaffirms the band’s powerhouse status in melodeath while still charting new ground.

Blood Dynasty marks the debut of Connecticut’s son of melodic fury, Joey Concepcion (ex-The Absence, ex-Dark Tranquillity [live], ex-Sanctuary [live]), who trades pyrotechnic leads with founder Michael Amott.

As some of death metal’s most elite songwriters, Arch Enemy’s depth — bottom-heavy grooves, slick ’80s riffage, the occasional clean-sung chorus — means 11 tracks with a metric shit-ton of individual identity. And in an era where new music is never a scarcity, this is the difference maker in securing a top-to-bottom listen.

—JD

deafheaven lonely people with power album cover

Roadrunner

Deafheaven, Lonely People With Power

Release Date: March 28

Elitists be damned, Deafheaven continues to make it clear why they’re the pre-eminent black metal band in North America, representing how the genre continues to pay in creative dividends.

Their latest record, Lonely People With Power, is an amalgamation of the hard work they’ve spent grinding over the last decade plus, swirling their dreamiest and heaviest moments into a sharpened blade.

What’s probably the most impressive feat is making black metal, a genre so frequently one in which eight-minute songs dominate and drag, into something much more digestible but without sacrificing any of its bite. Lead single “Magnolia” is perhaps being the greatest four-minute black metal song in recent memory.

—JH

allegaeon the ossuary lens album cover

Metal Blade

Allegaeon, The Ossuary Lens

Release Date: April 4

Equal parts melodic, technical and progressive, some say Allegaeon are the ManBearPig of death metal. (It’s really just us saying that, just go with it…)

Featuring the return of vocalist Ezra Haynes, who last appeared on 2014’s Elements of the Infinite, he slides back in perfectly with his widened range capably suited for an even more dynamic Allegaeon.

Each song on The Ossuary Lens tackles a different viewpoint and perspective connected to death. Everyone processes death and grieves differently and this record can hopefully serve as a timeless resource if you need help coping.

—JD

idle heirs life is violence album art

Relapse

Idle Heirs, Life Is Violence

Release Date: April 11

Sean Ingram has tapped into a new world of pain and grief on the unforgettable debut of Idle Heirs. Life Is Violence is a personal journey for Ingram, one that he embarked on without the intention of sharing it with anyone outside of his close friends and family.

As it took shape, though, it was clear that Idle Heirs unearthed something that needed to be heard by the world. The crushing heaviness of songs like “Rare Bird” and “Dead Ringer” is made all the more powerful thanks to the haunting foundations of opener “Loose Teeth” and closing track “Momma.”

The emotional weight of Life Is Violence, though deeply personal to Ingram, will be felt and embraced by fans all over the world for years to come.

—CA

ghost skeleta

Loma Vista

Ghost, Skeleta

Release Date: April 25

It feels as though the transition is complete. Over the last decade, Ghost have started to eschew their early metal leanings in favor of a more polished ‘70s and ‘80s influenced hard rock groove with increasingly pop flourishes. With Skeleta, Ghost have arguably their most accessible album to date.

Tobias Forge has made a big deal of recapturing the experiences of his youth in promoting Skeleta and it feels as though he’s fully embraced the music of that period as well ‘70s prog and early ‘80s hair metal nods scattered through this record.

Whether it be the blistering “Umbra,” the addictive lead single “Satanized” or the riff-tastic rock of “Lachryma,” Forge and his nameless ghouls are clicking on all cylinders and seemingly paying homage to their youth in the process.

—CC

Landmvrks, The Darkest Place Ive Ever Been

Arising Empire

Landmvrks, The Darkest Place I’ve Ever Been

Release Date: April 25

Rapping in metalcore can often feel tacked on or unnatural, but thanks to the almost annoyingly impressive adaptability of vocalist Florent Salfati, Landmvrks have managed to weave their sound through multiple modes with ease.

The Darkest Place I’ve Ever Been manages to feel ultra-current while pulling from metalcore’s past. Songs such as “A Line in the Dust” manage to incorporate soaring clean parts not unlike early ‘10s Bring Me the Horizon, but allowing themselves to go the extra mile on heaviness to keep up with their contemporaries.

