Release date: 19th September 2025

Formed in Denmark in 2013, Meridian have carved out a career standing at the crossroads of melodic metal and hard rock, with flashes of AOR and progressive elements. In 2025 they return with Meridian, their fifth album and a bold statement of intent: pure, no-frills heavy metal, direct and electrifying, steeped in the ‘80s spirit of Accept, Iron Maiden and Saxon. With the arrival of vocalist Søren Adamsen (ex-Artillery) and a raw production handled by guitarist Marco Angioni, the band unleashes crushing riffs, soaring choruses and searing solos, capturing the live energy and power that define their stage presence in a record that proves the old school still rules.

Review

Uprising: A direct hit to the jaw with a crushing, half galloped, choppy riff with a death-metal edge, as the drums come in loaded with fills, steering the rhythm into mid-tempo territory with massive distortion and weighty guitars. Adamsen’s voice is gritty with high pitched tones, very much in the style of Udo (Accept) or Boltendahl (Grave Digger). The guitars unfold a set of solos full of feeling and superb development. The opening riff anchors the song’s various phases, opening up in the verses into power chords where the pick-played bass lines shine with a bright tone. Adamsen shows flawless technique, handling English with ease; he never sounds stiff, and in several sections he breaks free of convention with shouts and energetic expressions that fit the song perfectly. An excellent, energetic and brutal opener.

When the World Fids Out: No frills or unnecessary intros, before ten seconds have passed, the song explodes, built on a choppy structure with drums that go straight to the point, avoiding polyrhythms or overcomplicated time signatures. The performance is precise, locking in like a human metronome. The listening experience is very ‘80s, with sustained chord rhythms, quick hard-rock-style phrases and a lead guitar that takes its time, crafting the melody note by note. An excellent track that complements the opener, less aggressive and direct, but continuing the album’s emerging line.

Crown the King of Violence: Adamsen’s voice has an incredible ability to adapt to each song’s mood; the tempos drop, but everything feels heavier, with some artificial harmonics and a martial accented rhythm. The bass comes through with more freedom, delivering spiralling lines that enrich the arrangements. Adamsen’s voice here is raspier and more malicious, at times brushing up against a metalcore style, especially in the more pounding and vibrant rhythmic sections, which recall the pummelling, punishing structures of Pantera in the ‘90s or Judas Priest’s heaviest era (Painkiller, Jugulator). A great track.

Last Words of a Dyng Man: What a title! What could a dying man tell us in his final moments? Before we can think, the composition bursts in our face with a speedmetal rhythm that masterfully blends thrash velocity with heavy metal’s power. The drums have broken their chains, raging like a beast, delivering hard snare hits, forced gear changes, and tight kick snare patterns that sound harsh and unrelenting speed, aggression and looseness reminiscent of Clive Burr (Rest in Power), the legendary Iron Maiden drummer. The song resolves in a cascade of lead guitar interplay over an unleashed percussive machine. A gem of the album.

B.U.R.N: Did someone say rock and roll? After the overwhelming intensity of the previous tracks, here comes a song recalling Deep Purple, Rainbow, and ,most of all, Kiss: a composition with sped-up bluesy scales and loads of glam metal vibe, radiating that rock ‘n’ roll fire, with shout along choruses and delicious breaks, perfect for hitting the highway at full speed, hair in the wind. The vocal delivery kicks up another notch, showcasing great versatility.

Swinging the Chain: Not that Meridian aim to create a catalogue of styles, but this track shares the same vibe as the previous one. The lyrical phrasing sets the pace, backed by catchy riffs with plenty of swing. The bass lines are solid, sketching out the groove as the drums keep a marked beat with tasteful cymbal work. The solos are inspired, with sustained notes, feeling and technique; the guitarists avoid empty virtuosity, instead delivering sections that are well executed and full of life, a track to feel with both your feet and your head.

The Way Back: No heavy metal album is complete without a heartfelt power ballad, and here it is, channeling the spirit of W.A.S.P. or Vandenberg, with a heavy, melancholic opening led by the lead guitar, followed by deep bass lines and brief clean guitar arpeggios. The chorus comes with backing vocals that amplify the drama and operatic feel, and the lead voice sounds clean in places, enhanced with added reverb and harmonies for a more theatrical effect. An excellent piece that elevates the album another step, varied, rocking and metallic, without recycling formulas but exploring different styles. Commendable.

Taking Power: A powerful song. Right from the first second you can hear its steel forging in the scorching furnaces of metal. Pure ‘80s epic intent, mid-tempo, with a lively rhythm built on power chords that hover briefly before dropping into a bed laid by the rock-solid bass-drum foundation. It stands on its own while staying true to the album’s spirit, exploring more epic variants with sharper guitars and faster, hero style solos full of technique and swagger. A distinct piece that synergistically strengthens an already top-tier album.

Masks of Anger: Was there room here for a progressive spirited track? Absolutely. With syncopated drums and spiralling bass lines straight out of the best of Rush or Yes, this is a true compositional gem. The blend of heavy, hard-rock and progressive, more precisely, neo-prog, fits Meridian like a glove. The tempo changes are flawless, and the emotion the singer conveys, dropping the rasp for softer tones without losing essence, gives the song exactly the perfection it demands. The textures and layers of melodic guitar work are beautiful. The band’s maturity shines through, even gifting us a twin-guitar harmony section with a gorgeous, undulating melody and elaborately crafted solos alternating between sustained notes and rapid runs. As the album’s closer, it shows Meridian in a state of grace, a golden finale that makes this record essential, and one that should already be considered among the top ten albums of the year.

Conclusion

Meridian deliver a record that refuses to be confined to a single mold, skillfully traversing different territories of heavy metal and hard rock, even flirting with progressive elements while maintaining cohesion and identity. Each song adds a unique shade, from the opening brutality to the tenderness of the ballad and the sophistication of the closing track, resulting in a solid, vibrant and memorable album. More than just a continuation or a fresh start, it feels like a statement of purpose and an exercise in versatility that places the band in a prime position to be counted among the year’s best.

TheNwothm Score: 9.5/10

Links

Bandcamp:https://meridiandk.bandcamp.com/album/meridian

Facebook:https://www.facebook.com/meridian.metal

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

Label: Target Records

Lineup:
Søren Adamsen – vocals
Martin Jepsen Andersen – lead & rhythm guitars
Marco Angioni – lead & rhythm guitars
Klaus Agerbo – drums
Peter Bruun – bass