#demolitionhammer — Public Fediverse posts

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 .44 Caliber Brain Surgery

#DemolitionHammer

https://masshypnosia.bandcamp.com/track/44-caliber-brain-surgery-demolition-hammer-cover

https://open.spotify.com/track/0aMqAaZaFz8iD2IsUfMzkt

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 .44 Caliber Brain Surgery

#DemolitionHammer

https://masshypnosia.bandcamp.com/track/44-caliber-brain-surgery-demolition-hammer-cover

https://open.spotify.com/track/0aMqAaZaFz8iD2IsUfMzkt

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 .44 Caliber Brain Surgery

#DemolitionHammer

https://masshypnosia.bandcamp.com/track/44-caliber-brain-surgery-demolition-hammer-cover

https://open.spotify.com/track/0aMqAaZaFz8iD2IsUfMzkt

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 .44 Caliber Brain Surgery

#DemolitionHammer

https://masshypnosia.bandcamp.com/track/44-caliber-brain-surgery-demolition-hammer-cover

https://open.spotify.com/track/0aMqAaZaFz8iD2IsUfMzkt

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 .44 Caliber Brain Surgery

#DemolitionHammer

https://masshypnosia.bandcamp.com/track/44-caliber-brain-surgery-demolition-hammer-cover

https://open.spotify.com/track/0aMqAaZaFz8iD2IsUfMzkt

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

Invictus – Nocturnal Visions Review

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #4.0 #DeathMetal #DemolitionHammer #Depravity #Entertainment #Incantation #INVICTUS #Jan26 #JapaneseMetal #MeSacoUnOjoRecords #NocturnalVisions #Pestilence #review #reviews #TombMold
https://www.newsbeep.com/us/431327/

Invictus – Nocturnal Visions Review

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #4.0 #DeathMetal #DemolitionHammer #Depravity #Entertainment #Incantation #INVICTUS #Jan26 #JapaneseMetal #MeSacoUnOjoRecords #NocturnalVisions #Pestilence #review #reviews #TombMold
https://www.newsbeep.com/us/431327/

https://www.europesays.com/uk/722416/ Invictus – Nocturnal Visions Review #2026 #4.0 #DeathMetal #DemolitionHammer #Depravity #Entertainment #Incantation #invictus #Jan26 #JapaneseMetal #MeSacoUnOjoRecords #music #NocturnalVisions #Pestilence #Review #Reviews #TombMold #UK #UnitedKingdom

https://www.europesays.com/ie/304767/ Invictus – Nocturnal Visions Review #2026 #4.0 #DeathMetal #DemolitionHammer #Depravity #Éire #Entertainment #IE #Incantation #Invictus #Ireland #Jan26 #JapaneseMetal #MeSacoUnOjoRecords #Music #NocturnalVisions #Pestilence #Review #Reviews #TombMold

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death metal roundup feature. Since then, the Japanese death metal trio toiled under the ground with a brutal live schedule and steadily wrote what might very well be my most highly anticipated follow-up in the death metal realm. Hot on the heels of killer releases from personal favorites like Depravity, and jumping just ahead of another highly anticipated salvo from Eximperitus, Invictus’ upcoming Nocturnal Visions has big shoes to fill and stiff competition to combat. But if anybody has the chops and the balls to do it, it’s Invictus.

Having only one previous album and a few scattered demos/singles to their name, Invictus haven’t messed with their formula very much since their inception. Boasting a killer combo of Demolition Hammer nastiness and Consuming Impulse-era Pestilence attack, Nocturnal Visions pushes 35 minutes of pure adrenaline. Nary a second faffs about with filler, fluffy atmosphere, or anything else that could be construed as something other than devout reverence to The Almighty Riff™. With each twist of phrase or shift in movement, guitarist/vocalist Takehitopsy Seki tears through an unrelenting assault of intense grooves, speedy thrashes, and writhing rhythms that don’t just open up pits, but rather rip open dimensional rifts straight to hell itself (“Altar of Devoted Slaughter,” “Wandering Ashdream”). Instead of relying on blasts for intensity, Haruki Tokutake’s percussive strategy focuses on machine-gun double-bass runs and thrashy skanks so brutally exacted upon my spine that I needed a back brace and headgear just to approach the second half—accommodations which in no way deterred my summary bodily encrushment (“Persecution Madness”). Bassist Toshihiro Seki clunks and clangs beneath the surface with a violent, hammering tone that, while not always as audible as it ought to be, nonetheless deepens the tonal quality of the record’s warm, slightly swampy production (“Nocturnal Visions”). Unlike many of those acts from whom Invictus draws inspiration, Seki’s vocals operate squarely inside the Incantation/Tomb Mold school of subterranean monstrosity. Counterintuitively, this sets the trio apart from their influences by hiding in plain sight with their contemporaries.

Nocturnal Visions by Invictus

Regardless of where you fall in the greater scope of metallic fandom, Nocturnal Visions is a magnificent showcase of energetic songwriting and devastating hookcraft. While the formula opener proper “Abyssal Earth Eradicates” utilizes feels and sounds familiar, Invictus executes it with a youthfulness, voracity, and dare I say exuberance that makes me forget for a moment the entirety of death metal’s history. As Nocturnal Visions progresses through its early movements, boasting killer tracks in “Altar of Devoted Slaughter,” “Lucid Dream Trauma,” and “Persecution Madness,” my ability to care about anything other than banging my head, grimacing like a gargoyle, and stomping my poor abused feet against the floor vanishes. What’s left is a mind-broken sponge reduced to primal instincts, with a vocabulary of one word, “Fuck!” exclaimed exclusively with each new swaggering groove or pummeling riff. Even after several dozen spins, pit monsters “Persecution Madness,” “Dragged Beneath the Grave,” and later highlight “Wandering Ashdream” received such frequent and aggressive verbal confirmation of their sheer awesomeness and perpetual energy that my coworker had to perform a wellness check. Even the daunting eight-minute closer “Nocturnal Visions” earns its keep here, switching up themes and reprising refrains just enough to keep my interest up and my engagement high.

That doesn’t leave much room for negatives, and indeed, few found purchase in my evaluation. Obviously, Nocturnal Visions exhibits nothing new or innovative; it’s simply doing classic death metal far better than most. Consequently, Invictus left some creativity and novelty on the table. They could easily pick up bits and bobs from that stack of potential ideas and bring an extra dimension to future efforts without sacrificing their core sound. Additionally, pacing Nocturnal Visions at such a blistering rate of speed so consistently across 35 minutes leaves a little to be desired in the way of songwriting dynamics. Tokutake in particular makes the most of his arsenal of patterns, fills, and tumbles to alleviate this condition, but not quite enough to cure it—see the otherwise ripping “Frozen Tomb.” Seki’s somewhat one-note vocal approach doesn’t always help matters in that respect, but his performance is rock-solid and dependable enough not to hurt either.

Of course, these critiques amount to mere nitpicks in the truest sense of the term. Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era. Invictus blasted my skull apart with their debut, but this sophomore effort is more than a worthy successor. Hear it!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Me Saco Un Ojo Records
Websites: invictus3.bandcamp.com | facebook.com/Invictus
Releases Worldwide: January 26th, 2026

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death metal roundup feature. Since then, the Japanese death metal trio toiled under the ground with a brutal live schedule and steadily wrote what might very well be my most highly anticipated follow-up in the death metal realm. Hot on the heels of killer releases from personal favorites like Depravity, and jumping just ahead of another highly anticipated salvo from Eximperitus, Invictus’ upcoming Nocturnal Visions has big shoes to fill and stiff competition to combat. But if anybody has the chops and the balls to do it, it’s Invictus.

