#hatebreed — Public Fediverse posts

Hatebreed will headline the second 2026 leg of The Summer Slaughter Tour with support from Terror, Incantation, Gates To Hell, Torture, and Creeping Death.

Details: https://metalinsider.net/touring/hatebreed-to-headline-second-leg-of-summer-slaughter-2026

#Hatebreed #SummerSlaughter #Terror #Incantation #CreepingDeath #DeathMetal #Hardcore #MetalTour #MetalNews

Hatebreed will headline the second 2026 leg of The Summer Slaughter Tour with support from Terror, Incantation, Gates To Hell, Torture, and Creeping Death.

Details: https://metalinsider.net/touring/hatebreed-to-headline-second-leg-of-summer-slaughter-2026

#Hatebreed #SummerSlaughter #Terror #Incantation #CreepingDeath #DeathMetal #Hardcore #MetalTour #MetalNews

Jungle Rot – Cruel Face of War Review

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel…
#NewsBeep #News #Music #2.0 #2026 #AmericanMetal #BoltThrower #CruelFaceofWar #DeathMetal #Entertainment #Hatebreed #JungleRot #May26 #obituary #review #Reviews #SlaughtertoPrevail #UK #UniqueLeaderRecords #UnitedKingdom
https://www.newsbeep.com/uk/581867/

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

After four years of studio silence, Kenoshan cavemen Jungle Rot emerge from the bush with twelfth platter, Cruel Face of War. For the uninitiated, Jungle Rot plays groovy death metal that’s hostile, bludgeoning, and never dares to overthink anything. Their output has been more reliable than our coverage, and reviewing every other album since 2011’s Kill on Command, each has earned a ‘Mixed’ rating. Interestingly, the two albums we missed reviewing, Terror Regime and Jungle Rot, are the best of that group, particularly their self-titled effort. Now faced with our first consecutive Jungle Rot evaluation, can Cruel Face of War break the mold, or does it run through the Jungle on cruise control?

‘Consistency is key’ perseveres as a pillar of advice I mete out and live by,1 and this lesson sticks with Jungle Rot like flies on a decomposing carcass. After three decades of mouth-breathing death jams, the band still delivers freshly forged OSDM every two to four years that reeks of Obituary and Bolt Thrower. While the hardcore and deathcore vestiges have diminished,2 trace amounts of Hatebreed and Slaughter to Prevail lurk within Jungle Rot’s fetid funk, especially Dave Matrise’s vocals. To be fair, any fluctuations in their sound become conversations of degrees, and since Fueled by Hate dropped in 2004, Jungle Rot has been lodged in a groove so deep they haven’t pulled out from it yet.

Jungle Rot sounds best when they inject a bit of melody into their formula, and those crumbs unerringly serve as the best morsels on Cruel Face of War. Maybe that’s because only those moments break up the monotony of an otherwise wearisome chuggathon, where an unvarying landscape of riffs and grooves blur together into an indistinct sea of homogenous death metal. For instance, the riffs on “When the Elders Rise” and “Rot Riffs” carry just enough character to help differentiate themselves from the rest of the pack, but otherwise, I can’t distinguish between most others without playing them back-to-back. To Jungle Rot’s credit, they possess a sound uniquely their own. But like a painter who only uses a single color, they lock themselves into a self-imposed prison of uniformity that undercuts any notion of tension or contrast.

Despite the detractors, Jungle Rot’s adherence to convention pays dividends as well. Pit-ready grooves and stank-inducing verses make great fodder for good ol’ fashioned head-banging, and while the simplicity limits Cruel Face of War’s upside, it also ensures a stable foundation to build upon. Regarding pacing, Jungle Rot plays with two speeds: a menacing, mid-paced skulk and a faster, more predatory trot. Though they never commit to woebegone plods or balls-out blitzes, there’s just enough variety to keep things engaging without moving too far away from Jungle Rot’s established sonic ideal. Additionally, Cruel Face of War merits praise for the efficient yet expressive solos, particularly on “Cruel Face of War” and “Horrors Vile,” with Geoff Bub and David Matrise credited for guitars.3 Bassist James Genenz rumbles and groans alongside, supplying a meaty dimension to Cruel Face of War, and drummer Spenser Syphers pounds and pummels as needed. Dan “The Man” Swanö even handles mixing and mastering, granting the immediate boost he bestows to nearly everything he touches.

Cruel Face of War never outright errs, yet Jungle Rot proves so reticent to stray from the path oft-traveled that I wonder why they recorded new material. Jungle Rot felt like a promising step forward, infusing wicked melodies into the band’s brutish brand of death metal. Since then, Jungle Rot seems content to churn out mildly different flavors of the same core recipe with rapidly diminishing returns. After thirty years of staying the course, I’m not hopeful that Jungle Rot will venture into unfamiliar territory, but without stepping outside their comfort zone, I don’t foresee them bursting free from their Jungle Rut.

Rating: Disappointing
DR: 6 | Format Reviewed: 224 kbps mp3
Label: Unique Leader Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 20264

https://www.europesays.com/at/141819/ Hatebreed: Antrag abgelehnt, Rechtsstreit mit Beattie dauert an #abgewiesen #antrag #AT #Austria #ChrisBeattie #Entertainment #hatebreed #JamieJasta #Klage #Music #Musik #Österreich #Rechtssstreit #Trennung #Unterhaltung

https://www.europesays.com/ee/76946/ LUUBI ALL ⟩ Kontserdid 2026. Keskmise suurusega kontserte saab tuleval aastal nii Tallinnas kui ka Tartus #Äri #Business #EE #Eesti #EestiKeel #Estonia #Estonian #godsmack #hatebreed #KingsOfLeon #LennyKravitz #moby #RokkKontsert #scorpions #sepultura #ZzTop

https://www.europesays.com/ee/69825/ LEGENDID ⟩ Suve rajum muusikafestival toob Tallinna Scorpionsi, Godsmacki ja teised rokkstaarid #EE #Eesti #EestiKeel #Entertainment #Estonia #Estonian #godsmack #goresoerd #hatebreed #herald #Kannabinõid #LiveShow #meelelahutus #nevesis #p.o.d. #pedigree #piletid #RockFännid #scorpions #sepultura #TallinnRockFestival

https://www.europesays.com/ee/67700/ Eesootaval suvel toimub teist korda Tallinn Rock Festival | Muusika #EE #Eesti #EestiKeel #Entertainment #Estonia #Estonian #godsmack #hatebreed #meelelahutus #nevesis #p.o.d. #pedigree #scorpions #sepultura #TallinnRockFestival #WhiteLies

