#boltthrower — Public Fediverse posts

#35 #AmericanMetal #AwakeningRecords #BoltThrower #ChaosMonolith #DeathMetal #Dismember #Entombed #OldSchoolDeathMetal #Review #Reviews #Tombstalker

Kentucky’s veteran death metal crew, Tombstalker, offer a blast from the past in a couple of ways. Firstly, after dropping their solidly impressive debut album Black Crusades back in 2015, Tombstalker continued touring before hitting roadblocks, going on hiatus, and rejigging their line-up. Releasing a couple of EPs in the intervening years, the rejuvenated line-up now unleash their long-gestating sophomore album, Chaos Monolith. Boasting a hulking, extra beefy sound rooted in rank old school values and influences, Tombstalker are not seeking to reinvent the wheel, remaining content to crush the weak through a meaty concoction of throwback old school death, armed with thorny, uncompromisingly brutal bursts of d-beaten violence, charred blackened melodies and rugged doom-death heft, wearing their crust and classic Swedish death influences proudly upon weathered sleeves. Yet does Tombstalker possess the songwriting tools to reawaken and level up in the crowded modern death metal scene?

While the guts of Tombstalker’s trusty formula remain largely intact, Chaos Monolith sounds recharged and revitalized. Despite residing in the retro realms of old school death, Tombstalker plant a muddied boot into the here and now, spiking their buzzsawing Stockholm influences (early Entombed, Dismember) with blackened and crust elements, topped by a chunky modern production. Like any good death metal album relishing in the rotten values of yesteryear, Chaos Monolith comes armed with an endearingly crude graveyard atmosphere and sinister melodicism, shadowing the infectiously beefy riffs, dual harmonies, thrashing rhythms and insidious, knuckle-dragging grooves. Cutting through the mix and leaving a feral imprint on proceedings sit the dominating bellows and sick lower growls of axe-wielding frontman Conqueror Horus.

Fresh out the blocks Tombstalker throw a curveball, dabbling in ominous soundscapes and an extended, slow-burning intro, gradually ratcheting up the tension and momentum before, several minutes in, they finally get cooking, punching out d-beaten rhythms, punky death riffs held together by a prominent doom-laden swagger. Arguably the extended intro could use some trimming, but the remainder of the song hits the mark, creating an ambitious opening impact. Chaos Monolith’s remaining cuts are condensed into more palatable nuggets. Built on a bedrock of burly, crunchy riffs, Tombstalker season their formula with generous sprinklings of blackened, crust, and ingredients, reinforced by steamrolling Bolt Thrower heft, the songwriting maintaining its peppy, deceptively versatile flow. Classic Stockholm melodies infiltrate the heavyweight death-doom haymakers and lurking menace of “Unto the Anvil of War,” “Inexorable Slaughter” rips through their bread-and-butter Swedeath template with punky, blasty results, while blackened thrash meets buzzing death on the horns throwing delight “Fully Armed and Filthy,” complete with gang shouts and an ear-catching chorus.

Later in the piece Tombstalker keep momentum and energy cranked, deftly handling their versatile mix of throwback zest and modern crunch. Crushing, spacey, and sinister, “Penitent Engine” adds tasteful, atmospheric synth work into the song’s rough and rowdy mix, and penultimate cut “Iron Within Iron Without” shifts tempos effortlessly, riding waves of hammering intensity, hacksawing riffs, and bulldozing grooves. Nailing the aesthetics of retro-infected death is one thing, but it would amount to little without the musical and songwriting chops to back up their old school punch. Tombstalker’s experienced craftsman shy away from flashier fretwork or other compositional complexities, instead relying on sturdy, infectious riffs, crafty integration of outside influences into their classic Swedeath core, and skilled threading of nifty solos and foreboding, nostalgic melodies into the fray. The slightly overcooked opening and solid if underwhelming closing track are the main detractors to what is otherwise a consistently entertaining and wickedly addictive platter. On the production front, Chaos Monolith packs a sonic punch but is a loud listen and the guitar tone could use a dirtier edge.

Chaos Monolith marks a killer return from an experienced underground act that has done the hard yards and taken the long-winded route to finally unleashing their second LP. The intervening years have been kind to Tombstalker. Chaos Monolith surpasses their impressive debut and provides a retro-inspired blast of old school death metal goodness. While not quite matching the best death metal of 2026, Chaos Monolith stands out as one of the pure outright fun death platters you will hear this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Awakening Records
Websites: Bandcamp | Facebook
Releases Worldwide: September 25th, 2026

#americanmetal #awakeningrecords #boltthrower #chaosmonolith #deathmetal #dismember

Angry Metal Guy @[email protected] · 2026-09-29 · 17:48 UTC

#35 #AmericanMetal #AwakeningRecords #BoltThrower #ChaosMonolith #DeathMetal #Dismember #Entombed #OldSchoolDeathMetal #Review #Reviews #Tombstalker

Kentucky’s veteran death metal crew, Tombstalker, offer a blast from the past in a couple of ways. Firstly, after dropping their solidly impressive debut album Black Crusades back in 2015, Tombstalker continued touring before hitting roadblocks, going on hiatus, and rejigging their line-up. Releasing a couple of EPs in the intervening years, the rejuvenated line-up now unleash their long-gestating sophomore album, Chaos Monolith. Boasting a hulking, extra beefy sound rooted in rank old school values and influences, Tombstalker are not seeking to reinvent the wheel, remaining content to crush the weak through a meaty concoction of throwback old school death, armed with thorny, uncompromisingly brutal bursts of d-beaten violence, charred blackened melodies and rugged doom-death heft, wearing their crust and classic Swedish death influences proudly upon weathered sleeves. Yet does Tombstalker possess the songwriting tools to reawaken and level up in the crowded modern death metal scene?

