After nearly a decade of traversing the underground metal scene in the United States and Europe, Philadelphia metal act Witching are poised to enter a new era of the band. Following the departure of founding guitarist and main songwriter Nate Zagrimanis, Witching welcomed new guitarist Andre Pickens.
Pickens, who lives in Georgia, is a longtime fan and friend of the band who already knew how to play some of Witching’s music and had previous live experience with USBM outfit Tsuris. When the search for a new guitarist began, Pickens was the band’s ideal member but the distance seemed like an obstacle.
“All of us were just like, ‘Man, I wish it could be Andre, he’s just so far away,’” says drummer Samantha Hyla. “We tried one or two other people, had some conversations and were like, ‘You know what, let’s just have it be Andre and figure out the distance. Andre already knows some of our songs, we already like Andre.’”
The feeling was mutual and Pickens joined the band, flying up to Philadelphia to track at Red Planet Recording with engineer Steve Roche. While Witching look for a label to release their upcoming EP, they are planning a string of live dates, including an October 20 performance with November’s Doom, Ecliptor and Oktas.
Witching’s longtime bassist Tatiana Buonassisi will also relocate to Europe later this year, though she will remain a member of the band and perform with them at overseas dates.
“It’s been a really nice turnaround to be able to continue the band, even though there’s going to be distance,” says singer Jacqui Powell. “When we go to Europe, Tatiana will still be there. Tatiana will still be in the band.”
Though there are a lot of changes happening, Witching see 2026 as a way to put a bow on one period of their career.
“I feel like the EP is the close of the chapter and the tour we’re doing is a farewell to Tatiana being near us,” Powell explains. “This year is kind of the close and once we’ve done our stuff for the year, a new era begins.”
More live dates and news about the EP will be released via Witching’s social media. Their 2023 album Incendium is streaming now.
Noel Gallagher has mademanyenemiesovertheyears. One is Phil Collins, who he called “the antichrist of music” in the ’90s. But the beefing musicians will be crossing paths at the Rock And Roll Hall Of Fame Induction this fall, and Phil Collins is looking forward to it.
Few catalogs in popular music have been examined, celebrated, and rediscovered as often as the songs of The Beatles. From the early rush of “Love Me Do” to the studio breakthroughs of Revolver, Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road, this complete A-to-Z guide brings together the band’s original releases, later archival recordings, BBC performances, anthology tracks, and officially issued rarities. The Beatles, a band that would forever change the landscape of popular music, hailed from Liverpool, England. Comprising John Lennon, Paul McCartney, George Harrison, and Ringo Starr, the group came together in 1960, blending their distinct talents
We’re ranking all 17 Iron Maiden studio albums, from Paul Di’Anno’s debut through “Senjutsu” — a ranking that means a little more this year, as the band heads into its 2026 Rock & Roll Hall of Fame induction as one of the most influential heavy metal acts of all time.
Why Ranking Iron Maiden Albums Is Still Controversial
Iron Maiden isn’t just a band — it’s a belief system. Every fan has their album, their era, and their hill to die on. Some worship the raw chaos of the Di’Anno years. Others swear nothing after 1988 matters. And a growing number believe the band’s modern prog era is their boldest work yet.
This list doesn’t play it safe. It weighs songs, cohesion, historical impact, and longevity — not just which record scared parents the most in 1982.
Why It’s Last: One classic song cannot redeem systemic failure
Let’s be blunt: Virtual XI is the only Iron Maiden album that feels unfinished, unfocused, and creatively exhausted. This wasn’t a band experimenting — this was a band stuck.
Yes, “The Clansman” is genuinely great, but it has since been rescued by Bruce Dickinson’s voice and live reinvention. In its original form, it’s weighed down by thin production and arrangements that feel stretched far beyond their natural lifespan. And then there’s “The Angel and the Gambler,” a song that single-handedly sinks the record. Repetition can be hypnotic when used with purpose. Here, it’s numbing.
This album doesn’t fail because Blaze Bayley lacked ability. It fails because Iron Maiden didn’t know how to write for him — and the confusion bleeds into every track.
