#deaththrash — Public Fediverse posts

Konzert in K (f)

K, Wednesday, August 12 at 08:00 PM GMT+2

Anal Vomit – (Death Thrash from Peruvian Hell)

RIOT – (ThrashMetal, Czechia & Ukraine)

Savage Violence – (Death Thrash, Berlin)

Doors: 20:00 Noise: 21:00

https://berlin.askapunk.de/event/konzert-in-k-f

Free download codes:

Rancorous - In Extremis

"Unrelenting uncompromising thrashing metal of death"

https://getmusic.fm/l/3o5D7y

#blackmetal #deathmetal #thrashmetal #deaththrash #music

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

The storms persist, but now it’s getting hot! Steam roils inside the filter ducts as my minions scald themselves in the pursuit of moderately valuable nuggets. Will they succeed before they cook like so many broccoli florets? Only time will tell.

Dead or alive, I’ll make sure these lazy louts deliver their semi-precious lodes. So be thankful, and BEHOLD!

Kenstrosity’s Mountainous Member

Volcandra // Beyond the Will of Mortals [April 24th, 2026 – Prosthetic Records]

Who knows why we don’t get promo sometimes? Countless times I’ve been faced with great anticipation for a new record by a band I was keeping tabs on, and countless times, for unknown reasons, promo never came. Louisville melodic black/death quartet Volcandra now enter those ranks with the unsent Beyond the Will of Mortals. Picking up where The Will of Ancients left off, Beyond the Will of Mortals expands in scope and scale, eliciting a grandeur in composition that recalls the epic yarns spun by Foretoken, Hath, and Astralborne, but with the thrashing sensibilities of Antiverse and Skeletonwitch. Leading the charge in stunning fashion, “Beyond the Will of Mortals” and “Marauders of the Cosmic Vortex” explode with a visceral burst of energy built around high-octane riffs, screaming solos, and majestic melodies. Dave Palenske in particular acquits himself admirably, expanding his vocal range far beyond the expected, foraying into scorching screams and subterranean gutturals with excellent technique and charisma (“Venom March Enchantress”). But the rest of the band easily keeps up, deftly trading blows between power metal-ready gallops, violent swings into thrash territory, and all manner of other pyrotechnics to make Beyond the Will of Mortals Volcandra’s most versatile and varied offering yet. To some, this may create a disjointed experience as rippers like “Mage of Fabled Sorcery” contrast in pacing and personality to its neighbors. However, with repeat listens that effects dissolves, making more room to appreciate how much fun this record really is. The back half capitalizes on that effect, unleashing lean and mean banger after banger to leave you salivating for another round (“Within the Webs,” “Infinite Decadence”). In sum, Beyond the Will of Mortals is a fine, invigorating inclusion into anyone’s rotation; so if you missed it, get on it now!

Creeping Ivy’s Punkyard Dogs

Dead Bob // Nothing Changes Everything [April 21st, 2026 – Wrong Records]

In The Collector’s Guide to Heavy Metal, Martin Popoff describes Wrong (1989) by Nomeansno as ‘the mightiest merger between the hateful aggression of punk and the discipline of heavy metal’ (316). Essentially, Popoff affixed to Wrong AMG’s Iconic label: 10/10.1 For readers perhaps unfamiliar with Nomeansno, my best follow-up on Popoff’s portrayal is that the band—formed in 1979 by the Wright brothers (Rob on bass/vocals, John on drums/vocals)—sounds like The Minutemen hijacked a Voivod. After an incredible eleven-album run, Nomeansno officially retired in 2016. Why am I wasting my word count with this history lesson on the greatest Canadian punk band of all time? Because Dead Bob, John Wright’s solo project, released its sophomore album this April. Whereas Life Like fulfills the vision of one man, John enlisted a band for Nothing Changes Everything. Bookending the album are the last two songs John co-wrote with Rob. The techy guitar/bass interplay of lead-off “Centre of the Universe,” as well as the pounding rhythms of closer “No Fun (Alt Mix),” come closest to the punk/metal hybridity of vintage Nomeansno. Between these tracks, the album gets increasingly weird (which is to say, it gets increasingly ‘punk,’ in the word’s original connotation). “Nothing Changes Everything” deploys horns, “Hard is Hard” mixes art/surf rock, and “The Present” sprinkles psychedelic guitar leads over pulsing synths and tribal percussion. If you’re a fan of avant-garde music in a compact package, you can’t go wrong with Nothing Changes Everything.