Having only one previous album and a few scattered demos/singles to their name, Invictus haven’t messed with their formula very much since their inception. Boasting a killer combo of Demolition Hammer nastiness and Consuming Impulse-era Pestilence attack, Nocturnal Visions pushes 35 minutes of pure adrenaline. Nary a second faffs about with filler, fluffy atmosphere, or anything else that could be construed as something other than devout reverence to The Almighty Riff™. With each twist of phrase or shift in movement, guitarist/vocalist Takehitopsy Seki tears through an unrelenting assault of intense grooves, speedy thrashes, and writhing rhythms that don’t just open up pits, but rather rip open dimensional rifts straight to hell itself (“Altar of Devoted Slaughter,” “Wandering Ashdream”). Instead of relying on blasts for intensity, Haruki Tokutake’s percussive strategy focuses on machine-gun double-bass runs and thrashy skanks so brutally exacted upon my spine that I needed a back brace and headgear just to approach the second half—accommodations which in no way deterred my summary bodily encrushment (“Persecution Madness”). Bassist Toshihiro Seki clunks and clangs beneath the surface with a violent, hammering tone that, while not always as audible as it ought to be, nonetheless deepens the tonal quality of the record’s warm, slightly swampy production (“Nocturnal Visions”). Unlike many of those acts from whom Invictus draws inspiration, Seki’s vocals operate squarely inside the Incantation/Tomb Mold school of subterranean monstrosity. Counterintuitively, this sets the trio apart from their influences by hiding in plain sight with their contemporaries.

Nocturnal Visions by Invictus

Regardless of where you fall in the greater scope of metallic fandom, Nocturnal Visions is a magnificent showcase of energetic songwriting and devastating hookcraft. While the formula opener proper “Abyssal Earth Eradicates” utilizes feels and sounds familiar, Invictus executes it with a youthfulness, voracity, and dare I say exuberance that makes me forget for a moment the entirety of death metal’s history. As Nocturnal Visions progresses through its early movements, boasting killer tracks in “Altar of Devoted Slaughter,” “Lucid Dream Trauma,” and “Persecution Madness,” my ability to care about anything other than banging my head, grimacing like a gargoyle, and stomping my poor abused feet against the floor vanishes. What’s left is a mind-broken sponge reduced to primal instincts, with a vocabulary of one word, “Fuck!” exclaimed exclusively with each new swaggering groove or pummeling riff. Even after several dozen spins, pit monsters “Persecution Madness,” “Dragged Beneath the Grave,” and later highlight “Wandering Ashdream” received such frequent and aggressive verbal confirmation of their sheer awesomeness and perpetual energy that my coworker had to perform a wellness check. Even the daunting eight-minute closer “Nocturnal Visions” earns its keep here, switching up themes and reprising refrains just enough to keep my interest up and my engagement high.

That doesn’t leave much room for negatives, and indeed, few found purchase in my evaluation. Obviously, Nocturnal Visions exhibits nothing new or innovative; it’s simply doing classic death metal far better than most. Consequently, Invictus left some creativity and novelty on the table. They could easily pick up bits and bobs from that stack of potential ideas and bring an extra dimension to future efforts without sacrificing their core sound. Additionally, pacing Nocturnal Visions at such a blistering rate of speed so consistently across 35 minutes leaves a little to be desired in the way of songwriting dynamics. Tokutake in particular makes the most of his arsenal of patterns, fills, and tumbles to alleviate this condition, but not quite enough to cure it—see the otherwise ripping “Frozen Tomb.” Seki’s somewhat one-note vocal approach doesn’t always help matters in that respect, but his performance is rock-solid and dependable enough not to hurt either.

Of course, these critiques amount to mere nitpicks in the truest sense of the term. Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era. Invictus blasted my skull apart with their debut, but this sophomore effort is more than a worthy successor. Hear it!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Me Saco Un Ojo Records
Websites: invictus3.bandcamp.com | facebook.com/Invictus
Releases Worldwide: January 26th, 2026

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death metal roundup feature. Since then, the Japanese death metal trio toiled under the ground with a brutal live schedule and steadily wrote what might very well be my most highly anticipated follow-up in the death metal realm. Hot on the heels of killer releases from personal favorites like Depravity, and jumping just ahead of another highly anticipated salvo from Eximperitus, Invictus’ upcoming Nocturnal Visions has big shoes to fill and stiff competition to combat. But if anybody has the chops and the balls to do it, it’s Invictus.

Having only one previous album and a few scattered demos/singles to their name, Invictus haven’t messed with their formula very much since their inception. Boasting a killer combo of Demolition Hammer nastiness and Consuming Impulse-era Pestilence attack, Nocturnal Visions pushes 35 minutes of pure adrenaline. Nary a second faffs about with filler, fluffy atmosphere, or anything else that could be construed as something other than devout reverence to The Almighty Riff™. With each twist of phrase or shift in movement, guitarist/vocalist Takehitopsy Seki tears through an unrelenting assault of intense grooves, speedy thrashes, and writhing rhythms that don’t just open up pits, but rather rip open dimensional rifts straight to hell itself (“Altar of Devoted Slaughter,” “Wandering Ashdream”). Instead of relying on blasts for intensity, Haruki Tokutake’s percussive strategy focuses on machine-gun double-bass runs and thrashy skanks so brutally exacted upon my spine that I needed a back brace and headgear just to approach the second half—accommodations which in no way deterred my summary bodily encrushment (“Persecution Madness”). Bassist Toshihiro Seki clunks and clangs beneath the surface with a violent, hammering tone that, while not always as audible as it ought to be, nonetheless deepens the tonal quality of the record’s warm, slightly swampy production (“Nocturnal Visions”). Unlike many of those acts from whom Invictus draws inspiration, Seki’s vocals operate squarely inside the Incantation/Tomb Mold school of subterranean monstrosity. Counterintuitively, this sets the trio apart from their influences by hiding in plain sight with their contemporaries.

Nocturnal Visions by Invictus

Regardless of where you fall in the greater scope of metallic fandom, Nocturnal Visions is a magnificent showcase of energetic songwriting and devastating hookcraft. While the formula opener proper “Abyssal Earth Eradicates” utilizes feels and sounds familiar, Invictus executes it with a youthfulness, voracity, and dare I say exuberance that makes me forget for a moment the entirety of death metal’s history. As Nocturnal Visions progresses through its early movements, boasting killer tracks in “Altar of Devoted Slaughter,” “Lucid Dream Trauma,” and “Persecution Madness,” my ability to care about anything other than banging my head, grimacing like a gargoyle, and stomping my poor abused feet against the floor vanishes. What’s left is a mind-broken sponge reduced to primal instincts, with a vocabulary of one word, “Fuck!” exclaimed exclusively with each new swaggering groove or pummeling riff. Even after several dozen spins, pit monsters “Persecution Madness,” “Dragged Beneath the Grave,” and later highlight “Wandering Ashdream” received such frequent and aggressive verbal confirmation of their sheer awesomeness and perpetual energy that my coworker had to perform a wellness check. Even the daunting eight-minute closer “Nocturnal Visions” earns its keep here, switching up themes and reprising refrains just enough to keep my interest up and my engagement high.

That doesn’t leave much room for negatives, and indeed, few found purchase in my evaluation. Obviously, Nocturnal Visions exhibits nothing new or innovative; it’s simply doing classic death metal far better than most. Consequently, Invictus left some creativity and novelty on the table. They could easily pick up bits and bobs from that stack of potential ideas and bring an extra dimension to future efforts without sacrificing their core sound. Additionally, pacing Nocturnal Visions at such a blistering rate of speed so consistently across 35 minutes leaves a little to be desired in the way of songwriting dynamics. Tokutake in particular makes the most of his arsenal of patterns, fills, and tumbles to alleviate this condition, but not quite enough to cure it—see the otherwise ripping “Frozen Tomb.” Seki’s somewhat one-note vocal approach doesn’t always help matters in that respect, but his performance is rock-solid and dependable enough not to hurt either.