While the guts of Tombstalker’s trusty formula remain largely intact, Chaos Monolith sounds recharged and revitalized. Despite residing in the retro realms of old school death, Tombstalker plant a muddied boot into the here and now, spiking their buzzsawing Stockholm influences (early Entombed, Dismember) with blackened and crust elements, topped by a chunky modern production. Like any good death metal album relishing in the rotten values of yesteryear, Chaos Monolith comes armed with an endearingly crude graveyard atmosphere and sinister melodicism, shadowing the infectiously beefy riffs, dual harmonies, thrashing rhythms and insidious, knuckle-dragging grooves. Cutting through the mix and leaving a feral imprint on proceedings sit the dominating bellows and sick lower growls of axe-wielding frontman Conqueror Horus.

Fresh out the blocks Tombstalker throw a curveball, dabbling in ominous soundscapes and an extended, slow-burning intro, gradually ratcheting up the tension and momentum before, several minutes in, they finally get cooking, punching out d-beaten rhythms, punky death riffs held together by a prominent doom-laden swagger. Arguably the extended intro could use some trimming, but the remainder of the song hits the mark, creating an ambitious opening impact. Chaos Monolith’s remaining cuts are condensed into more palatable nuggets. Built on a bedrock of burly, crunchy riffs, Tombstalker season their formula with generous sprinklings of blackened, crust, and ingredients, reinforced by steamrolling Bolt Thrower heft, the songwriting maintaining its peppy, deceptively versatile flow. Classic Stockholm melodies infiltrate the heavyweight death-doom haymakers and lurking menace of “Unto the Anvil of War,” “Inexorable Slaughter” rips through their bread-and-butter Swedeath template with punky, blasty results, while blackened thrash meets buzzing death on the horns throwing delight “Fully Armed and Filthy,” complete with gang shouts and an ear-catching chorus.

Later in the piece Tombstalker keep momentum and energy cranked, deftly handling their versatile mix of throwback zest and modern crunch. Crushing, spacey, and sinister, “Penitent Engine” adds tasteful, atmospheric synth work into the song’s rough and rowdy mix, and penultimate cut “Iron Within Iron Without” shifts tempos effortlessly, riding waves of hammering intensity, hacksawing riffs, and bulldozing grooves. Nailing the aesthetics of retro-infected death is one thing, but it would amount to little without the musical and songwriting chops to back up their old school punch. Tombstalker’s experienced craftsman shy away from flashier fretwork or other compositional complexities, instead relying on sturdy, infectious riffs, crafty integration of outside influences into their classic Swedeath core, and skilled threading of nifty solos and foreboding, nostalgic melodies into the fray. The slightly overcooked opening and solid if underwhelming closing track are the main detractors to what is otherwise a consistently entertaining and wickedly addictive platter. On the production front, Chaos Monolith packs a sonic punch but is a loud listen and the guitar tone could use a dirtier edge.

Chaos Monolith marks a killer return from an experienced underground act that has done the hard yards and taken the long-winded route to finally unleashing their second LP. The intervening years have been kind to Tombstalker. Chaos Monolith surpasses their impressive debut and provides a retro-inspired blast of old school death metal goodness. While not quite matching the best death metal of 2026, Chaos Monolith stands out as one of the pure outright fun death platters you will hear this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Awakening Records
Websites: Bandcamp | Facebook
Releases Worldwide: September 25th, 2026

#americanmetal #awakeningrecords #boltthrower #chaosmonolith #deathmetal #dismember

Angry Metal Guy @[email protected] · 2026-09-29 · 17:48 UTC

#35 #AmericanMetal #AwakeningRecords #BoltThrower #ChaosMonolith #DeathMetal #Dismember #Entombed #OldSchoolDeathMetal #Review #Reviews #Tombstalker

Kentucky’s veteran death metal crew, Tombstalker, offer a blast from the past in a couple of ways. Firstly, after dropping their solidly impressive debut album Black Crusades back in 2015, Tombstalker continued touring before hitting roadblocks, going on hiatus, and rejigging their line-up. Releasing a couple of EPs in the intervening years, the rejuvenated line-up now unleash their long-gestating sophomore album, Chaos Monolith. Boasting a hulking, extra beefy sound rooted in rank old school values and influences, Tombstalker are not seeking to reinvent the wheel, remaining content to crush the weak through a meaty concoction of throwback old school death, armed with thorny, uncompromisingly brutal bursts of d-beaten violence, charred blackened melodies and rugged doom-death heft, wearing their crust and classic Swedish death influences proudly upon weathered sleeves. Yet does Tombstalker possess the songwriting tools to reawaken and level up in the crowded modern death metal scene?

While the guts of Tombstalker’s trusty formula remain largely intact, Chaos Monolith sounds recharged and revitalized. Despite residing in the retro realms of old school death, Tombstalker plant a muddied boot into the here and now, spiking their buzzsawing Stockholm influences (early Entombed, Dismember) with blackened and crust elements, topped by a chunky modern production. Like any good death metal album relishing in the rotten values of yesteryear, Chaos Monolith comes armed with an endearingly crude graveyard atmosphere and sinister melodicism, shadowing the infectiously beefy riffs, dual harmonies, thrashing rhythms and insidious, knuckle-dragging grooves. Cutting through the mix and leaving a feral imprint on proceedings sit the dominating bellows and sick lower growls of axe-wielding frontman Conqueror Horus.