Poison Ruïn // Hymns from the Hills [April 3rd, 2026 – Relapse Records]

Whilst reading Tyme‘s (excellent) review of Twin Serpent’s (super fun) True Norwegian Blackgrass, a member of the commentariat reminded me of how much I enjoyed Poison Ruïn’s latest offering upon a first listen. That comment got me to revisit Hymn from the Hills, and I’m glad I did. To sell these Philly post-punks to the AMG Faithful, I’ll point out a few things: they’re signed to Relapse Records, they curate a medieval aesthetic (which includes deploying dungeon synths), and the new record was mastered by Arthur Rizk. In addition to liberal metal elements, Poison Ruïn occasionally stride with rock n’ roll swagger (“Hymn from the Hills”), with primary visionary Mac Kennedy channeling Blue Öyster Cult in his role as singer, guitarist, and primary songwriter (“Lily of the Valley”). “Eidolon” perfectly exemplifies the band’s hybridity, mashing up the melody of “Layla,” the propulsive drive of Hüsker Dü, and the rhythmic punctuations of “For Whom the Bell Tolls.” This may sound like a critique, but it’s not; Poison Ruïn excels at mixing punk, rock, and metal into their own arthouse concoction. Metal purists might have to wait until the end of the album, though, to have their fancy truly tickled. But wait, they should, as “Sleeping Giant (Interlude)” offers funeral doom content in a punk-sized package, while closer “The Standoff” gets moving with a wicked blast beat. I’ll definitely be heading for these post-punk hills more and more throughout the year.

Scimitar // Scimitarium II [April 24th, 2026 – Crypt of the Wizard]

Scimitar’s first song receptacle was one of my favorite debuts of 2025. On Scimitarium I, this Danish five-piece served up a scintillating selection of ‘black occult rock,’ combining the caustic fervor of Malokarpatan with the psychedelic haze of Blue Cheer, topped off with a post-punk flavoring of Joy Division. A year later, this Copenhagen cutter returns with Scimitarium II, a follow-up that satisfyingly mirrors the album-art format of its predecessor. Whereas Scimitarium I demonstrated range marred a bit by roughshod production, volume II sounds much sharper, slashing and dashing for a lean 40 minutes. The opening title track introduces our combatants: the dexterous drumming of CCsquele; the counter-melodic bass of Olle Bergholz; the sinister guitar fury of Johan L. Ekstrand and Anders M. Jørgensen; and finally, the commanding vocals of Shaam A.2 From there, the album rips through a trio of unrelenting ragers that feel like they can fall apart at any minute but miraculously hold together. “Through Lava Lit Roads to Lavilenda, Pt. II” offers the only reprieve, spotlighting Shaam’s dynamic range and impressive timbre. Closing out the collection is “Mobula Mobular,” a 13-minute monster built around a doomy riff whose chromaticism lurches upward and downward, to hypnotizing effect. If Scimitar can marry the ambition of I with the ferocity of II next time around, they’ll have a blackened-trad killer on their hands.

Andy-War-Hall’s Dandy Score Haul

Elegant Weapons // Evolution [April 24th, 2026 – Exciter Records]

Everything about Elegant Weapons and the super group’s sophomore record Evolution is a misnomer. Evolution is a high-octane slugfest of tried-and-true heavy metal-leaning hard rock, and Elegant Weapons swing, punch, and bite through it with everything but grace. Is this a problem? When Richie Faulkener’s (Judas Priest) riffs are as groovy and burly as ever and his solos as grin-inducing, Ronnie Romero’s (ex-Rainbow, ex-Michael Schenker Group) voice is booming as it is, and when Dave Rimmer (Uriah Heep) and Christopher Williams’ (Accept) bass and drums respectively, carry as tight a pulse as they do on Evolution, not at all. When it all coalesces into uber catchy fist-pumping anthems like “Bridges Burn,” “The Devil Calls,” and “Shooting Shadows,” especially so. Evolution is easy-peasy listening, and Elegant Weapons’ chemistry and knack for hookcraft make its near hour-long runtime fly by, as well as ease the cringe of the hyper-Boomeristic lyricism on “Generation Me.” They also manage to make fairly stock power ballads in “Come Back to Me” and “Keeper of the Keys” feel affecting, driven by a viral vocal presence and emotive, timeless guitar soloing. Evolution is fun, and Elegant Weapons are sharp. ‘Nuff said.