16. The X Factor (1995)
Why It Ranks Higher: Ambition and mood still matter
The X Factor is heavy in ways Iron Maiden had never been before — and not always in a good way. Written during a deeply personal period for Steve Harris, the album trades gallop for gloom, speed for weight.
Where it succeeds is atmosphere. “Sign of the Cross” is genuinely imposing, slow-burning, and massive. The problem is endurance. This album demands emotional stamina without offering enough peaks to justify its length. It’s respected more than loved — and that distinction matters.
This is Iron Maiden at their most introspective, but also their least joyful.
15. No Prayer for the Dying (1990)
Why It Broke the Streak: Retreat disguised as reinvention
This album didn’t fail because it was stripped down. It failed because Iron Maiden isn’t a stripped-down band.
After seven genre-defining albums, the loss of Adrian Smith and the decision to “get back to basics” removed the band’s greatest strength: layered melody and forward momentum. Bruce Dickinson sounds constrained, the riffs feel skeletal, and the songwriting lacks ambition.
“Bring Your Daughter… to the Slaughter” topping charts says more about timing than quality. This is the first time Iron Maiden sounded smaller than their reputation.
14. Fear of the Dark (1992)
Why It’s Uneven: One immortal song masks a bloated album
The title track is untouchable. Full stop. “Fear of the Dark” is one of the greatest live anthems in metal history, and it still closes sets for a reason.
The album around it, however, is inconsistent. This is where Maiden’s ’90s filler problem truly begins. Tracks like “Afraid to Shoot Strangers” show focus and maturity, while songs like “Weekend Warrior” feel inexplicably undercooked.
This record isn’t bad — it’s just unfocused. And focus is everything at this level.
13. Dance of Death (2003)
Why It’s Better Than Its Reputation: Ignore the cover
Yes, the cover art is catastrophic. Move past it.
Musically, Dance of Death is where reunion-era Maiden finally finds confidence. “Paschendale” is a top-tier war epic, layered with tension and release. The title track is classic Maiden storytelling with a dark edge.
The album still stumbles — particularly in its attempts at modern rock immediacy — but the highs here are genuinely high. This is the sound of a band remembering who they are again.
12. The Final Frontier (2010)
Why It Rewards Patience: Depth over immediacy
This is one of the most misunderstood Iron Maiden albums. Dense, cerebral, and deliberately paced, The Final Frontier isn’t built for instant gratification.
“When the Wild Wind Blows” stands as one of Steve Harris’s most emotionally devastating compositions, and the album as a whole thrives on slow tension rather than hooks. It asks more of the listener — and gives more back if you stay with it.
This is thinking-man’s Maiden.
11. A Matter of Life and Death (2006)
Why It’s Daring: Zero compromise
A 72-minute war meditation with no traditional singles — and they played it in full on tour. That tells you everything about the band’s mindset here.
This album is relentless, thoughtful, and heavy in concept as well as sound. Its only flaw is its density. You don’t casually throw this on — you engage with it.
It’s Iron Maiden refusing to chase comfort.
10. The Book of Souls (2015)
Why It’s a Late-Career Triumph: Scale and confidence
Maiden’s first double album could have collapsed under its own weight. Instead, it stands tall.
“Empire of the Clouds” is a staggering achievement — not because it’s long, but because it earns every minute. The rest of the album balances energy and sprawl better than expected, proving the band still knew how to pace themselves this late in the game.
This is veteran confidence done right.
9. Senjutsu (2021)
Why It Earns Its Place: The most complete modern-era statement
Senjutsu is not an easy album — and that’s precisely why it belongs this high. This record represents the moment Iron Maiden fully stopped apologizing for long songs, slow builds, and atmosphere-first songwriting. They don’t chase hooks here. They let them arrive when they’re ready.
