#eyehategod — Public Fediverse posts

https://www.europesays.com/uk/921785/ Armed for Apocalypse – The Earth is Breathing Beneath Me Review #25 #2026 #AmericanMetal #Apr26 #ArmedForApocalypse #BetterLovers #ChurchRoadRecords #Converge #Entertainment #Eyehategod #music #Nails #Review #Reviews #Sludge #TheDillingerEscapePlan #TheEarthIsBreathingBeneathMe #UK #UnitedKingdom

Sludge purveyors Armed for Apocalypse have little interest in fitting neatly into a scene or pandering to an audience. They lack both the time and the inclination. What they do have is relentless drive, a mountain of riffs, and a spirit forged through lived experience and hard-earned endurance. The Portland-by-way-of-Chico quartet has learned its lessons the hard way over 17 years and 3 LPs, cutting their teeth on the road, betting on Kickstarter campaigns to fund tours, and grinding it out night after night. That pathos bleeds through every pore of their music. 2022’s Ritual Violence was a distortion-soaked, relentlessly heavy effort rooted in the likes of Eyehategod, even if its uniformity somewhat blunted its impact. Fourth LP, The Earth is Breathing Beneath Me, is no different, thriving on sheer physicality and a firm commitment to a clearly defined approach that remains Armed for Apocalypse’s bread and butter.

If you’re in the mood for a good ol’ fashioned chug-fest, Armed for Apocalypse is here to deliver. The Earth is Breathing Beneath Me locks into its identity early, delivering big, lumbering grooves that bulldoze the listener with sheer physical force. “Fists Like Feathers” and “Ashes of the Night” announce their arrival immediately with huge down-tuned riffs and distorted drawls dipped in djenty flavors, while “Spellbound,” “Keep Up Appearances” and “Lost Without a Light” pick up the pace with simple but effective Converge-esque hooks and breakdowns that feel designed to move bodies. Drummer Nick Harris absolutely hammers his kit, driving this sludgernaut1 forward with obliterating momentum. Nate Burman’s vocals split the difference between Greg Puciato’s (The Dillinger Escape Plan, Better Lovers) unhinged howls and Phil Anselmo’s tough‑guy roar, never wavering from his acrid delivery or venturing from his tonal range. You won’t find any flash or frills here, just straight, unchecked fury, and these lads execute it with confidence.

While The Earth is Breathing Beneath Me maintains an intense, uncompromising core, its narrow scope limits its upside. Fueled largely by rigid structures and an overreliance on recurring songwriting formulas, Armed for Apocalypse’s consistency can be appealing in short bursts, but over time, the group’s approach causes tracks to blur together. From “Lost Without A Light” through “Lurk,” the record delivers a run of pit-inducing cuts that are lean, direct, and effective, but repeated, tropey breakdowns funnel each track back into the chug factory. It reinforces the sense that The Earth is Breathing Beneath Me could have benefited from bolder, more creative risks. Penultimate song “Bathed in a Tepid Pool of My Own Filth,” functions as a four-minute interlude of resonant, open string drones, offering little relief from the textural wash percolating throughout, particularly after tracks like “Beyond the Mirage” or “Immortal” have already bludgeoned you into submission with similar through-lines.

However, scattered moments of variety across The Earth is Breathing Beneath Me provide evidence that Armed for Apocalypse aren’t purely one-trick. Crestfallen verses and brief melodic passages (“Immortal”) and moments of vulnerability (“Beyond the Mirage,” the title track) suggest more nuanced songwriting, but they surface too sparingly to lift the record from its murky haze. Elsewhere, “Fist Like Feathers” shows the group’s songwriting chops with a strong bout of riffs and hooks that are memorable from the start, while “Lurk” cycles Nails-like assaults before predictably reverting to metalcore breakdowns. Kurt Ballou’s (Converge) production gives everything a massive, polished heft,2 emphasizing Armed for Apocalypse’s crunchy, blue‑collar ethos and ensures that each pummeling section does its best to batter you until you’re bloodied and broken.

