#darkangel — Public Fediverse posts

Thrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?

Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.

The Grave Remains by Nukem

Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.

Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.

Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026

Florida death thrash dealers Intoxicated came down the promo sump with a nest of surprises I didn’t anticipate. Learning that once again I selected promo from a forgotten 90s band shocked me. Finding out that not one but two of Intoxicated’s members also serve in known party rock entity Andrew W.K. bamboozled me even more. These little factoids all came to me long after I had imbibed deeply of their upcoming third LP The Dome, which sounds fresher and far more vicarious than what I might’ve expected otherwise. But can it compete with a modern thrash scene desperate to revitalize the glory days of olde?

If there’s one thing that Intoxicated do well, it’s finding and exploiting their references. Riffs sourced from the bloodied piles amassed by the likes of Destruction, Death Angel, Dark Angel, and Sodom abound, all laced with the deathly wiles of Death to give them extra oomph.1 Anthrax-esque drumming doubles down on speed and extremity as The Dome gallops and blasts through its lean 30-minute runtime.2 A lightly proggy songwriting bent, again reminiscent of Death’s more sophisticated fare, gives The Dome a bit more variety than your average thrash revival record. Nonetheless, Intoxicated feels most at home brawling at bars and swaggering down back alleys in head-to-toe leather.

The Dome by Intoxicated

When they double down on sleaze and hooks, Intoxicated shine brightest. High-octane cuts like “Carved in Stone,” “The Dome,” “War Club,” and “Drowning the Weak” ooze vitriol and gush piss and vinegar all over the place, making for one nasty arena in which to open up pits and push around posers. Sole original member Erik Payne’s raspy barks and serrated growls feel right at home in this pocket, spewing matter-of-fact verses in the classic thrash tradition with a consistency and effectiveness that belies his age (“It’s Dead”). While that vocal talent provides The Dome with a significant measure of personality, it’s Erik’s and John Sutton’s riffs/leads and Mike Radford’s multifaceted drumming that steal the show, routinely shoving great ideas and weaving durable stitching throughout remarkably tight runtimes (“Shifted Cross” and “Rake the Grate,” for example, feel far more substantial and meaty than their featherweight sub-3-minute lengths suggest).

There’s a lot to love in The Dome, but there’s also a lot of potential to go further. On the production front, The Dome is very clean and modern, which in some ways detracts from Intoxicated’s brutish delivery (though its clarity makes the drum tones stand out in fantastic fashion). Additionally, while you can hear Gregg Robert’s bass burbling underneath the surface, it lacks the prominence it needs for listeners to reliably nail down what unholy magic he’s doing with it. As far as songwriting goes, The Dome is quite strong but songs that lack punch instantly get lost in the sauce. In some cases, that’s the result of a lack of unique riffs or interesting ideas (“Sever the Strings,” “Tighten Your Eyes”). In others, it’s nothing more than a pacing or tracklist placing issue where The Dome’s momentum is slightly disrupted or impeded (“Unescaped”). And of course, the fact that multiple writers could so readily identify reference points from a number of classic acts speaks to the level of influence they had on Intoxicated’s current sound, which, for some, might make The Dome seem unoriginal or derivative.

Even so, The Dome is a wholly enjoyable and easily repeatable record by an unsung act hailing from the 90s era of thrash and death. The references they pull from are good company to keep, so if some of the material here borders on worship, at least Intoxicated have good taste. As the dust and rubble settle, The Dome is a fun, raucous, and feisty little gem, and it would be a shame for it to go unnoticed.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: intoxicatedflorida.bandcamp.com | intoxicatedfl.com | facebook.com/pg/intoxicatedFL
Releases Worldwide: March 27th, 2026

Biolence – Violent Obliteration Review

By Spicie Forrest

Prior to my initiation ritual and early in my tenure as a volunteer whipping post, one of my jailers here at AMG saw fit to offer encouragement. “It gets better,” Dolphin Whisperer said. “Okay, but have you looked around recently?” I asked. He shrugged and replied, “not really. I’ve got a newborn. The Dolphlet takes up a lot of effort.” My cell door clanged shut as he left. Alone in the dark, I would wait nearly two months for the affirmation I sought in that moment. It would come in the form of Violent Obliteration, the third full-length from Biolence, a death/thrash four-piece from Vila Nova de Gaia, Portugal. With no Dolphlets to mind, it seems Biolence has looked around recently, and they are none too stoked.

My cell door opens to admit a dark figure silhouetted by guttering torchlight. A new promo drops to my feet. The door closes again. I queue up my next assignment, and I’m greeted by ambient sirens, gunfire, and marching instrumentals (“Intro”). I’m not given much time to process as a wordless howl tears through me and the music begins in earnest (“Pit of Degradation”). Guitarist David1 and bassist Daniel Marage work in tandem, their execution effortlessly concentric and complementary (“Heavy Artillery,” “World’s Plague”). Marage delivers basslines heavy enough to intimidate Giles Corey, while David threatens to remove twitching appendages with riffs like chop saws (“Extermination through Mutation”). As I’m thus welded to the floor, vocalist/guitarist César screams, growls, and bellows the horrors of a species actively culling itself and destroying its own planet.

These deathrashers aren’t the first I’ve ever heard, but they are some of the most competent. Front to back, Violent Obliteration exudes confidence and prowess. Whether channeling Sanguisugabogg to slam the food industry’s casual biological warfare (“Extermination through Mutation”) or Dark Angel to pronounce humanity’s death sentence (“Humanity Executioner”), Biolence has the chops to succeed at everything they attempt. New drummer Miguel Sousa elevates the rest of the band like he’s a got a personal vendetta. A psychotic conductor, he bends tempo and vibe to his will (“F.U.B.A.R.”), and with surgical hooks and fills, underscores every curse César screams (“Pit of Degradation,” “50 Caliber Freedom”). When César’s rage eclipses language, the lead guitar takes over, lamenting war’s futility (“Heavy Artillery,” “Glory of Savagery”) and religious corruption (“World’s Plague”) with mournful, bluesy solos. Marage’s bass rattles my chest, and when his 90s twang punches through the murk, it embodies a human absurdity both violent and dystopian (“Pit of Degradation,” “Violent Obliteration”). Totally in sync, this is a band with vision, skill, and passion.

But there are moments when I lose the plot. Violent Obliteration is indeed a dynamic and enthralling ride, but in their excitement, Biolence occasionally smashes incongruous elements together. “Extermination through Mutation” features a searing Sodom-infused lead with fantastic backing instrumentals, but sandwiched between slabs of slam death, it’s jarring and out of place. Sections of “Violent Obliteration” and “50 Caliber Freedom” suffer similarly. A few solos feel rudderless or drop the clutch (“Glory of Savagery,” “Violent Obliteration”), and the ambient interlude of “Heavy Artillery” languishes overlong. The album’s bookends—“Intro” and “Outro”—don’t warrant their collective runtime, with “Outro” feeling especially frustrating next to such a strongly concluded penultimate track (“F.U.B.A.R.”). Save for a few exceptions, Biolence excels in isolation; the components of individual tracks just don’t always fit together.

For 46 furious minutes, Biolence preaches the woes of the world outside. As the ambient sounds of “Outro” fade to a close, I collect my thoughts. Biolence is a band of talented and energetic musicians, both individually and together. Occasional jarring shifts and a few other missteps aside, Violent Obliteration is an impressive album. It’s an enjoyable platter of death/thrash metal from veterans of the scene. When Steel Druhm returns for my opinion later, I’ll tell him it’s good.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Labels: Doomed Records | Raging Planet | Selvajaria Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 1st, 2025

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