Demon Spell // Blessed Be the Dark [April 24th, 2026 – Dying Victims Productions]

Creeping from an obscure, ancient, and sinister darkness, Sicily’s Demon Spell have conjured a shadow-cast era of heavy metal’s history back to the light of day with their debut Blessed Be the Dark. Wielding the evil auras of Mercyful Fate and Witchfinder General, Demon Spell play an early-80s melange of early thrash, occult rock, and NWoBHM riffcraft and swagger. Blessed Be the Dark is driven by excellent performances. Vocalist Federico Fano’s falsetto wails evoke King Diamond at his best on “As Lucifer Smiles” while drummer Dario Casabona drops slick, pummeling fills over “Curse of the Undead.” Sinister melodies and atmospheres abound on Blessed Be the Dark, with “The Tolling” and “Hexes and Horrors” driving home a vintage horror aesthetic while tearing it up with blistering heavy metal. Blessed Be the Dark also just sounds pleasantly old. Demon Spell’s guitars and bass sound pulled straight from 1981, complementing their retro songcraft perfectly. Blessed Be the Dark sounds like the night come alive, a fast, fun, and delightfully dark exploration of the kinds of heavy metal that gave your grandma panic attacks back in the day. Fall under the Demon Spell today!

Grin Reaper’s Grim Goodies

Nervosa // Slave Machine [April 3rd, 2026 – Napalm Records]

For a band releasing their sixth album in twelve years, Nervosa sounds remarkably vital. Staying the course with a dozen tracks of their signature death/thrash, Slave Machine burns through forty-three minutes of whammy dives, soaring leads, and all-around thrashy goodness. Writing tunes that pay homage to Sepultura (“You Are Not a Hero”), Kreator (“Ghost Notes”), and Sodom (“The Call”), Nervosa bludgeons with blunt-force drama while touting slick riffs and venomous melodies. Slave Machine opens with “Impending Doom,” a stirring salvo that Arch Enemy wishes they’d written, and from there Nervosa hints at the familiar without ever straying from their own lane. “Hate” starts with a riff that simultaneously reminds of Maiden’s “Flash of the Blade” and System of a Down’s “B.Y.O.B.” before spiraling into vaguely In Flames-tinged melodeath. Meanwhile, “Crawling for Your Pride” and “Beast of Burden” draw from the viciousness of mid-aughts Soulfly. Over and over, Nervosa pulls from known sources, yet bakes enough novelty into their songwriting to sound fresh and pummeling. Those intimate with Nervosa won’t find many surprises here, but are in for a treat. If this is your first encounter with these Brazilian badasses, gird your ears and strap in—welcome to the Slave Machine.

Kõdu // Kirjad Sõgedate Külast [April 20th, 2026 – Antiq Records]

Five years after delivering debut Unusta Kõik, Estonian outfit Kõdu graces us with their sophomore album. Translated as ‘Letters from the Village of the Blind,’3 Kirjad Sõgedate Külast details the sordid ruination of a backwoods village, relating its narrative aspects through a series of letters where each song chronicles a different villager’s perspective.4 Kõdu grounds the lyrics in their native language, drawing from nineteenth and twentieth-century Estonian poets for inspiration. Despite the depth of the macabre backdrop, I never would have taken the time to learn more if Kõdu’s music hadn’t entranced me from the outset. Slow-burn black metal abounds on Kirjad Sõgedate Külast, recalling Dødheimsgard’s shifting moods (“II”) and eclectic instrumentation (“III”) muddled with Wayfarer’s rustic arrangements (“VI”) and Emperor’s dramatic flair (“V”). Musically, Kirjad Sõgedate Külast conjures lush soundscapes (“VII”) through considered songwriting, expertly balancing black metal discharges with melancholic passages that give moments just the right amount of time to bludgeon or breathe before pivoting. I regret not getting the chance to review Kõdu’s latest in full, because the folk magic they weave on Kirjad Sõgedate Külast deserves fanfare and kudõs aplenty.