Of course, these critiques amount to mere nitpicks in the truest sense of the term. Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era. Invictus blasted my skull apart with their debut, but this sophomore effort is more than a worthy successor. Hear it!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Me Saco Un Ojo Records
Websites: invictus3.bandcamp.com | facebook.com/Invictus
Releases Worldwide: January 26th, 2026

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death metal roundup feature. Since then, the Japanese death metal trio toiled under the ground with a brutal live schedule and steadily wrote what might very well be my most highly anticipated follow-up in the death metal realm. Hot on the heels of killer releases from personal favorites like Depravity, and jumping just ahead of another highly anticipated salvo from Eximperitus, Invictus’ upcoming Nocturnal Visions has big shoes to fill and stiff competition to combat. But if anybody has the chops and the balls to do it, it’s Invictus.

Having only one previous album and a few scattered demos/singles to their name, Invictus haven’t messed with their formula very much since their inception. Boasting a killer combo of Demolition Hammer nastiness and Consuming Impulse-era Pestilence attack, Nocturnal Visions pushes 35 minutes of pure adrenaline. Nary a second faffs about with filler, fluffy atmosphere, or anything else that could be construed as something other than devout reverence to The Almighty Riff™. With each twist of phrase or shift in movement, guitarist/vocalist Takehitopsy Seki tears through an unrelenting assault of intense grooves, speedy thrashes, and writhing rhythms that don’t just open up pits, but rather rip open dimensional rifts straight to hell itself (“Altar of Devoted Slaughter,” “Wandering Ashdream”). Instead of relying on blasts for intensity, Haruki Tokutake’s percussive strategy focuses on machine-gun double-bass runs and thrashy skanks so brutally exacted upon my spine that I needed a back brace and headgear just to approach the second half—accommodations which in no way deterred my summary bodily encrushment (“Persecution Madness”). Bassist Toshihiro Seki clunks and clangs beneath the surface with a violent, hammering tone that, while not always as audible as it ought to be, nonetheless deepens the tonal quality of the record’s warm, slightly swampy production (“Nocturnal Visions”). Unlike many of those acts from whom Invictus draws inspiration, Seki’s vocals operate squarely inside the Incantation/Tomb Mold school of subterranean monstrosity. Counterintuitively, this sets the trio apart from their influences by hiding in plain sight with their contemporaries.

Nocturnal Visions by Invictus

Regardless of where you fall in the greater scope of metallic fandom, Nocturnal Visions is a magnificent showcase of energetic songwriting and devastating hookcraft. While the formula opener proper “Abyssal Earth Eradicates” utilizes feels and sounds familiar, Invictus executes it with a youthfulness, voracity, and dare I say exuberance that makes me forget for a moment the entirety of death metal’s history. As Nocturnal Visions progresses through its early movements, boasting killer tracks in “Altar of Devoted Slaughter,” “Lucid Dream Trauma,” and “Persecution Madness,” my ability to care about anything other than banging my head, grimacing like a gargoyle, and stomping my poor abused feet against the floor vanishes. What’s left is a mind-broken sponge reduced to primal instincts, with a vocabulary of one word, “Fuck!” exclaimed exclusively with each new swaggering groove or pummeling riff. Even after several dozen spins, pit monsters “Persecution Madness,” “Dragged Beneath the Grave,” and later highlight “Wandering Ashdream” received such frequent and aggressive verbal confirmation of their sheer awesomeness and perpetual energy that my coworker had to perform a wellness check. Even the daunting eight-minute closer “Nocturnal Visions” earns its keep here, switching up themes and reprising refrains just enough to keep my interest up and my engagement high.

That doesn’t leave much room for negatives, and indeed, few found purchase in my evaluation. Obviously, Nocturnal Visions exhibits nothing new or innovative; it’s simply doing classic death metal far better than most. Consequently, Invictus left some creativity and novelty on the table. They could easily pick up bits and bobs from that stack of potential ideas and bring an extra dimension to future efforts without sacrificing their core sound. Additionally, pacing Nocturnal Visions at such a blistering rate of speed so consistently across 35 minutes leaves a little to be desired in the way of songwriting dynamics. Tokutake in particular makes the most of his arsenal of patterns, fills, and tumbles to alleviate this condition, but not quite enough to cure it—see the otherwise ripping “Frozen Tomb.” Seki’s somewhat one-note vocal approach doesn’t always help matters in that respect, but his performance is rock-solid and dependable enough not to hurt either.

Of course, these critiques amount to mere nitpicks in the truest sense of the term. Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era. Invictus blasted my skull apart with their debut, but this sophomore effort is more than a worthy successor. Hear it!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Me Saco Un Ojo Records
Websites: invictus3.bandcamp.com | facebook.com/Invictus
Releases Worldwide: January 26th, 2026

Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death metal roundup feature. Since then, the Japanese death metal trio toiled under the ground with a brutal live schedule and steadily wrote what might very well be my most highly anticipated follow-up in the death metal realm. Hot on the heels of killer releases from personal favorites like Depravity, and jumping just ahead of another highly anticipated salvo from Eximperitus, Invictus’ upcoming Nocturnal Visions has big shoes to fill and stiff competition to combat. But if anybody has the chops and the balls to do it, it’s Invictus.

Having only one previous album and a few scattered demos/singles to their name, Invictus haven’t messed with their formula very much since their inception. Boasting a killer combo of Demolition Hammer nastiness and Consuming Impulse-era Pestilence attack, Nocturnal Visions pushes 35 minutes of pure adrenaline. Nary a second faffs about with filler, fluffy atmosphere, or anything else that could be construed as something other than devout reverence to The Almighty Riff™. With each twist of phrase or shift in movement, guitarist/vocalist Takehitopsy Seki tears through an unrelenting assault of intense grooves, speedy thrashes, and writhing rhythms that don’t just open up pits, but rather rip open dimensional rifts straight to hell itself (“Altar of Devoted Slaughter,” “Wandering Ashdream”). Instead of relying on blasts for intensity, Haruki Tokutake’s percussive strategy focuses on machine-gun double-bass runs and thrashy skanks so brutally exacted upon my spine that I needed a back brace and headgear just to approach the second half—accommodations which in no way deterred my summary bodily encrushment (“Persecution Madness”). Bassist Toshihiro Seki clunks and clangs beneath the surface with a violent, hammering tone that, while not always as audible as it ought to be, nonetheless deepens the tonal quality of the record’s warm, slightly swampy production (“Nocturnal Visions”). Unlike many of those acts from whom Invictus draws inspiration, Seki’s vocals operate squarely inside the Incantation/Tomb Mold school of subterranean monstrosity. Counterintuitively, this sets the trio apart from their influences by hiding in plain sight with their contemporaries.

Nocturnal Visions by Invictus

Regardless of where you fall in the greater scope of metallic fandom, Nocturnal Visions is a magnificent showcase of energetic songwriting and devastating hookcraft. While the formula opener proper “Abyssal Earth Eradicates” utilizes feels and sounds familiar, Invictus executes it with a youthfulness, voracity, and dare I say exuberance that makes me forget for a moment the entirety of death metal’s history. As Nocturnal Visions progresses through its early movements, boasting killer tracks in “Altar of Devoted Slaughter,” “Lucid Dream Trauma,” and “Persecution Madness,” my ability to care about anything other than banging my head, grimacing like a gargoyle, and stomping my poor abused feet against the floor vanishes. What’s left is a mind-broken sponge reduced to primal instincts, with a vocabulary of one word, “Fuck!” exclaimed exclusively with each new swaggering groove or pummeling riff. Even after several dozen spins, pit monsters “Persecution Madness,” “Dragged Beneath the Grave,” and later highlight “Wandering Ashdream” received such frequent and aggressive verbal confirmation of their sheer awesomeness and perpetual energy that my coworker had to perform a wellness check. Even the daunting eight-minute closer “Nocturnal Visions” earns its keep here, switching up themes and reprising refrains just enough to keep my interest up and my engagement high.