Despised Icon – Shadow Work Review

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But…
#NewsBeep #News #Music #2025 #3.0 #AU #Australia #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Entertainment #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #review #reviews #ShadowWork #Suffocation
https://www.newsbeep.com/au/260786/

https://www.europesays.com/ie/161240/ Despised Icon – Shadow Work Review #2025 #3.0 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Éire #Entertainment #Hatebreed #IE #Ireland #KublaiKhanTX #Music #NuclearBlast #Oct25 #Review #Reviews #ShadowWork #Suffocation

Despised Icon – Shadow Work Review

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #3.0 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Entertainment #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #review #reviews #ShadowWork #Suffocation
https://www.newsbeep.com/us/269528/

Despised Icon – Shadow Work Review

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #3.0 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Entertainment #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #review #reviews #ShadowWork #Suffocation
https://www.newsbeep.com/us/269528/

Despised Icon – Shadow Work Review

By Owlswald

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But just in case you’ve been living under a rock for the past two decades, here’s a brief introduction: back in 2002, when MySpace was all the rage and everyone had a friend named Tom, five dudes from Montreal dropped their debut LP, Consumed by Your Poison. Heavily influenced by the likes of Suffocation and Dying Fetus, these Canadians continued to hone their crushing sound on 2005’s The Healing Process by injecting metalcore and hardcore elements into their deathly framework. This unique formula culminated with their third LP, The Ills of Modern Man (2007)—the crown jewel of their discography that made Despised Icon deathcore royalty. The rest, they say, is history. Fast forward 18 years and, following a hiatus and three subsequent albums, the group has now readied their seventh LP, Shadow Work. So, dust off that windbreaker and lace up your best pair of New Balance kicks; it’s time to dive into Shadow Work.

In typical Despised Icon fashion, the opening title track instantly rips one’s jaw from its joints with a strong, technical launch. Leading the assault is Éric Jarrin and Ben Landreville’s signature pitch-shifted guitar squeals (a staple since 2019’s Purgatory), which, alongside rapid-fire tremolo scales, synchronize perfectly with Alex Pelletier’s blistering rhythms and Sebastien Piché’s grinding bass to fuel the album’s heavy, frenetic passages. The dual-headed vocal attack from Alex Erian and Steve Marois sounds as strong as ever, alternating raspy screams, slam-style pig squeals and hardcore chants that add a sharp, aggressive edge. Guest spots from Matthew Honeycutt (Kublai Khan TX), Scott Ian Lewis (Carnifex) and Tom Barber (Chelsea Grin) compliment Erian and Marois’ delivery but ultimately land with mixed results. Shadow Work’s powerful first half (“Shadow Work” through “The Apparition”) proves Despised Icon can still execute with the same ferocity as on past efforts. Conversely, Shadow Work’s energy wanes toward the end with formulaic pit anthems (“Obsessive Compulsive Disaster,” “Fallen Ones”) settling into a cliché hardcore spirit, though the record’s strongest material warrants repeat listens.

The first half of Shadow Work delivers a powerful blend of technical proficiency and a dash of genre experimentation before the album settles into a more formulaic hardcore groove. “Death Of An Artist” is a straight-up, drum-driven banger that introduces new wrinkles like clean vocals, dissonant high leads and a tasteful thrash and death eeriness that adds fresh flavor to Despised Icon’s well-known formula. Similarly, “The Apparition” is a relentless burner, injecting elements of symphonic death and black metal while maintaining the group’s core sound. Across the album’s succinct 37 minutes, monolithic breakdowns are plentiful—tense builds frequently give way to gut-punching beatdowns replete with fret slides (“Shadow Work”), air raid sirens (“The Apparition”) and stutter-step riffing (“Death of an Artist”), delivering a seismic release and an irresistible urge to pit.

However, Shadow Work hits a predictable wall at its midpoint, slumping into an over-reliance on tropey, Hatebreed-adjacent, inspirational anthems. Characterized by pervasive gang vocals, two-step riffs, and cheesy lyrical themes, tracks like “Fallen Ones,” “Obsessive Compulsive Disaster,” and “Reaper” feel less about pushing Despised Icon’s established deathcore boundaries and more about catering to the masses, thereby detracting from Shadow Work’s initial aggression. While Scott Ian Lewis’ gruff, thrashy vocal textures on “In Memoriam” effectively add a new element and the raucous “Omen of Misfortune” or “ContreCoeur” offer relief, Despised Icon’s heavy reliance on clichéd, tough-guy hardcore vocal cadences and themes holds Shadow Work back. For instance, lines like “From the ground up, never gave up, from the gutter to the surface” (“Reaper”) leans too far into its hardcore roots. Even the otherwise stronger early track “Over My Dead Body” is hampered by a cheesy hardcore/nu-metal feel in its bridge, its jarring cadence and Honeycutt’s yelling of “bitch” further exposing Shadow Work’s central weakness.1

Shadow Work is a good record marred by frustrating dualities. The first half unleashes the punishing, technical ferocity and syncopated slams that cement Despised Icon’s legacy as godfathers of deathcore. Yet, Shadow Work’s potential is sacrificed in the latter half, by leaning too hard on formulaic, predictable hardcore anthems. By repeatedly prioritizing comfortable clichés over their trademark sound, Despised Icon ultimately delivers an uneven album that only teases at the complete savagery fans know these legends are still more than capable of delivering.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: despisedicon.com | facebook.com/despisedicon
Releases Worldwide: October 31st, 2025

#2025 #30 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #Review #Reviews #ShadowWork #Suffocation

Despised Icon – Shadow Work Review

By Owlswald

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But just in case you’ve been living under a rock for the past two decades, here’s a brief introduction: back in 2002, when MySpace was all the rage and everyone had a friend named Tom, five dudes from Montreal dropped their debut LP, Consumed by Your Poison. Heavily influenced by the likes of Suffocation and Dying Fetus, these Canadians continued to hone their crushing sound on 2005’s The Healing Process by injecting metalcore and hardcore elements into their deathly framework. This unique formula culminated with their third LP, The Ills of Modern Man (2007)—the crown jewel of their discography that made Despised Icon deathcore royalty. The rest, they say, is history. Fast forward 18 years and, following a hiatus and three subsequent albums, the group has now readied their seventh LP, Shadow Work. So, dust off that windbreaker and lace up your best pair of New Balance kicks; it’s time to dive into Shadow Work.