The Earth is Breathing Beneath Me isn’t a record that invites deep emotional attachment so much as it aims for raw force. When Armed for Apocalypse allows themselves room to experiment, The Earth Is Breathing Beneath Me hints at something more. Those moments underline that Armed for Apocalypse has the talent and discipline to push beyond sheer heaviness. Their yeoman identity, relentless energy, and willingness to get in and get out without excess flash work to their advantage in many respects, and that authenticity can be enough to satisfy. But I can’t help but crave more. Regardless of my desires, The Earth is Breathing Beneath Me never pretends to be more (or less) than what it is and is ultimately content to stop right there.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Church Road Records
Websites: armedforapocalypse.bandcamp.com | armedforapocalypse.com | facebook.com/armedforapocalypse
Releases Worldwide: April 24th, 2026

Sludge purveyors Armed for Apocalypse have little interest in fitting neatly into a scene or pandering to an audience. They lack both the time and the inclination. What they do have is relentless drive, a mountain of riffs, and a spirit forged through lived experience and hard-earned endurance. The Portland-by-way-of-Chico quartet has learned its lessons the hard way over 17 years and 3 LPs, cutting their teeth on the road, betting on Kickstarter campaigns to fund tours, and grinding it out night after night. That pathos bleeds through every pore of their music. 2022’s Ritual Violence was a distortion-soaked, relentlessly heavy effort rooted in the likes of Eyehategod, even if its uniformity somewhat blunted its impact. Fourth LP, The Earth is Breathing Beneath Me, is no different, thriving on sheer physicality and a firm commitment to a clearly defined approach that remains Armed for Apocalypse’s bread and butter.

If you’re in the mood for a good ol’ fashioned chug-fest, Armed for Apocalypse is here to deliver. The Earth is Breathing Beneath Me locks into its identity early, delivering big, lumbering grooves that bulldoze the listener with sheer physical force. “Fists Like Feathers” and “Ashes of the Night” announce their arrival immediately with huge down-tuned riffs and distorted drawls dipped in djenty flavors, while “Spellbound,” “Keep Up Appearances” and “Lost Without a Light” pick up the pace with simple but effective Converge-esque hooks and breakdowns that feel designed to move bodies. Drummer Nick Harris absolutely hammers his kit, driving this sludgernaut1 forward with obliterating momentum. Nate Burman’s vocals split the difference between Greg Puciato’s (The Dillinger Escape Plan, Better Lovers) unhinged howls and Phil Anselmo’s tough‑guy roar, never wavering from his acrid delivery or venturing from his tonal range. You won’t find any flash or frills here, just straight, unchecked fury, and these lads execute it with confidence.

While The Earth is Breathing Beneath Me maintains an intense, uncompromising core, its narrow scope limits its upside. Fueled largely by rigid structures and an overreliance on recurring songwriting formulas, Armed for Apocalypse’s consistency can be appealing in short bursts, but over time, the group’s approach causes tracks to blur together. From “Lost Without A Light” through “Lurk,” the record delivers a run of pit-inducing cuts that are lean, direct, and effective, but repeated, tropey breakdowns funnel each track back into the chug factory. It reinforces the sense that The Earth is Breathing Beneath Me could have benefited from bolder, more creative risks. Penultimate song “Bathed in a Tepid Pool of My Own Filth,” functions as a four-minute interlude of resonant, open string drones, offering little relief from the textural wash percolating throughout, particularly after tracks like “Beyond the Mirage” or “Immortal” have already bludgeoned you into submission with similar through-lines.

However, scattered moments of variety across The Earth is Breathing Beneath Me provide evidence that Armed for Apocalypse aren’t purely one-trick. Crestfallen verses and brief melodic passages (“Immortal”) and moments of vulnerability (“Beyond the Mirage,” the title track) suggest more nuanced songwriting, but they surface too sparingly to lift the record from its murky haze. Elsewhere, “Fist Like Feathers” shows the group’s songwriting chops with a strong bout of riffs and hooks that are memorable from the start, while “Lurk” cycles Nails-like assaults before predictably reverting to metalcore breakdowns. Kurt Ballou’s (Converge) production gives everything a massive, polished heft,2 emphasizing Armed for Apocalypse’s crunchy, blue‑collar ethos and ensures that each pummeling section does its best to batter you until you’re bloodied and broken.