Despite there being rapping, the band never leans into overt nu-metal cliches, instead landing somewhere between mid-career Linkin Park and what everyone wished Twenty One Pilots sounded like on songs such as “The Great Unknown.”

—JH

machine head unatoned

Nuclear Blast

Machine Head, Unatoned

Release Date: April 25

Robb Flynn has called Machine Head’s Unatoned “a total renaissance” for the band and it’s easy to see why he feels that way. The band has trimmed the fat, delivering a concise that never seems to lack impactful moments.

The swinging groove of the pit-starter “Unbound” is undeniable. “Bonescraper” will have your head nodding along, and “These Scars Won’t Define Us” is the furious all-star collaboration you never knew you needed (In Flames, Lacuna Coil and Unearth members guest on the track). The album also featured “Not Long For This World,” the band’s first clean vocal song.

Challenged to write nothing longer than four minutes, providing key changes in every song and varying the first and last choruses, Flynn and crew set guidelines for a record that could be a game changer. Machine Head have dropped one of their most relevant and vibrant albums of their career.

—CC

sleep token even in arcadia album cover

RCA

Sleep Token, Even in Arcadia

Release Date: May 9

The year’s biggest selling rock album is also one of the more divisive in the rock and metal world. The masked rockers Sleep Token have angered some of the rock and metal gatekeepers by leaning more into their soulful side, turning to more electro-leaning walls of sound for their heaviness. While some reclassification may be needed, what should not be in question is the quality of the band’s latest effort.

Epic and atmospheric in scope and sound, raw and emotional in its songwriting, Sleep Token have delivered a great headphone album that you can escape into. “Emergence” and “Caramel” are two of the year’s finest moments, while songs such as “Dangerous” and “Gethsemane” make even the deeper cuts nuanced.

It’s a journey to be embraced and let all the others sort out where the band should be classified.

—CC

callous daoboys i dont want to see you in heaven album cover

MNRK Heavy

The Callous Daoboys, ‘I Don’t Want to See You In Heaven’

Release Date: May 16

Building on the bones of metalcore’s zaniest acts like Horse the Band and IWrestledaBearOnce, The Callous Daoboys have managed to build up a frankly impressive following for a zany band, thanks to their full commitment to the bit.

I Don’t Want to See You in Heaven furthers their experiments in folding in new sounds to metalcore. What makes it work is that they manage to not suck when they do bring in different elements; “Schizophrenia Legacy’s” moment of jazz ambiance or the dance break in “Idiot Temptation Force” preceding heavier moments actually manages to work, calling to mind Between the Buried and Me’s left field turns on Colors almost two decades ago.

—JH

sleep theory afterglow album cover

Epitaph

Sleep Theory, Afterglow

Release Date: May 16

Sleep Theory have had a meteoric rise over the last few years and their debut offering Afterglow is strong evidence as to why. The album is a great amalgamation of a lot of different rock and metal flavors, particularly ones that gained momentum in the 21st century — metalcore, nu-metal and hard rock.

With catchy hooks, big choruses and relatable subject matter, it’s clear that Sleep Theory are going to continue climbing charts, appearing on the biggest rock and metal music festival lineups and stealing the hearts of radio enthusiasts as time goes on.

—LS

rivers of nihil self-titled cover

Metal Blade Records

Rivers of Nihil, Rivers of Nihil

Release Date: May 30

Rivers of Nihil are one of the best progressive death metal bands of all time, so they never fail to deliver.

Even so, the near-perfection of River of Nihil’s dynamic adventurousness is astounding, with several tunes – “The Sub-Orbital Blues,” “Water & Time” and “House of Light” among them – representing some of the newly revised group’s greatest blends of brutality, tranquility and complex experimentation.

Even its less immediately mind-blowing chapters (“Dustman,” “The Logical End”) strike a similarly remarkable balance, so there’s not a single wasted moment across its 50-minute runtime.

—JB

turnstile album cover for never enough

Roadrunner

Turnstile, Never Enough

Release Date: June 6

Whether or not you want to engage in the cultural conversation of Turnstile bringing hardcore to the masses, at brass tacks the band wrote an incredibly eclectic, colorful album with NEVER ENOUGH. It’s a testament to the band’s entire career; their earliest experiments with funk-rock influence on Nonstop Feeling giving a taste of how experimental their future would be, making the straight up dip into house music on “LOOK OUT FOR ME” feel miraculously like an end point. When it comes to meat and potatoes hardcore, “BIRDS” and “NEVER ENOUGH” still pack enough grit and heaviness reminiscent of their earliest EPs, while “SLOWDIVE” helps bridge those worlds together into one piece.