ClarkKent’s Epic Elegy

Bloody Valkyria // Requiem – Reveries Of The Dying [April 3rd, 2026 – Northern Silence Productions]

Bloody Valkyria, the product of Finland’s Jere Kervinen, peddles in the same sort of epic symphonic/folk black metal that the likes of Ancient Mastery, Stormkeep, and Moonlight Sorcery dish out. Kervinen’s emotionally charged project appears inspired by a personal loss, and you can feel his passion in the emotional outpouring of his music and lyrics. On the epic opener, “Symphony of Silence,” Bloody Valkyria reveal their capability with the patient slow burn. There’s the natural, serene ambience of animal sounds, strings, folky flutes, and then a sudden explosion of riffs and blast beats. And boy does Kervinen write some extraordinary leads, which makes his slow-burn approach all the more rewarding. Each song contains a well-earned hooky riff/trem that holds its sway over you even as the song grows into more thoughtful serenity. Reading along with Kervinen’s poetic, touching lyrics makes the experience all the more poignant as he ruminates on death and the meaning of life. The grief by the end, as he sings about his “beloved north” and a desire for its/her embrace, is palpable. This is a beautiful record that may be too good for these dirty filters, but I just couldn’t risk it getting lost in the shuffle of the chaos that is the end of year.

UK antifascist blackened death/thrash trio Tyrannus caught my attention with the be-castled cover art for their upcoming sophomore record, Mournhold. Having never listened to them prior, I gravitated towards the promise of yet another robust hybrid of styles and sounds. With bands like Antiverse and Skeletonwitch to call on as points of comparison, Tyrannus all but guarantee my appreciation. This is the kind of genre-blending that I crave on an hourly basis. Does Mournhold have the goods to satisfy my voracious needs?

Lead single “Reignfall” demonstrates that Tyrannus aren’t fucking around, boasting an adrenaline-fueled cataclysm of riffs, shreds, pummels, and roars. It is an ideal case study for what Mournhold captures, ensaring the icy raze of black, the fiery vitriol of thrash, and the swaggering aggression of death in one fell swoop. Separated from those superficial attributes, it embodies the Platonic ideal of a great metal track. And so, Tyrannus publish their infernal formula, and Mournhold’s multifaceted application of that formula brews excitement and fun at every turn. Tightly packed into 40 minutes, seven tracks tear through a blunderbuss of cool ideas, hooky motifs, and fun deviations from the expected.

Most surprising of these diversions is center cut “Flesh Eternal,” which recalls the gothic swing of Tribulation if they took the ashen path to black/thrash. A really cool song on its own, “Flesh Eternal” more importantly cements Tyrannus as versatile songwriters and shrewd album composers. It resolves the aggressive black metal scorch of the first three songs—the best of which (“Orbus Non Suffict,” “Seizing Stars”) fulfill the gap left by Skeletonwitch after Serpents Unleashed. At the same time, it sets up the second act, beautifully bisecting Mournhold’s story with something a little more rock-oriented as a palette cleanser. That brief reprieve allows me to properly prepare myself for “Reignfall.” A barnburner of devilish nature, “Reignfall” Hellrips my face clean off with speed-metal riffs, righteous dive-bomb solos, and downright ignorant grooves charred by black metal rasps. A second twist that I hoped for but dared not expect, Mournhold’s back half transitions to altogether darker and moodier spaces than the front. “Slower” and longer form compositions (“Mournhold,” “Back to Grey”) reside in those spaces, creating an expanded stage for Tyrannus’ final ideas to land and settle.

This arrangement allows listeners to bask in more instrumental noodling and melodic storytelling as Mournhold comes to a close, but the risk of drag creeps in. “Mournhold” is certainly thrashy and aggressive enough in its second half to offset that inertia, but at six-and-a-half minutes, it rubs against bloat with a cocky smirk. Closer “Back to Grey” toys that line even more salaciously, teasing attention spans to their limit at nearly eight minutes. Luckily, its classic heavy metal gallop and olde-timey meloblack charm make it hard to hate. Like many tight runtimes, though, 40 minutes suffers more noticeably when any one song overstays its welcome; Mournhold’s final couplet gently cross that threshold. Cutting a minute from each—perhaps fewer repetitions of a riff here, and trimming an intro or bridge there—would make them stronger and thus improve the whole in kind.

Mournhold doesn’t need much improving, though, to be an unqualified success. It’s a rip-roaring fun time, with a youthful personality as exuberant as it is infectious. Tyrannus improved in every aspect on the promise of their debut, refining their voice into something highly recognizable and alluring. If this is just the beginning for Tyrannus, I tremble to think of what they might accomplish on future records. That’s a later Ken problem. For now, I’m content and gunning to storm castles and slay eldritch monsters for an eternity with Mournhold. Join me!