In typical Despised Icon fashion, the opening title track instantly rips one’s jaw from its joints with a strong, technical launch. Leading the assault is Éric Jarrin and Ben Landreville’s signature pitch-shifted guitar squeals (a staple since 2019’s Purgatory), which, alongside rapid-fire tremolo scales, synchronize perfectly with Alex Pelletier’s blistering rhythms and Sebastien Piché’s grinding bass to fuel the album’s heavy, frenetic passages. The dual-headed vocal attack from Alex Erian and Steve Marois sounds as strong as ever, alternating raspy screams, slam-style pig squeals and hardcore chants that add a sharp, aggressive edge. Guest spots from Matthew Honeycutt (Kublai Khan TX), Scott Ian Lewis (Carnifex) and Tom Barber (Chelsea Grin) compliment Erian and Marois’ delivery but ultimately land with mixed results. Shadow Work’s powerful first half (“Shadow Work” through “The Apparition”) proves Despised Icon can still execute with the same ferocity as on past efforts. Conversely, Shadow Work’s energy wanes toward the end with formulaic pit anthems (“Obsessive Compulsive Disaster,” “Fallen Ones”) settling into a cliché hardcore spirit, though the record’s strongest material warrants repeat listens.

The first half of Shadow Work delivers a powerful blend of technical proficiency and a dash of genre experimentation before the album settles into a more formulaic hardcore groove. “Death Of An Artist” is a straight-up, drum-driven banger that introduces new wrinkles like clean vocals, dissonant high leads and a tasteful thrash and death eeriness that adds fresh flavor to Despised Icon’s well-known formula. Similarly, “The Apparition” is a relentless burner, injecting elements of symphonic death and black metal while maintaining the group’s core sound. Across the album’s succinct 37 minutes, monolithic breakdowns are plentiful—tense builds frequently give way to gut-punching beatdowns replete with fret slides (“Shadow Work”), air raid sirens (“The Apparition”) and stutter-step riffing (“Death of an Artist”), delivering a seismic release and an irresistible urge to pit.

However, Shadow Work hits a predictable wall at its midpoint, slumping into an over-reliance on tropey, Hatebreed-adjacent, inspirational anthems. Characterized by pervasive gang vocals, two-step riffs, and cheesy lyrical themes, tracks like “Fallen Ones,” “Obsessive Compulsive Disaster,” and “Reaper” feel less about pushing Despised Icon’s established deathcore boundaries and more about catering to the masses, thereby detracting from Shadow Work’s initial aggression. While Scott Ian Lewis’ gruff, thrashy vocal textures on “In Memoriam” effectively add a new element and the raucous “Omen of Misfortune” or “ContreCoeur” offer relief, Despised Icon’s heavy reliance on clichéd, tough-guy hardcore vocal cadences and themes holds Shadow Work back. For instance, lines like “From the ground up, never gave up, from the gutter to the surface” (“Reaper”) leans too far into its hardcore roots. Even the otherwise stronger early track “Over My Dead Body” is hampered by a cheesy hardcore/nu-metal feel in its bridge, its jarring cadence and Honeycutt’s yelling of “bitch” further exposing Shadow Work’s central weakness.1

Shadow Work is a good record marred by frustrating dualities. The first half unleashes the punishing, technical ferocity and syncopated slams that cement Despised Icon’s legacy as godfathers of deathcore. Yet, Shadow Work’s potential is sacrificed in the latter half, by leaning too hard on formulaic, predictable hardcore anthems. By repeatedly prioritizing comfortable clichés over their trademark sound, Despised Icon ultimately delivers an uneven album that only teases at the complete savagery fans know these legends are still more than capable of delivering.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: despisedicon.com | facebook.com/despisedicon
Releases Worldwide: October 31st, 2025

#2025 #30 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #Review #Reviews #ShadowWork #Suffocation

Despised Icon – Shadow Work Review

By Owlswald

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But just in case you’ve been living under a rock for the past two decades, here’s a brief introduction: back in 2002, when MySpace was all the rage and everyone had a friend named Tom, five dudes from Montreal dropped their debut LP, Consumed by Your Poison. Heavily influenced by the likes of Suffocation and Dying Fetus, these Canadians continued to hone their crushing sound on 2005’s The Healing Process by injecting metalcore and hardcore elements into their deathly framework. This unique formula culminated with their third LP, The Ills of Modern Man (2007)—the crown jewel of their discography that made Despised Icon deathcore royalty. The rest, they say, is history. Fast forward 18 years and, following a hiatus and three subsequent albums, the group has now readied their seventh LP, Shadow Work. So, dust off that windbreaker and lace up your best pair of New Balance kicks; it’s time to dive into Shadow Work.

In typical Despised Icon fashion, the opening title track instantly rips one’s jaw from its joints with a strong, technical launch. Leading the assault is Éric Jarrin and Ben Landreville’s signature pitch-shifted guitar squeals (a staple since 2019’s Purgatory), which, alongside rapid-fire tremolo scales, synchronize perfectly with Alex Pelletier’s blistering rhythms and Sebastien Piché’s grinding bass to fuel the album’s heavy, frenetic passages. The dual-headed vocal attack from Alex Erian and Steve Marois sounds as strong as ever, alternating raspy screams, slam-style pig squeals and hardcore chants that add a sharp, aggressive edge. Guest spots from Matthew Honeycutt (Kublai Khan TX), Scott Ian Lewis (Carnifex) and Tom Barber (Chelsea Grin) compliment Erian and Marois’ delivery but ultimately land with mixed results. Shadow Work’s powerful first half (“Shadow Work” through “The Apparition”) proves Despised Icon can still execute with the same ferocity as on past efforts. Conversely, Shadow Work’s energy wanes toward the end with formulaic pit anthems (“Obsessive Compulsive Disaster,” “Fallen Ones”) settling into a cliché hardcore spirit, though the record’s strongest material warrants repeat listens.

