#exciter — Public Fediverse posts

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno?

Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically.

Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno.

Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness.

Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.



Rating: Good
DR: 7 | Format Reviewed: 320 kbps mps
Label: Metalville Records
Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband
Releases Worldwide: March 27th, 2026

Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno?

Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically.

Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno.

Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness.

Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.



Rating: Good
DR: 7 | Format Reviewed: 320 kbps mps
Label: Metalville Records
Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband
Releases Worldwide: March 27th, 2026

Harmonic Maximizer plugin by Audiority on sale for $19 USD https://rekkerd.org/audiority-harmonic-maximizer-multiband-exciter-plugin-sale/

#AAX #AU #Audiority #CLAP #exciter #harmonize #loudness #PluginBoutique #Sale #VST

Harmonic Maximizer plugin by Audiority on sale for $19 USD https://rekkerd.org/audiority-harmonic-maximizer-multiband-exciter-plugin-sale/

#AAX #AU #Audiority #CLAP #exciter #harmonize #loudness #PluginBoutique #Sale #VST

🎸 Daniel Dekay #Exciter shredding the stage with #BayAreaInterthrashional at #DynamoMetalfest! 🤘🔥
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📷 by me #sethpicturesmusic #sethabrikoos
#espguitars #metalguitar #longhairmen #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha

🎸 Daniel Dekay #Exciter shredding the stage with #BayAreaInterthrashional at #DynamoMetalfest! 🤘🔥
.
.
.
📷 by me #sethpicturesmusic #sethabrikoos
#espguitars #metalguitar #longhairmen #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha

🎸 Daniel Dekay #Exciter shredding the stage with #BayAreaInterthrashional at #DynamoMetalfest! 🤘🔥
.
.
.
📷 by me #sethpicturesmusic #sethabrikoos
#espguitars #metalguitar #longhairmen #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha

🎸 Daniel Dekay #Exciter shredding the stage with #BayAreaInterthrashional at #DynamoMetalfest! 🤘🔥
.
.
.
📷 by me #sethpicturesmusic #sethabrikoos
#espguitars #metalguitar #longhairmen #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha

Death Racer – From Gravel to Grave Review

By Dr. A.N. Grier

I’m not sure what is happening in 2024, but the motor racing industry keeps making its way into metal albums. The first of the year was the surprisingly good self-titled release from I Am the Intimidator. Austria’s Death Racer continues this trend with their debut album, From Gravel to Grave. While I Am the Intimidator focused on the final moments of racing legend Dale Earnhardt, From Gravel to Grave explores racing globally. That said, the overall theme is the same: the lives taken in this high-octane sport. But, Death Racer does it a little differently, incorporating some late ’80s black, speed, and thrash into the mix. The result is a filthy, gear-grinding effort that feels like an insane mix of old-school NWOBHM, Exciter, Bulldozer, modern-day Darkthrone, and a touch of Bathory. It’s an ugly mix that seems to have faded away since the ’90s but these road warriors care little about that. So, let’s pump that motherfucker gasoline (again).

According to the promotional materials, Death Racer came about due to Razor’s song “Deathrace,” off their impressive debut record, Executioner’s Song. Though there are few comparisons between From Gravel to Grave and Razor’s early days, the inspiration is still there. With gnarly rasps and screams buried behind the guitars and drums, Death Racer focuses on bass-heavy riffs that speed, thrash, and drag bloody knuckles across the asphalt. Lyrically, the album ventures from the absurd (“Traumatized in Traffic Jam Ejection”) to the whiplashing (“Racers of Death”); from the lost lives in infamous races (“Imola ’94 (From Gravel to Grave)”) to notorious race tracks (“Nordschleife”). The vibes range from fun and upbeat NWOBHM tracks to relentless black/thrash charges and sinister, building doom. It’s a wild ride that surprised me regardless of how many times I’ve heard this style before.

“Motormentor” begins the album with a bass lead that pushes through a vile, unpolished black/speed charge. The rasping, screaming vocals hide behind the guitars as they spit and vomit all over the track. After the guitars and drums rip and tear with a relentless attitude, the song deviates as the bass resurfaces to drag this thing to its finish. While a solid opener, it has nothing on the pace and attitude of “Inverted Crossroads.” Though hilariously titled, this track slays. After opening with a simple sound byte, the drums take off with a bone-shattering display of power. The song alternates between this colossal performance and a smooth groove before giving way to the bass guitar. Then, the bass begins a new climb that erupts into the mightiest display of aggression on the album.

“Racers of Death,” “Traumatized in Traffic Jam Ejection,” and the closer, “S.M. Death Worship,” are other enjoyable ones. “Racers of Death” charges off the line with a slick, old-school speed lick that fuses with some NWOBHM character. It has some clever stop-start moments where the bass and drums rebuild the song before the guitars come crashing down, emphasized by the vocalist’s hacking phlegm. “S.M. Death Worship” is another bruiser that uses the bass and drums to create new builds even when the tires are no longer on their rims. It powers through speedy licks, and old-school transitions, and even shows off some big Bathory-esque clean vocals during its six-minute runtime. Even with those cool oddities, “Traumatized in Traffic Jam Ejection” is the most unique track on the album. Though it only sports spoken-word passages, its dragging-knuckle attitude is a pleasing break from the black/speed/thrash onslaught. It also uses these basic elements to introduce new variations of the riffage, ascending with each iteration.

