Review By Ian Walker
With Colossal, Danish death metal juggernauts Baest have cracked open the casket of tradition and let a wild, glorious beast of heavy metal rebellion out into the world. Released via Century Media on August 15, 2025, their fourth full-length album is nothing short of a declaration — not just of evolution, but of unapologetic redefinition. Long known for their brutal riffs, cavernous growls, and thunderous live shows, Baest now stride into a bold new territory with a sound as rooted in the old-school spirit of classic heavy metal as it is in the carnage of death metal.
After cutting their teeth with fan-adored albums Danse Macabre (2019), Venenum (2019), and Necro Sapiens (2021), the Aarhus five-piece have transformed their fury into finesse without losing any of their edge. Colossal is the product of post-pandemic soul-searching, but instead of going darker, Baest went louder, bigger, and—dare we say—catchier.
Right from the explosive opener “Stormbringer,” Baest sound like a band reborn. Guitarists Lasse Revsbech and Svend Karlsson channel the ghost of Zakk Wylde and Iron Maiden’s dual-axe majesty, with riffs that gallop, soar, and shred, while vocalist Simon Olsen demonstrates a dynamic vocal arsenal that now moves beyond the standard growl to include howls, snarls, and something dangerously close to clean yelling. This isn’t death metal diluted — it’s death metal reinvigorated with the thrill of ‘80s bombast and metal theatrics.
The title track, “Colossus,” doesn’t just justify the album’s name—it embodies it. It’s big, brash, and tailor-made for arenas, with a pummeling rhythm section from Mattias ‘Muddi’ Melchiorsen on bass and Sebastian Abildsten behind the kit that provides a stomp-worthy backbone. Madsen’s production keeps it clean and crisp, without sacrificing the raw, live energy that fans have come to expect from Baest.
Where Baest truly hit their stride on Colossal, though, is in embracing their playful, melodic side without sacrificing their bite. “In Loathe And Love” is as theatrical as it is crushing—an emotionally volatile track with some of Olsen’s most expressive vocal work to date, bookended by melodic riff passages that feel lifted from a power metal dreamscape.
The album’s centerpiece, “King Of The Sun,” featuring Jesper Binzer of Danish rock legends D-A-D, is a monster hybrid of groove metal and glam rock strut. Binzer’s raspy swagger plays brilliantly off Olsen’s gravel-pit howls, resulting in one of the album’s most anthemic moments—a hands-in-the-air stomp built for festival stages.
Baest’s experimental flair continues with “Imp Of The Perverse,” a fan-favorite single released in 2024. It’s delightfully off-kilter, blending technical riffage with a hook that refuses to leave your head. It’s clear the band was having fun in the studio, unafraid to tinker with structure and tone. The result is a song that’s both cerebral and viscerally satisfying, a perfect balance of death metal roots and rock ‘n’ roll ambition.
There’s also space for collaboration-driven expansion. “Misfortunate Son,” featuring members of Danish black metal band ORM, infuses Baest’s burly sound with a layer of atmospheric menace. It’s a song that bridges genres without compromising the integrity of either — a testament to the band’s growing confidence in breaking boundaries.
“Mouth Of The River” and “Light The Beacons” bring back the death-thrash groove, with a melodic undercurrent that echoes early Metallica and Accept. They’re the kind of tracks that make heads bang and fists fly — direct, punchy, and arena-ready. Abildsten’s drumming shines here in particular, locking into galloping tempos with military precision and explosive flair.
The album closes with its most ambitious track, “Depraved World” — a sprawling six-minute journey that encapsulates Colossal’s entire ethos. Built around a riff that Karlsson describes as originating from Lasse’s teenage years, it’s both a tribute to their roots and a testament to how far they’ve come. Part Iron Maiden epic, part death metal odyssey, it’s a grand finale that underlines Baest’s new identity: not just as death metal’s innovators, but as heavy metal’s future torchbearers.
Throughout Colossal, what’s most striking is the confidence radiating from every song. Baest aren’t cautiously experimenting — they’re owning their transformation. As Svend Karlsson put it, “If it’s fun and we enjoy playing it, then it’s going to fit.” That mantra bleeds through every riff and roar on this record.
Crucially, the band’s chemistry has never sounded tighter. Simon Olsen’s evolution as a frontman is a highlight; where previous albums had him locked into guttural ferocity, Colossal allows him to stretch vocally, adding drama and nuance to his performance. Lasse and Svend’s guitars now swagger with the confidence of true metal showmen, trading harmonies and leads with glorious abandon. Mattias ‘Muddi’ Melchiorsen’s basslines groove and grind with clarity, and Sebastian Abildsten continues to prove himself as one of the most consistent and creative drummers in extreme metal.
Working with producer Tue Madsen (known for his no-nonsense approach and sharp sonic instincts) was a masterstroke. His crisp, balanced production brings Baest’s new textures to life while retaining their core heaviness. It’s a sound that’s as massive as it is inviting—accessible without being diluted, catchy without compromise.
Ultimately, Colossal is not a betrayal of Baest’s roots—it’s a full-circle moment. As the band returns to the melodic instincts they first explored on their early EPs, they do so with the weight of experience, the confidence of a veteran act, and the hunger of a band just getting started.
This is not just another death metal record. It’s a celebration. A defiant, riff-soaked, thunder-clapping celebration of everything that makes metal great. Baest have always had the chops. Now, with Colossal, they have the songs to take their rightful place in the pantheon of modern metal greats.
Rating: 9.5/10
Essential Tracks: “Stormbringer,” “King Of The Sun,” “Imp Of The Perverse,” “Depraved World”
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