The Earth is Breathing Beneath Me isn’t a record that invites deep emotional attachment so much as it aims for raw force. When Armed for Apocalypse allows themselves room to experiment, The Earth Is Breathing Beneath Me hints at something more. Those moments underline that Armed for Apocalypse has the talent and discipline to push beyond sheer heaviness. Their yeoman identity, relentless energy, and willingness to get in and get out without excess flash work to their advantage in many respects, and that authenticity can be enough to satisfy. But I can’t help but crave more. Regardless of my desires, The Earth is Breathing Beneath Me never pretends to be more (or less) than what it is and is ultimately content to stop right there.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Church Road Records
Websites: armedforapocalypse.bandcamp.com | armedforapocalypse.com | facebook.com/armedforapocalypse
Releases Worldwide: April 24th, 2026

Sludge purveyors Armed for Apocalypse have little interest in fitting neatly into a scene or pandering to an audience. They lack both the time and the inclination. What they do have is relentless drive, a mountain of riffs, and a spirit forged through lived experience and hard-earned endurance. The Portland-by-way-of-Chico quartet has learned its lessons the hard way over 17 years and 3 LPs, cutting their teeth on the road, betting on Kickstarter campaigns to fund tours, and grinding it out night after night. That pathos bleeds through every pore of their music. 2022’s Ritual Violence was a distortion-soaked, relentlessly heavy effort rooted in the likes of Eyehategod, even if its uniformity somewhat blunted its impact. Fourth LP, The Earth is Breathing Beneath Me, is no different, thriving on sheer physicality and a firm commitment to a clearly defined approach that remains Armed for Apocalypse’s bread and butter.

If you’re in the mood for a good ol’ fashioned chug-fest, Armed for Apocalypse is here to deliver. The Earth is Breathing Beneath Me locks into its identity early, delivering big, lumbering grooves that bulldoze the listener with sheer physical force. “Fists Like Feathers” and “Ashes of the Night” announce their arrival immediately with huge down-tuned riffs and distorted drawls dipped in djenty flavors, while “Spellbound,” “Keep Up Appearances” and “Lost Without a Light” pick up the pace with simple but effective Converge-esque hooks and breakdowns that feel designed to move bodies. Drummer Nick Harris absolutely hammers his kit, driving this sludgernaut1 forward with obliterating momentum. Nate Burman’s vocals split the difference between Greg Puciato’s (The Dillinger Escape Plan, Better Lovers) unhinged howls and Phil Anselmo’s tough‑guy roar, never wavering from his acrid delivery or venturing from his tonal range. You won’t find any flash or frills here, just straight, unchecked fury, and these lads execute it with confidence.

While The Earth is Breathing Beneath Me maintains an intense, uncompromising core, its narrow scope limits its upside. Fueled largely by rigid structures and an overreliance on recurring songwriting formulas, Armed for Apocalypse’s consistency can be appealing in short bursts, but over time, the group’s approach causes tracks to blur together. From “Lost Without A Light” through “Lurk,” the record delivers a run of pit-inducing cuts that are lean, direct, and effective, but repeated, tropey breakdowns funnel each track back into the chug factory. It reinforces the sense that The Earth is Breathing Beneath Me could have benefited from bolder, more creative risks. Penultimate song “Bathed in a Tepid Pool of My Own Filth,” functions as a four-minute interlude of resonant, open string drones, offering little relief from the textural wash percolating throughout, particularly after tracks like “Beyond the Mirage” or “Immortal” have already bludgeoned you into submission with similar through-lines.

