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BLACK ROSE
The Mirror

Sleaszy Rider (2025)
Rating: 8.5/10

I thought this might be the anticipated return of the New Wave Of British Heavy Metal legends who impressed so greatly on their 2022 WTF return. Alas no, but this is instead a new release from another band with an admirable history. Having formed in 1990, this particular Black Rose also produces a strong mix of heavy metal and hard rock.

The Mirror is the eighth full-length from Sweden’s Black Rose, a foursome that released its debut during the changing and somewhat turbulent period of the early 90s. That particular debut was aptly entitled Fortune Favours The Brave (1993), but in spite of a few demo recordings into the late 90s, the combo wouldn’t return with a self-titled sophomore until 2002. Strangely, Black Rose began to become more prolific with 2004 seeing the release of third full-length Explode. The band hit a purple patch somewhat from 2011 to 2018, issuing three more albums and then in 2021 a seventh platter emerged under the title of Game Of Souls.

As expected from a band with over 30 years in the business there has been numerous line-up changes, although mostly in the vocal department. As of now, the frontman is Jakob Sandberg who joined ten years ago. He’s joined by Black Rose veterans Anders Haga (bass) and Peter Haga (drums) along with newest recruit Mikael Dahlin (guitar) who joined in 2022.

The Mirror reminds me of a late 90s heavy metal style, the sort of heavy rock that Black Sabbath might have put out. Album opener ‘Dualities’ runs like a track bordering on Scandinavian power metal, a tad overproduced but Sandberg brings a gritty power to the lead role. To be honest, if you like any sort of hard rockin’ metal from 220 Volt to UFO, and from The Cult to Whitesnake, then you’ll enjoy this.

I was surprised by the amount of swagger which oozes from this album. ‘Heavy Metal Angel’ is a struttin’, smouldering dash of late 80s rock, the riff being cocksure and funky and the vocals conjuring echoes of David Coverdale and Ian Astbury. ‘Shine’ is lighter and breezier, touching upon an AOR aesthetic and also exhibiting the variety of melodies these guys can create. ‘Wildfire’ rattles like a swaggering early Europe, the percussive backbone a real treat if you can isolate such cool grooves. The steamy strut remains, Black Rose still touching upon a bluesy catchiness without sacrificing edge and metallic confidence.

‘Rebel Soul’ is sumptuous in its strides as the funky bass leads us into melodious riffs and Sandberg’s soaring pipes, and ‘Farewell, Misery’ brings a darker touch while still maintaining its soul. Streaked with some killer solo work, ‘Farewell, Misery’ stands out due to its variety of shades, but then I got hit with the emphatic trudging of ‘The Labyrinth Of Me’ and that’s the point I truly sold my soul. Somewhat gothic and grandiose, this song should, in a fairer world, catapult these guys beyond the realm of cult status. It’s deliciously crafted, unravelling majestic and confident as Sandberg snarls “The floor has been pulled from my feet,” to an almost jarring and abrasive tone. This is certainly Black Rose at their darkest, sneering through the wisps of grey smoke. In contrast ‘Heaven’s Gate’ is a killer ballad featuring stark nodding drum and guitar. “Now I’ve found myself in a better place,” croons Sandberg. It’s another highlight, although the album hardly dips in quality.

Elsewhere, ‘Sole Survivor’ begins with an almost progressive tumble of drums, and of all the tracks it’s probably the most contemporary sounding. “When I look into the mirror I see beyond the stars,” beams Sandberg on driving closer ‘Divine Sign’. The guitars shred again, spiralling a solo out of a mesh of riff and bass. The Mirror ’is such a superb record, one that provides a refreshing respite from the bog standard traditional metal junk being thrown out at the moment.

Black Rose, just like their fellow UK rockers of the same moniker, has built a superb opus awash with nostalgic struts, but also contemporary coolness. If this album doesn’t make your end of year top ten list then leave the room now.

Neil Arnold

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