Review by Phil Rozier for MPM
I like to say that Zakk and I go way back. He doesn’t know that, of course. I’ve only ever seen him from the crowd, so “met” might be a stretch. Maybe I’ve met him, even if he hasn’t met me. Semantics. What matters is this: Zakk Wylde and Black Label Society have been a constant force in my musical life for decades. While other bands chase trends or orbit bigger names, BLS have always followed their own blazing path, delivering the goods with absolute reliability.
I even owe Zakk a round of beers. My obscure knowledge of his Pride & Glory era won me a pub quiz in Fuerteventura in the early noughties. Who knew that would ever come in handy?
But enough of my name dropping attempts to sound interesting. The point is simple: my history with Zakk, BLS, and those early Pride & Glory days runs deep. Formed in 1998, Black Label Society now stand twelve albums in, while Zakk somehow balances “side projects” like Ozzy Osbourne, Zakk Sabbath, and Pantera. And yet they’re still producing music with the strength, swagger, and soul of a band half their age.
One of my favourite things about this band is how Zakk, John, Dario, and Jeff continue to carve their own path. Album after album, they sustain that unmistakable BLS magic: enormous riffs, haunting vocals, and that blend of heaviness and heart that no one else quite captures.
So, let’s dive into Engines of Demolition.
‘Name in Blood’ – Previously released and reviewed on MPM, this opener is one of the best metal tracks of the past year. Chugging riffs, screaming harmonics, and Zakk’s instantly recognisable vocal power. An awesome opening statement.
Track two, ‘Gatherer of Souls’ out of an unlucky thirteen, stomps in with a riff straight from Black Sabbath’s 13 era. It’s classic BLS: heavy, head banging, and built for the live stage.
Hitting us hard, ‘The Hard of Tomorrow’ is a slower, stoner rock tinged march of detuned guitars and thunderous drums. It trudges in the best possible way, like a giant dragging a cathedral behind it.
Despite that weight, the tracks move quickly; no bloated epics, no overlong indulgence. If you want the Lord of the Rings of metal, go see Dream Theatre. BLS keep things tight, punchy, and purposeful.
Track four, ‘Better Days Wiser Times’ shifts gears beautifully. Acoustic guitars take centre stage, and Zakk lets his heart bleed through. It’s got a southern, almost Texan country warmth that hits you right in the chest.
The album ebbs and flows like a storm tide; surging, retreating, reshaping itself. The variation keeps every track distinct, avoiding the blur that plagues less experienced heavy bands. The musicianship is razor tight, the production immaculate. It’s like buying a premium German car: you know it’s going to work, and it’s going to work beautifully.
By track seven, ‘Above and Below’, I’m fully lost in the riffs. The transition into softer vocals is so smooth you almost don’t notice the shift. Zakk’s solos remain mesmerising, fluid, expressive, and constantly evolving.
‘Back to Me’ is another sun soaked, country tinged moment. It’s pure veranda rocking chair bliss. Someone fetch me a porch and a cold drink.
I wasn’t planning a track by track review, but you can’t ignore this one. ‘Lord Humongous’ is three minutes and thirty five seconds of colossal riffing. I didn’t dissect the lyrics to find out what exactly is “humungous,” but the sound certainly is.
The Final Blow: ‘Ozzy’s Song’
The album has been a joy to live with this week; three parts heavy, two parts country, and one part knee weakening emotion. And then comes the closer.
I’ll be honest: I was almost afraid to press play.
Piano. Echoing vocals. Acoustic strumming.
“I saw you yesterday, before you went away.”
The tears start immediately.
Ozzy and Zakk’s relationship is one of rock’s great partnerships. Few bonds in music have endured with such loyalty, patience, and mutual respect. They first met in 1987 when Zakk auditioned for Ozzy’s band. Nearly four decades later, Zakk, now approaching sixty, had stood by Ozzy’s side through triumphs, tragedies, and everything in between.
This isn’t just a tribute. It’s a farewell. A love letter. A lifetime condensed into song.
As a rock fan, you feel it. You feel the loss of a friend, a mentor, a titan. The music world will never fully recover from losing figures like Ozzy; leaders of an entire way of life.
Zakk closes the album with the line:
“When all is said and done, I couldn’t ask for more.”
I hear you, brother.
Engines of Demolition is one of the best metal albums I’ve heard in years. A towering achievement from a band who refuse to fade, refuse to falter, and continue to give us everything they have.
Pre-Order HERE
Black Label Society have announced a run of UK headline shows with support from Venom inc. The list of shows is as follows:
Thu May 28 2026 – GLASGOW O2 Academy Glasgow
Fri May 29 2026 – LONDON O2 Forum
Sat May 30 2026 – BOURNEMOUTH O2 Academy Bournemouth
Sun August 09 2026 – Bloodstock festival*
*festival appearance
Tickets available here.