However, scattered moments of variety across The Earth is Breathing Beneath Me provide evidence that Armed for Apocalypse aren’t purely one-trick. Crestfallen verses and brief melodic passages (“Immortal”) and moments of vulnerability (“Beyond the Mirage,” the title track) suggest more nuanced songwriting, but they surface too sparingly to lift the record from its murky haze. Elsewhere, “Fist Like Feathers” shows the group’s songwriting chops with a strong bout of riffs and hooks that are memorable from the start, while “Lurk” cycles Nails-like assaults before predictably reverting to metalcore breakdowns. Kurt Ballou’s (Converge) production gives everything a massive, polished heft,2 emphasizing Armed for Apocalypse’s crunchy, blue‑collar ethos and ensures that each pummeling section does its best to batter you until you’re bloodied and broken.

The Earth is Breathing Beneath Me isn’t a record that invites deep emotional attachment so much as it aims for raw force. When Armed for Apocalypse allows themselves room to experiment, The Earth Is Breathing Beneath Me hints at something more. Those moments underline that Armed for Apocalypse has the talent and discipline to push beyond sheer heaviness. Their yeoman identity, relentless energy, and willingness to get in and get out without excess flash work to their advantage in many respects, and that authenticity can be enough to satisfy. But I can’t help but crave more. Regardless of my desires, The Earth is Breathing Beneath Me never pretends to be more (or less) than what it is and is ultimately content to stop right there.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Church Road Records
Websites: armedforapocalypse.bandcamp.com | armedforapocalypse.com | facebook.com/armedforapocalypse
Releases Worldwide: April 24th, 2026

Sludge purveyors Armed for Apocalypse have little interest in fitting neatly into a scene or pandering to an audience. They lack both the time and the inclination. What they do have is relentless drive, a mountain of riffs, and a spirit forged through lived experience and hard-earned endurance. The Portland-by-way-of-Chico quartet has learned its lessons the hard way over 17 years and 3 LPs, cutting their teeth on the road, betting on Kickstarter campaigns to fund tours, and grinding it out night after night. That pathos bleeds through every pore of their music. 2022’s Ritual Violence was a distortion-soaked, relentlessly heavy effort rooted in the likes of Eyehategod, even if its uniformity somewhat blunted its impact. Fourth LP, The Earth is Breathing Beneath Me, is no different, thriving on sheer physicality and a firm commitment to a clearly defined approach that remains Armed for Apocalypse’s bread and butter.

If you’re in the mood for a good ol’ fashioned chug-fest, Armed for Apocalypse is here to deliver. The Earth is Breathing Beneath Me locks into its identity early, delivering big, lumbering grooves that bulldoze the listener with sheer physical force. “Fists Like Feathers” and “Ashes of the Night” announce their arrival immediately with huge down-tuned riffs and distorted drawls dipped in djenty flavors, while “Spellbound,” “Keep Up Appearances” and “Lost Without a Light” pick up the pace with simple but effective Converge-esque hooks and breakdowns that feel designed to move bodies. Drummer Nick Harris absolutely hammers his kit, driving this sludgernaut1 forward with obliterating momentum. Nate Burman’s vocals split the difference between Greg Puciato’s (The Dillinger Escape Plan, Better Lovers) unhinged howls and Phil Anselmo’s tough‑guy roar, never wavering from his acrid delivery or venturing from his tonal range. You won’t find any flash or frills here, just straight, unchecked fury, and these lads execute it with confidence.

While The Earth is Breathing Beneath Me maintains an intense, uncompromising core, its narrow scope limits its upside. Fueled largely by rigid structures and an overreliance on recurring songwriting formulas, Armed for Apocalypse’s consistency can be appealing in short bursts, but over time, the group’s approach causes tracks to blur together. From “Lost Without A Light” through “Lurk,” the record delivers a run of pit-inducing cuts that are lean, direct, and effective, but repeated, tropey breakdowns funnel each track back into the chug factory. It reinforces the sense that The Earth is Breathing Beneath Me could have benefited from bolder, more creative risks. Penultimate song “Bathed in a Tepid Pool of My Own Filth,” functions as a four-minute interlude of resonant, open string drones, offering little relief from the textural wash percolating throughout, particularly after tracks like “Beyond the Mirage” or “Immortal” have already bludgeoned you into submission with similar through-lines.