The first half of Shadow Work delivers a powerful blend of technical proficiency and a dash of genre experimentation before the album settles into a more formulaic hardcore groove. “Death Of An Artist” is a straight-up, drum-driven banger that introduces new wrinkles like clean vocals, dissonant high leads and a tasteful thrash and death eeriness that adds fresh flavor to Despised Icon’s well-known formula. Similarly, “The Apparition” is a relentless burner, injecting elements of symphonic death and black metal while maintaining the group’s core sound. Across the album’s succinct 37 minutes, monolithic breakdowns are plentiful—tense builds frequently give way to gut-punching beatdowns replete with fret slides (“Shadow Work”), air raid sirens (“The Apparition”) and stutter-step riffing (“Death of an Artist”), delivering a seismic release and an irresistible urge to pit.

However, Shadow Work hits a predictable wall at its midpoint, slumping into an over-reliance on tropey, Hatebreed-adjacent, inspirational anthems. Characterized by pervasive gang vocals, two-step riffs, and cheesy lyrical themes, tracks like “Fallen Ones,” “Obsessive Compulsive Disaster,” and “Reaper” feel less about pushing Despised Icon’s established deathcore boundaries and more about catering to the masses, thereby detracting from Shadow Work’s initial aggression. While Scott Ian Lewis’ gruff, thrashy vocal textures on “In Memoriam” effectively add a new element and the raucous “Omen of Misfortune” or “ContreCoeur” offer relief, Despised Icon’s heavy reliance on clichéd, tough-guy hardcore vocal cadences and themes holds Shadow Work back. For instance, lines like “From the ground up, never gave up, from the gutter to the surface” (“Reaper”) leans too far into its hardcore roots. Even the otherwise stronger early track “Over My Dead Body” is hampered by a cheesy hardcore/nu-metal feel in its bridge, its jarring cadence and Honeycutt’s yelling of “bitch” further exposing Shadow Work’s central weakness.1

Shadow Work is a good record marred by frustrating dualities. The first half unleashes the punishing, technical ferocity and syncopated slams that cement Despised Icon’s legacy as godfathers of deathcore. Yet, Shadow Work’s potential is sacrificed in the latter half, by leaning too hard on formulaic, predictable hardcore anthems. By repeatedly prioritizing comfortable clichés over their trademark sound, Despised Icon ultimately delivers an uneven album that only teases at the complete savagery fans know these legends are still more than capable of delivering.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: despisedicon.com | facebook.com/despisedicon
Releases Worldwide: October 31st, 2025

#2025 #30 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #Review #Reviews #ShadowWork #Suffocation

Despised Icon – Shadow Work Review

By Owlswald

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But just in case you’ve been living under a rock for the past two decades, here’s a brief introduction: back in 2002, when MySpace was all the rage and everyone had a friend named Tom, five dudes from Montreal dropped their debut LP, Consumed by Your Poison. Heavily influenced by the likes of Suffocation and Dying Fetus, these Canadians continued to hone their crushing sound on 2005’s The Healing Process by injecting metalcore and hardcore elements into their deathly framework. This unique formula culminated with their third LP, The Ills of Modern Man (2007)—the crown jewel of their discography that made Despised Icon deathcore royalty. The rest, they say, is history. Fast forward 18 years and, following a hiatus and three subsequent albums, the group has now readied their seventh LP, Shadow Work. So, dust off that windbreaker and lace up your best pair of New Balance kicks; it’s time to dive into Shadow Work.

In typical Despised Icon fashion, the opening title track instantly rips one’s jaw from its joints with a strong, technical launch. Leading the assault is Éric Jarrin and Ben Landreville’s signature pitch-shifted guitar squeals (a staple since 2019’s Purgatory), which, alongside rapid-fire tremolo scales, synchronize perfectly with Alex Pelletier’s blistering rhythms and Sebastien Piché’s grinding bass to fuel the album’s heavy, frenetic passages. The dual-headed vocal attack from Alex Erian and Steve Marois sounds as strong as ever, alternating raspy screams, slam-style pig squeals and hardcore chants that add a sharp, aggressive edge. Guest spots from Matthew Honeycutt (Kublai Khan TX), Scott Ian Lewis (Carnifex) and Tom Barber (Chelsea Grin) compliment Erian and Marois’ delivery but ultimately land with mixed results. Shadow Work’s powerful first half (“Shadow Work” through “The Apparition”) proves Despised Icon can still execute with the same ferocity as on past efforts. Conversely, Shadow Work’s energy wanes toward the end with formulaic pit anthems (“Obsessive Compulsive Disaster,” “Fallen Ones”) settling into a cliché hardcore spirit, though the record’s strongest material warrants repeat listens.

The first half of Shadow Work delivers a powerful blend of technical proficiency and a dash of genre experimentation before the album settles into a more formulaic hardcore groove. “Death Of An Artist” is a straight-up, drum-driven banger that introduces new wrinkles like clean vocals, dissonant high leads and a tasteful thrash and death eeriness that adds fresh flavor to Despised Icon’s well-known formula. Similarly, “The Apparition” is a relentless burner, injecting elements of symphonic death and black metal while maintaining the group’s core sound. Across the album’s succinct 37 minutes, monolithic breakdowns are plentiful—tense builds frequently give way to gut-punching beatdowns replete with fret slides (“Shadow Work”), air raid sirens (“The Apparition”) and stutter-step riffing (“Death of an Artist”), delivering a seismic release and an irresistible urge to pit.

