Release date: Out now!

Formed in 2020, during the global plague, Owlbear debuted in 2023 with Chaos to the Realm and played their first live show in 2024 at Chicago’s Legions of Metal. Feather & Claws follows the path set by their debut: traditional heavy metal deeply rooted in medieval fantasy, much like bands such as Visigoth, Eternal Champion, and, of course, Gygax. What happens when you mix epic fantasy, the lore of the world’s most influential role-playing game, and heavy metal? Let’s find out.

Review

As Arrow Hail: Tapping riffs with plenty of catchiness welcome Katy Scary, whose voice dances between mid and high tones with remarkable warmth, delivering vibratos straight out of the ’80s playbook. Palm-muted gallops interwoven with power chords, sharp harmonics, and deliciously audible bass lines shape the structure of this energetic and fast-paced track, complete with infectious choruses. The dual guitar attack leads into the first guitar solo, well-executed with sustained notes and backed by an inspired bass performance from Leona Hayward, bringing to mind the melodic tappings of Eagle Fly Free by Helloween. An excellent calling card for the band.

Shadows of the Dragons: If the album started with a burst of inspiration full of traditional elements, this time, we’re thrown straight into harmony guitars followed by rapid chords. The rhythmic foundation is flawless, accentuating the hits in the verses and picking up speed when the song demands it. Katy’s powerful voice envelops us with her warm yet commanding high notes. The song’s structure moves between mid-to-high speeds, reaching its peak in an old-school guitar duel featuring a highly inspired Jeff Taft. Meanwhile, Ester Slaughter’s cymbal work stands out on its own, a true piece of craftsmanship that deserves attention.

Crawl from the Carcass: Powerful Sabbathian riffs with undeniable groove—almost danceable—kick off this track, which leans even more towards classic heavy rock than its predecessors. The vocal phrasing blends seamlessly with much more glam-rock-style tempos, evoking the glory days of Kiss, Mötley Crüe, and Poison. Yes, we’re talking studs, leather, boots, and massive lacquered hairstyles. This track is solid proof that these guys know how to rock and roll. Special credit goes to Ian Cowell, who appears as a guest musician, delivering razor-sharp solos in this fantastic piece.

Altar of Earth: Did someone say gallop? Oh yes, here it is in full force, with a fast-paced intro that’ll have us drawing our swords and gripping our grimoires. Pure power. The rhythmic section slows down in the choruses, while Katy’s voice becomes sharper and more commanding, showcasing her incredible vocal prowess—she can sing across multiple registers without ever losing her essence. The twin-guitar attack solo unfolds through sections that transition from mid-tempo to high-speed. But wait! The metal artillery goes full throttle with sections of tremolo picking, creating the most virtuosic moment of the entire album—somewhere between the solo duels of ’80s Iron Maiden and the wicked technique of Yngwie Malmsteen. 10 out of 10.

Song of the Grey Witch: Clean, reverberating guitars signal that we’re entering darker territory. The bass lines take center stage once again, crafting beautiful attack sections alongside the twin guitars. This final mix is a defining trait of the album: every instrument is distinct, yet Katy’s voice never gets lost, always standing tall above the sonic storm. The balance is perfect, and this song proves it beyond a doubt.

Hawkrides of the Wastes: A galloping burst right from the start. Before the first minute, we’ve already heard the verse and chorus—this song resolves quickly, focusing on shifting rhythms through double bass drumming and snare hits rather than building atmospheres. Robert’s work stands out, driving the machine forward like a true medieval rider, gripping the reins with force. The final section is a luxury of guitar solos, playing with harmonies, various scales, and speeds. A martial chant accompanies the outro choruses, though they seem a bit low in the mix—perhaps they would have stood out more if raised in the final production. Special mention to guitarist Rob Steinway, a veteran of the heavy/power metal scene, who was invited to play on this track.

Wild Shape: A song filled with pure warrior spirit, built on melodic riffs and fast palm-muted sections. Katy, in a state of grace, rides the notes up and down like a rollercoaster, never missing a beat. The tempo shifts open like warriors making way for heroic solos, backed by a groove-heavy, powerful rhythm section. The final riffs are simply crushing, accompanied by blazing bass lines that are nothing short of legendary. Another track destined for immortality.

Devastation Be My Name: Opening with a slow intro reminiscent of Bathory’s Viking era, we are soon hit with crushing chords and pounding drums, followed by a fast and virtuosic solo acting as a bridge to the vocal phrasing—quick in the verse and deeper, with sustained notes in the chorus. The song becomes even more enjoyable with its tempo changes and lightning-fast neoclassical solos. Guest guitarist Dean Di Marzo delivers a masterful performance, precise and technically impressive. Owlbear proves that high-level virtuosity in composition doesn’t require shifting into progressive metal.

Bloodsilver: The fastest track on the album, with rapid-fire riffs reminiscent of Holy Wars by Megadeth. The rhythm section, leaning toward thrash metal, slows down in brief breakdowns led by Katy Scary, who delivers some a cappella verses, adding versatility to the song. The bass takes a leading role, wrapping us in rapid spiral-like scales, shining particularly in the final section—at times, it feels like the roar of an axe slicing through the edges of swords. Sublime. 10 out of 10.

The Fall of Netheril: This track leans towards slower sections—not in the structure of a typical power ballad, but rather a tragic closing piece featuring voice-over passages interwoven with power chords and acoustic parts. The musical execution is solid, but compared to the other tracks, it feels less inspired and somewhat repetitive—perhaps not the strongest choice for an album closer. Only time will tell.

Conclusion

From the final mix to the excellence of its musicians, passing through the heroic themes, Katy Scary’s outstanding vocals, and the lyrics filled with tabletop RPG stories—everything is well thought out and executed. Each song seeks to draw you in with its storytelling. The album’s artwork is more than adequate; however, it doesn’t fully capture the speed, the musicians’ technique, and the epic aggression the band delivers. That aside, this is a memorable work, and the only thing we, as fans of this genre, ask for is that they keep composing and delighting us with such great songs. Cheers!

TheNwothm Score: 9.5/10

Links

Bandcamp:https://owlbearmetal.bandcamp.com/album/feather-and-claw

Facebook:https://www.facebook.com/OwlbearMetal/

Instagram:https://www.instagram.com/owlbear_metal/

Label: Alone Records

Line-up:

Leona Hayward -Bass

Estee Slaughter -Drums

Jeff Taft -Guitars

Katy Scary -Vocals