Black Label Society's 'Engines of Demolition' - Album Review

There are not enough hours in the day to listen to every band, but even with that in mind I am quite surprised that I never gave much attention to the California-based heavy metal four-piece Black Label Society. I remember listening to a compilation of theirs many, many years ago, which also included songs from one of bandleader Zakk Wylde's solo albums and his southern rock band Pride & Glory, but it clearly did not stick - and I lasted barely a song during their set at one of the Bloodstock Open Airs that I attended. I think that the main reason for me largely ignoring the band for many years is that, for quite a while, I was not that much of a fan of Wylde. I always appreciated his raw talent as a guitar player, but as a songwriter he left me cold. In my opinion, with the exception of 1991's No More Tears, his work with Ozzy Osbourne marks the point at which I start to loose interest in the latter's solo career. Osbourne's first four solo albums are all excellent, but things started getting less interesting for me with 1988's No Rest for the Wicked - Wylde's first album with Osbourne. No More Tears is the exception, and even that cannot really hold a candle to Osbourne's early work, but the albums which followed were all pretty dull - and seemed over-calculated to appeal to the booming American radio rock/metal market at the time, as basically every single Ozzfest line-up can attest. In fairness to Wylde, this was likely not always down to him. He was not always involved in the songwriting - and the Osbourne brand became a corporate juggernaut around this point, so creativity was always likely to come second to making money. Nevertheless, working with Osbourne made Wylde a superstar - and the 2002's Live at Budokan certainly helped me to warm to him a bit more in recent years. Strangely enough, though, it was seeing Wylde live with the reunited Pantera last that made me really appreciate him as a guitarist. The late Dimebag Darrell was certainly a unique player, but Wylde was able to play those songs with ease - whilst injecting some of his southern rock grit into the band's set. In an effort to check out some bands that I have long ignored, then, I felt that it was time that I gave Wylde's own Black Label Society a go. Clearly something about southern-sounding 1990s/2000s US metal bands is speaking to me at the moment, as I will also be reviewing the new Corrosion of Conformity album in due course, Black Label Society is likely one of the poster children for such a sound. The band has always been Wylde's main creative outlet, and he has been the driving force since the off. In reality, the band is his solo project - but it has always been present as a band. It does seem to be more of a true band now than it was in the early days, but even so Wylde is still the focus of everything that goes on. With a new album coming, I thought that it would be my jumping off point, but I did check out the Pride & Glory album and the band's own 1998 debut album Sonic Brew in the lead-up to the new album's release. I cannot say that I loved either, but since the new album Engines of Demolition dropped last month I have been enjoying it somewhat more. Black Label Society will never be a favourite of mine, but there is a place for southern-sounding and not all that complex metal from time to time - and this latest album feels crunchier than the swampier, bluesier debut. Engines of Demolition is the band's twelfth studio album overall - and their first since Doom Crew Inc. from 2021. Whilst it is the band's fourth album since the current line-up came together in 2014, it is only the second to credit guitarist Dario Lorina as performing alongside Wylde - with long-time bassist John DeServio and drummer for the past decade or so Jeff Fabb rounding out the line-up.