However, Shadow Work hits a predictable wall at its midpoint, slumping into an over-reliance on tropey, Hatebreed-adjacent, inspirational anthems. Characterized by pervasive gang vocals, two-step riffs, and cheesy lyrical themes, tracks like “Fallen Ones,” “Obsessive Compulsive Disaster,” and “Reaper” feel less about pushing Despised Icon’s established deathcore boundaries and more about catering to the masses, thereby detracting from Shadow Work’s initial aggression. While Scott Ian Lewis’ gruff, thrashy vocal textures on “In Memoriam” effectively add a new element and the raucous “Omen of Misfortune” or “ContreCoeur” offer relief, Despised Icon’s heavy reliance on clichéd, tough-guy hardcore vocal cadences and themes holds Shadow Work back. For instance, lines like “From the ground up, never gave up, from the gutter to the surface” (“Reaper”) leans too far into its hardcore roots. Even the otherwise stronger early track “Over My Dead Body” is hampered by a cheesy hardcore/nu-metal feel in its bridge, its jarring cadence and Honeycutt’s yelling of “bitch” further exposing Shadow Work’s central weakness.1

Shadow Work is a good record marred by frustrating dualities. The first half unleashes the punishing, technical ferocity and syncopated slams that cement Despised Icon’s legacy as godfathers of deathcore. Yet, Shadow Work’s potential is sacrificed in the latter half, by leaning too hard on formulaic, predictable hardcore anthems. By repeatedly prioritizing comfortable clichés over their trademark sound, Despised Icon ultimately delivers an uneven album that only teases at the complete savagery fans know these legends are still more than capable of delivering.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: despisedicon.com | facebook.com/despisedicon
Releases Worldwide: October 31st, 2025

#2025 #30 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #Review #Reviews #ShadowWork #Suffocation

Despised Icon – Shadow Work Review

By Owlswald

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But just in case you’ve been living under a rock for the past two decades, here’s a brief introduction: back in 2002, when MySpace was all the rage and everyone had a friend named Tom, five dudes from Montreal dropped their debut LP, Consumed by Your Poison. Heavily influenced by the likes of Suffocation and Dying Fetus, these Canadians continued to hone their crushing sound on 2005’s The Healing Process by injecting metalcore and hardcore elements into their deathly framework. This unique formula culminated with their third LP, The Ills of Modern Man (2007)—the crown jewel of their discography that made Despised Icon deathcore royalty. The rest, they say, is history. Fast forward 18 years and, following a hiatus and three subsequent albums, the group has now readied their seventh LP, Shadow Work. So, dust off that windbreaker and lace up your best pair of New Balance kicks; it’s time to dive into Shadow Work.

In typical Despised Icon fashion, the opening title track instantly rips one’s jaw from its joints with a strong, technical launch. Leading the assault is Éric Jarrin and Ben Landreville’s signature pitch-shifted guitar squeals (a staple since 2019’s Purgatory), which, alongside rapid-fire tremolo scales, synchronize perfectly with Alex Pelletier’s blistering rhythms and Sebastien Piché’s grinding bass to fuel the album’s heavy, frenetic passages. The dual-headed vocal attack from Alex Erian and Steve Marois sounds as strong as ever, alternating raspy screams, slam-style pig squeals and hardcore chants that add a sharp, aggressive edge. Guest spots from Matthew Honeycutt (Kublai Khan TX), Scott Ian Lewis (Carnifex) and Tom Barber (Chelsea Grin) compliment Erian and Marois’ delivery but ultimately land with mixed results. Shadow Work’s powerful first half (“Shadow Work” through “The Apparition”) proves Despised Icon can still execute with the same ferocity as on past efforts. Conversely, Shadow Work’s energy wanes toward the end with formulaic pit anthems (“Obsessive Compulsive Disaster,” “Fallen Ones”) settling into a cliché hardcore spirit, though the record’s strongest material warrants repeat listens.

The first half of Shadow Work delivers a powerful blend of technical proficiency and a dash of genre experimentation before the album settles into a more formulaic hardcore groove. “Death Of An Artist” is a straight-up, drum-driven banger that introduces new wrinkles like clean vocals, dissonant high leads and a tasteful thrash and death eeriness that adds fresh flavor to Despised Icon’s well-known formula. Similarly, “The Apparition” is a relentless burner, injecting elements of symphonic death and black metal while maintaining the group’s core sound. Across the album’s succinct 37 minutes, monolithic breakdowns are plentiful—tense builds frequently give way to gut-punching beatdowns replete with fret slides (“Shadow Work”), air raid sirens (“The Apparition”) and stutter-step riffing (“Death of an Artist”), delivering a seismic release and an irresistible urge to pit.

However, Shadow Work hits a predictable wall at its midpoint, slumping into an over-reliance on tropey, Hatebreed-adjacent, inspirational anthems. Characterized by pervasive gang vocals, two-step riffs, and cheesy lyrical themes, tracks like “Fallen Ones,” “Obsessive Compulsive Disaster,” and “Reaper” feel less about pushing Despised Icon’s established deathcore boundaries and more about catering to the masses, thereby detracting from Shadow Work’s initial aggression. While Scott Ian Lewis’ gruff, thrashy vocal textures on “In Memoriam” effectively add a new element and the raucous “Omen of Misfortune” or “ContreCoeur” offer relief, Despised Icon’s heavy reliance on clichéd, tough-guy hardcore vocal cadences and themes holds Shadow Work back. For instance, lines like “From the ground up, never gave up, from the gutter to the surface” (“Reaper”) leans too far into its hardcore roots. Even the otherwise stronger early track “Over My Dead Body” is hampered by a cheesy hardcore/nu-metal feel in its bridge, its jarring cadence and Honeycutt’s yelling of “bitch” further exposing Shadow Work’s central weakness.1

Shadow Work is a good record marred by frustrating dualities. The first half unleashes the punishing, technical ferocity and syncopated slams that cement Despised Icon’s legacy as godfathers of deathcore. Yet, Shadow Work’s potential is sacrificed in the latter half, by leaning too hard on formulaic, predictable hardcore anthems. By repeatedly prioritizing comfortable clichés over their trademark sound, Despised Icon ultimately delivers an uneven album that only teases at the complete savagery fans know these legends are still more than capable of delivering.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: despisedicon.com | facebook.com/despisedicon
Releases Worldwide: October 31st, 2025

#2025 #30 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #Review #Reviews #ShadowWork #Suffocation

