Release date: 6th June 2026

Label: Independent (North America)/Steel Shark Records (EU)

Review: Iron Kingdom “Shadows And Dust

“Defenders” featured a solid riff to start off, but what really stole it immediately for me was the drumming. Max is annihilating his poor, innocent drumkit in all the best ways. That double bass is legendary stuff. Osterman’s shrieks and wails are as electric as ever, and the production does a magnificent job of showcasing his range and versatility. Despite the incredible opening salvo, the track is chock full of killer guitar work from the tandem of Osterman and Megan Merrick. While the bass was a consistent presence in the background, in the second half of the track it really started to take hold. Holmes’ playing was spot on, and I’d really love to hear the isolated bass track for this one, he’s got some killer licks in there. What a balls to the wall frenzy to open the album.

“Eternal Emperor” featured a groove that I could best compare to some of King Diamond’s work, even if the vibe was vastly different. Like the opener, this one again has everyone killing it at their respective instruments. Man, the production on this record is freakin’ sublime. I can feel everything, without any piece of the Kingdom overpowering another. This is the right amount of balance and polish that a lot of modern metal, of all genres, can lack. The riffs are crunchy and easy to headbang along with, and Osterman’s vocals continue to be a treat.

With a sizzling riff to start off, “Dreamless Sea” immediately felt different from the tracks before it. The tempo being a touch slower was such a great move to give this one a personality all its own. Really great and imaginative lyrics in this one, perfect for the music video in my head. The duo of Osterman and Merrick positively kill it on the guitar solo, and as per usual, the bass and drumming is top notch. Max will probably need a new drumkit after this album though. Most interestingly, this one bled directly into our next track…

“Deadhouse Gates” opened with the continuation of the drumroll began at the tail of the previous song. God, I just have to commend the production on this album once again. It’s enough to make a grown man cry. Incredibly musicianship all around, but what really took this one for me was the vocals. Chris had a little extra oomph in his delivery in this one that just gave every word a sort of weight and emotion that I can’t quite explain. Another magical track this one.

At just barely over the 3 minute mark, “Line of Fire” was the shortest track on the album and wasted precisely zero seconds in blitzing out. As could be expected, this one was frenetic and speedy, and it somewhat reminded me of California’s Saber. Somewhat strangely though, it also reminded me a bit of early-Dokken, and I am not sure why. It’s no frills, no pomp and circumstance, just pure unadulterated speed metal. And again, Max kills it on the drums. Dude must have massive calves.

The armored marching feet, along with a grooving bassline, open “Blood and Steel”. Things are kept at a relatively medium tempo throughout, without feeling plodding, but there is a deliberateness to it. It’s one that reminded me of Maiden right after their comeback (an underappreciated era of Maiden history). All in all, this was another solid track, albeit one that I couldn’t quite find myself getting fully immersed into. Another listen at a later date will likely remedy that though.

“Shadow of Time” was buoyed mightily by the spread of incredible guitar work throughout, but also with some sneaky bass in the background that wasn’t lost on me. This was one that reminded me a lot of someone, but my brain couldn’t quite put a name to it (Twisted Tower Dire, maybe?). As is tradition for this record, Max once again is decimating his drum set with the thundering of double bass.

Speaking of drums, “Dark Demands” opens with another killer drumroll and Max’s drum set continues its ass-kicking. This was the second of the two shorter tracks on the album, and, while still a fast and frenzied affair, was not quite as such as “Line of Fire”. Though it was for sure the ‘drummer shows off’ song, I also appreciate the incredible solo, and the delivery of Osterman’s vocals (he even does a little death growl at one point).

“Starlight” was what I’d call ‘classic Iron Kingdom’ in that it’s the band’s tried and true standard of semi-epic heavy metal that occasionally flirts with full-on power metal. There’s a killer mid-song bridge section to briefly pause the track a bit, just enough to make the solo that comes after it all the sweeter. There’s a real maturity in the songwriting and structure of this one that I can’t really put into words as a non-musician, so I’ll just say it’s good (it is).

“Sacred Fire” was both the final and longest track on the album, at just a hair over 7 minutes. With some moody, almost western-tinged guitar work to start off (plus a rattlesnake in the background as ambiance), I was right away transported to an old ghost town in the middle of a desert… for some reason. Positively adored the chorus in this one, it’s done unlike anything else on the album and I think I’d like for the rest of Iron Kingdom to get more involved on the choruses moving forward (I’m just a sucker for that sort of thing). The extended guitar solo was pure magic, and the rhythm section was killing it underneath it all. Also, this is another song that reminds me of Dokken for some reason, and again, I do not know why exactly. This was great, what a way to cap off a great record.

Conclusion

Iron Kingdom’s sixth full-length continues the band’s upward trajectory in a way that is both concise and still varied. Every track has just enough difference between to make them all stand out from one another, while never feeling like they belong to a different artist. 2022’s “Blood of Creation” was an absolute clinic in modern metal perfection, and it would always be a tough act to follow but Iron Kingdom did so with gusto. Masterfully produced and even better performed, “Shadows and Dust” is one of the years best.

NOTE: In my perusal of the Metal Archives, I discovered that Max was also in a band called Empyreal back around 2008. I remember randomly listening to their album in school one day on some random site (could’ve been YouTube, I’m not sure) and really digging it, but I could never recall the name. Once I saw the cover, it clicked with me. Small world haha.

TheNwothm Score: 9.5/10

Links

Bandcamp: https://iron-kingdom.bandcamp.com/music

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

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

Website: https://www.iron-kingdom.com/

YouTube: https://www.youtube.com/c/IronKingdom

Label: Independent (North America)/Steel Shark Records (EU)