Fresh out the blocks Tombstalker throw a curveball, dabbling in ominous soundscapes and an extended, slow-burning intro, gradually ratcheting up the tension and momentum before, several minutes in, they finally get cooking, punching out d-beaten rhythms, punky death riffs held together by a prominent doom-laden swagger. Arguably the extended intro could use some trimming, but the remainder of the song hits the mark, creating an ambitious opening impact. Chaos Monolith’s remaining cuts are condensed into more palatable nuggets. Built on a bedrock of burly, crunchy riffs, Tombstalker season their formula with generous sprinklings of blackened, crust, and ingredients, reinforced by steamrolling Bolt Thrower heft, the songwriting maintaining its peppy, deceptively versatile flow. Classic Stockholm melodies infiltrate the heavyweight death-doom haymakers and lurking menace of “Unto the Anvil of War,” “Inexorable Slaughter” rips through their bread-and-butter Swedeath template with punky, blasty results, while blackened thrash meets buzzing death on the horns throwing delight “Fully Armed and Filthy,” complete with gang shouts and an ear-catching chorus.

Later in the piece Tombstalker keep momentum and energy cranked, deftly handling their versatile mix of throwback zest and modern crunch. Crushing, spacey, and sinister, “Penitent Engine” adds tasteful, atmospheric synth work into the song’s rough and rowdy mix, and penultimate cut “Iron Within Iron Without” shifts tempos effortlessly, riding waves of hammering intensity, hacksawing riffs, and bulldozing grooves. Nailing the aesthetics of retro-infected death is one thing, but it would amount to little without the musical and songwriting chops to back up their old school punch. Tombstalker’s experienced craftsman shy away from flashier fretwork or other compositional complexities, instead relying on sturdy, infectious riffs, crafty integration of outside influences into their classic Swedeath core, and skilled threading of nifty solos and foreboding, nostalgic melodies into the fray. The slightly overcooked opening and solid if underwhelming closing track are the main detractors to what is otherwise a consistently entertaining and wickedly addictive platter. On the production front, Chaos Monolith packs a sonic punch but is a loud listen and the guitar tone could use a dirtier edge.

Chaos Monolith marks a killer return from an experienced underground act that has done the hard yards and taken the long-winded route to finally unleashing their second LP. The intervening years have been kind to Tombstalker. Chaos Monolith surpasses their impressive debut and provides a retro-inspired blast of old school death metal goodness. While not quite matching the best death metal of 2026, Chaos Monolith stands out as one of the pure outright fun death platters you will hear this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Awakening Records
Websites: Bandcamp | Facebook
Releases Worldwide: September 25th, 2026

#tombstalker #reviews #review #oldschooldeathmetal #entombed #dismember

Angry Metal Guy @[email protected] · 2026-09-29 · 17:48 UTC

#35 #AmericanMetal #AwakeningRecords #BoltThrower #ChaosMonolith #DeathMetal #Dismember #Entombed #OldSchoolDeathMetal #Review #Reviews #Tombstalker

Kentucky’s veteran death metal crew, Tombstalker, offer a blast from the past in a couple of ways. Firstly, after dropping their solidly impressive debut album Black Crusades back in 2015, Tombstalker continued touring before hitting roadblocks, going on hiatus, and rejigging their line-up. Releasing a couple of EPs in the intervening years, the rejuvenated line-up now unleash their long-gestating sophomore album, Chaos Monolith. Boasting a hulking, extra beefy sound rooted in rank old school values and influences, Tombstalker are not seeking to reinvent the wheel, remaining content to crush the weak through a meaty concoction of throwback old school death, armed with thorny, uncompromisingly brutal bursts of d-beaten violence, charred blackened melodies and rugged doom-death heft, wearing their crust and classic Swedish death influences proudly upon weathered sleeves. Yet does Tombstalker possess the songwriting tools to reawaken and level up in the crowded modern death metal scene?

While the guts of Tombstalker’s trusty formula remain largely intact, Chaos Monolith sounds recharged and revitalized. Despite residing in the retro realms of old school death, Tombstalker plant a muddied boot into the here and now, spiking their buzzsawing Stockholm influences (early Entombed, Dismember) with blackened and crust elements, topped by a chunky modern production. Like any good death metal album relishing in the rotten values of yesteryear, Chaos Monolith comes armed with an endearingly crude graveyard atmosphere and sinister melodicism, shadowing the infectiously beefy riffs, dual harmonies, thrashing rhythms and insidious, knuckle-dragging grooves. Cutting through the mix and leaving a feral imprint on proceedings sit the dominating bellows and sick lower growls of axe-wielding frontman Conqueror Horus.

Fresh out the blocks Tombstalker throw a curveball, dabbling in ominous soundscapes and an extended, slow-burning intro, gradually ratcheting up the tension and momentum before, several minutes in, they finally get cooking, punching out d-beaten rhythms, punky death riffs held together by a prominent doom-laden swagger. Arguably the extended intro could use some trimming, but the remainder of the song hits the mark, creating an ambitious opening impact. Chaos Monolith’s remaining cuts are condensed into more palatable nuggets. Built on a bedrock of burly, crunchy riffs, Tombstalker season their formula with generous sprinklings of blackened, crust, and ingredients, reinforced by steamrolling Bolt Thrower heft, the songwriting maintaining its peppy, deceptively versatile flow. Classic Stockholm melodies infiltrate the heavyweight death-doom haymakers and lurking menace of “Unto the Anvil of War,” “Inexorable Slaughter” rips through their bread-and-butter Swedeath template with punky, blasty results, while blackened thrash meets buzzing death on the horns throwing delight “Fully Armed and Filthy,” complete with gang shouts and an ear-catching chorus.