That doesn’t leave much room for negatives, and indeed, few found purchase in my evaluation. Obviously, Nocturnal Visions exhibits nothing new or innovative; it’s simply doing classic death metal far better than most. Consequently, Invictus left some creativity and novelty on the table. They could easily pick up bits and bobs from that stack of potential ideas and bring an extra dimension to future efforts without sacrificing their core sound. Additionally, pacing Nocturnal Visions at such a blistering rate of speed so consistently across 35 minutes leaves a little to be desired in the way of songwriting dynamics. Tokutake in particular makes the most of his arsenal of patterns, fills, and tumbles to alleviate this condition, but not quite enough to cure it—see the otherwise ripping “Frozen Tomb.” Seki’s somewhat one-note vocal approach doesn’t always help matters in that respect, but his performance is rock-solid and dependable enough not to hurt either.

Of course, these critiques amount to mere nitpicks in the truest sense of the term. Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era. Invictus blasted my skull apart with their debut, but this sophomore effort is more than a worthy successor. Hear it!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Me Saco Un Ojo Records
Websites: invictus3.bandcamp.com | facebook.com/Invictus
Releases Worldwide: January 26th, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

Vindicator – Whispers of Death Review

New thrash doesn’t hit my ears as much as it used to, and more than any other metal…
#NewsBeep #News #Music #2025 #3.0 #AmericanMetal #Aug25 #CA #Canada #CommunalDecay #DemolitionHammer #Entertainment #Havok #NoLife'tilMetalRecords #review #reviews #Skeletonwitch #ThrashMetal #UnitedWeFall #Vindicator #WhispersofDeath
https://www.newsbeep.com/ca/84581/

Vindicator – Whispers of Death Review

By Steel Druhm

New thrash doesn’t hit my ears as much as it used to, and more than any other metal genre, it seems the hardest to effectively recreate outside of its original boom era (1983-1990). There were shining moments in the Great Rethrash Movement that kicked off in 2000, and sure, the Big Dawgs have managed to drop surprisingly spry platters here and there.1 We know thrash can still deliver a WOW factor when executed at a high level, and even when it falls short and doesn’t blow your doors off, it can still be a good rowdy time. That brings us to Ohio Sons Vindictor. They’ve been banging it out since 2005 and have 4 albums under their belt, the last 2 of which received favorable coverage from AMG Himself. Now we get the fifth outing, Whispers of Death, and with it a whole lot of old school thrash enthusiasm. Can these Mid-West thrashards keep the momentum going in these lean years of thrash n’ bash? The speed world certainly needs a hero.

Opener “Whispers of Death…Anxiety’s Grip” puts a good boot forward with satisfyingly crunchy riffs and an over-the-top energy commitment. Olde/new frontman Marshall Law (I know) serves up blackened rasps, harsh thrash barks, and proto-death croaks, always sounding like he’s having a major emotional crisis and needs a hug. The backing riffs are high-octane and effectively brain-shaking, and there’s a goofy vibe behind it all that reeks of acts like Tankard, but it never gets too tongue-in-cheek. There’s a lot of impressive fretboard showmanship, and things are kept bouncy and agitated even as the song pushes against the 6-minute mark. “Charnal Pastures” ups the heaviness factor, going for something like blackened thrash and reminding of Skeletonwitch at points. It’s a wild, reckless ride off a cliff, and Law gives it his all. “Thirst for Violence” also rips shit up, approaching Demolition Hammer levels of speed and fury and even flirting with death-thrash. It’s good unholy fun.

Sadly, there is a second-half dip, with a few songs hitting less intensely and leaving fewer bruises. “Exhaustion” is a punky crossover type song that’s goofy but not especially interesting, though it gets points for reminding me of legendary Long Island hardcore act Crumbsuckers.2 “Bleed Between the Lines” isn’t bad, but it feels generic and a bit underwhelming. However, there are some winners to be found as the album winds out. “Merry Evenings Make Sad Mournings” is an ode to excessive imbibing and the regret that comes with it. It’s a rip-ride that Tankard will wish they wrote 30 years ago, and Law screaming, “I’m never drinking again!” is a sentiment we can all relate to. Penultimate cut “Ripper Attack” marries Accept-style metal riffs with thrash leads for a fist-pumping, stadium-ready bomber about murder and mayhem that sounds way happier than it should. There are 2 interludes included, and “Abominable Intelligence” is a sort of instrumental with spoken word that falls into the interlude box as well. None of these are bad, but they feel unnecessary. At 45 minutes, Whispers of Death would be stronger and tighter with these removed.

Billy Zahn and Vic Stown are a potent axe tandem with a lot of ability. There’s no shortage of effective thrash riffage flying around, and when it comes time to wank the noodles, these cats burn the night down. I appreciate the inclusion of traditional and black metal elements into their work product as well. Marshall Law goes for broke from minute one to minute done with a collection of different vocal approaches. His base thrash snarl is effective, and his forays into black/death extremity add to the fun. Bassist Ed Stephens (Ringworm, Shok Paris) has chops, and he’s fairly audible, adding a meaty low-end rumble and twang. New drummer Glen Monturi also acquits himself well, offering a nonstop barrage of blasts, rolls, and toms trucking. It’s only the consistency of the writing that holds Whispers back from that next tier of thrash goodness.

Whispers of Death is a frantically entertaining thrash outing by a band that loves the genre dearly. It’s not going to make year-end lists or bring speed back in fashion, but it’s the kind of thrasher you can air guitar along with as you chug shitty beers with quality hooligans. That’s why we blast this shit, so Vindicator knows their audience and feeds it properly. That’s good enough for me in 2025.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: No Life ’til Metal
Websites: vindicator.bandcamp.com | facebook.com/vindicatormetal | instagram.com/vindicatormetal
Releases Worldwide: August 22nd, 2025

#2025 #30 #AmericanMetal #Aug25 #CommunalDecay #DemolitionHammer #Havok #NoLifeTilMetalRecords #Review #Reviews #Skeletonwitch #ThrashMetal #UnitedWeFall #Vindicator #WhispersOfDeath

Vindicator – Whispers of Death Review

By Steel Druhm

New thrash doesn’t hit my ears as much as it used to, and more than any other metal genre, it seems the hardest to effectively recreate outside of its original boom era (1983-1990). There were shining moments in the Great Rethrash Movement that kicked off in 2000, and sure, the Big Dawgs have managed to drop surprisingly spry platters here and there.1 We know thrash can still deliver a WOW factor when executed at a high level, and even when it falls short and doesn’t blow your doors off, it can still be a good rowdy time. That brings us to Ohio Sons Vindictor. They’ve been banging it out since 2005 and have 4 albums under their belt, the last 2 of which received favorable coverage from AMG Himself. Now we get the fifth outing, Whispers of Death, and with it a whole lot of old school thrash enthusiasm. Can these Mid-West thrashards keep the momentum going in these lean years of thrash n’ bash? The speed world certainly needs a hero.

Opener “Whispers of Death…Anxiety’s Grip” puts a good boot forward with satisfyingly crunchy riffs and an over-the-top energy commitment. Olde/new frontman Marshall Law (I know) serves up blackened rasps, harsh thrash barks, and proto-death croaks, always sounding like he’s having a major emotional crisis and needs a hug. The backing riffs are high-octane and effectively brain-shaking, and there’s a goofy vibe behind it all that reeks of acts like Tankard, but it never gets too tongue-in-cheek. There’s a lot of impressive fretboard showmanship, and things are kept bouncy and agitated even as the song pushes against the 6-minute mark. “Charnal Pastures” ups the heaviness factor, going for something like blackened thrash and reminding of Skeletonwitch at points. It’s a wild, reckless ride off a cliff, and Law gives it his all. “Thirst for Violence” also rips shit up, approaching Demolition Hammer levels of speed and fury and even flirting with death-thrash. It’s good unholy fun.