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: True Cult Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Big Ass Metal Fest 45 just took place at #dbsutrecht Not sure how we missed the first 44 but the most important is that we finally had the opportunity to see #deadhead on stage. The #deaththrash veterans played with #escarnium and #shinigami Some killer bands don’t play live much, or focus their time outside their native habitat. We don’t know which applies to Dead Head, just that it was worth the wait.

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

Another week of Mondays is afoot. Let's drown that out. https://master.bandcamp.com/album/collection-of-souls #MasterBand #DeathThrash

The new Beyond the Pale line-up, captured again. 🤘

We are deep into rehearsals with our new lead vocalist Bram and the vibe is stronger than ever. We can't wait to unleash this new energy live.

📅 May 10, 2026
📍 Club Hell, Diest (BE)
⚔️ Supporting Pestilence

#BeyondThePale #Metal #DeathMetal #ThrashMetal #thrash #DutchMetal #DeathThrash #metalband #metalband #metalmusic #metalcommunity

Free download codes:

Rancorous - Vultures Will Gather

"Raw, gritty, and abrasive blackened thrash that is sure to destroy... -Metal Trenches"

https://getmusic.fm/l/jBOQaJ

#metal #blackmetal #deathmetal #thrashmetal #extrememetal #deaththrash #blackthrash #music

For @derthomas' #ThrashThursday:

#Dissentience: Kaiju

https://album.link/xv9r4gnnnmpr5

#DeathThrash

FFO #Begravement #Confess #Depravity

The Netherlands really is the home of death thrash. So many great acts, and now we can add Black Rabbit to the list.

Warren of Necrosis EP by Black Rabbit:
https://blackrabbitnl.bandcamp.com/album/warren-of-necrosis-2

#ThrashThursday #Thursdeath #DeathThrash

Messiah - Sikhote Alin

The opener of Messiah’s last album. I have to admit that I had forgotten that band until I saw them live a couple of weeks ago. They did a good job and appeared to be very nice guys with a maniac on the bass guitar.

I like their sway between thrash and death metal and their old school sound. This track maybe does not quite represent that, however I like it.

https://youtu.be/e-3fCA5gbzs

#metal #rezensionen #vinyl #music #Messiah #DeathThrash

I just had the pleasure to attend a live show by Revocation. If you are into complex and really hard technical stuff I can only recommend to buy their albums.

https://tidal.com/track/432037234/u Here’s the track Sarcophagi of the Soul from the current one.

#metal #rezensionen #vinyl #music #concert #revocation #DeathThrash

Free download codes:

Rancorous - Into the Nuclear Fire

"Savage ripping death thrash from the edge of the abyss"

https://getmusic.fm/l/1BVSDY

#metal #blackmetal #deathmetal #thrashmetal #extrememetal #deaththrash #music

Free download codes:

Abhorred - None Shall Be Spared

"Raging uncontrolled thrash grinding metal of death"

https://getmusic.fm/l/kyCojO

#metal #blackmetal #deathmetal #thrashmetal #thrash #deaththrash #deaththrash #music

The Final Witness – Beneath the Altar Review

By Angry Metal Guy

By: Nameless_n00b_607

In a genre long since matured, a common way to avoid retreads is to combine multiple subgenres.1 Contemporary thrash in particular is difficult to get right without the proper guitar assault required to break necks. Hence, many opt to go for one of its offshoots instead. One newcomer looking to explore the avenue of genre blending is The Final Witness, the solo project of multi-instrumentalist Josh Henderson. Debut Beneath the Altar promises to deliver death and thrash in progressive form to the unwashed masses. I dove into Beneath the Altar with caution, having seen how often this combination of terms gets misused, but hoping The Final Witness would fulfill its promise.

Inspired guitar work and appropriate variety are the main strengths of The Final Witness. The majority of Beneath the Altar involves two core components: progressive thrash (“Coronation,” “The Blood”) and death/thrash (“Sanctum of the Holy”). Plentiful melodic leads further color the album, with “Testimony” even evoking the Gothenburg sound. Lastly, quieter semi-acoustic passages bridge these individual pieces together with varied levels of success. The compositions are vivid and frenetic, alternating between traditional breakneck drumming and rhythmic trickery. Henderson’s distorted vocals lack a bit of thrash attitude, but they do a fine job of punctuating the compositions with barks and snarls. Beneath the Altar’s best moments take inspiration from Coroner and Vader, and I wish those moments were much more frequent, because the sound leans a bit too close towards the groove school of guitar chugging on occasion (“Negative World,” “Principalities”). Nevertheless, the foundation of the album holds, and Henderson’s performances are impressive.