Later in the piece Tombstalker keep momentum and energy cranked, deftly handling their versatile mix of throwback zest and modern crunch. Crushing, spacey, and sinister, “Penitent Engine” adds tasteful, atmospheric synth work into the song’s rough and rowdy mix, and penultimate cut “Iron Within Iron Without” shifts tempos effortlessly, riding waves of hammering intensity, hacksawing riffs, and bulldozing grooves. Nailing the aesthetics of retro-infected death is one thing, but it would amount to little without the musical and songwriting chops to back up their old school punch. Tombstalker’s experienced craftsman shy away from flashier fretwork or other compositional complexities, instead relying on sturdy, infectious riffs, crafty integration of outside influences into their classic Swedeath core, and skilled threading of nifty solos and foreboding, nostalgic melodies into the fray. The slightly overcooked opening and solid if underwhelming closing track are the main detractors to what is otherwise a consistently entertaining and wickedly addictive platter. On the production front, Chaos Monolith packs a sonic punch but is a loud listen and the guitar tone could use a dirtier edge.

Chaos Monolith marks a killer return from an experienced underground act that has done the hard yards and taken the long-winded route to finally unleashing their second LP. The intervening years have been kind to Tombstalker. Chaos Monolith surpasses their impressive debut and provides a retro-inspired blast of old school death metal goodness. While not quite matching the best death metal of 2026, Chaos Monolith stands out as one of the pure outright fun death platters you will hear this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Awakening Records
Websites: Bandcamp | Facebook
Releases Worldwide: September 25th, 2026

#americanmetal #awakeningrecords #boltthrower #chaosmonolith #deathmetal #dismember

Juffo-Wup @[email protected] · 2026-09-03 · 21:48 UTC

Haven't done
@neurothing #ThursdayFiveList for a long time. So let's go.
Topic is #AntiFrustration

1/5

All Senses
Under Attack
Oblivion
Penultimate
Anticipation
Fills Your Soul
At The Limit
Beyond Control

#BoltThrower - No Guts No Glory
https://www.youtube.com/watch?v=I29z5zvPmo4
(RIP Kiddie Kearns 😔)

#thursdayfivelist #antifrustration #boltthrower

Juffo-Wup @[email protected] · 2026-09-03 · 21:48 UTC

Haven't done
@neurothing #ThursdayFiveList for a long time. So let's go.
Topic is #AntiFrustration

1/5

All Senses
Under Attack
Oblivion
Penultimate
Anticipation
Fills Your Soul
At The Limit
Beyond Control

#BoltThrower - No Guts No Glory
https://www.youtube.com/watch?v=I29z5zvPmo4
(RIP Kiddie Kearns 😔)

#thursdayfivelist #antifrustration #boltthrower

Juffo-Wup @[email protected] · 2026-09-03 · 21:48 UTC

Haven't done
@neurothing #ThursdayFiveList for a long time. So let's go.
Topic is #AntiFrustration

1/5

All Senses
Under Attack
Oblivion
Penultimate
Anticipation
Fills Your Soul
At The Limit
Beyond Control

#BoltThrower - No Guts No Glory
https://www.youtube.com/watch?v=I29z5zvPmo4
(RIP Kiddie Kearns 😔)

#boltthrower #antifrustration #thursdayfivelist

Juffo-Wup @[email protected] · 2026-09-03 · 21:48 UTC

Haven't done
@neurothing #ThursdayFiveList for a long time. So let's go.
Topic is #AntiFrustration

1/5

All Senses
Under Attack
Oblivion
Penultimate
Anticipation
Fills Your Soul
At The Limit
Beyond Control

#BoltThrower - No Guts No Glory
https://www.youtube.com/watch?v=I29z5zvPmo4
(RIP Kiddie Kearns 😔)

#thursdayfivelist #antifrustration #boltthrower

Döbbie03 @dobbie003 · 2026-09-02 · 05:50 UTC

Nothing like a few beers, some fucking Bolt Thrower on a Wednesday evening after a cunt of a week at work (so far).

I'm sure it can only improve ..... yes .... improve.

#nowplaying #boltthrower #deathmetal #metal #beer

Döbbie03 @[email protected] · 2026-09-02 · 05:50 UTC

Nothing like a few beers, some fucking Bolt Thrower on a Wednesday evening after a cunt of a week at work (so far).

I'm sure it can only improve ..... yes .... improve.

#nowplaying #boltthrower #deathmetal #metal #beer

Döbbie03 @[email protected] · 2026-09-02 · 05:50 UTC

Nothing like a few beers, some fucking Bolt Thrower on a Wednesday evening after a cunt of a week at work (so far).

I'm sure it can only improve ..... yes .... improve.

#nowplaying #boltthrower #deathmetal #metal #beer

#beer #metal #deathmetal #boltthrower #nowplaying

Angry Metal Guy @[email protected] · 2026-08-23 · 13:28 UTC

Deceptor – Reign of Terror Review By Grin Reaper

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

#2026 #30 #AmericanMetal #Anthrax #Aug26 #BoltThrower #DeathMetal #DeathThrash #Deceptor #Destruction #Dismember #DyingVictimsProductions #Enforced #Entombed #Grave #Kreator #Megadeth #PowerTrip #Razor #ReignOfTerror #Review #Reviews #Sepultura #Slayer #Sodom #ThrashMetal

#americanmetal #anthrax #aug26 #boltthrower #deathmetal #deaththrash

Angry Metal Guy @[email protected] · 2026-08-23 · 13:28 UTC

Deceptor – Reign of Terror Review By Grin Reaper

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

#2026 #30 #AmericanMetal #Anthrax #Aug26 #BoltThrower #DeathMetal #DeathThrash #Deceptor #Destruction #Dismember #DyingVictimsProductions #Enforced #Entombed #Grave #Kreator #Megadeth #PowerTrip #Razor #ReignOfTerror #Review #Reviews #Sepultura #Slayer #Sodom #ThrashMetal