Sadly, there is a second-half dip, with a few songs hitting less intensely and leaving fewer bruises. “Exhaustion” is a punky crossover type song that’s goofy but not especially interesting, though it gets points for reminding me of legendary Long Island hardcore act Crumbsuckers.2 “Bleed Between the Lines” isn’t bad, but it feels generic and a bit underwhelming. However, there are some winners to be found as the album winds out. “Merry Evenings Make Sad Mournings” is an ode to excessive imbibing and the regret that comes with it. It’s a rip-ride that Tankard will wish they wrote 30 years ago, and Law screaming, “I’m never drinking again!” is a sentiment we can all relate to. Penultimate cut “Ripper Attack” marries Accept-style metal riffs with thrash leads for a fist-pumping, stadium-ready bomber about murder and mayhem that sounds way happier than it should. There are 2 interludes included, and “Abominable Intelligence” is a sort of instrumental with spoken word that falls into the interlude box as well. None of these are bad, but they feel unnecessary. At 45 minutes, Whispers of Death would be stronger and tighter with these removed.

Billy Zahn and Vic Stown are a potent axe tandem with a lot of ability. There’s no shortage of effective thrash riffage flying around, and when it comes time to wank the noodles, these cats burn the night down. I appreciate the inclusion of traditional and black metal elements into their work product as well. Marshall Law goes for broke from minute one to minute done with a collection of different vocal approaches. His base thrash snarl is effective, and his forays into black/death extremity add to the fun. Bassist Ed Stephens (Ringworm, Shok Paris) has chops, and he’s fairly audible, adding a meaty low-end rumble and twang. New drummer Glen Monturi also acquits himself well, offering a nonstop barrage of blasts, rolls, and toms trucking. It’s only the consistency of the writing that holds Whispers back from that next tier of thrash goodness.

Whispers of Death is a frantically entertaining thrash outing by a band that loves the genre dearly. It’s not going to make year-end lists or bring speed back in fashion, but it’s the kind of thrasher you can air guitar along with as you chug shitty beers with quality hooligans. That’s why we blast this shit, so Vindicator knows their audience and feeds it properly. That’s good enough for me in 2025.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: No Life ’til Metal
Websites: vindicator.bandcamp.com | facebook.com/vindicatormetal | instagram.com/vindicatormetal
Releases Worldwide: August 22nd, 2025

#2025 #30 #AmericanMetal #Aug25 #CommunalDecay #DemolitionHammer #Havok #NoLifeTilMetalRecords #Review #Reviews #Skeletonwitch #ThrashMetal #UnitedWeFall #Vindicator #WhispersOfDeath

Vindicator – Whispers of Death Review

By Steel Druhm

New thrash doesn’t hit my ears as much as it used to, and more than any other metal genre, it seems the hardest to effectively recreate outside of its original boom era (1983-1990). There were shining moments in the Great Rethrash Movement that kicked off in 2000, and sure, the Big Dawgs have managed to drop surprisingly spry platters here and there.1 We know thrash can still deliver a WOW factor when executed at a high level, and even when it falls short and doesn’t blow your doors off, it can still be a good rowdy time. That brings us to Ohio Sons Vindictor. They’ve been banging it out since 2005 and have 4 albums under their belt, the last 2 of which received favorable coverage from AMG Himself. Now we get the fifth outing, Whispers of Death, and with it a whole lot of old school thrash enthusiasm. Can these Mid-West thrashards keep the momentum going in these lean years of thrash n’ bash? The speed world certainly needs a hero.

Opener “Whispers of Death…Anxiety’s Grip” puts a good boot forward with satisfyingly crunchy riffs and an over-the-top energy commitment. Olde/new frontman Marshall Law (I know) serves up blackened rasps, harsh thrash barks, and proto-death croaks, always sounding like he’s having a major emotional crisis and needs a hug. The backing riffs are high-octane and effectively brain-shaking, and there’s a goofy vibe behind it all that reeks of acts like Tankard, but it never gets too tongue-in-cheek. There’s a lot of impressive fretboard showmanship, and things are kept bouncy and agitated even as the song pushes against the 6-minute mark. “Charnal Pastures” ups the heaviness factor, going for something like blackened thrash and reminding of Skeletonwitch at points. It’s a wild, reckless ride off a cliff, and Law gives it his all. “Thirst for Violence” also rips shit up, approaching Demolition Hammer levels of speed and fury and even flirting with death-thrash. It’s good unholy fun.

Sadly, there is a second-half dip, with a few songs hitting less intensely and leaving fewer bruises. “Exhaustion” is a punky crossover type song that’s goofy but not especially interesting, though it gets points for reminding me of legendary Long Island hardcore act Crumbsuckers.2 “Bleed Between the Lines” isn’t bad, but it feels generic and a bit underwhelming. However, there are some winners to be found as the album winds out. “Merry Evenings Make Sad Mournings” is an ode to excessive imbibing and the regret that comes with it. It’s a rip-ride that Tankard will wish they wrote 30 years ago, and Law screaming, “I’m never drinking again!” is a sentiment we can all relate to. Penultimate cut “Ripper Attack” marries Accept-style metal riffs with thrash leads for a fist-pumping, stadium-ready bomber about murder and mayhem that sounds way happier than it should. There are 2 interludes included, and “Abominable Intelligence” is a sort of instrumental with spoken word that falls into the interlude box as well. None of these are bad, but they feel unnecessary. At 45 minutes, Whispers of Death would be stronger and tighter with these removed.

Billy Zahn and Vic Stown are a potent axe tandem with a lot of ability. There’s no shortage of effective thrash riffage flying around, and when it comes time to wank the noodles, these cats burn the night down. I appreciate the inclusion of traditional and black metal elements into their work product as well. Marshall Law goes for broke from minute one to minute done with a collection of different vocal approaches. His base thrash snarl is effective, and his forays into black/death extremity add to the fun. Bassist Ed Stephens (Ringworm, Shok Paris) has chops, and he’s fairly audible, adding a meaty low-end rumble and twang. New drummer Glen Monturi also acquits himself well, offering a nonstop barrage of blasts, rolls, and toms trucking. It’s only the consistency of the writing that holds Whispers back from that next tier of thrash goodness.

Whispers of Death is a frantically entertaining thrash outing by a band that loves the genre dearly. It’s not going to make year-end lists or bring speed back in fashion, but it’s the kind of thrasher you can air guitar along with as you chug shitty beers with quality hooligans. That’s why we blast this shit, so Vindicator knows their audience and feeds it properly. That’s good enough for me in 2025.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: No Life ’til Metal
Websites: vindicator.bandcamp.com | facebook.com/vindicatormetal | instagram.com/vindicatormetal
Releases Worldwide: August 22nd, 2025

#2025 #30 #AmericanMetal #Aug25 #CommunalDecay #DemolitionHammer #Havok #NoLifeTilMetalRecords #Review #Reviews #Skeletonwitch #ThrashMetal #UnitedWeFall #Vindicator #WhispersOfDeath

Vindicator – Whispers of Death Review

By Steel Druhm

New thrash doesn’t hit my ears as much as it used to, and more than any other metal genre, it seems the hardest to effectively recreate outside of its original boom era (1983-1990). There were shining moments in the Great Rethrash Movement that kicked off in 2000, and sure, the Big Dawgs have managed to drop surprisingly spry platters here and there.1 We know thrash can still deliver a WOW factor when executed at a high level, and even when it falls short and doesn’t blow your doors off, it can still be a good rowdy time. That brings us to Ohio Sons Vindictor. They’ve been banging it out since 2005 and have 4 albums under their belt, the last 2 of which received favorable coverage from AMG Himself. Now we get the fifth outing, Whispers of Death, and with it a whole lot of old school thrash enthusiasm. Can these Mid-West thrashards keep the momentum going in these lean years of thrash n’ bash? The speed world certainly needs a hero.