However, scattered moments of variety across The Earth is Breathing Beneath Me provide evidence that Armed for Apocalypse aren’t purely one-trick. Crestfallen verses and brief melodic passages (“Immortal”) and moments of vulnerability (“Beyond the Mirage,” the title track) suggest more nuanced songwriting, but they surface too sparingly to lift the record from its murky haze. Elsewhere, “Fist Like Feathers” shows the group’s songwriting chops with a strong bout of riffs and hooks that are memorable from the start, while “Lurk” cycles Nails-like assaults before predictably reverting to metalcore breakdowns. Kurt Ballou’s (Converge) production gives everything a massive, polished heft,2 emphasizing Armed for Apocalypse’s crunchy, blue‑collar ethos and ensures that each pummeling section does its best to batter you until you’re bloodied and broken.

The Earth is Breathing Beneath Me isn’t a record that invites deep emotional attachment so much as it aims for raw force. When Armed for Apocalypse allows themselves room to experiment, The Earth Is Breathing Beneath Me hints at something more. Those moments underline that Armed for Apocalypse has the talent and discipline to push beyond sheer heaviness. Their yeoman identity, relentless energy, and willingness to get in and get out without excess flash work to their advantage in many respects, and that authenticity can be enough to satisfy. But I can’t help but crave more. Regardless of my desires, The Earth is Breathing Beneath Me never pretends to be more (or less) than what it is and is ultimately content to stop right there.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Church Road Records
Websites: armedforapocalypse.bandcamp.com | armedforapocalypse.com | facebook.com/armedforapocalypse
Releases Worldwide: April 24th, 2026

Sludge purveyors Armed for Apocalypse have little interest in fitting neatly into a scene or pandering to an audience. They lack both the time and the inclination. What they do have is relentless drive, a mountain of riffs, and a spirit forged through lived experience and hard-earned endurance. The Portland-by-way-of-Chico quartet has learned its lessons the hard way over 17 years and 3 LPs, cutting their teeth on the road, betting on Kickstarter campaigns to fund tours, and grinding it out night after night. That pathos bleeds through every pore of their music. 2022’s Ritual Violence was a distortion-soaked, relentlessly heavy effort rooted in the likes of Eyehategod, even if its uniformity somewhat blunted its impact. Fourth LP, The Earth is Breathing Beneath Me, is no different, thriving on sheer physicality and a firm commitment to a clearly defined approach that remains Armed for Apocalypse’s bread and butter.

If you’re in the mood for a good ol’ fashioned chug-fest, Armed for Apocalypse is here to deliver. The Earth is Breathing Beneath Me locks into its identity early, delivering big, lumbering grooves that bulldoze the listener with sheer physical force. “Fists Like Feathers” and “Ashes of the Night” announce their arrival immediately with huge down-tuned riffs and distorted drawls dipped in djenty flavors, while “Spellbound,” “Keep Up Appearances” and “Lost Without a Light” pick up the pace with simple but effective Converge-esque hooks and breakdowns that feel designed to move bodies. Drummer Nick Harris absolutely hammers his kit, driving this sludgernaut1 forward with obliterating momentum. Nate Burman’s vocals split the difference between Greg Puciato’s (The Dillinger Escape Plan, Better Lovers) unhinged howls and Phil Anselmo’s tough‑guy roar, never wavering from his acrid delivery or venturing from his tonal range. You won’t find any flash or frills here, just straight, unchecked fury, and these lads execute it with confidence.

While The Earth is Breathing Beneath Me maintains an intense, uncompromising core, its narrow scope limits its upside. Fueled largely by rigid structures and an overreliance on recurring songwriting formulas, Armed for Apocalypse’s consistency can be appealing in short bursts, but over time, the group’s approach causes tracks to blur together. From “Lost Without A Light” through “Lurk,” the record delivers a run of pit-inducing cuts that are lean, direct, and effective, but repeated, tropey breakdowns funnel each track back into the chug factory. It reinforces the sense that The Earth is Breathing Beneath Me could have benefited from bolder, more creative risks. Penultimate song “Bathed in a Tepid Pool of My Own Filth,” functions as a four-minute interlude of resonant, open string drones, offering little relief from the textural wash percolating throughout, particularly after tracks like “Beyond the Mirage” or “Immortal” have already bludgeoned you into submission with similar through-lines.