#americanmetal #anthrax #aug26 #boltthrower #deathmetal #deaththrash

Angry Metal Guy @[email protected] · 2026-08-23 · 13:28 UTC

Deceptor – Reign of Terror Review By Grin Reaper

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

#2026 #30 #AmericanMetal #Anthrax #Aug26 #BoltThrower #DeathMetal #DeathThrash #Deceptor #Destruction #Dismember #DyingVictimsProductions #Enforced #Entombed #Grave #Kreator #Megadeth #PowerTrip #Razor #ReignOfTerror #Review #Reviews #Sepultura #Slayer #Sodom #ThrashMetal

#thrashmetal #sodom #slayer #sepultura #reviews #review

Angry Metal Guy @[email protected] · 2026-08-23 · 13:28 UTC

Deceptor – Reign of Terror Review By Grin Reaper

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

#2026 #30 #AmericanMetal #Anthrax #Aug26 #BoltThrower #DeathMetal #DeathThrash #Deceptor #Destruction #Dismember #DyingVictimsProductions #Enforced #Entombed #Grave #Kreator #Megadeth #PowerTrip #Razor #ReignOfTerror #Review #Reviews #Sepultura #Slayer #Sodom #ThrashMetal

#americanmetal #anthrax #aug26 #boltthrower #deathmetal #deaththrash

Amsterdam Metal Scene @[email protected] · 2026-08-20 · 07:37 UTC

#thursdeath is upon us and so is a new #deathmetal EP from #DeathKommander , the #boltthrower obsessed war masters!
https://youtu.be/7H8222oalQg

#thursdeath #deathmetal #deathkommander #boltthrower

Amsterdam Metal Scene @[email protected] · 2026-08-20 · 07:37 UTC

#thursdeath is upon us and so is a new #deathmetal EP from #DeathKommander , the #boltthrower obsessed war masters!
https://youtu.be/7H8222oalQg

#boltthrower #deathkommander #deathmetal #thursdeath

United Kingdom News Beep @[email protected] · 2026-08-20 · 00:00 UTC

Street Tombs – Existence is Corruption Review

Sometimes it just feels good to let rip some ferocious riffs, pound the drums at headbanging velocity, and…
#NewsBeep #News #Music #2026 #3.5 #AmericanMetal #Aug26 #BoltThrower #CarbonizedRecords #CelticFrost #CrustPunk #D-Beat #DeathMetal #discharge #Entertainment #ExistenceisCorruption #review #Reviews #StreetTombs #UK #UnitedKingdom
https://www.newsbeep.com/uk/743390/

#unitedkingdom #uk #streettombs #reviews #review #existenceiscorruption

UK @[email protected] · 2026-08-19 · 19:16 UTC

https://www.europesays.com/uk/1157962/ Street Tombs – Existence is Corruption Review #2026 #35 #AmericanMetal #Aug26 #BoltThrower #CarbonizedRecords #CelticFrost #CrustPunk #DBeat #DeathMetal #Discharge #Entertainment #ExistenceIsCorruption #music #Review #Reviews #StreetTombs #UK #UnitedKingdom

#unitedkingdom #uk #streettombs #reviews #review #music

Angry Metal Guy @[email protected] · 2026-08-19 · 15:57 UTC

Street Tombs – Existence is Corruption Review By ClarkKent

Sometimes it just feels good to let rip some ferocious riffs, pound the drums at headbanging velocity, and rail about society’s ills at a pitch that a caveman can appreciate. At least that’s how I imagine New Mexico’s Street Tombs approaches their songwriting. In 2023, they gave out a good ol’ thrashing on their debut, Reclusive Decay, which didn’t see coverage here, but did land on Decibel’s top 40 albums of the year. Though Reclusive Decay had barely above 30 minutes of music, it’s taken three years to release Existence is Corruption, yet another 30 minutes of high-octane crusty punk. Maybe they used that time to research the thematic content of their lyrics, whose topics include the “complacency, corruption, and destruction” that plague modern society. Nah, who am I kidding? They just want to bludgeon you over the head with the well-honed vocal, riff, and d-beat attack they’ve spent that time sharpening.

Street Tombs combine the punky influence of early d-beat purveyors, Discharge and Celtic Frost, with the physical, in-your-face riffage of Bolt Thrower. This blend makes for a high-energy attack with endless riffs and plenty of whiplash as your neck attempts to navigate their bruising soundscape. Existence is Corruption is a no-frills dose of death metal, skipping the usual atmospheric opener and going straight for the jugular on the pummeling “Pestilent Storm.” This proves the norm, as song after song blasts with furious drum beats and killer riffs, only really pausing for atmospherics once, when “Systematic Suffering” ends on some guitar feedback and atmospherics, to horrifying effect. The risk for this kind of approach is that the music might bleed together, but Street Tombs keep their riffs creative and mix up the pacing. There are plenty of brief but spectacular solos as well as mood shifts that allow the guitars to dig in at a different, less furious angle. So yes, the caveman will dig what these guys are doing, but so will the more evolved among our species.

While they have the vibe of early Discharge, Street Tombs filter it through more modern production values, giving the instruments more punch. This probably comes across on the drums more strongly than anything else. Ben Brodsky’s performance provides a sturdy foundation for the music, and his sheer power gives a boost thanks to a relentless, pounding energy. Brodsky has the sense to lay back and get creative in order to avoid any fatigue from constant d-beat jackhammering, notably some mid-tempo antics on “Systematic Suffering.” The riff attack from David McMaster and Damian Jacoby also engages the brain at a primal level, yet there’s a progressiveness to how they play, allowing surprising developments to permeate the songs. “Mental Mutilation” displays this ability to engage carnal pleasures while the guitars organically shift, leading to a fabulous, though sadly brief, solo.