What separates Senjutsu from earlier reunion-era releases is confidence. The production is massive without being sterile, and the band sounds unified in purpose. “The Writing on the Wall” proved they could still surprise, while “Hell on Earth” quietly joined the pantheon of all-time great Maiden closers. That final stretch isn’t just strong — it’s emotionally draining in the best way.
This album doesn’t try to recreate the ’80s. It accepts age, leans into gravity, and comes out stronger for it.
8. Killers (1981)
Why It’s Crucial: The refinement before the explosion
Killers is often overshadowed by what came immediately after, but that’s unfair. This is the album where Iron Maiden tightened every bolt. The production leap from the debut is enormous, and Adrian Smith’s arrival immediately elevates the guitar interplay.
There’s a focus here that the debut didn’t always have. “Wrathchild” is lean and lethal. “Murders in the Rue Morgue” shows narrative ambition sharpening. Even the darker cuts feel intentional rather than exploratory.
This album is the sound of a band realizing they’re about to conquer the world — and making sure nothing is left to chance before they do.
7. Iron Maiden (1980)
Why It Still Matters: Raw intent beats polish
The debut doesn’t get points for nostalgia — it earns them through urgency. This album is chaotic, sharp-edged, and bursting with ideas that most bands would take years to refine.
Paul Di’Anno’s sneer gives these songs an almost punk defiance that would never appear again in Maiden’s catalog. “Phantom of the Opera” alone rewrote expectations for what heavy metal songwriting could be, especially from a debut. That song isn’t impressive because it’s long — it’s impressive because it’s confident.
This album doesn’t sound like a band finding itself. It sounds like a band announcing itself.
6. Brave New World (2000)
Why It’s Historic: The rare comeback that actually resets the clock
Comeback albums usually trade on goodwill. Brave New World trades on quality.
From the opening riff of “The Wicker Man,” this album radiates relief — not just for fans, but for the band themselves. Bruce Dickinson sounds reenergized, Adrian Smith’s melodic sensibility rebalances the guitar attack, and the three-guitar lineup finally makes sense.
What elevates this album is cohesion. “Ghost of the Navigator,” “Blood Brothers,” and “Out of the Silent Planet” feel like songs written by musicians who remember exactly why they fell in love with this band in the first place. This wasn’t a reunion — it was a rebirth.
5. Somewhere in Time (1986)
Why It Aged So Well: Vision ages better than fear
When Somewhere in Time arrived, fans panicked over synths. Decades later, it’s clear those fans were wrong.
The textures here don’t soften Maiden — they expand them. The guitar synths create atmosphere without sacrificing speed or aggression, giving the album a cinematic quality that still feels modern. “Caught Somewhere in Time” is one of their most explosive openers, while “Wasted Years” might be the most human song Adrian Smith ever wrote.
And then there’s “Alexander the Great” — an epic so ambitious they still haven’t played it live. That says less about the song and more about the standard it sets.
4. Seventh Son of a Seventh Son (1988)
Why It’s a Creative Peak: Ambition without indulgence
This is Iron Maiden at their most controlled and confident. A full concept album, drenched in synths, melody, and progressive structure — and somehow still packed with radio-ready anthems.
What separates Seventh Son from lesser prog-metal efforts is discipline. No idea overstays its welcome. “The Evil That Men Do” hits immediately. “Infinite Dreams” breathes. “The Clairvoyant” balances mysticism with momentum.
This album didn’t just close the ’80s era — it completed it.
3. Piece of Mind (1983)
Why It’s Foundational: The machine locks in
Nicko McBrain’s arrival doesn’t just add power — it adds personality. The band suddenly sounds elastic, playful, and unstoppable.
“Where Eagles Dare” opens the album like a challenge. “Flight of Icarus” proves Maiden can be concise without being simple. And “The Trooper” doesn’t need explanation — it’s heavy metal DNA.
This album is where Iron Maiden stopped being a great band and became an institution.
2. The Number of the Beast (1982)
Why It’s Untouchable: Cultural detonation
This album didn’t just elevate Iron Maiden — it detonated heavy metal into the mainstream consciousness.