—JH

yungblud idols album cover

Capitol

Yungblud, Idols

Release Date: June 20

With his fourth album, Yungblud deviates from his raucous, staunchly modern brand of loud rock/punk/alternative and, as the Idols title indicates, looks toward his rock heroes from decades past for a fresh direction.

While this is a rearview look at the likes of The Cult, David Bowie, Queen, U2 and other artsy variations caught in rock’s wide net, Yungblud builds a bridge to the present day. Most importantly, this 12-track love letter to his biggest influences sounds like it came out in the mid-2020s, not over-obsessing with of-the-era nostalgia sounds.

From the bold and daring nine-minute opener “Hello Heaven, Hello” to the piano ballad closer “Supermoon,” Yungblud bares it all, demonstrating he’s among today’s most elite young rock singers.

—JD

deadguy near death travel services album cover

Relapse

Deadguy, Near-Death Travel Services

Release Date: June 27

Expectations need to be kept in check when a legacy band stages a comeback after decades away. But New Jersey metalcore stalwarts Deadguy blow those expectations to smithereens on Near-Death Travel Services, their second full-length and first since 1995’s genre-defining Fixation on a Co-Worker.

From the dissonant guitar squalls and gut-busting breakdowns of “Kill Fee” to the bloodcurdling screams on “Wax Princess,” Near-Death Travel Services offers 36 minutes of undiluted hardcore fury. Its 11 songs are lean, hooky and dynamic despite their blistering aggression. The lurching, bass-heavy “War With Strangers” is a textbook example of how to sever heads at a medium tempo.

Thirty years is a long-ass time to wait for a new album, but Deadguy made it worthwhile. We eagerly await their reign of terror on nursing homes for the next go-round.

—BR

the dirty nil the lash album cover

Dine Alone

The Dirty Nil, The Lash

Release Date: July 25

The Dirty Nil have spent the past decade waving the flag for dyed-in-the-wool rock ’n’ rollers. The Dundas, Ontario power trio’s fifth album, The Lash, offers another high-octane blast of anthemic, riff-heavy hard rock — but its biting lyrics and brutal, monochrome artwork hint at the professional frustrations that fueled its 10 songs.

And boy, what a diverse crop of songs it is. “Gallop of the Hounds” sets the tone with swaggering riffs and a snarling vocal from frontman Luke Bentham. The singer/guitarist delivers more hellacious riffs and alt-rock hooks with a twinkle in his eye on “Fail in Time,” “Do You Want Me?” and “I Was a Henchman.”

The Lash’s midsection offers some of the Dirty Nil’s most nuanced work to date. The fist-pumping “Rock N’ Roll Band” is a tongue-in-cheek cautionary tale about the travails of being in a mid-sized band, while “This Is Me Warning Ya” and “Spider Dream” feature clean, country-flecked guitar and plaintive vocals.

The Dirty Nil aren’t afraid to try a little tenderness — but don’t mistake it for weakness, because they’ll still kick your ass.

—BR

babymetal metal forth album cover

Capitol

Babymetal, Metal Forth

Release Date: Aug. 8

You can put as many guests as you want on a Babymetal album — nothing will dilute the J-pop supernovas’ signature maximalist sound.

The band’s fifth album, Metal Forth, which features a who’s-who of rock and metal major players including Poppy, Tom Morello and Spiritbox. The Kawaii metal trio absorbs these guests into their caffeine-fueled metallic onslaught like Kirby inhaling enemies and gaining their powers.

The Polyphia collaboration “Sunset Kiss” succeeds brilliantly, adding fleet-fingered shredding and titanic prog grooves to the Babymetal formula. And the Poppy-assisted “from me to u” is an audacious victory lap of sleek, mechanized mayhem.

Their efforts paid off commercially too: Metal Forth debuted at No. 9 on the Billboard 200, becoming the first album from a Japanese act to reach the Top 10.

