Let me tell you something that’s been bubbling in my mind for a while: the metal scene is having a moment. Not the kind of moment where TikTok trends briefly revive a subgenre, but a genuine, soul-deep revival of the raw, unfiltered energy that defined the genre’s golden age. Take HERETIC, for instance—a band that’s been quietly chiseling away at the edges of metal’s evolution since the 1980s. Their new album, Shape Of Things To Come, isn’t just another record; it’s a statement. And if you ask me, it’s a reminder that legacy bands don’t need to chase trends to stay relevant. They just need to remember why they started in the first place.
Here’s the thing: when I listen to Shape Of Things To Come, I hear a band unapologetically refusing to be boxed in. Produced by Steve Watson at Watson House Studios, this album feels like a love letter to the grit and sweat of live performance, but with the polish of modern production. What makes this particularly fascinating is the way HERETIC balances nostalgia with innovation. Brian Korban, the band’s relentless guitarist, isn’t just recycling old riffs—he’s weaving them into a tapestry that includes thrash, acoustic ballads, and power riffs that could make a stadium tremble. It’s like he’s saying, ‘Yes, we respect our roots, but we’re not here to rehash them.’ That kind of confidence is rare, and it’s what makes this album feel so urgent.
Now, let’s talk about the elephant in the room: HERETIC’s longevity. Formed in 1985, they’ve weathered decades of lineup changes, label shifts, and the ever-changing tides of the music industry. But here’s what I find remarkable—they’ve never lost sight of their core identity. Their 1988 album Breaking Point was a product of its time, but Shape Of Things To Come feels like a deliberate act of defiance against the idea that metal bands have a shelf life. In an era where many artists try to reinvent themselves to stay ‘current,’ HERETIC’s approach is refreshingly old-school: stay true, evolve naturally, and let your work speak for itself.
And then there’s the label, Candlepower Records. Founded by Diego Negrete, a Hollywood vet with a resume that includes American Idol and Dancing With The Stars, this isn’t just another indie label. It’s a calculated move to bridge the gap between metal’s underground roots and mainstream visibility. Bill Metoyer, the label’s overseer, brings decades of experience from Metal Blade Records and working with legends like SLAYER. What this really suggests is that HERETIC’s new album isn’t just a niche release—it’s a strategic play to reintroduce the band to a generation that might not know their name but will recognize the sound.
But let’s not forget the human element. Julian Mendez, the vocalist who returned to HERETIC in 2011, brings a rawness that’s missing from so much modern metal. His voice isn’t polished to perfection; it’s weathered, like the band itself. This isn’t a gimmick—it’s a choice. In an age where autotune and studio wizardry can erase imperfections, HERETIC’s decision to embrace their flaws is both brave and oddly refreshing. It’s a reminder that authenticity isn’t a trend; it’s a lifeline.
So what does all this mean for the future of metal? I think it means that bands like HERETIC are carving out space for a more honest, less sanitized version of the genre. They’re not here to follow the rules—they’re here to remind us why the rules existed in the first place. Shape Of Things To Come isn’t just an album; it’s a manifesto. And if you ask me, that’s exactly what the world needs right now.