Opener “Whispers of Death…Anxiety’s Grip” puts a good boot forward with satisfyingly crunchy riffs and an over-the-top energy commitment. Olde/new frontman Marshall Law (I know) serves up blackened rasps, harsh thrash barks, and proto-death croaks, always sounding like he’s having a major emotional crisis and needs a hug. The backing riffs are high-octane and effectively brain-shaking, and there’s a goofy vibe behind it all that reeks of acts like Tankard, but it never gets too tongue-in-cheek. There’s a lot of impressive fretboard showmanship, and things are kept bouncy and agitated even as the song pushes against the 6-minute mark. “Charnal Pastures” ups the heaviness factor, going for something like blackened thrash and reminding of Skeletonwitch at points. It’s a wild, reckless ride off a cliff, and Law gives it his all. “Thirst for Violence” also rips shit up, approaching Demolition Hammer levels of speed and fury and even flirting with death-thrash. It’s good unholy fun.

Sadly, there is a second-half dip, with a few songs hitting less intensely and leaving fewer bruises. “Exhaustion” is a punky crossover type song that’s goofy but not especially interesting, though it gets points for reminding me of legendary Long Island hardcore act Crumbsuckers.2 “Bleed Between the Lines” isn’t bad, but it feels generic and a bit underwhelming. However, there are some winners to be found as the album winds out. “Merry Evenings Make Sad Mournings” is an ode to excessive imbibing and the regret that comes with it. It’s a rip-ride that Tankard will wish they wrote 30 years ago, and Law screaming, “I’m never drinking again!” is a sentiment we can all relate to. Penultimate cut “Ripper Attack” marries Accept-style metal riffs with thrash leads for a fist-pumping, stadium-ready bomber about murder and mayhem that sounds way happier than it should. There are 2 interludes included, and “Abominable Intelligence” is a sort of instrumental with spoken word that falls into the interlude box as well. None of these are bad, but they feel unnecessary. At 45 minutes, Whispers of Death would be stronger and tighter with these removed.

Billy Zahn and Vic Stown are a potent axe tandem with a lot of ability. There’s no shortage of effective thrash riffage flying around, and when it comes time to wank the noodles, these cats burn the night down. I appreciate the inclusion of traditional and black metal elements into their work product as well. Marshall Law goes for broke from minute one to minute done with a collection of different vocal approaches. His base thrash snarl is effective, and his forays into black/death extremity add to the fun. Bassist Ed Stephens (Ringworm, Shok Paris) has chops, and he’s fairly audible, adding a meaty low-end rumble and twang. New drummer Glen Monturi also acquits himself well, offering a nonstop barrage of blasts, rolls, and toms trucking. It’s only the consistency of the writing that holds Whispers back from that next tier of thrash goodness.

Whispers of Death is a frantically entertaining thrash outing by a band that loves the genre dearly. It’s not going to make year-end lists or bring speed back in fashion, but it’s the kind of thrasher you can air guitar along with as you chug shitty beers with quality hooligans. That’s why we blast this shit, so Vindicator knows their audience and feeds it properly. That’s good enough for me in 2025.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: No Life ’til Metal
Websites: vindicator.bandcamp.com | facebook.com/vindicatormetal | instagram.com/vindicatormetal
Releases Worldwide: August 22nd, 2025

#2025 #30 #AmericanMetal #Aug25 #CommunalDecay #DemolitionHammer #Havok #NoLifeTilMetalRecords #Review #Reviews #Skeletonwitch #ThrashMetal #UnitedWeFall #Vindicator #WhispersOfDeath

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 Skull Fracturing Nightmare

#DemolitionHammer

https://detherous.bandcamp.com/track/skull-fracturing-nightmare-demolition-hammer-cover

https://open.spotify.com/track/3xv7T856LlRsyr4v9CBU4D

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 Skull Fracturing Nightmare

#DemolitionHammer

https://detherous.bandcamp.com/track/skull-fracturing-nightmare-demolition-hammer-cover

https://open.spotify.com/track/3xv7T856LlRsyr4v9CBU4D

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 Skull Fracturing Nightmare

#DemolitionHammer

https://detherous.bandcamp.com/track/skull-fracturing-nightmare-demolition-hammer-cover

https://open.spotify.com/track/3xv7T856LlRsyr4v9CBU4D

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 Skull Fracturing Nightmare

#DemolitionHammer

https://detherous.bandcamp.com/track/skull-fracturing-nightmare-demolition-hammer-cover

https://open.spotify.com/track/3xv7T856LlRsyr4v9CBU4D

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #VarietyMix

Demolition Hammer:
🎵 Skull Fracturing Nightmare

#DemolitionHammer

https://detherous.bandcamp.com/track/skull-fracturing-nightmare-demolition-hammer-cover

https://open.spotify.com/track/3xv7T856LlRsyr4v9CBU4D

🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

Nearly three years ago, I dropped a Very Good score on Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind, the sophomore record from Seattle’s Kaiju-themed death/thrash purveyors, Oxygen Destroyer. The earnestness with which band leader Lord Kaiju and his party of massive-monster minstrels weave their tales of gargantuan creatures into their furious metal through the use of film samples and sound effects lends their no-nonsense music a certain nerdtastic charm, and that album earned an Honorable Mention spot on my 2021 year-end list. I’ll admit that when I heard the band was releasing a follow-up this year, I wasn’t initially super hyped about it. I felt like I already had Oxygen Destroyer figured out and could anticipate what Guardian of the Universe was going to sound like. I was wrong.

No, Oxygen Destroyer hasn’t gone through some huge sonic revolution; they’re still a death/thrash monstrosity. But I wasn’t expecting the jump in quality that Guardian of the Universe represents for the band. These guys were a tight, well-oiled machine before, but this album finds the band playing on a whole new level. Single “Shadow of Evil” demonstrates Oxygen Destroyer’s expanded ruthlessness by beginning with a deranged procession of savage riffs and ending with a volley of Lord Kaiju’s venomous shrieks. The song is a surgical strike, and it has utterly demolished my defenses.

While comparisons like Morbid Saint and Vader certainly still apply to Oxygen Destroyer, it feels like the band dialed up the thrash quotient of their sound this time around. I hear a lot of Kreator, Demolition Hammer, and even some frenetic Rust in Piece-era Megadeth riffing (see the opening title track) throughout much of Guardian of the Universe. As a huge fan of the thrash groove, this subtle shift elevates Oxygen Destroyer’s sound into the S-tier, giving their relentless assault a bit more breathing room and tension-building contrast. Because of this, the record has an incredible sense of momentum that won’t release its grip on you until the final note.

Guardian of the Universe is a cohesive listening experience, so much so, that it can be hard to highlight individual songs as standouts. Fortunately, at 33 minutes long, picking out highlights is mostly unnecessary; just listen to the whole thing, damn it! Fine, if you must sample the record first, try “Shadow of Evil,” “Eradicating the Symbiotic Hive Mind Entity from Beyond the Void,” or “Banishing the Iris of Sempiternal Tenebrosity.” You’ll see that Lord Kaiju sounds extra pissed in his current incarnation, and he and the rest of the instrumentalists absolutely slay their performances. The worming riffage, in particular, is simply stellar. The production gives ample space for the unhinged cacophony that is Oxygen Destroyer’s sound to reveal all of its intricacies, and the sonic aesthetic makes it feel like a classic record from thrash’s heyday.