Bruce Dickinson’s arrival transformed everything. The operatic range, the authority, the drama — suddenly Maiden had a voice that could carry Steve Harris’s grandest ideas. “Run to the Hills” became unavoidable. “The Number of the Beast” became infamous.
And then there’s “Hallowed Be Thy Name.” A song so perfect it feels unfair to the rest of the genre. This album isn’t just legendary — it’s foundational.
1. Powerslave (1984)
Why It Will Always Be #1: Nothing is missing
If you were trying to explain Iron Maiden to someone using a single album, this is it.
Every era converges here: speed, melody, history, mythology, ambition, restraint. “Aces High” is a launch sequence. “2 Minutes to Midnight” is a protest anthem that still feels urgent. The title track gallops with authority. And “Rime of the Ancient Mariner” isn’t just a closer — it’s a statement of supremacy.
The production is perfect. The sequencing is perfect. The tour was legendary. This album doesn’t have weak moments — it has inevitability.
Powerslave isn’t just Iron Maiden’s best album. It’s the standard every metal band measures themselves against, whether they admit it or not.
Full ranking, worst to best: 17. Virtual XI, 16. The X Factor, 15. No Prayer for the Dying, 14. Fear of the Dark, 13. Dance of Death, 12. The Final Frontier, 11. A Matter of Life and Death, 10. The Book of Souls, 9. Senjutsu, 8. Killers, 7. Iron Maiden, 6. Brave New World, 5. Somewhere in Time, 4. Seventh Son of a Seventh Son, 3. Piece of Mind, 2. The Number of the Beast, 1. Powerslave
Powerslave narrowly edges The Number of the Beast for the top spot on sheer completeness
Virtual XI sits last as the only album where the band sounds genuinely lost, not just experimenting
This ranking arrives as Iron Maiden enters their 2026 Rock & Roll Hall of Fame induction and 50th-anniversary year
The band recently partnered with Pophouse Entertainment (ABBA Voyage, KISS avatars) on new creative ventures around Eddie
Frequently Asked Questions (FAQ)
What is the best Iron Maiden album?
Powerslave (1984) is the best Iron Maiden album, narrowly ahead of The Number of the Beast, for its complete synthesis of speed, melody, mythology, and stagecraft across one record.
What is the worst Iron Maiden album?
Virtual XI (1998) ranks last — the only Iron Maiden album where the band sounds genuinely unfocused rather than experimental, hampered by thin production and songwriting that never quite suited Blaze Bayley’s voice.
Is Iron Maiden finally in the Rock and Roll Hall of Fame?
Yes. Iron Maiden was announced as part of the Rock & Roll Hall of Fame’s 2026 induction class after being eligible since 2004 and previously nominated only twice, in 2021 and 2023.
What is the best Iron Maiden album with Paul Di’Anno?
This is a tough debate between the raw punk energy of Iron Maiden (1980) and the tighter, more refined metal of Killers (1981). We’ve ranked the debut just slightly higher for its raw, foundational importance, but you can’t go wrong with either.
What is the best Iron Maiden album with Blaze Bayley?
The X Factor (1995) is the (slightly) better of the two. It’s a dark, sludgy album, but it contains the epic “Sign of the Cross” and is a more cohesive, if depressing, artistic statement than the disjointed Virtual XI.
What is the best Iron Maiden album from the reunion era (2000-present)?
Brave New World (2000) is the definitive comeback statement, filled with energy, anthems, and pure joy. However, the modern prog epics on Senjutsu (2021) and The Book of Souls (2015) are massive achievements that prove the band is still at its peak.
About Iron Maiden
Iron Maiden is a British heavy metal band formed in Leyton, East London, in 1975 by bassist and primary songwriter Steve Harris. After several early lineup changes, the band settled into its classic ’80s lineup of Harris, guitarists Dave Murray and Adrian Smith, drummer Clive Burr (later Nicko McBrain), and vocalist Bruce Dickinson (who replaced Paul Di’Anno in 1981).