—BR

halestorm everest artwork

Atlantic Records

Halestorm, Everest

Release Date: Aug. 8

Everest stands out as not only one of the strongest rock releases of 2025, but one of the most daring of Halestorm’s entire discography. While their previous records grappled with themes of outsider identity, romance, heartbreak and a devotion to rock ’n’ roll, Everest digs much deeper, honing in on mental health struggles, regret, the fight for sobriety and the journey of self-reclamation.

It’s Lzzy Hale at her most vulnerable and visceral and the complex array of emotions surge through the music as well. Halestorm have always blended heavy moments with resilience but this time, the light at the end of the tunnel is a bit dimmer. It’s not just heavy sonically but emotionally as well, making it their darkest and most fearless album to date.

—LS

deftones private music

Reprise / Warner

Deftones, private music

Release Date: Aug. 22

Deftones are having a moment. It feels as though the music world has caught up with them as a new generation of listeners have put them back in the spotlight once more. With this convergence comes private music, an album that finds the band back in top form and spotlighting what they do oh so well.

Reuniting with Diamond Eyes and Koi No Yokan producer Nick Raskulinecz, the band fill the 42 minutes of their latest album with the emotionally rich dynamics of singer Chino Moreno against the massive wall of lush soundscapes the band provides that somehow manage to span a range from crushing riffs with intimately heavy moments.

Rightfully, “my mind is a mountain” and the driving “milk of the madonna” were chosen as singles to stir up interest amongst listeners, but this album goes deep. “Infinite source” rides a hypnotic riff while providing one of their more accessible moments and “I think about you all the time” might join the ranks of their greatest love songs. By the time you close out with “departing the body,” it feels like you’ve endured a timeless and effortless musical journey. Plug in, get lost, repeat.

—CC

three days grace alienation album art

RCA

Three Days Grace, Alienation

Release Date: Aug. 22

Alienation is a new chapter for Three Days Grace as it marks the return of original singer Adam Gontier, who now shares vocal duties with Matt Walst. The familiarity of Gontier’s voice brings an element of nostalgia back to Three Days Grace’s sound as they tackle a variety of subjects from anxiety and addiction to heartbreak and isolation — something they’ve always been good at.

What makes Alienation stand out is how it ties the past and present together without leaning too hard in either direction. It sounds like Three Days Grace always have — but darker and more introspective. There’s a rawness to the lyrics, a weight to the instrumentation and a sense that the band is confronting their own legacy as much as their inner demons. It’s not just a comeback, it’s a reinvention.

—LS

green carnation dark poem pt 1 album art

Season of Mist

Green Carnation, A Dark Poem, Pt. 1: The Shores of Melancholia

Release Date: Sept. 5

A half-decade removed from their comeback album Leaves of Yesteryear, Norway’s cult goth-tinged prog rock doomsayers Green Carnation are back with an even more formidable offering.

A Dark Poem Part I: The Shores of Melancholia is a more confident and engrossing LP with resplendent hooks, mournful drama and remarkable sense of pace that provides urgency and comfort at various points. These musical facets are all employed brilliantly, the ideal bedrock for themes of questioning one’s own mortality and self-worth, oftentimes in pessimistic fashion. After this six-song, 42-minute journey is over, you might be more glum than when it began, but metal isn’t always here to make us happy, so prepare to wallow in self-pity.

—JD

between the buried and me blue nowhere art

InsideOut

Between the Buried and Me, The Blue Nowhere

Release Date: Sept. 12

The Blue Nowhere needed to simultaneously be a worthwhile entry in BTBAM’s catalog and a clear sign that they could continue as a quartet (without ex-guitarist Dustie Waring).

Despite feeling too familiar in spots, it greatly succeeded in both respects by maintaining the group’s penchant for metaphysical themes and complex, genre-splicing compositions. Specifically, “Things We Tell Ourselves in the Dark” and “Beautifully Human” are characteristically sleek and satisfying as connected bookends and the title track is BTBAM’s catchiest song ever.

The whole thing is an awesome ride, matching the quartet’s trademark ferocity with more accessible and vibrant prog rock stylings (in the vein of Yes, Rush, Haken and Gentle Giant).