With Guardian of the Universe, Oxygen Destroyer convincingly established a foothold within the highest echelon of modern thrash bands. Alongside acts like Enforced and High Command, these guys are proving that groovy thrash metal is alive and still hardcore kicking in the pit. While most run in fear at the sight of giant monsters, I, for one, welcome our new overlord. All hail Oxygen Destroyer, Kaiju of Thrash!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: oxygen-destroyer.bandcamp.com | facebook.com/kaijuconjuringdeathmetal
Releases Worldwide: August 9th, 2024

#2024 #40 #AmericanMetal #Aug24 #DeathMetal #DemolitionHammer #Enforced #GuardianOfTheUniverse #HighCommand #Kreator #Megadeth #MorbidSaint #OxygenDestroyer #RedefiningDarknessRecords #Review #Reviews #ThrashMetal #Vader

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

Nearly three years ago, I dropped a Very Good score on Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind, the sophomore record from Seattle’s Kaiju-themed death/thrash purveyors, Oxygen Destroyer. The earnestness with which band leader Lord Kaiju and his party of massive-monster minstrels weave their tales of gargantuan creatures into their furious metal through the use of film samples and sound effects lends their no-nonsense music a certain nerdtastic charm, and that album earned an Honorable Mention spot on my 2021 year-end list. I’ll admit that when I heard the band was releasing a follow-up this year, I wasn’t initially super hyped about it. I felt like I already had Oxygen Destroyer figured out and could anticipate what Guardian of the Universe was going to sound like. I was wrong.

No, Oxygen Destroyer hasn’t gone through some huge sonic revolution; they’re still a death/thrash monstrosity. But I wasn’t expecting the jump in quality that Guardian of the Universe represents for the band. These guys were a tight, well-oiled machine before, but this album finds the band playing on a whole new level. Single “Shadow of Evil” demonstrates Oxygen Destroyer’s expanded ruthlessness by beginning with a deranged procession of savage riffs and ending with a volley of Lord Kaiju’s venomous shrieks. The song is a surgical strike, and it has utterly demolished my defenses.

While comparisons like Morbid Saint and Vader certainly still apply to Oxygen Destroyer, it feels like the band dialed up the thrash quotient of their sound this time around. I hear a lot of Kreator, Demolition Hammer, and even some frenetic Rust in Piece-era Megadeth riffing (see the opening title track) throughout much of Guardian of the Universe. As a huge fan of the thrash groove, this subtle shift elevates Oxygen Destroyer’s sound into the S-tier, giving their relentless assault a bit more breathing room and tension-building contrast. Because of this, the record has an incredible sense of momentum that won’t release its grip on you until the final note.

Guardian of the Universe is a cohesive listening experience, so much so, that it can be hard to highlight individual songs as standouts. Fortunately, at 33 minutes long, picking out highlights is mostly unnecessary; just listen to the whole thing, damn it! Fine, if you must sample the record first, try “Shadow of Evil,” “Eradicating the Symbiotic Hive Mind Entity from Beyond the Void,” or “Banishing the Iris of Sempiternal Tenebrosity.” You’ll see that Lord Kaiju sounds extra pissed in his current incarnation, and he and the rest of the instrumentalists absolutely slay their performances. The worming riffage, in particular, is simply stellar. The production gives ample space for the unhinged cacophony that is Oxygen Destroyer’s sound to reveal all of its intricacies, and the sonic aesthetic makes it feel like a classic record from thrash’s heyday.

With Guardian of the Universe, Oxygen Destroyer convincingly established a foothold within the highest echelon of modern thrash bands. Alongside acts like Enforced and High Command, these guys are proving that groovy thrash metal is alive and still hardcore kicking in the pit. While most run in fear at the sight of giant monsters, I, for one, welcome our new overlord. All hail Oxygen Destroyer, Kaiju of Thrash!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: oxygen-destroyer.bandcamp.com | facebook.com/kaijuconjuringdeathmetal
Releases Worldwide: August 9th, 2024

#2024 #40 #AmericanMetal #Aug24 #DeathMetal #DemolitionHammer #Enforced #GuardianOfTheUniverse #HighCommand #Kreator #Megadeth #MorbidSaint #OxygenDestroyer #RedefiningDarknessRecords #Review #Reviews #ThrashMetal #Vader

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

Nearly three years ago, I dropped a Very Good score on Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind, the sophomore record from Seattle’s Kaiju-themed death/thrash purveyors, Oxygen Destroyer. The earnestness with which band leader Lord Kaiju and his party of massive-monster minstrels weave their tales of gargantuan creatures into their furious metal through the use of film samples and sound effects lends their no-nonsense music a certain nerdtastic charm, and that album earned an Honorable Mention spot on my 2021 year-end list. I’ll admit that when I heard the band was releasing a follow-up this year, I wasn’t initially super hyped about it. I felt like I already had Oxygen Destroyer figured out and could anticipate what Guardian of the Universe was going to sound like. I was wrong.

No, Oxygen Destroyer hasn’t gone through some huge sonic revolution; they’re still a death/thrash monstrosity. But I wasn’t expecting the jump in quality that Guardian of the Universe represents for the band. These guys were a tight, well-oiled machine before, but this album finds the band playing on a whole new level. Single “Shadow of Evil” demonstrates Oxygen Destroyer’s expanded ruthlessness by beginning with a deranged procession of savage riffs and ending with a volley of Lord Kaiju’s venomous shrieks. The song is a surgical strike, and it has utterly demolished my defenses.

While comparisons like Morbid Saint and Vader certainly still apply to Oxygen Destroyer, it feels like the band dialed up the thrash quotient of their sound this time around. I hear a lot of Kreator, Demolition Hammer, and even some frenetic Rust in Piece-era Megadeth riffing (see the opening title track) throughout much of Guardian of the Universe. As a huge fan of the thrash groove, this subtle shift elevates Oxygen Destroyer’s sound into the S-tier, giving their relentless assault a bit more breathing room and tension-building contrast. Because of this, the record has an incredible sense of momentum that won’t release its grip on you until the final note.

Guardian of the Universe is a cohesive listening experience, so much so, that it can be hard to highlight individual songs as standouts. Fortunately, at 33 minutes long, picking out highlights is mostly unnecessary; just listen to the whole thing, damn it! Fine, if you must sample the record first, try “Shadow of Evil,” “Eradicating the Symbiotic Hive Mind Entity from Beyond the Void,” or “Banishing the Iris of Sempiternal Tenebrosity.” You’ll see that Lord Kaiju sounds extra pissed in his current incarnation, and he and the rest of the instrumentalists absolutely slay their performances. The worming riffage, in particular, is simply stellar. The production gives ample space for the unhinged cacophony that is Oxygen Destroyer’s sound to reveal all of its intricacies, and the sonic aesthetic makes it feel like a classic record from thrash’s heyday.

With Guardian of the Universe, Oxygen Destroyer convincingly established a foothold within the highest echelon of modern thrash bands. Alongside acts like Enforced and High Command, these guys are proving that groovy thrash metal is alive and still hardcore kicking in the pit. While most run in fear at the sight of giant monsters, I, for one, welcome our new overlord. All hail Oxygen Destroyer, Kaiju of Thrash!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: oxygen-destroyer.bandcamp.com | facebook.com/kaijuconjuringdeathmetal
Releases Worldwide: August 9th, 2024

#2024 #40 #AmericanMetal #Aug24 #DeathMetal #DemolitionHammer #Enforced #GuardianOfTheUniverse #HighCommand #Kreator #Megadeth #MorbidSaint #OxygenDestroyer #RedefiningDarknessRecords #Review #Reviews #ThrashMetal #Vader

Morbid Saint – Swallowed by Hell Review

By Steel Druhm

Once upon a time, there was a little-known thrash act out of Wisconsin called Morbid Saint. They were nasty, savage, and uncompromising. They also had trouble getting attention from labels or recording a proper album. Instead of a finished studio product, they released their 1988 demo titled Spectrums of Death in 1990. It might not have been a polished recording, but it showcased their unrelenting aggression and warmongering fury. It went on to become an underground darling and its stature has grown over time. They attempted a follow-up outing in 1991-92 but once again, it never made it past the demo stage. That demo wasn’t made public until 2015, and by then it was little but a historical footnote. This record of frustrated ambitions is why it was a shock to see a promo from Morbid Saint in the crust muck of the sump. And lo and behold, Swallowed by Hell is an actual, honest-to-goodness studio album! The first in their 36 years of on-and-off existence. With three of the founding members alive and present, what can these ancient thrashers bring to the table all these years later when thrash is all but dead?

