Sci-fi and speed metal. If that isn’t enough to get your hyperdrives boosted, then I don’t know what will. This particular combo isn’t as well represented in the metalverse as some of the more common varieties—sci-fi and black metal, campy horror and death metal, you know the ones—which puts Swedish speed freaks Armory in a prime position to dominate. With three full lengths under their belt so far, one of which positively received by our own Ape ov Steel, and a new vocalist at the helm, what new wonders await in fourth excursion Echoes of the Astrolith?
Well, MOAR speed, of course! This is high-octane, laser-focused fare set to collide with Earth at warp 9.5. Touchstones ranging from Agent Steel to Bütcher to Riot City inform Armory’s various traipses through speedy riffs, heavy metal bravado, and black metal flourishes. Melodies move with an almost Xoth-like wiggliness that brings a lot of whimsy and exuberance to otherwise dark and seedy songwriting (“Interceptor Squadron,” “Frequencies of Terror”). Riffs pound and pummel with the vigor of death metal without venturing into the structures that genre often builds, which gives Armory a sense of heft and fullness not unlike what Dark Angel’s seminal Darkness Descends must’ve felt like when it was new (“Sanity Disposed,” “The Final Invention,” “Astrolith (Rising)”). Of course, it wouldn’t be speed metal without 10,000^10 ft/lbs of torque to send it flying off the galactic rails, and thankfully Armory fueled up extra before launching. Echoes of the Astrolith moves with an urgency rarified even in this vigorous style (“Return of the True Godz,” “Frequencies of Terror,” “Pillars of Fire”).
While new vocalist Chris Rostoff acquits himself with aplomb here, guitarists G.Sundin and N.Ingelman steal the show and make Echoes of the Astrolith a clinic in guitar wizardry. If it isn’t by way of screaming solos that nosedive and pitch back up in aerobatic fashion (“Interceptor Squadron,” “Frequencies of Terror”), Armory’s axe arsenal displays electrified pyrotechnics through monolithic riffs that find a perfect center position between death, thrash, and speed (“Astrolith (Rising)”); or with melodious leads and tremolo flares that writhe impatiently from measure to measure as they pull the rest of the band into unexplored space (“Return of the True Godz,” “Cosmic Dreams,” “Pillars of Fire”). A.Holmström blisters his way through asteroid fields with double-bass pummels, sharp blasts, and menacing gallops all throughout. Yet, his unhinged fill work sends his weaponry into overdrive at every opportunity to leave even the space dust in Armory’s wake obliterated (“Interceptor Squadron,” “Omens,” “Sanity Disposed”). Chris Rostoff, as previously mentioned, proves himself an absolute powerhouse on the mic here. His sneering bark and soaring wails are a perfect fit for this sound, and his scalpel-precise pitch-work is nothing short of astounding at the record’s peaks (“Interceptor Squadron,” “Pillars of Fire”). I just wish I could hear Jesper Lundin’s bass better. I’m sure he’s keeping up with the band with ease, but his presence lacks oomph in many quadrants and what playing I do hear with clarity follows the path laid by the rest of the rhythm section (“Frequencies of Terror”).
Quality speed metal albums like this make me rethink my high estimation of other quality acts like Hellripper ever so slightly, but it’s hard to know what kind of staying power Echoes of the Astrolith has. Certain highlights such as “Interceptor Squadron” are sure to be trapped in the event horizon that is my playlist rotation. At 39 minutes, Echoes as a whole is tight enough to get regular spins out of me regardless of long-term memorability. However, a small question of consistency in songwriting quality nags at my thoughts. “Cosmic Dreams” is fun, but its mid-paced and slightly repetitive riffing introduces a poorly timed speed bump in the first quarter. In the second half, fluffy three-minute instrumental interlude “Spaceworkz” once again interrupts Echoes of the Astrolith’s momentum right before two high-octane bangers save the final third from certain doom. In the center, Echoes of the Astrolith keeps up a consistent level of songwriting quality—one that any band in this space should be proud to have penned—but a preponderance of overlong intros (“Omens”), and overlong outros (“The Final Invention”) conspire to pull these works back from greatness.
You know speed metal is really fucking good if I’m close to calling it Great, and Echoes of the Astrolith is almost great. Armory deliver an impressive salvo of cooler-than-you’ll-ever-be speed metal tracks embellished with blackened, deathened, and thrashened elements the likes of which are sure to set your blasters to kill. If you’re looking for something to jam while you scream directly into a space-bound dogfight with the enemy mothership, look no further than Echoes of the Astrolith!
Rating: Very Good
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: Bandcamp | Official
Releases Worldwide: October 23rd, 2026