—JB

die spitz album cover

Third Man

Die Spitz, Something to Consume

Release Date: Sept. 12

Don’t be fooled by the title of “Pop Punk Anthem (Sorry for the Delay),” the opening track off Die Spitz’s incendiary debut album Something to Consume. The Austin, Texas-based bounces between punk, grunge and metal on the 11-song LP, which boasts songwriting credits from all four members and features lead vocals from all but bassist Kate Halter.

These multiple perspectives contribute to Die Spitz’s singular vision. The band sounds equally confident on the raucous punk anthem “Riding With My Girls” and the grunge-gaze barnstormer “American Porn.”

Punk rock super-producer Wil Yip (Turnstile, Code Orange) gives Something to Consume an explosive hi-fi sheen, and there’s a gleeful brutality to the stoner metal slammer “Throw Yourself to the Sword.” Sleep on Die Spitz at your own peril.

—BR

lorna shore album art

Century Media

Lorna Shore, I Feel the Everblack Festering Within Me

Release Date: Sept. 12

After a breakout couple of years on the back of vocalist Will Ramos’ first two releases with Lorna Shore, the only question was if the New Jersey deathcore stars could maintain the momentum with I Feel the Everblack Festering Within Me.

Overwhelmingly, that answer is yes. The album, Lorna Shore’s fifth, maintains the style established in the Ramos era, marked less by evolution and more by simply becoming even better musicians.

Lorna Shore’s maturity reveals strengthened dynamics which are especially useful in maintaining individual identity across multiple seven-plus minute songs. “Oblivion” and closer “Forevermore,” for example, bring things to a simmer with palm-muted chugs and spotlight orchestral bits, respectively, creating depth with nuance.

With such little breathing room in the production, the 66-minute runtime can sometimes be a suffocating endurance test — it’s part of the charm of extreme music. And with the shortest song still coming in at nearly five minutes, IFTEFWM’s demand for your attention is sizable, but not without immense reward.

—JD

i prevail violent nature album cover

Fearless

I Prevail, Violent Nature

Release Date: Sept. 19

I Prevail have come a long way in the decade since their viral cover of Taylor Swift’s “Blank Space” turned them into metalcore’s flavor of the week. But the same arena-ready instincts are present on the band’s fourth album, Violent Nature.

The title track and lead single arguably marks the most bone-crushingly heavy 130 seconds in I Prevail’s discography. But the rest of Violent Nature slithers between face-melting brutality (“NWO”), monstrous alt-metal grooves (“Rain”) and supersized, radio-ready hard rock hooks (“Annihilate Me,” “Into Hell”).

The release of Violent Nature was preceded by news of vocalist Brian Burkheiser’s messy departure from I Prevail. But clearly, the intraband turmoil only served to refine and amplify the group’s blunt-force impact.

—BR

Dying Wish, The Flesh Stays Together

SharpTone

Dying Wish, The Flesh Stays Together

Release Date: Sept. 26

In the ever-shifting fight to determine metalcore’s most important group, Dying Wish has emerged as a vital force shaping the genre’s future, balancing both its melodies and heaviness with equal ability.

The brilliance of Flesh Stays Together lies in how naturally singer Emma Boster expands her clean vocal presence, never as a calculated bid for mainstream appeal, but as a genuine exploration of the album’s emotional depths. Even on “Moments I Regret,” where singing dominates, it feels like a counterpoint to the ugliness Boster is able to immediately pivot and deliver, before the band delivers of breakdown like a knife to the throat.

—JH

revocation new gods new masters album cover

Metal Blade

Revocation, New Gods, New Masters

Release Date: Sept. 26

Consistency might not be the sexiest virtue, but in the case of technical death metal stalwarts Revocation, it’s a godsend. The band’s ninth album, New Gods, New Masters, is a staggering work of unrelenting brutality, dizzying virtuosity and post-apocalyptic visions of horror.

“I believe we’ve replaced our old gods with new ones, worshipping technology and creating a cult-like idolatry of innovators,” lead singer and guitarist David Davidson said of the album title. “I’m deeply concerned where this could lead humanity, whether it’s the slow march towards a technological dystopia or the all-out annihilation of our species.”

Other tracks, such as “Cronenberged” (named after the body horror pioneer David Cronenberg) deal with more fictional horrors. They’re all soundtracked by pulverizing blast beats, gut-busting riffs and jazzy solos, making New Gods, New Masters the perfect union of brains and brawn. Guest spots from members of Cattle Decapitation, Job for a Cowboy and Gorguts boost Revocation’s power and street cred.