As it seems to be happening to me lately, From Gravel to Grave is another record that is better on its back half than the front. Though there are plenty of stellar tracks, others don’t quite grab me with the same urgency. For example, the two opening tracks, “Motormentor” and “Nordschleife.” They aren’t bad but they can’t hold a Formula One cup over the others. And while “Imola ’94 (From Gravel to Grave)” is interesting, I prefer it skips the effect-laden guitars in its introduction and gets on with it. For a debut album crafted in a style as old as Steel, From Gravel to Grave is memorable enough to keep me coming back. It’s a filthy record with ridiculous lyrics and concepts, but I can get behind it for what it is. So, if you like your metal dripping with burned oil, you should check this out.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions | Bandcamp
Websites: facebook.com/deathracerspeedmetal
Releases Worldwide: July 26th, 2024

#2024 #30 #AustrianMetal #Bathory #BlackMetal #Bulldozer #Darkthrone #DeathRacer #DyingVictimsProductions #Exciter #FromGravelToGrave #IAmTheIntimidator #Jul24 #Razor #Review #Reviews #SpeedMetal #ThrashMetal

Death Racer – From Gravel to Grave Review

By Dr. A.N. Grier

I’m not sure what is happening in 2024, but the motor racing industry keeps making its way into metal albums. The first of the year was the surprisingly good self-titled release from I Am the Intimidator. Austria’s Death Racer continues this trend with their debut album, From Gravel to Grave. While I Am the Intimidator focused on the final moments of racing legend Dale Earnhardt, From Gravel to Grave explores racing globally. That said, the overall theme is the same: the lives taken in this high-octane sport. But, Death Racer does it a little differently, incorporating some late ’80s black, speed, and thrash into the mix. The result is a filthy, gear-grinding effort that feels like an insane mix of old-school NWOBHM, Exciter, Bulldozer, modern-day Darkthrone, and a touch of Bathory. It’s an ugly mix that seems to have faded away since the ’90s but these road warriors care little about that. So, let’s pump that motherfucker gasoline (again).

According to the promotional materials, Death Racer came about due to Razor’s song “Deathrace,” off their impressive debut record, Executioner’s Song. Though there are few comparisons between From Gravel to Grave and Razor’s early days, the inspiration is still there. With gnarly rasps and screams buried behind the guitars and drums, Death Racer focuses on bass-heavy riffs that speed, thrash, and drag bloody knuckles across the asphalt. Lyrically, the album ventures from the absurd (“Traumatized in Traffic Jam Ejection”) to the whiplashing (“Racers of Death”); from the lost lives in infamous races (“Imola ’94 (From Gravel to Grave)”) to notorious race tracks (“Nordschleife”). The vibes range from fun and upbeat NWOBHM tracks to relentless black/thrash charges and sinister, building doom. It’s a wild ride that surprised me regardless of how many times I’ve heard this style before.

“Motormentor” begins the album with a bass lead that pushes through a vile, unpolished black/speed charge. The rasping, screaming vocals hide behind the guitars as they spit and vomit all over the track. After the guitars and drums rip and tear with a relentless attitude, the song deviates as the bass resurfaces to drag this thing to its finish. While a solid opener, it has nothing on the pace and attitude of “Inverted Crossroads.” Though hilariously titled, this track slays. After opening with a simple sound byte, the drums take off with a bone-shattering display of power. The song alternates between this colossal performance and a smooth groove before giving way to the bass guitar. Then, the bass begins a new climb that erupts into the mightiest display of aggression on the album.

“Racers of Death,” “Traumatized in Traffic Jam Ejection,” and the closer, “S.M. Death Worship,” are other enjoyable ones. “Racers of Death” charges off the line with a slick, old-school speed lick that fuses with some NWOBHM character. It has some clever stop-start moments where the bass and drums rebuild the song before the guitars come crashing down, emphasized by the vocalist’s hacking phlegm. “S.M. Death Worship” is another bruiser that uses the bass and drums to create new builds even when the tires are no longer on their rims. It powers through speedy licks, and old-school transitions, and even shows off some big Bathory-esque clean vocals during its six-minute runtime. Even with those cool oddities, “Traumatized in Traffic Jam Ejection” is the most unique track on the album. Though it only sports spoken-word passages, its dragging-knuckle attitude is a pleasing break from the black/speed/thrash onslaught. It also uses these basic elements to introduce new variations of the riffage, ascending with each iteration.

As it seems to be happening to me lately, From Gravel to Grave is another record that is better on its back half than the front. Though there are plenty of stellar tracks, others don’t quite grab me with the same urgency. For example, the two opening tracks, “Motormentor” and “Nordschleife.” They aren’t bad but they can’t hold a Formula One cup over the others. And while “Imola ’94 (From Gravel to Grave)” is interesting, I prefer it skips the effect-laden guitars in its introduction and gets on with it. For a debut album crafted in a style as old as Steel, From Gravel to Grave is memorable enough to keep me coming back. It’s a filthy record with ridiculous lyrics and concepts, but I can get behind it for what it is. So, if you like your metal dripping with burned oil, you should check this out.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions | Bandcamp
Websites: facebook.com/deathracerspeedmetal
Releases Worldwide: July 26th, 2024

#2024 #30 #AustrianMetal #Bathory #BlackMetal #Bulldozer #Darkthrone #DeathRacer #DyingVictimsProductions #Exciter #FromGravelToGrave #IAmTheIntimidator #Jul24 #Razor #Review #Reviews #SpeedMetal #ThrashMetal