However, scattered moments of variety across The Earth is Breathing Beneath Me provide evidence that Armed for Apocalypse aren’t purely one-trick. Crestfallen verses and brief melodic passages (“Immortal”) and moments of vulnerability (“Beyond the Mirage,” the title track) suggest more nuanced songwriting, but they surface too sparingly to lift the record from its murky haze. Elsewhere, “Fist Like Feathers” shows the group’s songwriting chops with a strong bout of riffs and hooks that are memorable from the start, while “Lurk” cycles Nails-like assaults before predictably reverting to metalcore breakdowns. Kurt Ballou’s (Converge) production gives everything a massive, polished heft,2 emphasizing Armed for Apocalypse’s crunchy, blue‑collar ethos and ensures that each pummeling section does its best to batter you until you’re bloodied and broken.

The Earth is Breathing Beneath Me isn’t a record that invites deep emotional attachment so much as it aims for raw force. When Armed for Apocalypse allows themselves room to experiment, The Earth Is Breathing Beneath Me hints at something more. Those moments underline that Armed for Apocalypse has the talent and discipline to push beyond sheer heaviness. Their yeoman identity, relentless energy, and willingness to get in and get out without excess flash work to their advantage in many respects, and that authenticity can be enough to satisfy. But I can’t help but crave more. Regardless of my desires, The Earth is Breathing Beneath Me never pretends to be more (or less) than what it is and is ultimately content to stop right there.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Church Road Records
Websites: armedforapocalypse.bandcamp.com | armedforapocalypse.com | facebook.com/armedforapocalypse
Releases Worldwide: April 24th, 2026

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

New photo galleries up now: JOUST, RAVEN, EYEHATEGOD, DARK SPARKLE, AFTER LIFE
https://www.dnalounge.com/gallery/?utm_source=sp_ma
#dnalounge #joust #bouncebeat #fratbudapest #riddimnyc #riddim #dubstep #bass #sanfrancisco #raven #nefarious #slackjaw #sharkinthewater #metal #thrashmetal #nwobhm #livemusic #concert #eyehategod #crowbar #blast #worship #sludgemetal #doommetal #hardcore #darksparkle #gothic #glam #darkwave #postpunk #afterlife #dildox #broodfaye #darktechno #industrialbass #h ...

On 2 April 1996, New Orleans sludge lords Eyehategod released their third album, Dopesick, before taking an unofficial four-year hiatus shortly after.

At the height of their drug fuelled lifestyle, "the band was just a huge felony rolling down the highway", though surprisingly able to channel their "southern hardcore blues" in the studio when it mattered.

"Dopesick is an album the listener has to sweat out."

10. Peace Thru War (Thru Peace and War)

#Eyehategod #SludgeMetal

I've been a fan of Eyehategod for what feels like forever (not since 1996, though) and they've had a significant impact on me. So it's almost funny that I never really listened to Iron Monkey.

https://thequietus.com/opinion-and-essays/anniversary/iron-monkey-and-eyehategod-1996/

#Eyehategod #IronMonkey #SludgeMetal #doomMetal #metal

♬️ EYEHATEGOD + CROWBAR at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge tonight: Sun Mar 29, 7pm!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge tonight: Sun Mar 29, 7pm!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge tonight: Sun Mar 29, 7pm!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge tonight: Sun Mar 29, 7pm!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

♬️ EYEHATEGOD + CROWBAR at DNA Lounge tonight: Sun Mar 29, 7pm!
https://www.dnalounge.com/calendar/2026/03-29.html?utm_source=sp_ma
#dnalounge #eyehategod #crowbar #blast #worship #metal #sludgemetal #doommetal #hardcore #livemusic #concert #sanfrancisco

Crowbar & Eyehategod announce spring 2026 tour:

#Crowbar #Eyehategod #TourAlert

Link: https://metalinsider.net/touring/crowbar-eyehategod-announce-spring-2026-tour

Crowbar & Eyehategod announce spring 2026 tour:

#Crowbar #Eyehategod #TourAlert

Link: https://metalinsider.net/touring/crowbar-eyehategod-announce-spring-2026-tour

EyeHateGod - Blank (remastered 2007)

Ascolta Blank (remastered 2007) di EyeHateGod su tutte le principali app musicali usando questo link 🎧 https://link.deezer.com/s/31pgqX2b90vNGILq97Fro

Ho appena ascoltato l'ultimo album di Tony Effe. Mi sono dovuto sciacquare le orecchie con del #doommetal vecchio piu di trent'anni.