—BR

AFI, Silver Bleeds the Black Sun …

Run For Cover Records

AFI, Silver Bleeds the Black Sun …

Release date: Oct. 3

AFI tend to evolve from record to record, especially in more recent years. But it’s likely few were expecting the shift that came with Silver Bleeds the Black Sun…

The album leans heavily into post-punk goth rock. “Behind the Clock” nearly sounds like a lost song from The Smiths that was recovered nearly 40 years later. The same goes for “Holy Visions,” although maybe a tad bit more lively than anything from The Smiths.

Silver Bleeds the Black Sun… works for two reasons. One is the album to seem lush without sounding overproduced, as AFI is sonically less raw here.

The other thing this release has going for it is vocalist Davey Havok’s singing. Instead of keeping his same vocal presentation heard on past AFI albums, he meets the band’s updated sound somewhere in the middle.

Silver Bleeds the Black Sun… is proof that a band evolving can be a better option than complete reinvention.

—RC

agriculture the spiritual sound

The Flenser

Agriculture, The Spiritual Sound

Release Date: Oct. 3

Los Angeles’ post-black metal outfit Agriculture are a glimmering example of Deafheaven’s influence on future generations. On their second album, The Spiritual Sound, this group takes a major leap in further defining their own sound, widening their range with surprising overall appeal.

With dissonance as the unifying element, Agriculture engage rapturous lo-fi tremolo-picked melodic sections (black metal, despite what the trve kvlt types might say) and riffs that combine the brilliance of Colin Marston and Justin Broadrick (“My Garden, “The Weight”) and even shoegazey balladry (“Dan’s Long Song”).

This is a band to keep your eye on as bigger things lie ahead after the release of The Spiritual Sound.

—JD

sanguisugabogg hideous aftermath art

Century Media

Sanguisugabogg, Hideous Aftermath

Release Date: Oct. 10

Sanguisugabogg, the final boss of heavy metal spelling bees for anyone who couldn’t muster more than a C- in English class, have even managed to get a bit smarter by death metal standards.

On Hideous Aftermath, their third album, the ‘Bogg boys have become more intricate but no less brutal, recruiting some serious players in death metal for a handful of guest appearances. That trademark stomp remains, but here it’s enveloped by blast beats and tremolo riffs with a greater demand for crazed fretwork.

After perfecting their style on Homicidal Ecstasy, Sanguisugabogg are at a natural juncture where you either evolve or you play Motörhead’s game and stay on the same path. Either choice is fine (we love Motörhead), but knowing that continued innovation might lie ahead, it sets up an exciting second half of the decade for one of death metal’s best new school entrants.

—JD

testament para bellum cover

Nuclear Blast

Testament, Para Bellum

Release Date: Oct. 10

Testament’s 14th album finds the band experimenting with new extremities, something that’s been ongoing for well over half of their career. Be it Chuck Billy’s death growl or pummeling blast beats, the band’s never been bashful about injecting more modern metal elements into their still adrenalized thrash foundation.

Para Bellum feels like the most balanced and, as a result, devastating LP to explore these dynamics, even leaning heavily into Eric Peterson’s black metal background (Draonglord) on the furious opener “For the Love of Pain.”
Elsewhere, Testament entertain another extreme by a wholly different standard — an orchestral swept power ballad (“Meant to Be”). This format has always been a strong point whenever the thrash icons have elected to get a bit tender and this seven-and-a-half-minute monster encroaches Metallica’s own epic songwriting territory.

Call it a recency bias, but Para Bellum is making a strong case for being Testament’s best since 1999’s The Gathering.

—JD

militarie gun god save the gun

Loma Vista

Militarie Gun, God Save the Gun

Release Date: Oct. 17

Though they tend to get lumped in with hardcore, Militarie Gun are certainly putting their own unique stamp on things with God Save the Gun, which actually is a little bit more diverse in nature overall.

The group makes a solid progression on their sophomore set and while it’s not a concept album per se, it’s easy to find the narrative of a personal unraveling amid the eventual acceptance in the album’s title track that change is needed.