Czech Hardcore Force CRIPPLED FINGERS Unleash Explosive Live Set from the Netherlands

Prague’s own CRIPPLED FINGERS have just dropped a full live set that captures everything fans love about them:…
#Netherlands #Nederland #NL #Europe #Europa #EU #Biohazard #BrutalAssault #CRIPPLEDFINGERS #CROWBAR #CzechDeathFest #Fajtfest #GuiltTrip #Hatebreed #MastersofRock #netherlands #Neushoorn #Nieuws #Pro-Pain #worst
https://www.europesays.com/2540576/

Czech Hardcore Force CRIPPLED FINGERS Unleash Explosive Live Set from the Netherlands https://www.byteseu.com/1505634/ #Biohazard #BrutalAssault #CRIPPLEDFINGERS #CROWBAR #CzechDeathFest #Fajtfest #GuiltTrip #Hatebreed #MastersOfRock #Netherlands #Neushoorn #ProPain #worst

Cruel Bomb – Cruel Bomb Review

By Tyme

Wilkes-Barre, Pennsylvania, is home to self-proclaimed ‘thrash metal titans,’ Cruel Bomb. Since forming in 2018, Cruel Bomb has released three EPs—2019’s Manhattan Mischief, 2020’s Trinity Terror, and 2022’s Man Made—while touring extensively along the East Coast. Now, wrapped in an energetically bright and nuclearly holocaustic package courtesy of artist Ed Repka, Cruel Bomb prepares to drop their eponymous, independent debut album. Crafting your debut as a nod to the Big 4, while not entirely original, does come with certain expectations, at least for this reviewer. So, I mindfully sat down to pen my missive, wondering if Cruel Bomb would be the band to put Wilkes-Barre on the thrash map, or if they’d blown their whole wad requisitioning that cool cover art.

Cruel Bomb never reaches the other side of the crossover bridge with a sound more hardcore than thrash. Kenny Barto and Brandon James lay down formulaically straightforward riffs of the speedy, chuggy, and breakdown variety. And ohh, the breakdowns. Present throughout, they keep Cruel Bomb planted primarily in Hatebreed and sometimes, Power Trip territory. I also sensed whiffs of Slayer lurking about via harmonic leads (“Hell Hounds”) and Hell Awaits-like chugging (“Night of the Hunt”). Barto’s solo work makes brief appearances, which are either noodly and short-lived (“Target Neutralized”) or comprised of fretfully executed dive bombs (“Glass House”). Nick Hennebaul’s bass lines—perkily plucked and punky—permeate Cruel Bomb’s low spaces and are audibly satisfying, a result of the production job from Novro Studios, while Kyle McKeown rounds out the rhythm section and does a decent job D-beating his way through Cruel Bomb, his performance enhanced by flourishing fills and machine-gun double kicks. Vocals are hard, core, and shouted, courtesy of Brandon James, and though effectively executed, sound so much like Jamey Jasta, it was hard for me to pick out moments that didn’t remind me of Hatebreed. Framed by formula and trope, Cruel Bomb’s thrash is just hardcore in sheep’s clothing.

Mainly a mix of homogenized moments, there were a few points during Cruel Bomb that I found more engaging. Not only due to the strange, cartoonish voice at the beginning, “Hell Hounds” stood out because of its lively bass work, mid-paced thrashery, and an interlude where everything stops long enough for Brandon to scream, ‘Retreat?! We just got here!” before launching into the tracks second half. I also took note of the stanky grooves and great chorus of “Gravemind” in addition to the speedy riffs and lengthiest solo work—a whammy-tinged fret-du-jour preceded by a nice little guitar lick—on “The End.” Beyond these flashes, however, most of what Cruel Bomb does is awash in waves of similitude cannibalizing off one central idea, riff/breakdown/riff/repeat.

As good a production job as Eric Novroski did, providing enough organic spaces for Cruel Bomb’s instrumentation to thrive, a lack of dynamic songwriting and a no-escape-from-the-vocals approach hold Cruel Bomb back the most. Obligatory intro and the aforementioned “Hell Hounds” aside, every other track on Cruel Bomb starts one of two ways, with a speed happy riff or drum and chug breakdown, adhering strictly to a too-safely written formula resulting in a narrowly conceived batch of hardcore tunes that, by the time “Glass House” rolled around, had me glancing at the clock and suffering from listeners fatigue. In addition, James’ very one-dimensional vocal attack made what should have been an easily digestible thirty-four-minute platter drag, feeling much longer. Don’t get me wrong, Brandon James is a good vocalist and the amount of chesty power he brings to his shouts works. Still, his lack of tonal variety—notwithstanding the few seconds in “World Breaker” where he manages to dip into a slightly lower register—grates after a while, especially when overpowering most of Cruel Bomb’s attempts at gang shouts, which could have served as a vocal counterpoint.

I respect Cruel Bomb’s commitment to their aesthetic and craft, even down to the logo, which I dig. Yet despite my rather negative take, I don’t believe Cruel Bomb is a complete swing and miss. It’s clear these four, a quartet since 2023, have spent a lot of time touring and playing together, reflected in Cruel Bomb’s taut performances. With a more adventurous songwriting approach and some vocal contrast, Cruel Bomb has the talent to do more. Hardcore enthusiasts and Hatebreed fans should find things to like, and though I won’t return to Cruel Bomb after closing my laptop on this review, I’ll be watching for what comes next.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #CrossoverThrash #CruelBomb #Hardcore #Hatebreed #PowerTrip #Review #Reviews #SelfRelease #Slayer

Cruel Bomb – Cruel Bomb Review

By Tyme

Wilkes-Barre, Pennsylvania, is home to self-proclaimed ‘thrash metal titans,’ Cruel Bomb. Since forming in 2018, Cruel Bomb has released three EPs—2019’s Manhattan Mischief, 2020’s Trinity Terror, and 2022’s Man Made—while touring extensively along the East Coast. Now, wrapped in an energetically bright and nuclearly holocaustic package courtesy of artist Ed Repka, Cruel Bomb prepares to drop their eponymous, independent debut album. Crafting your debut as a nod to the Big 4, while not entirely original, does come with certain expectations, at least for this reviewer. So, I mindfully sat down to pen my missive, wondering if Cruel Bomb would be the band to put Wilkes-Barre on the thrash map, or if they’d blown their whole wad requisitioning that cool cover art.

