For their sixth full-length, Shadows and Dust, Canada’s Iron Kingdom slice their way through the battlefield of classic heavy metal tradition with enough galloping riffs and harmony guitars to make the hessian faithful raise a sword skyward in approval. The New Wave of Traditional Heavy Metal has produced no shortage of bands eager to worship at the altar of Maiden, Priest, and Riot, but Iron Kingdom have paid their dues and are committed to carrying on the spirit with conviction. This record will feel right at home blasting from your old Trans-Am.

The first thing that struck me about the record was the production. This is the band’s first time recording in their own studio, and the added control seems to suit them. The sound is fuller and clearer than on Blood of Creation, with air and dynamics giving each instrument its space. You can hear the sticks hitting skins. Heavy metal should always feel this analog and uncompressed.

Vocally, Chris Osterman takes full advantage of the better production. On previous releases his vocals came through as thinner, maybe more Helloween or King Diamond territory, but here the vocals have more depth underneath them. More Bruce Dickinson resonance and command, even when not unleashing the air raid siren. They have a narrative flair. There is also a little grit and gravel to his voice, breaking up the clean acrobatics with some character.

And Megan Merrick’s guitars absolutely carry the charge. The solos are blazing and melodic, the riffs memorable. Songs like “Blood and Steel” and “Shadow of Time” show off some great phrasing. Rhythm riffs gallop forward with that old Maiden sense of momentum, but there’s enough looseness to keep things from becoming too polished or clinical. The harmonized leads throughout the record are one of its greatest strengths, as soaring and melodic as you would want them to be. The rhythm section is notable as well; the drums sound assured and powerful, heavy without being mechanical.

As far as the individual tracks go, “Defenders” is a strong galloping opener, lyrically setting the tone of the record, evoking themes of loyalty, endurance, and a band of brothers standing shoulder-to-shoulder against overwhelming odds. Metal has always loved its imagery of warriors and outcasts, and here it feels like a mission statement from lifers who have committed themselves fully to the faith of the riff. The song also features a great breakdown section, something that sounds like it will work the crowd really well live.

“Eternal Emperor” starts off with an atmospheric modal riff and channels some Powerslave vibes lyrically. Why can’t ancient rulers just lie down dead peacefully like the rest of us? “Deadhouse Gates” starts off with some drum thunder and dual guitars. The vocals are especially strong on this one, and I think the song is an allusion to the Malazan fantasy novels.

“Line of Fire” is a brutal shot of speed, with some impressive moody drumming. Record closer “Sacred Fire” starts with some evocative guitar work to give you a slight breather before the song kicks in. If I had a criticism for this record, it’s that I’d have liked to see more dynamic shifts like this, as the song really builds to be an epic closer.

This is music built from a lineage: Maiden’s gallop, Priest’s steel, the anthemic feel of classic power metal, troopers carrying the standard through the smoke of battle. But the important thing is that the band never sound trapped beneath those influences. Iron Kingdom aren’t trying to reinvent anything here; they are trying to keep the fire burning. To maintain the ongoing success this band has had, you have to own that old school approach.

Because when the band hits full stride, the harmonized guitars kick in, and the vocals soar over the top like a ragged battle standard flapping in the wind, you remember why you love metal in the first place. If you are feeling like you need a little peace of mind, you could do far worse than giving Iron Kingdom a spin. This is absolutely a band that wears its influences openly, but with enough ownership of the form that they never sound like imitators.

For metalheads of a certain age, traditional and power metal are comfort food now. We know the courses of the banquet before they hit the table. That familiarity means you probably aren’t going to be surprised by radical reinvention on Shadows and Dust, but you will leave the table satisfied.