$70.99
For more than 25 years, Black Label Society has stood as one of heavy music’s most unshakeable pillars, delivering album after album of blues-soaked grooves, hard-hitting riffs, and soul-baring ballads. “Engines of Demolition” makes no exception to the steady rule of unrelenting commitment to pure, uncompromising, hard rock.
In 2022, Wylde was invited to honor his fallen brothers, the late great Dimebag Darrell Abbott and his brother Vinnie Paul, as part of Pantera Celebration. Writing and recording with Black Label Society over these last four years is when Engines of Demolition was born. Engines of Demolition follows the release of four singles, “The Gallows” (2024), “Lord Humungus” (2025), “Broken and Blind” (2025) and “Name In Blood” (2026), and marks the first full-length album release since Doom Crew Inc. (2021).
Black Label Society is the pure expression of the paradox of Zakk Wylde’s darkest, loudest riffs and softest soul crushing ballads. BLS is a relentless heavy, bluesy, unhinged hard-rock-metal circus quartet summoning caffeine-fueled cacophony on records and the stage. BLS songs are odes to celebration and mourning from the darkest depths to the highest of highs.
A charismatic hard rock and metal marauder recognized as a living legend and guitar icon, Wylde rose to prominence when Ozzy Osbourne chose him as his loyal axe man.Multi platinum albums, countless guitar magazine covers, Worldwide sold out tours, his own guitar and coffee brands add to Wylde’s ever-growing legacy. He gets as much joy from fronting his Black Label Society as he did playing on stage with his hero, Ozzy Osbourne, to his Black Sabbath cover band, Zakk Sabbath.
Engines Of Demolition feels like Black Label Society doing what they do best, but with a slightly wider emotional range than the “all throttle, all the time” reputation suggests. The early run hits like a cinder block to the sternum, thick with that Zakk Wylde groove-metal churn: riffs that stomp and swing rather than sprint, drums locked in the pocket, and guitar tone that’s basically a demolition crew with a wah pedal. A recent album review singles out the opening stretch (“Name In Blood”, “Gatherer Of Souls”, “The Hand Of Tomorrow’s Grave”) as the statement of intent: heavy, riff-driven, and unmistakably Wylde, but with enough melody in the phrasing to keep it from becoming one-note bludgeon.
Where the record earns its keep is pacing. It doesn’t just stack bangers until you’re numb; it drops into slower, moodier lanes mid-album without losing weight, letting the band’s more reflective side breathe before kicking the doors back in. That emotional swing lines up with Wylde’s own framing of the album as a “peaks and valleys” document of the last few years, rather than a simple victory lap.
The singles history tells you a lot about the arc: “The Gallows” (2024) and “Lord Humungus” / “Broken And Blind” (2025) set the table for a record built on groove, attitude, and hooky chorus punch, with “Name In Blood” (2026) arriving as the more pointed, “right now” statement. And then there’s the closer: “Ozzy’s Song”. Multiple outlets have described it as a tribute written after Ozzy Osbourne’s funeral, which gives the album an end-credit gravity that hits differently than the usual BLS barroom menace.
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“Ozzy’s Song” is being described in press as a tribute track for Ozzy Osbourne, written by Zakk Wylde after Ozzy’s funeral…