Beneath the Altar’s experimental side comes at the expense of its strengths. On top of the album’s bread and butter, most tracks differentiate themselves with eccentricities. For example, the title track’s electronic break with an almost hip-hop-like beat is memorable and surprisingly well-made, but it doesn’t exactly fit. “Testimony” ends with a dramatic organ layer that could sound excellent if the mix didn’t turn it into an ear-piercing inconvenience. Many of these one-off gimmicks are fun, but they are either misused or discarded before leaving an impact. Worse, they are a distraction. Beneath the Altar really shines when exploring the rhythmic and melodic sides of death/thrash. Diverging from this path trades depth for breadth; a tighter track like “Sanctum of the Holy” proves that The Final Witness would only benefit from holding onto a theme for longer.

The disparate ideas of Beneath the Altar are greater than the sum of their parts. Its foundational pillars work wonders individually, but interact too infrequently, and one-off experimental touches are fun but out of place. The somber semi-acoustic parts—while well done—hinder song flow when utilized too frequently (“Principalities”) and blend together after multiple listens. Good ideas feel haphazardly assembled. The foregoing is exacerbated by its production, overseen by Jason Wisdom of Becoming the Archetype. The sound is both sterile and rough, with Wisdom prioritizing guitars over vocals and drums—both of which are loud and distracting. Its qualities conjure a strange illusion of metalcore adjacency, further contributing to the album’s incoherent identity. All that being said, I don’t mind listening to Beneath the Altar again. There’s a lot to like, and a brief 36-minute runtime makes sure the record doesn’t overstay its welcome. Yet I feel more compelled to revisit individual parts of songs rather than any particular song in full.

Beneath the Altar is an interesting but unfocused prototype. Getting a solo project this far is already respectable, but I reckon Mr. Henderson is still capable of much more. With more coherent composition and a unified vision, the ideas on this record could form a powerful message. There are exciting bits and pieces here to digest, even if they don’t necessarily form a cohesive whole, and the result is that Beneath the Altar feels like a starting point for better things to come. But for the time being, The Final Witness is still trying to find its sound—and I find myself craving some Coroner instead.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s CBR MP3
Label: Rottweiler Records
Websites: Bandcamp | Facebook | Instagram
Release Date: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #BecomingTheArchetype #BeneathTheAltar #Coroner #DeathThrash #ProgressiveThrashMetal #Review #RottweilerRecords #TheFinalWitness #ThrashMetal #Vader

Vertebra – The Same Review

By Angry Metal Guy

By: Nameless_n00b_601

There’s no shortage of bands trying to bottle the lightning of Death’s progressive era. Between groups like Horrendous, Paranorm, or even not-quite-cover-band Gruesome—whose recent take on Human with Condemned Identity is the band’s most exciting effort—there are plenty of impressive takes on Chuck Schuldiner’s revered late-‘90s output. Enter Vertebra: a Brazilian act that formed in the mid-‘90s, Vertebra disbanded before releasing a debut album. Now, in 2025, they have re-emerged from the sands of time with a mission to finally finish what they started. Their long-overdue debut release, The Same, promises a slab of progressive death/thrash which balances “raw edges” with “melodic awareness” in a way that “defies the passage of time.” Can these reunited rockers craft a collection of tunes that innovates and stands alongside their clear inspiration? Or has their time apart left us with a batch of songs that feel, well, The Same?

Vertebra’s take on death/thrash is firmly rooted in the sound of albums like Symbolic and The Sound of Perseverance, but it’s supercharged thanks to the dynamic guitar work of Arildo Leal and Fernando Luzardo. The duo rarely stays in one mode for long, shifting between acrobatic riffing and soaring melodic leads, often favoring the harmonic minor. This is the scale that classic Death melodies like “Lack of Comprehension” are in—it sounds “Egyptian” for lack of a better descriptor. Whether it’s Kreator-tinged thrash gallops (“Oblivion”), aggressive death metal tremolos (“Architecture of Perspective”), or proggy suspended-chord riffs (“Fanatic and Picturesque”), the two guitarists glide between styles with confidence, driving these constantly evolving compositions. The Same also features significantly more lead and harmony work than classic Death albums, which largely relegate leads to dedicated solo sections. Those are present here as well, and they’re impressive and reminiscent of James Murphy, especially, but Leal and Luzardo present a much more fluid take on leads, weaving them in and out of standard riffs (“Humanity”) and sweeping melodic sections (“Blessed Are the Forgetful”). Occasionally, this can distract from the effective simplicity of certain moments, but overall, their distinctive approach is one of Vertebra’s key strengths.