A voi gli #Eyehategod.

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

What picks do you use?

Eyehategod's Jimmy Bower reveals the ones he prefers!

#eyehategod #guitarist #digitaltourbus #gearmasters #guitarpicks

Buon giorno a tutty con un po' di #doommetal.

Come va la giornata?

Ascolta questo album: A History of Nomadic Behavior
https://open.spotify.com/album/4N8f1HLq8QRPK4eke6kAwZ?si=uftrmz7JRh2MnOk-P0qpdg

#Eyehategod #porcoddio #porcodio

Skitbra konsert #eyehategod

#NowPlaying #TheMetalDogIsNowPlaying
#Eyehategod
New Orleans Is The New Vietnam
New Orleans Is The New Vietnam

YouTube Search:
https://youtube.com/results?search_query=Eyehategod+New+Orleans+Is+The+New+Vietnam+New+Orleans+Is+The+New+Vietnam

Lyrics:
https://genius.com/Eyehategod-new-orleans-is-the-new-vietnam-lyrics

LastFM:
https://www.last.fm/music/Eyehategod/_/New+Orleans+Is+The+New+Vietnam

#metal #doommetal #banned

#TheMetalDogArticleList
#MetalSucks
Sh*t That Comes Out Today – March 17, 2023
New releases for Saint Patrick's Day 2023 including Kamelot, Kruelty and Ecstatic Vision. The post Sh*t That Comes Out Today – March 17, 2023 appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/17/sht-that-comes-out-today-march-17-2023/

#MetalMusic #AlbumReleases #StrayFromThePath #Eyehategod #Trivium #Avatar #AtTheDriveIn

#TheMetalDogArticleList
#MetalSucks
Sh*t That Comes Out Today – March 17, 2023
New releases for Saint Patrick's Day 2023 including Kamelot, Kruelty and Ecstatic Vision. The post Sh*t That Comes Out Today – March 17, 2023 appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/17/sht-that-comes-out-today-march-17-2023/

#MetalMusic #AlbumReleases #StrayFromThePath #Eyehategod #Trivium #Avatar #AtTheDriveIn

#TheMetalDogArticleList
#MetalSucks
Sh*t That Comes Out Today – March 17, 2023
New releases for Saint Patrick's Day 2023 including Kamelot, Kruelty and Ecstatic Vision. The post Sh*t That Comes Out Today – March 17, 2023 appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/17/sht-that-comes-out-today-march-17-2023/

#MetalMusic #AlbumReleases #StrayFromThePath #Eyehategod #Trivium #Avatar #AtTheDriveIn

#TheMetalDogArticleList
#MetalSucks
Sh*t That Comes Out Today – March 17, 2023
New releases for Saint Patrick's Day 2023 including Kamelot, Kruelty and Ecstatic Vision. The post Sh*t That Comes Out Today – March 17, 2023 appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/17/sht-that-comes-out-today-march-17-2023/

#MetalMusic #AlbumReleases #StrayFromThePath #Eyehategod #Trivium #Avatar #AtTheDriveIn

#TheMetalDogArticleList
#MetalSucks
Sh*t That Comes Out Today – March 17, 2023
New releases for Saint Patrick's Day 2023 including Kamelot, Kruelty and Ecstatic Vision. The post Sh*t That Comes Out Today – March 17, 2023 appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/17/sht-that-comes-out-today-march-17-2023/

#MetalMusic #AlbumReleases #StrayFromThePath #Eyehategod #Trivium #Avatar #AtTheDriveIn