Cruel Bomb never reaches the other side of the crossover bridge with a sound more hardcore than thrash. Kenny Barto and Brandon James lay down formulaically straightforward riffs of the speedy, chuggy, and breakdown variety. And ohh, the breakdowns. Present throughout, they keep Cruel Bomb planted primarily in Hatebreed and sometimes, Power Trip territory. I also sensed whiffs of Slayer lurking about via harmonic leads (“Hell Hounds”) and Hell Awaits-like chugging (“Night of the Hunt”). Barto’s solo work makes brief appearances, which are either noodly and short-lived (“Target Neutralized”) or comprised of fretfully executed dive bombs (“Glass House”). Nick Hennebaul’s bass lines—perkily plucked and punky—permeate Cruel Bomb’s low spaces and are audibly satisfying, a result of the production job from Novro Studios, while Kyle McKeown rounds out the rhythm section and does a decent job D-beating his way through Cruel Bomb, his performance enhanced by flourishing fills and machine-gun double kicks. Vocals are hard, core, and shouted, courtesy of Brandon James, and though effectively executed, sound so much like Jamey Jasta, it was hard for me to pick out moments that didn’t remind me of Hatebreed. Framed by formula and trope, Cruel Bomb’s thrash is just hardcore in sheep’s clothing.

Mainly a mix of homogenized moments, there were a few points during Cruel Bomb that I found more engaging. Not only due to the strange, cartoonish voice at the beginning, “Hell Hounds” stood out because of its lively bass work, mid-paced thrashery, and an interlude where everything stops long enough for Brandon to scream, ‘Retreat?! We just got here!” before launching into the tracks second half. I also took note of the stanky grooves and great chorus of “Gravemind” in addition to the speedy riffs and lengthiest solo work—a whammy-tinged fret-du-jour preceded by a nice little guitar lick—on “The End.” Beyond these flashes, however, most of what Cruel Bomb does is awash in waves of similitude cannibalizing off one central idea, riff/breakdown/riff/repeat.

As good a production job as Eric Novroski did, providing enough organic spaces for Cruel Bomb’s instrumentation to thrive, a lack of dynamic songwriting and a no-escape-from-the-vocals approach hold Cruel Bomb back the most. Obligatory intro and the aforementioned “Hell Hounds” aside, every other track on Cruel Bomb starts one of two ways, with a speed happy riff or drum and chug breakdown, adhering strictly to a too-safely written formula resulting in a narrowly conceived batch of hardcore tunes that, by the time “Glass House” rolled around, had me glancing at the clock and suffering from listeners fatigue. In addition, James’ very one-dimensional vocal attack made what should have been an easily digestible thirty-four-minute platter drag, feeling much longer. Don’t get me wrong, Brandon James is a good vocalist and the amount of chesty power he brings to his shouts works. Still, his lack of tonal variety—notwithstanding the few seconds in “World Breaker” where he manages to dip into a slightly lower register—grates after a while, especially when overpowering most of Cruel Bomb’s attempts at gang shouts, which could have served as a vocal counterpoint.

I respect Cruel Bomb’s commitment to their aesthetic and craft, even down to the logo, which I dig. Yet despite my rather negative take, I don’t believe Cruel Bomb is a complete swing and miss. It’s clear these four, a quartet since 2023, have spent a lot of time touring and playing together, reflected in Cruel Bomb’s taut performances. With a more adventurous songwriting approach and some vocal contrast, Cruel Bomb has the talent to do more. Hardcore enthusiasts and Hatebreed fans should find things to like, and though I won’t return to Cruel Bomb after closing my laptop on this review, I’ll be watching for what comes next.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #CrossoverThrash #CruelBomb #Hardcore #Hatebreed #PowerTrip #Review #Reviews #SelfRelease #Slayer

Cruel Bomb – Cruel Bomb Review

By Tyme

Wilkes-Barre, Pennsylvania, is home to self-proclaimed ‘thrash metal titans,’ Cruel Bomb. Since forming in 2018, Cruel Bomb has released three EPs—2019’s Manhattan Mischief, 2020’s Trinity Terror, and 2022’s Man Made—while touring extensively along the East Coast. Now, wrapped in an energetically bright and nuclearly holocaustic package courtesy of artist Ed Repka, Cruel Bomb prepares to drop their eponymous, independent debut album. Crafting your debut as a nod to the Big 4, while not entirely original, does come with certain expectations, at least for this reviewer. So, I mindfully sat down to pen my missive, wondering if Cruel Bomb would be the band to put Wilkes-Barre on the thrash map, or if they’d blown their whole wad requisitioning that cool cover art.

Cruel Bomb never reaches the other side of the crossover bridge with a sound more hardcore than thrash. Kenny Barto and Brandon James lay down formulaically straightforward riffs of the speedy, chuggy, and breakdown variety. And ohh, the breakdowns. Present throughout, they keep Cruel Bomb planted primarily in Hatebreed and sometimes, Power Trip territory. I also sensed whiffs of Slayer lurking about via harmonic leads (“Hell Hounds”) and Hell Awaits-like chugging (“Night of the Hunt”). Barto’s solo work makes brief appearances, which are either noodly and short-lived (“Target Neutralized”) or comprised of fretfully executed dive bombs (“Glass House”). Nick Hennebaul’s bass lines—perkily plucked and punky—permeate Cruel Bomb’s low spaces and are audibly satisfying, a result of the production job from Novro Studios, while Kyle McKeown rounds out the rhythm section and does a decent job D-beating his way through Cruel Bomb, his performance enhanced by flourishing fills and machine-gun double kicks. Vocals are hard, core, and shouted, courtesy of Brandon James, and though effectively executed, sound so much like Jamey Jasta, it was hard for me to pick out moments that didn’t remind me of Hatebreed. Framed by formula and trope, Cruel Bomb’s thrash is just hardcore in sheep’s clothing.