As much as Street Tombs does mix things up, a uniformity begins to creep into Existence is Corruption. Yes, there are shifts in tone and pacing within songs, but the persistent d-beat blasts and deathly riffs still dominate the record. It’s hard to complain when they play them this effectively, and in such a brief package, yet it does mean individual tracks begin to blend together. Given the style, the 3-4 minute range is the sweet spot, which means the songs that reach or hit the 5-minute mark start to feel repetitive (“Upset the Grave,” “Deceptor”). Jacoby’s vocal delivery similarly suffers from a one-dimensional nature. Don’t get me wrong. I love his vocals and believe they add a distinctive personality to the music, but the lack of diversity in delivery does contribute to that sense of uniformity. In all, these are some nitpicky ways of saying Existence is Corruption didn’t quite break the score counter, but it came close.

These streets may be mean, they may be ugly, and they may be gritty, but most importantly they are loads of fun. Where some death metal acts seek to be as dense and incomprehensible as possible, or insert levels of high artistry in their work, it’s refreshing that acts like Street Tombs exist to engage your id, though with a high level of creativity, mixing intellectual stimulation with brain-melting riffs. These guys don’t do anything that hasn’t been done before, yet they excel at it and have written a record that’s some of the most fun I’ve had with death metal this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Carbonized Records
Websites: Bandcamp
Releases Worldwide: August 21st, 2026

#2026 #35 #AmericanMetal #Aug26 #BoltThrower #CarbonizedRecords #CelticFrost #CrustPunk #DBeat #DeathMetal #Discharge #ExistenceIsCorruption #Review #Reviews #StreetTombs

#americanmetal #aug26 #boltthrower #carbonizedrecords #celticfrost #crustpunk

Angry Metal Guy @[email protected] · 2026-08-19 · 15:57 UTC

Street Tombs – Existence is Corruption Review By ClarkKent

Sometimes it just feels good to let rip some ferocious riffs, pound the drums at headbanging velocity, and rail about society’s ills at a pitch that a caveman can appreciate. At least that’s how I imagine New Mexico’s Street Tombs approaches their songwriting. In 2023, they gave out a good ol’ thrashing on their debut, Reclusive Decay, which didn’t see coverage here, but did land on Decibel’s top 40 albums of the year. Though Reclusive Decay had barely above 30 minutes of music, it’s taken three years to release Existence is Corruption, yet another 30 minutes of high-octane crusty punk. Maybe they used that time to research the thematic content of their lyrics, whose topics include the “complacency, corruption, and destruction” that plague modern society. Nah, who am I kidding? They just want to bludgeon you over the head with the well-honed vocal, riff, and d-beat attack they’ve spent that time sharpening.

Street Tombs combine the punky influence of early d-beat purveyors, Discharge and Celtic Frost, with the physical, in-your-face riffage of Bolt Thrower. This blend makes for a high-energy attack with endless riffs and plenty of whiplash as your neck attempts to navigate their bruising soundscape. Existence is Corruption is a no-frills dose of death metal, skipping the usual atmospheric opener and going straight for the jugular on the pummeling “Pestilent Storm.” This proves the norm, as song after song blasts with furious drum beats and killer riffs, only really pausing for atmospherics once, when “Systematic Suffering” ends on some guitar feedback and atmospherics, to horrifying effect. The risk for this kind of approach is that the music might bleed together, but Street Tombs keep their riffs creative and mix up the pacing. There are plenty of brief but spectacular solos as well as mood shifts that allow the guitars to dig in at a different, less furious angle. So yes, the caveman will dig what these guys are doing, but so will the more evolved among our species.

While they have the vibe of early Discharge, Street Tombs filter it through more modern production values, giving the instruments more punch. This probably comes across on the drums more strongly than anything else. Ben Brodsky’s performance provides a sturdy foundation for the music, and his sheer power gives a boost thanks to a relentless, pounding energy. Brodsky has the sense to lay back and get creative in order to avoid any fatigue from constant d-beat jackhammering, notably some mid-tempo antics on “Systematic Suffering.” The riff attack from David McMaster and Damian Jacoby also engages the brain at a primal level, yet there’s a progressiveness to how they play, allowing surprising developments to permeate the songs. “Mental Mutilation” displays this ability to engage carnal pleasures while the guitars organically shift, leading to a fabulous, though sadly brief, solo.

As much as Street Tombs does mix things up, a uniformity begins to creep into Existence is Corruption. Yes, there are shifts in tone and pacing within songs, but the persistent d-beat blasts and deathly riffs still dominate the record. It’s hard to complain when they play them this effectively, and in such a brief package, yet it does mean individual tracks begin to blend together. Given the style, the 3-4 minute range is the sweet spot, which means the songs that reach or hit the 5-minute mark start to feel repetitive (“Upset the Grave,” “Deceptor”). Jacoby’s vocal delivery similarly suffers from a one-dimensional nature. Don’t get me wrong. I love his vocals and believe they add a distinctive personality to the music, but the lack of diversity in delivery does contribute to that sense of uniformity. In all, these are some nitpicky ways of saying Existence is Corruption didn’t quite break the score counter, but it came close.

These streets may be mean, they may be ugly, and they may be gritty, but most importantly they are loads of fun. Where some death metal acts seek to be as dense and incomprehensible as possible, or insert levels of high artistry in their work, it’s refreshing that acts like Street Tombs exist to engage your id, though with a high level of creativity, mixing intellectual stimulation with brain-melting riffs. These guys don’t do anything that hasn’t been done before, yet they excel at it and have written a record that’s some of the most fun I’ve had with death metal this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Carbonized Records
Websites: Bandcamp
Releases Worldwide: August 21st, 2026

#2026 #35 #AmericanMetal #Aug26 #BoltThrower #CarbonizedRecords #CelticFrost #CrustPunk #DBeat #DeathMetal #Discharge #ExistenceIsCorruption #Review #Reviews #StreetTombs

