Washington State’s Hangfire have arrived with a debut that roars like a V8 engine tearing down a desert highway. Burn, their twelve-track juggernaut, is a masterclass in classic heavy metal that channels the genre’s golden era while injecting enough modern grit to keep things feral. Formed from the molten chemistry of guitarist Sean ‘Shredder’ Searls, bassist Steven Tobeck, drummer Shannon ‘The Cannon’ Laird, and vocal powerhouse Jenea Fiore, Hangfire have delivered a record that’s as combustible as its title suggests.

From the off, Burn grabs you by the throat. Opener Hunger sets the tone with a dramatic intro that unfurls into a vicious riff from Searls, whose jagged, electrified tone is the perfect foil for Fiore’s commanding vocals. This is a woman who breathes the same rarefied air as Leather Leone and Doro Pesch, her voice soaring with both precision and soul. It’s an opening statement of intent that promises something really out of the ordinary—and for the most part, Hangfire deliver.

Thunder keeps the pedal to the metal, blending searing guitar work with Laird’s pulverising percussion and Fiore’s impeccable delivery. The rhythm section of Laird and Tobeck is a granite foundation, allowing Searls to unleash solos that gleam with the fire of classic Priest or Maiden. Warhawk is another early standout, its shockingly good intro giving way to a riff that’s equal parts seventies swagger and eighties menace. The band’s knack for dynamics shines here, with a perfectly timed mid-song diminuendo that drops the pace before roaring back with a tasteful, face-melting solo. It’s textbook metal done with a masterful touch.

Not every track hits the same heights. The bluesy White Lie feels like an odd fit, its radio-friendly sheen jarring against the album’s otherwise relentless intensity. In 1987, this might’ve been a radio staple; in 2025, it’s a rare misstep that doesn’t quite gel. But Hangfire are quick to recover. Headspin is a fist-pumping anthem, its coruscating riffs and savage drumming underpinning a chorus that demands a sore throat and a sore neck by the end. Falling Awake, a towering ballad, showcases Fiore’s emotional depth, her voice weaving through lush acoustic guitars before Searls drops a solo that recalls Chastain at their peak. It’s a spine-tingling moment.

The album’s second half keeps the quality high. SOS leans in a more modern direction, with the guitars dialled back to let Fiore carry the weight—and she does so with a compelling, nuanced performance. The Hunter is a neck-wrecker, its icy, Tarja-esque opening exploding into a high-octane assault that proves Hangfire know exactly how to wield power and mix it with precision. Outlaw brings a Western-tinged swagger, its acoustic intro and wind effects giving way to a stadium-sized stomper that channels Bon Jovi’s cowboy spirit—minus the cheese.

Burn, the title track, stumbles slightly, its killer riff let down by a pace that drags compared to the album’s best. But the band redeem themselves with a strong, dynamically arranged close. The Cold is a progressive mini-epic, weaving light and shade with a confidence that belies their debut status. Closing track Fire in the Night is pure heavy metal grandeur, a classy, fist-in-the-air anthem that comes tantalisingly close to being the album’s pinnacle.

Burn is a triumph of songcraft, performance, and sheer metallic passion. Searls’ riffs are rooted in the classics but never feel derivative, while Fiore establishes herself as one of the finest vocalists currently in the game. Tobeck and Laird provide a thunderous backbone, and the band’s arrangements show a sophistication that elevates them above the retro-metal pack. Rottweiler Records look to have a gem on their hands, and with Burn, Hangfire have staked their claim as a band to watch. This might just be the sound of a new fire igniting in the heart of heavy metal.

Burn is out now.