As stated, there’s a little bit of everything from the raw and raucous “B A D I D E A” to the new wavy swing of “Throw Me Away” to the strummy and solemn “Daydream.” Other highlights include the shoegazy bite of “Kick,” the catchy “Fill Me With Paint” and the slow your roll groove of the lead single “Thought You Were Waving.”

It’s time to get on board with Militarie Gun as their sophomore set feels like the band on the verge of bigger things.

—CC

mammoth the end artwork

BMG

Mammoth, The End

Release Date: Oct. 24

Mammoth’s third studio album The End is arguably Wolfgang Van Halen’s best and most self-assured work yet. He’s spent the last few years carving out his own legacy apart from his dad and Van Halen, but The End sees him really embrace his gift (and where it came from).

Wolfgang once again played all of the instruments and sang on this record and his confidence is emphasized by his strongest vocal performances yet. A wide array of his influences made their way into this set of songs, from grunge to prog to funk and of course, Van Halen. If the tapping on the title track sounds familiar, it’s because Wolf actually used his dad’s iconic Frankenstein guitar while recording it.

The End serves as a musical statement — it’s possible to celebrate where you come from and stay true to your unique identity at the same time. Wolfgang doesn’t need to convince us anymore that he’s serious about what he’s doing and he knows it. That’s why this third album is so powerful.

—LS

avatar dont go in the forest album art

Black Waltz Records

Avatar, Don’t Go in the Forest

Release Date: Oct. 31

Ten albums into their career and Avatar have shown a continued commitment to surprising fans while staying true to their heavy roots. Don’t Go In the Forest opens with something few would expect, an almost “Yankee Doodle Dandy”-esque whistle that serves as the foundation of “Tonight We Must Be Warriors.” Don’t let the whistle fool you — Avatar know exactly what they’re doing as they pummel you with the anthem that carries you into the crushing “In the Airwaves.”

That drive continues track after track, making this not just one of the best albums of 2025, but one of the best albums in the band’s growing catalog. Though it’s hard to capture this record in just one or two songs — you need to listen to it front to back, please — make sure you have “Captain Goat” and “Death and Glitz” cranked up loud as you enter the world of Avatar.

—CA

creeper sanguivore 2 album cover

Spinefarm

Creeper, Sanguivore II: Mistress of Death

Release Date: Oct. 31

Ordinarily, sequel albums tend to be a bit of a letdown or, at their best, fall just short of matching the thrill and excitement of its predecessor. But given the excellence of Creeper’s 2023 LP Sanguivore, a sequel is the only thing we could have possibly wanted.

Sanguivore II: Mistress of Death further explores the gothic theatricality and splendor of the U.K.’s finest vampiric exports with sublime results. The Rocky Horror vibe of “Blood Magick (It’s a Ritual)” and the cheeky double entendre in its punk/classic metal follow-up “Headstones” (both pre-release offerings) are merely hors d’oeuvres, complementary parts of what’s next to come — steamy lounge songs about decapitation (“Razor Wire”), early ‘90s goth rock (“The Black House”) and epic, cinematic power balladry (closer “Pavor Nocturnus”).

—JD

drain album art

Epitaph

Drain, …Is Your Friend

Release Date: Nov. 7

For just short of a half hour, Drain blast through 10 songs that lean heavily on hardcore while incorporating elements of thrash and punk. The California-based act is efficient, too, as they make the most of every moment.

“Who’s Having Fun?” is full of twists and turns. First, Drain is dipping their collective toes into California skate punk territory before a guitar solo hits and things shift to be more hardcore. ”Nothing But Love” builds to a massive breakdown before ending things with a heavy payoff at the close of the track.

All of this is to say that Drain have perfected the ability to pack a ton into some fairly short songs without sounding incomplete. …Is Your Friend is a fun listen that doesn’t have time to be boring.

Read More: The ‘Big 4’ Rock + Metal Artists of 2025 | https://loudwire.com/big-4-rock-metal-artists-2025/?fbclid=IwY2xjawOgexZleHRuA2FlbQIxMABicmlkETE4WU1qQ1ZBQzZuN0NmV2Zkc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHhTbSOkm1d44yTRqEFBGnbo9BDFDCulOyxazBjgrEL635IlgwRTDwDynb_gQ_aem_WFfXvz5CqH_ASH8xrlDHuw&utm_source=tsmclip&utm_medium=referral