#americanmetal #aug26 #boltthrower #carbonizedrecords #celticfrost #crustpunk

Angry Metal Guy @[email protected] · 2026-08-19 · 15:57 UTC

Street Tombs – Existence is Corruption Review By ClarkKent

Sometimes it just feels good to let rip some ferocious riffs, pound the drums at headbanging velocity, and rail about society’s ills at a pitch that a caveman can appreciate. At least that’s how I imagine New Mexico’s Street Tombs approaches their songwriting. In 2023, they gave out a good ol’ thrashing on their debut, Reclusive Decay, which didn’t see coverage here, but did land on Decibel’s top 40 albums of the year. Though Reclusive Decay had barely above 30 minutes of music, it’s taken three years to release Existence is Corruption, yet another 30 minutes of high-octane crusty punk. Maybe they used that time to research the thematic content of their lyrics, whose topics include the “complacency, corruption, and destruction” that plague modern society. Nah, who am I kidding? They just want to bludgeon you over the head with the well-honed vocal, riff, and d-beat attack they’ve spent that time sharpening.

Street Tombs combine the punky influence of early d-beat purveyors, Discharge and Celtic Frost, with the physical, in-your-face riffage of Bolt Thrower. This blend makes for a high-energy attack with endless riffs and plenty of whiplash as your neck attempts to navigate their bruising soundscape. Existence is Corruption is a no-frills dose of death metal, skipping the usual atmospheric opener and going straight for the jugular on the pummeling “Pestilent Storm.” This proves the norm, as song after song blasts with furious drum beats and killer riffs, only really pausing for atmospherics once, when “Systematic Suffering” ends on some guitar feedback and atmospherics, to horrifying effect. The risk for this kind of approach is that the music might bleed together, but Street Tombs keep their riffs creative and mix up the pacing. There are plenty of brief but spectacular solos as well as mood shifts that allow the guitars to dig in at a different, less furious angle. So yes, the caveman will dig what these guys are doing, but so will the more evolved among our species.

While they have the vibe of early Discharge, Street Tombs filter it through more modern production values, giving the instruments more punch. This probably comes across on the drums more strongly than anything else. Ben Brodsky’s performance provides a sturdy foundation for the music, and his sheer power gives a boost thanks to a relentless, pounding energy. Brodsky has the sense to lay back and get creative in order to avoid any fatigue from constant d-beat jackhammering, notably some mid-tempo antics on “Systematic Suffering.” The riff attack from David McMaster and Damian Jacoby also engages the brain at a primal level, yet there’s a progressiveness to how they play, allowing surprising developments to permeate the songs. “Mental Mutilation” displays this ability to engage carnal pleasures while the guitars organically shift, leading to a fabulous, though sadly brief, solo.

As much as Street Tombs does mix things up, a uniformity begins to creep into Existence is Corruption. Yes, there are shifts in tone and pacing within songs, but the persistent d-beat blasts and deathly riffs still dominate the record. It’s hard to complain when they play them this effectively, and in such a brief package, yet it does mean individual tracks begin to blend together. Given the style, the 3-4 minute range is the sweet spot, which means the songs that reach or hit the 5-minute mark start to feel repetitive (“Upset the Grave,” “Deceptor”). Jacoby’s vocal delivery similarly suffers from a one-dimensional nature. Don’t get me wrong. I love his vocals and believe they add a distinctive personality to the music, but the lack of diversity in delivery does contribute to that sense of uniformity. In all, these are some nitpicky ways of saying Existence is Corruption didn’t quite break the score counter, but it came close.

These streets may be mean, they may be ugly, and they may be gritty, but most importantly they are loads of fun. Where some death metal acts seek to be as dense and incomprehensible as possible, or insert levels of high artistry in their work, it’s refreshing that acts like Street Tombs exist to engage your id, though with a high level of creativity, mixing intellectual stimulation with brain-melting riffs. These guys don’t do anything that hasn’t been done before, yet they excel at it and have written a record that’s some of the most fun I’ve had with death metal this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Carbonized Records
Websites: Bandcamp
Releases Worldwide: August 21st, 2026

#2026 #35 #AmericanMetal #Aug26 #BoltThrower #CarbonizedRecords #CelticFrost #CrustPunk #DBeat #DeathMetal #Discharge #ExistenceIsCorruption #Review #Reviews #StreetTombs

#streettombs #reviews #review #existenceiscorruption #discharge #deathmetal

Angry Metal Guy @[email protected] · 2026-08-19 · 15:57 UTC

Street Tombs – Existence is Corruption Review By ClarkKent

Sometimes it just feels good to let rip some ferocious riffs, pound the drums at headbanging velocity, and rail about society’s ills at a pitch that a caveman can appreciate. At least that’s how I imagine New Mexico’s Street Tombs approaches their songwriting. In 2023, they gave out a good ol’ thrashing on their debut, Reclusive Decay, which didn’t see coverage here, but did land on Decibel’s top 40 albums of the year. Though Reclusive Decay had barely above 30 minutes of music, it’s taken three years to release Existence is Corruption, yet another 30 minutes of high-octane crusty punk. Maybe they used that time to research the thematic content of their lyrics, whose topics include the “complacency, corruption, and destruction” that plague modern society. Nah, who am I kidding? They just want to bludgeon you over the head with the well-honed vocal, riff, and d-beat attack they’ve spent that time sharpening.

Street Tombs combine the punky influence of early d-beat purveyors, Discharge and Celtic Frost, with the physical, in-your-face riffage of Bolt Thrower. This blend makes for a high-energy attack with endless riffs and plenty of whiplash as your neck attempts to navigate their bruising soundscape. Existence is Corruption is a no-frills dose of death metal, skipping the usual atmospheric opener and going straight for the jugular on the pummeling “Pestilent Storm.” This proves the norm, as song after song blasts with furious drum beats and killer riffs, only really pausing for atmospherics once, when “Systematic Suffering” ends on some guitar feedback and atmospherics, to horrifying effect. The risk for this kind of approach is that the music might bleed together, but Street Tombs keep their riffs creative and mix up the pacing. There are plenty of brief but spectacular solos as well as mood shifts that allow the guitars to dig in at a different, less furious angle. So yes, the caveman will dig what these guys are doing, but so will the more evolved among our species.