That same sense of urgency and exploration extends to Vertebra’s rhythm section—sometimes to the detriment of the songs and, by extension, the album as a whole. Drummer Cristiano Hulk (yes, really) brings a rock-solid, Bill Andrews-esque backbone to the material, but it’s bassist Tiago Vargas who often takes center stage. His hyperactive, “lead bass” approach recalls a blend of Steve DiGiorgio and Geddy Lee. Rarely does Vargas follow along with the rhythm guitars, instead opting for dexterous, serpentine basslines that give an Atheist flair to much of the record. Often, this accents the part nicely and provides a bit more instrumental nuance to any given section, but when it doesn’t—during a big chorus (“The Same”) or melodic section (“Fanatic and Picturesque”)—this highlights The Same’s biggest issue: a lack of definitive, memorable hooks to contrast with its rapid pace. A Death song like “Spirit Crusher” works as well as it does because its simple, primary chorus riff provides both a breather and release from the adventurous parts which surround it. Vertebra has no shortage of solid riffs and interesting sections that usually transition fluidly in and out of each other, but lack emphatic or iconic moments that make each song stand out.

This places The Same in an interesting predicament, where all of its tracks are remarkably consistent and varied in their own way, but as an album, I’m hard pressed for individual moments that beckon repeated listens. Vertebra succeeds with numbers like the sprawling “Behind the World,” the Masvidal-inspired “Overcoming the Void,” and mid-tempo prog-ripper “95 Eyes,” but much of the track list struggles to leave a lasting impression, even after a week of listening. Part of the issue lies in Arildo Leal’s vocal delivery. His high-pitched, raspy bark is serviceable in verses and suits the style (a less favorable description might claim it sounds like Dave Mustaine doing his best Quorthon impression), but it falters in the choruses, many of which rely on simple, repeated phrases (“Behind the World,” “Humanity,” or “The Same”). This puts more pressure on the songwriting to carry the weight, but it can get lost in the album’s relentless pacing.

The Same is a frustrating record to evaluate. It’s clearly good but missing the extra “oomph” of something great.1 Vertebra demonstrates a thorough understanding of the ins and outs of what makes late-‘90s Death engaging and puts its own unique spin on the material with oodles of instrumental embellishments. As a debut, it’s strong and satisfying in its way, but it doesn’t quite rise to meet the standard set by its peers. If Vertebra ever produces a follow-up, maybe next time they can focus on making sure the songs don’t sound The Same.2

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s CBR MP3
Label: Xtreem Music
Website: xtreemmusic.bandcamp.com/album/the-same
Releases Worldwide: July 29th, 2025

#2025 #30 #Atheist #BrazilianMetal #Death #DeathMetal #DeathThrash #GeddyLee #Jul25 #Kreator #Review #Reviews #SteveDiGiorgio #TheSame #ThrashMetal #Vertebra #XtreemMusic

​:BlobCat_Vibing:​ catching up on the new Oxygen Destroyer
https://oxygen-destroyer.bandcamp.com/album/guardian-of-the-universe
#DeathMetal #ThrashMetal #DeathThrash #music

#TheMetalDogArticleList
#MetalInjection
Album Review: HORRENDOUS Ontological Mysterium
"Horrendous, known for taking risks, really outdid themselves."

https://metalinjection.net/reviews/album-review-horrendous-ontological-mysterium

#Horrendous
#OntologicalMysterium
#MetalAlbumReview
#HeavyMetal
#DeathMetal
#DeathThrash
#ThrashMetal

#NowPlaying #TheMetalDogIsNowPlaying
#Sarcófago
The Laws Of Scourge
Midnight Queen

YouTube Search:
https://youtube.com/results?search_query=Sarcófago+The+Laws+Of+Scourge+Midnight+Queen

Lyrics:
https://genius.com/Sarcofago-midnight-queen-lyrics

Song Link:
http://www.youtube.com/watch?v=PlnbfJGf98E

#thrashmetal #blackmetal #metal #DeathThrash #heavymetal