Sound-wise, Engines of Demolition is pretty typical of Black Label Society's core approach. Most of the songs here are driving, mid-paced metal anthems with blues and southern rock overtones - whilst occasional songs up the pace and heaviness, with others utilising keyboards, also from Wylde, and going down a more ballad-esque route. There are 13 songs here, but with a runtime of just over 50 minutes none of them are really all that long. The opening number, Name in Blood, is perhaps not the blistering album opener one might expect. It opens with a juddering clean guitar riff, which reminds me a little of the slow manner in which AC/DC occasionally start their songs, with Wylde soon adding some distant, slow-moving vocals as some heavy guitar feedback distorts everything. It is a bit of a strange opening, but soon a more typical slab-like riff takes over - which forms the basis of the song's verses. Fabb's 4/4 beat underneath this riff ensures the simplicity of the song remains - whilst Wylde's semi-howled vocals, which have always reminded me somewhat of Osbourne, sound much as they ever have. He will never be a favourite singer of mine, but his voice fits the music - and he is able to come up with decent hooks, as the somewhat more melodic chorus, backed by some clean guitar arpeggios, shows. There are plenty of guitar solos on this album, but the solo section here is particularly lengthy - and seems to feature both Wylde and Lorina, as two distinct guitar tones can be heard and parts of the solo seemed to be played in unison. Gatherer of Souls is perhaps more what one would expect from a Black Label Society song, with the band channelling their obvious Black Sabbath influence from the off. The main riff, which picks up the pace somewhat compared to the last song, is very Sabbath-esque in tone, despite the faster pace, whilst Wylde sounds even more like Osbourne than usual during the verses - even utilising Osbourne's classic 'alright now!' at times. The main riff is later utilised during the chorus, which sees subtle vocal harmonies creating a little bit of an Alice in Chains vibe - whilst the verses are much more foot-stomping overall thanks to a simple chug and a hard-hitting drum beat. Black Label Society have never been an inventive band, but songs like this scratch a certain itch - with the big riffs often pleasing. The Hand of Tomorrow's Grave slows the pace down somewhat, going for a much doomier and heavier feel overall. The Sabbath vibes are still very much present, with a stoner/blues vibe coming from the main riff - which snakes its way through much of the song whilst DeServio's bass rumbles along in the background creating a heavy vibe. The doomy vibe serves the song well, though, and there is a real 1970s feel during the smoky verses - before bigger vocal harmonies and more weight gives the chorus a more metallic kick. This pace often brings the best out of Wylde's drawling voice, too, and this vibe is a bit part of the band's core sound. Better Days & Wiser Times is the album's first ballad - opening with acoustic guitar chords, a subtle piano backing, and some wordless vocal harmonies. These bluesy, southern-sounding ballads, with an occasional country twang, are regular features of the band's canon - and this song provides a nice change of pace early on. The verses are largely piano-led, showcasing that Wylde is proficient on the piano as well as the guitar, whilst a sombre groove is laid back by the rhythm section. The later certainly has a modern Lynyrd Skynyrd vibe thanks to some big vocal harmonies and Wylde's distinct drawl - whilst occasional slide guitar swells are used sparingly to add an atmospheric depth. A lengthy, and emotive, guitar solo is thrown in later on, too, and the song ticks a lot of strong ballad boxes.

Broken and Blind opens with some percussive drumming - over which some bluesy picked guitar lines and backing chords start to ramp things up, before the main riff kicks in proper. After the previous ballad, this song is very much back to business as usual for the band - with the powerful main riff returning once again to Sabbath territory, whilst the verses are much more overtly chugging and metallic thanks to some stop-start patterns and some tight drumming. The chorus is hooky, re-using the opening riff, with Wylde yelling the chorus with all of his power - whilst a later shredded solo is full of all of Wylde's classic bluesy touches. It is a pleasing and hooky song overall, which gets in and gets out quickly whilst impressing. The Gallows opens with a bluesier riff which has some effects on it to make it feel quite distant - over which Wylde sings in a similarly-distant manner. The song continues in this vein for a little while, but when the drums kick in the distance retreats and the band's usual power is more on show. Thumping drumming and Wylde's laid back, yet heavy, riffing drives the song from this point on - and there is little to shake up the formula. There is not really a proper chorus here, with the song being more of a riffy piece - although there is a somewhat more percussive instrumental breakdown later on with some prominent cowbell usage, before a quite lengthy guitar solo takes over. Following the riffy previous song, Above & Below is a bit more typical arrangement-wise. Opening with another slab-like riff, the song moves along at a creeping mid-pace, over which Wylde sings in his trademark manner. The verses are quite slow-burning, then, with subtle vocal harmonies utilised occasionally to create points of difference. This song does take a few twists and turns, though, with the choruses taking a much slower route - with clean guitars and strings backing Wylde for a few bars. The arrangement is a bit more dynamic overall than is typical, then, and the second chorus really sets up the lengthy guitar solo section nicely. Back to Me is the next ballad-like piece here, with acoustic guitar chords setting things up early on - before hollow drumming and a simple, bluesy guitar lead create a mournful intro. Unlike the last ballad which felt more piano-led, this one has driving acoustic guitar chords and bluesy guitar leads - although some piano is mixed into the background for depth. Vocally, Wylde sings the verses in quite a quiet manner, which lacks his usual power and tone, but he ramps things up for the chorus - which features a bigger overall sound, with more guitars, and some subtle vocal harmonies. It is quite a delicate song in the context of Black Label Society's core sound, then, and it feels raw in the sense that Wylde is somewhat laying it all out vocally and emotionally here - which is only enhanced by the relatively simple guitar melodies. Lord Humungus returns to a more up-tempo hard rock sound. Whilst Black Label Society rarely speed things up significantly, there are moments which feel a bit more pacey - and this song is one of those moments. It is certainly no thrasher, but the main riff's crunch has more energy to it than is sometimes the case - and the pulsing bass playing from DeServio really drives everything alongside Fabb's simple drum groove. Outside of the main driving riff, the song is largely sung all the way throughout - and Wylde sounds quite urgent and powerful throughout. A shredded guitar solo, which is also quite fast-paced and may also feature both guitarists trading off, only keeps the song's pace feeling weighty and up-tempo, too, with the song overall being a bit of a highlight.