Their infamous debut walked the line between thrash and early death metal, with a strong Kreator-meets-Demolition Hammer vibe. Swallowed by Hell however is unrelenting, merciless thrash of the olden variety. The Kreator vibes are still present, but the proto-death element is replaced by a ferocity that sometimes approaches grind. Opener “Rise from the Ashes” removes the parts of your brain that control rationality, sophistication, and decorum, performing a back alley cavemanectomy and sending you running into the night in search of beer and bad behavior. The raging title track rages, throwing lava-hot riffs as the drums pound away like a washing machine full of steel-toed work boots. Pat Lind screams and roars over the chaos like a young Mille Petrozza mixed with Sam Kinison of all people (SAY IT!! SAY IIIT!!). There’s no way to listen to this and not feel your fists clenching into sweaty knots of hostility awaiting a vulgar display.

Other high-octane thrash bastards include the gobsmacking “Bloody Floors” and the codswalloping intensity of “Burn Pits.” This one in particular gets my ape dander up and makes me want to do brutal things to unsupportive AMG coworkers, HR be damned! The entire first half is a rocket ride to the danger zone with no reverse thrusters. The back half is also full of uncivilized antics but there is a slight drop-off, though no song is a fail. The middle finger ferocity of “Fuck Them All” and the adrenaline-pumping “Bleed Them Dry” are especially lively back halfers. There’s a hint of bloat on some cuts (“Fuck Them All,” “Psychosis”), though there are no signs of terminal Metallica-itis in the stool samples. The album’s 47 minutes does feel a bit too long despite the overall quality, and toward the end, I’m in the early stages of thrash fatigue.

Jay Visser and Jim Fergades go all in with the berserk riffage, serving up an impressive stream of old school leads that chop, dice, and de-vein. On “Rise from the Ashes” and the title track it almost feels like the riffs are coming after you with bad intentions. These beasts are steeped in the history of thrash and ring a lot of Hell bells with their axe attacks. I’m especially impressed with their way over-the-top soloing. Like Visser and Fergades, Pat Lind was on the debut and he’s still here screaming and roaring like a maniac. He sounds different than he did back in 88, more like a classic thrash vocalist than a borderline death metal caveman, but he still brings the pain. The entire band sounds unhinged and savage and that’s all you can ask for from a crew in the game this long.

There was something special and strange about Spectrums of Death when it first dropped. It was like an ugly mutation and it stood apart. Swallowed by Hell is a good and often very good release with feral charms of its own, but it’s a conventional thrash album in most ways. It’s unlikely that Morbid Saint will ever recapture the bizarro magic of Spectrums, but it’s great to hear them tearing shit up again nonetheless. A hard-hitting, take-no-prisoners comeback from a band that should be six feet under the daisies and broken beer bottles.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: morbidsaint.com | facebook.com/morbidsaintofficial
Releases Worldwide: February 9th, 2024

#2024 #30 #AmericanMetal #DemolitionHammer #Feb24 #HighRollerRecords #Kreator #MorbidSaint #Review #Reviews #Sadus #SpectrumOfDeath #SwallowedByHell #ThrashMetal

Morbid Saint – Swallowed by Hell Review

By Steel Druhm

Once upon a time, there was a little-known thrash act out of Wisconsin called Morbid Saint. They were nasty, savage, and uncompromising. They also had trouble getting attention from labels or recording a proper album. Instead of a finished studio product, they released their 1988 demo titled Spectrums of Death in 1990. It might not have been a polished recording, but it showcased their unrelenting aggression and warmongering fury. It went on to become an underground darling and its stature has grown over time. They attempted a follow-up outing in 1991-92 but once again, it never made it past the demo stage. That demo wasn’t made public until 2015, and by then it was little but a historical footnote. This record of frustrated ambitions is why it was a shock to see a promo from Morbid Saint in the crust muck of the sump. And lo and behold, Swallowed by Hell is an actual, honest-to-goodness studio album! The first in their 36 years of on-and-off existence. With three of the founding members alive and present, what can these ancient thrashers bring to the table all these years later when thrash is all but dead?

Their infamous debut walked the line between thrash and early death metal, with a strong Kreator-meets-Demolition Hammer vibe. Swallowed by Hell however is unrelenting, merciless thrash of the olden variety. The Kreator vibes are still present, but the proto-death element is replaced by a ferocity that sometimes approaches grind. Opener “Rise from the Ashes” removes the parts of your brain that control rationality, sophistication, and decorum, performing a back alley cavemanectomy and sending you running into the night in search of beer and bad behavior. The raging title track rages, throwing lava-hot riffs as the drums pound away like a washing machine full of steel-toed work boots. Pat Lind screams and roars over the chaos like a young Mille Petrozza mixed with Sam Kinison of all people (SAY IT!! SAY IIIT!!). There’s no way to listen to this and not feel your fists clenching into sweaty knots of hostility awaiting a vulgar display.

Other high-octane thrash bastards include the gobsmacking “Bloody Floors” and the codswalloping intensity of “Burn Pits.” This one in particular gets my ape dander up and makes me want to do brutal things to unsupportive AMG coworkers, HR be damned! The entire first half is a rocket ride to the danger zone with no reverse thrusters. The back half is also full of uncivilized antics but there is a slight drop-off, though no song is a fail. The middle finger ferocity of “Fuck Them All” and the adrenaline-pumping “Bleed Them Dry” are especially lively back halfers. There’s a hint of bloat on some cuts (“Fuck Them All,” “Psychosis”), though there are no signs of terminal Metallica-itis in the stool samples. The album’s 47 minutes does feel a bit too long despite the overall quality, and toward the end, I’m in the early stages of thrash fatigue.

Jay Visser and Jim Fergades go all in with the berserk riffage, serving up an impressive stream of old school leads that chop, dice, and de-vein. On “Rise from the Ashes” and the title track it almost feels like the riffs are coming after you with bad intentions. These beasts are steeped in the history of thrash and ring a lot of Hell bells with their axe attacks. I’m especially impressed with their way over-the-top soloing. Like Visser and Fergades, Pat Lind was on the debut and he’s still here screaming and roaring like a maniac. He sounds different than he did back in 88, more like a classic thrash vocalist than a borderline death metal caveman, but he still brings the pain. The entire band sounds unhinged and savage and that’s all you can ask for from a crew in the game this long.

There was something special and strange about Spectrums of Death when it first dropped. It was like an ugly mutation and it stood apart. Swallowed by Hell is a good and often very good release with feral charms of its own, but it’s a conventional thrash album in most ways. It’s unlikely that Morbid Saint will ever recapture the bizarro magic of Spectrums, but it’s great to hear them tearing shit up again nonetheless. A hard-hitting, take-no-prisoners comeback from a band that should be six feet under the daisies and broken beer bottles.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: morbidsaint.com | facebook.com/morbidsaintofficial
Releases Worldwide: February 9th, 2024

#2024 #30 #AmericanMetal #DemolitionHammer #Feb24 #HighRollerRecords #Kreator #MorbidSaint #Review #Reviews #Sadus #SpectrumOfDeath #SwallowedByHell #ThrashMetal