By Dig Dirkler
Five years in the making—but born in a matter of nights—Reign of Steel is the sound of chaos sharpened into a weapon. Death Dealer frontman Sean Peck pulls back the curtain on recording screams at his mother’s kitchen table, surviving the COVID dystopia, and trusting a microphone mauled by a half-wolf to deliver some of the most ferocious vocals of his career. From power-metal philosophy to battle-axe mythology, this Capital Chaos TV interview proves one thing: when Death Dealer strikes, it strikes hard.
Today we have Sean Robert Livingston Peck on Zoom with us. You’re in San Diego, correct?
Sean Peck (Death Dealer): San Diego. Beautiful, sunny San Diego. You’ve got me with my fern in the background there.
Nice. Very metal We’re here to talk about the new Death Dealer album, Reign of Steel.
Have you heard it?
I have. It’s great. It’s classic power-heavy metal—that’s how I’d categorize it. Would you agree?
Yeah. It’s American power metal with a little bit of thrash. This album covers all the bases of what makes that kind of music great.
It says the album took five years to complete. What was the biggest lesson you personally learned during that process?
It actually took five years to release, not to record. We recorded it very fast during COVID. We were sitting on it while trying to find the right partner, and then Massacre Records came along. We recorded album four quickly—and we’ve already recorded album number five. Reign of Steel is album four. So, it didn’t take long to record at all.
You said the album was written during a dystopian reality. How did that mindset shape your vocal performances?
Honestly, I was having a good time. I stayed with my mother about 30 miles away. She has this serene backyard—birds, animals, total calm. I set up my microphone at the kitchen table. She said, “You can scream your little heart out all night.” She was trying to sleep in the next room while I was wailing until the early hours. I recorded every night until the album was done. First time I ever recorded vocals at a kitchen table.
This record feels extremely focused and sharp. What did discipline mean for you during the writing and recording?
Me and Stu are a really good writing team. When you have two highly productive people, it keeps momentum going. I’d get tracks, he’d have vocals the next day. That kind of workflow keeps things exciting. I had a similar experience writing with Hank Sherman from Mercyful Fate—he’d send riffs, I’d send vocals right back.
When you’re in the groove, it builds on itself. These songs are strong. People have been listening to this album for five years and still go back to it. It has a high repeat factor and will stand the test of time. One major journalist told me this would’ve been his album of the year for the last two years
What do you miss most about living in that dystopian reality?
No traffic—that was nice. Playing poker and blackjack behind plexiglass was ridiculous looking back. Beaches taped off, empty parking lots—it was surreal. That said, I recorded over 80 songs during that time. I even did a cover of Eddie Murphy’s “Party All the Time” because I was so bored.
How did co-producing the album change your approach to vocals?
I think I have the longest scream I’ve ever done on “Dragon of Algarath.” No tricks—just raw takes. I did multiple takes, but the first one was the best. I’m always trying different voices and harmonies. I’m really proud of the vocal performance on this record. If you’re looking for crazy vocals on a metal record, I never disappoint.
“Blast the Highway” feels like a statement track. Why lead with that song?
I learned not to release your craziest track first. You’ve got to ease people in. “Blast the Highway” is fast, melodic, and hooky. It reminds me of being 16, driving around in my Trans Am, blasting metal. That’s the vibe.
With such a powerful lineup, how do you balance individual strengths while keeping Death Dealer’s identity intact?
We know the formula. I sing hard. Stu and Ross need room for leads. Steve Bolognese always adds surprises on drums—most of them are great. And Mike LePond is one of the few bass players who truly augments the songs with melody. He adds so much depth.
What microphones or effects were key to capturing your vocals?
Nothing special. I use a Shure mic—it’s a workhorse. My dog actually chewed it up while I was on tour. Big half-wolf, half–German Shepherd. I kept it the same—holes and all. That’s metal.
If Reign of Steel were a medieval weapon, what would it be—and who would wield it?
Ross the Boss, no question. It would be a massive double-bladed battle axe—bloodstained, chipped from years of use.
Any final words for the people watching, listening, or reading?
If you’re young and thinking about starting a band—don’t do it. Quit while you’re ahead. Just kidding. Check out the record. If you like Judas Priest on steroids with great songs, this is for you. Death Dealer, Reign of Steel. It’s been market-tested for five years, and the reviews are strong. I think people are really going to love this one.
Unfiltered, unapologetic, and forged through five years of patience, Reign of Steel stands as Death Dealer’s most focused and ferocious release to date. With Sean Peck’s signature vocal firepower, razor-sharp songwriting, and a lineup built for battle, this album isn’t just a comeback—it’s a declaration of dominance. Whether you’re a longtime metal loyalist or a newcomer craving steel-clad fury, Death Dealer is ready to claim your speakers. Raise the volume and prepare for impact.
Categories: Death Dealer, Interviews
Capital Chaos TV 
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