Pedal to the Floor, despite its title, is not really a fast-paced rocker - with the band's core mid-paced sound largely stuck to. It is less doomy than some, though, and the crunch and chug of the main riffing does whip up something of an energy. If anything here does feel up-tempo, though, the raw chorus has a slightly sleazy side to it that is a little different from the norm. The vocal melodies are quite 1980s-inspired, and the vocal harmonies are used a bit more liberally than usual - giving the chorus a big sound. As such, the chorus is one of the hookiest on the album - and the chugging riffs throughout give the song a very immediate feel. I found that some of these songs have taken a few listens to fully appreciate, despite the band's simple core sound, but this one hits hard from the off. Broken Pieces is the shortest song here, at just under three minutes long, so I would have expected something faster and to the point. The song, though, is pretty typical of the band's core sound - and instead is quite bluesy and the stoner side of the band's sound is on show here. Clean guitar melodies are present throughout, adding a psychedelic depth, whilst there is still plenty of crunch thanks to the rhythm guitars - even if the edges have been rounded off the heaviness somewhat. The approach works quite well, though, and a bluesy guitar solo is used later on to further this overall feeling. Songs like this are usually longer, so it does seem strange when it ends so soon. The Stranger is a bit more what I expected from the previous song, and it is easily the fastest and most headbang-worthy piece here. The opening guitar riff, which plays unaccompanied, sets the tone, and once the drums kick in the band steam ahead at a pace which is certainly at the top end of their usual approach. There is plenty of energy whipped up here as a result, with fast-paced verses and a somewhat more mid-paced chorus bringing things down a little to allow for some hooky melodies. The song is quite catchy as a result, then, and it features some of Fabb's busiest drumming on the album - allowing him to add some more complex fills away from the typical pounding approach taken elsewhere. Bluesy guitar melodies are thrown into the riffs sometimes for additional interest - whilst the guitar soloing here is one of the album's most high-octane moments. The album then comes to a close with Ozzy's Song - Wylde's tribute to the late Osbourne. Unsurprisingly, it is another ballad - which opens with delicate piano lines and some wordless vocal melodies. Acoustic guitar sits in the background, adding depth, but overall this is largely a piano ballad - with Wylde singing in a heartfelt manner against this melodic, yet sombre, backing. The first verse and chorus are essentially just Wylde, then, but the rhythm section do join in during the second verse - although their presence does not alter the song that significantly, as the overall tone remains. Wylde's later guitar solo is largely played unaccompanied, too, with just an acoustic guitar backing until a busy shredded run reintroduces the band. Overall, then, the arrangement is quite sparse, but the song feels suitably heartfelt in my opinion - as Wylde pays tribute to the man who essentially gave him a career all those years ago. Overall, this being my first true Black Label Society experience, I have enjoyed my time with Wylde and his band. None of the songs here outstay their welcome, and the band's core sound is pleasing and familiar - despite my lack of experience with their catalogue. I certainly would like to hear some more of their past work - although this is the sort of music that I do not need to listen to all that often, so the journey might be a slow one.

The album was released on 27th March 2026 via Spinefarm Records. Below is the band's promotional video for Broken and Blind.