They are considered one of the most influential and successful heavy metal bands of all time, pioneers of the New Wave of British Heavy Metal, and creators of a globally recognized sound, brand, and mascot, Eddie. They have sold over 100 million albums worldwide, played nearly 2,500 shows across 64 countries, and — as of 2026 — are Rock & Roll Hall of Fame inductees, all despite a near-total lack of mainstream radio play.
Last Updated: July 2026 — revised to reflect Iron Maiden’s 2026 Rock & Roll Hall of Fame induction and Pophouse Entertainment partnership.
Detroit metalcore legends Walls of Jericho have announced their new studio album, System Error: Humanity, due Nov. 13 via Napalm Records. The announcement is accompanied by lead single “The Ascent.” The album was recorded with legendary producer and Converge guitarist Kurt Ballou, who has previously worked with Nails, The Dillinger Escape Plan, Code Orange and Every Time I Die, capturing the band’s ferocious live energy in a pristine yet powerful presentation.
Walls of Jericho frontwoman Candace Buckingham said: “System Error: Humanity is a raw, unapologetic, and most aggressive record to date. We set out to capture the chaos, intensity, and raw energy of our live show rather than chase perfection.
“Lyrically, it’s a rebellion against the modern forces that fracture identity: comparison, conformity, distraction, and the endless pressure to perform instead of live. At its core, this album is about reclaiming your attention, owning your choices, and becoming who you were before the world told you who to be. Kill the noise. Reclaim yourself.”
Buckingham added on lead single “The Ascent”: “‘The Ascent’ is a crushing blend of dissonant riffs, massive breakdowns, and raw intensity. Lyrically, it’s about confronting yourself one hard truth at a time, shedding ego, silencing the noise, and discovering that real strength isn’t found at the summit, but in the discipline and honesty it takes to climb.
System Error: Humanity opens with “True Til’ Death” before moving through the discordant fury of “The Ascent” and “Untouchable,” thrash-driven cuts “The Flame” and “Agency,” and empowerment-themed tracks “Borrowed Ground” and “Last Judgement.” The album features guest appearances from Lamb of God frontman Randy Blythe on “Broken Mouths Can’t Speak” and Guy Kozowyk of The Red Chord on “Humanity.” The album closes with “The Reckoning,” bookended by one of the album’s most punishing breakdowns.
Walls of Jericho helped define metalcore with genre landmarks including The Bound Feed The Gagged (1999), All Hail The Dead (2004), With Devils Amongst Us All, The American Dream and No One Can Save You From Your Self. After years of relentless gigging at Louder Than Life, Hellfest, Tied Down and Furnace Fest, among others, System Error: Humanity marks their return to recorded output. The band’s current lineup features Candace Buckingham (vocals), Aaron Ruby (bass), Dustin Robert (drums), Bobby VaLeu, Kyle Gailey and Chris Towning (guitars).
Edi Žorž Joins Celtic Hills as Lead Guitarist, Opening a New Chapter for Slovenia’s Esteemed Metal Guitarist
Slovenian heavy metal guitarist Edi Žorž is taking the next step in his career, joining Italian heavy metal band Celtic Hills as the band’s new lead guitarist . After nearly two decades of dedication to the craft, Žorž brings his technical precision, musical versatility, and passion for classic heavy metal to an exciting new international chapter.
Born on May 26, 1982, in Slovenia , Edi Žorž has established himself as one of the country’s most respected metal guitarists and musicians. Known for his powerful playing style, attention to detail, and deep connection to heavy metal , Žorž has built a reputation through years of hard work, consistency, and a genuine commitment to the music.
His musical journey began with Fosgen before he joined Nova Gorica thrash metal band Keller , where he developed his skills within Slovenia’s underground metal scene . He later expanded his musical experience through Shutdown , while also becoming a key member of Madbringer , a tribute band dedicated to the legendary Slovenian heavy metal pioneers Pomaranča .