While they have the vibe of early Discharge, Street Tombs filter it through more modern production values, giving the instruments more punch. This probably comes across on the drums more strongly than anything else. Ben Brodsky’s performance provides a sturdy foundation for the music, and his sheer power gives a boost thanks to a relentless, pounding energy. Brodsky has the sense to lay back and get creative in order to avoid any fatigue from constant d-beat jackhammering, notably some mid-tempo antics on “Systematic Suffering.” The riff attack from David McMaster and Damian Jacoby also engages the brain at a primal level, yet there’s a progressiveness to how they play, allowing surprising developments to permeate the songs. “Mental Mutilation” displays this ability to engage carnal pleasures while the guitars organically shift, leading to a fabulous, though sadly brief, solo.

As much as Street Tombs does mix things up, a uniformity begins to creep into Existence is Corruption. Yes, there are shifts in tone and pacing within songs, but the persistent d-beat blasts and deathly riffs still dominate the record. It’s hard to complain when they play them this effectively, and in such a brief package, yet it does mean individual tracks begin to blend together. Given the style, the 3-4 minute range is the sweet spot, which means the songs that reach or hit the 5-minute mark start to feel repetitive (“Upset the Grave,” “Deceptor”). Jacoby’s vocal delivery similarly suffers from a one-dimensional nature. Don’t get me wrong. I love his vocals and believe they add a distinctive personality to the music, but the lack of diversity in delivery does contribute to that sense of uniformity. In all, these are some nitpicky ways of saying Existence is Corruption didn’t quite break the score counter, but it came close.

These streets may be mean, they may be ugly, and they may be gritty, but most importantly they are loads of fun. Where some death metal acts seek to be as dense and incomprehensible as possible, or insert levels of high artistry in their work, it’s refreshing that acts like Street Tombs exist to engage your id, though with a high level of creativity, mixing intellectual stimulation with brain-melting riffs. These guys don’t do anything that hasn’t been done before, yet they excel at it and have written a record that’s some of the most fun I’ve had with death metal this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Carbonized Records
Websites: Bandcamp
Releases Worldwide: August 21st, 2026

#2026 #35 #AmericanMetal #Aug26 #BoltThrower #CarbonizedRecords #CelticFrost #CrustPunk #DBeat #DeathMetal #Discharge #ExistenceIsCorruption #Review #Reviews #StreetTombs

#americanmetal #aug26 #boltthrower #carbonizedrecords #celticfrost #crustpunk

United States News Beep @[email protected] · 2026-07-25 · 20:40 UTC

Into to the Obscure: Cianide – Death, Doom and Destruction

We all have our dark and privileged metal secrets we selfishly keep to ourselves, only sharing with a…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #1997 #AmericanMetal #BoltThrower #Cianide #Death #DeathDoom #DeathDoomandDestruction #DeathMetal #Dismember #Entertainment #IntotheObscure #LostHorizonRecords #review #reviews
https://www.newsbeep.com/us/784178/

#reviews #review #losthorizonrecords #intotheobscure #entertainment #dismember

United Kingdom News Beep @[email protected] · 2026-07-25 · 18:00 UTC

Into to the Obscure: Cianide – Death, Doom and Destruction

We all have our dark and privileged metal secrets we selfishly keep to ourselves, only sharing with a…
#NewsBeep #News #Music #1997 #AmericanMetal #BoltThrower #Cianide #Death #DeathDoom #DeathDoomandDestruction #DeathMetal #Dismember #Entertainment #IntotheObscure #LostHorizonRecords #review #Reviews #UK #UnitedKingdom
https://www.newsbeep.com/uk/710777/

#unitedkingdom #uk #reviews #review #losthorizonrecords #intotheobscure

Ireland @[email protected] · 2026-07-25 · 17:51 UTC

https://www.europesays.com/ie/603920/ Into to the Obscure: Cianide – Death, Doom and Destruction #1997 #AmericanMetal #BoltThrower #Cianide #death #DeathDoom #DeathDoomAndDestruction #DeathMetal #Dismember #Éire #Entertainment #IE #IntoTheObscure #Ireland #LostHorizonRecords #Music #Review #Reviews

#reviews #review #music #losthorizonrecords #ireland #intotheobscure

Chris Bond @[email protected] · 2026-07-22 · 19:30 UTC

Recorded #OnThisDay 36 years ago:

Bolt Thrower - After Life (Peel Session)

After Life by Bolt Thrower, taken from the Peel Session recorded on 22 July 1990.

#onthisday #boltthrower #peelsessions #deathmetal #otd

Chris Bond @[email protected] · 2026-07-22 · 19:30 UTC

Recorded #OnThisDay 36 years ago:

Bolt Thrower - After Life (Peel Session)

After Life by Bolt Thrower, taken from the Peel Session recorded on 22 July 1990.

#onthisday #boltthrower #peelsessions #deathmetal #otd

Chris Bond @[email protected] · 2026-07-22 · 19:30 UTC

Recorded #OnThisDay 36 years ago:

Bolt Thrower - After Life (Peel Session)

After Life by Bolt Thrower, taken from the Peel Session recorded on 22 July 1990.

#otd #deathmetal #peelsessions #boltthrower #onthisday

Chris Bond @[email protected] · 2026-07-22 · 19:30 UTC

Recorded #OnThisDay 36 years ago:

Bolt Thrower - After Life (Peel Session)

After Life by Bolt Thrower, taken from the Peel Session recorded on 22 July 1990.