Žorž’s long-standing connection with Pomaranča reached a defining moment in 2024 when he was invited to perform as the surprise guitarist during the band’s 45th anniversary reunion concert at Kino Šiška in Ljubljana . Sharing the stage with founding guitarist Mijo Popovič , Žorž delivered a standout performance that earned widespread praise from the Slovenian music press , which described him as the “sixth horseman” of the legendary band .
In 2026 , Edi Žorž begins a new international chapter by joining Celtic Hills as lead guitarist . He joins a powerful lineup featuring bassist Luca Fumagalli and drummer Luka Stone , whose career history includes collaborations with former Europe guitarist Kee Marcello and former Crimson Glory vocalist Wade Black .
For Celtic Hills , the addition of Edi Žorž represents more than the arrival of an outstanding heavy metal guitarist . It marks a powerful collaboration between two respected European metal scenes , combining the rich traditions of Slovenian metal and Italian heavy metal into a new creative direction.
With his experience, professionalism, and unmistakable guitar style , Žorž brings a unique voice to the next chapter of Celtic Hills , helping push the band’s sound forward while staying true to the spirit of classic heavy metal .
Edi Žorž’s career has always been built on talent, dedication, and respect for heavy metal. From his work with Keller , Madbringer , and Pomaranča , to his new role with Celtic Hills , he continues to represent the strength and passion of the Slovenian metal community on an international stage.
The next chapter has begun. Celtic Hills and Edi Žorž are ready to bring their heavy metal vision to the world.
Connect:
https://www.facebook.com/CELTIC.HILLS.Official/
Contact: jonathanvanderbilt@yahoo.de
Heart vocalist Ann Wilson says that the Canadian rockers had to accept “devil’s bargains” from the music industry in order to survive the 1980s.
The Vancouver band parted company with their long-time label Epic Records following the release of their 1983 album Passionworks, which peaked at number 39 on the Billboard 200 chart. Passionworks and its predecessor Private Audition (1982) failed to sell more than 500,000 copies in the US, and within much of the music industry, it was believed that the band had long since peaked commercially. But, as Wilson reveals in conversation with Smashing Pumpkins leader Billy Corgan on his The Magnificent Others podcast, the group were picked up by Capitol Records thanks to the support of A&R man Don Grierson, but with conditions attached.
“He said, ‘Well, I really believe in you guys, so come to Capitol and I’ll help you find the right songs,” Wilson recalls. “It was sort of presented like, You can do this or you can just say bye-bye. At that point we were we were using big-time corporate LA management, which is scary enough on its own. But yeah, it was a complete devil’s bargain. The songs that we were presented with, you just kind of had to swallow real hard and and go, Well, there’s something about the song I like, but it hasn’t got any substance. That was the problem I had with most of the songs that we got in the 80s that we did. Even the hits.”
On the band’s first album for Capitol, the self-titled Heart, proven hit songwriters such as Jim Vallance (Run To You, Summer of 69), Holly Knight (Love Is A Battlefield), Martin Page (We Built This City) and Bernie Taupin (Elton John’s songwriting partner) were drafted in to complement the band’s own songwriting. The strategy worked – the Berrnie Taupin / Martin Page co-write These Dreams gave the band their first US number one single, while What About Love, Never and Nothin’ At All all reached the top 10 of the Billboard 100 singles chart.
“the songs that I was writing, we were writing together, were… somewhere else,” Wilson concludes. “They weren’t artificial, they weren’t glossy, all those things that that the ‘8s music was.”
When Corgan asks, If you had to do over again, would you have come at it differently, Wilson replies, “I would have spent more time listening to the radio for instance, and understanding what it was that was turning everyone on so much. Not to copy other records, but to get a feeling about the soul of what’s there.”
Watch the interview in full below:
Wilson recently announced the second album from her collaborative project with her band Tripsitter.
The follow-up to 2023’s Another Door, Consecrated Ground will be released on August 14. The nine-track album is described as “a fearless collection of songs that blends heavy rock, psychedelia, blues, and raw emotional storytelling.”
“Lyrically, it’s a rebellion against the modern forces that fracture identity: comparison, conformity, distraction, and the endless pressure to perform instead of live.”