Mainly a mix of homogenized moments, there were a few points during Cruel Bomb that I found more engaging. Not only due to the strange, cartoonish voice at the beginning, “Hell Hounds” stood out because of its lively bass work, mid-paced thrashery, and an interlude where everything stops long enough for Brandon to scream, ‘Retreat?! We just got here!” before launching into the tracks second half. I also took note of the stanky grooves and great chorus of “Gravemind” in addition to the speedy riffs and lengthiest solo work—a whammy-tinged fret-du-jour preceded by a nice little guitar lick—on “The End.” Beyond these flashes, however, most of what Cruel Bomb does is awash in waves of similitude cannibalizing off one central idea, riff/breakdown/riff/repeat.

As good a production job as Eric Novroski did, providing enough organic spaces for Cruel Bomb’s instrumentation to thrive, a lack of dynamic songwriting and a no-escape-from-the-vocals approach hold Cruel Bomb back the most. Obligatory intro and the aforementioned “Hell Hounds” aside, every other track on Cruel Bomb starts one of two ways, with a speed happy riff or drum and chug breakdown, adhering strictly to a too-safely written formula resulting in a narrowly conceived batch of hardcore tunes that, by the time “Glass House” rolled around, had me glancing at the clock and suffering from listeners fatigue. In addition, James’ very one-dimensional vocal attack made what should have been an easily digestible thirty-four-minute platter drag, feeling much longer. Don’t get me wrong, Brandon James is a good vocalist and the amount of chesty power he brings to his shouts works. Still, his lack of tonal variety—notwithstanding the few seconds in “World Breaker” where he manages to dip into a slightly lower register—grates after a while, especially when overpowering most of Cruel Bomb’s attempts at gang shouts, which could have served as a vocal counterpoint.

I respect Cruel Bomb’s commitment to their aesthetic and craft, even down to the logo, which I dig. Yet despite my rather negative take, I don’t believe Cruel Bomb is a complete swing and miss. It’s clear these four, a quartet since 2023, have spent a lot of time touring and playing together, reflected in Cruel Bomb’s taut performances. With a more adventurous songwriting approach and some vocal contrast, Cruel Bomb has the talent to do more. Hardcore enthusiasts and Hatebreed fans should find things to like, and though I won’t return to Cruel Bomb after closing my laptop on this review, I’ll be watching for what comes next.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #CrossoverThrash #CruelBomb #Hardcore #Hatebreed #PowerTrip #Review #Reviews #SelfRelease #Slayer

Cruel Bomb – Cruel Bomb Review

By Tyme

Wilkes-Barre, Pennsylvania, is home to self-proclaimed ‘thrash metal titans,’ Cruel Bomb. Since forming in 2018, Cruel Bomb has released three EPs—2019’s Manhattan Mischief, 2020’s Trinity Terror, and 2022’s Man Made—while touring extensively along the East Coast. Now, wrapped in an energetically bright and nuclearly holocaustic package courtesy of artist Ed Repka, Cruel Bomb prepares to drop their eponymous, independent debut album. Crafting your debut as a nod to the Big 4, while not entirely original, does come with certain expectations, at least for this reviewer. So, I mindfully sat down to pen my missive, wondering if Cruel Bomb would be the band to put Wilkes-Barre on the thrash map, or if they’d blown their whole wad requisitioning that cool cover art.

Cruel Bomb never reaches the other side of the crossover bridge with a sound more hardcore than thrash. Kenny Barto and Brandon James lay down formulaically straightforward riffs of the speedy, chuggy, and breakdown variety. And ohh, the breakdowns. Present throughout, they keep Cruel Bomb planted primarily in Hatebreed and sometimes, Power Trip territory. I also sensed whiffs of Slayer lurking about via harmonic leads (“Hell Hounds”) and Hell Awaits-like chugging (“Night of the Hunt”). Barto’s solo work makes brief appearances, which are either noodly and short-lived (“Target Neutralized”) or comprised of fretfully executed dive bombs (“Glass House”). Nick Hennebaul’s bass lines—perkily plucked and punky—permeate Cruel Bomb’s low spaces and are audibly satisfying, a result of the production job from Novro Studios, while Kyle McKeown rounds out the rhythm section and does a decent job D-beating his way through Cruel Bomb, his performance enhanced by flourishing fills and machine-gun double kicks. Vocals are hard, core, and shouted, courtesy of Brandon James, and though effectively executed, sound so much like Jamey Jasta, it was hard for me to pick out moments that didn’t remind me of Hatebreed. Framed by formula and trope, Cruel Bomb’s thrash is just hardcore in sheep’s clothing.

Mainly a mix of homogenized moments, there were a few points during Cruel Bomb that I found more engaging. Not only due to the strange, cartoonish voice at the beginning, “Hell Hounds” stood out because of its lively bass work, mid-paced thrashery, and an interlude where everything stops long enough for Brandon to scream, ‘Retreat?! We just got here!” before launching into the tracks second half. I also took note of the stanky grooves and great chorus of “Gravemind” in addition to the speedy riffs and lengthiest solo work—a whammy-tinged fret-du-jour preceded by a nice little guitar lick—on “The End.” Beyond these flashes, however, most of what Cruel Bomb does is awash in waves of similitude cannibalizing off one central idea, riff/breakdown/riff/repeat.

As good a production job as Eric Novroski did, providing enough organic spaces for Cruel Bomb’s instrumentation to thrive, a lack of dynamic songwriting and a no-escape-from-the-vocals approach hold Cruel Bomb back the most. Obligatory intro and the aforementioned “Hell Hounds” aside, every other track on Cruel Bomb starts one of two ways, with a speed happy riff or drum and chug breakdown, adhering strictly to a too-safely written formula resulting in a narrowly conceived batch of hardcore tunes that, by the time “Glass House” rolled around, had me glancing at the clock and suffering from listeners fatigue. In addition, James’ very one-dimensional vocal attack made what should have been an easily digestible thirty-four-minute platter drag, feeling much longer. Don’t get me wrong, Brandon James is a good vocalist and the amount of chesty power he brings to his shouts works. Still, his lack of tonal variety—notwithstanding the few seconds in “World Breaker” where he manages to dip into a slightly lower register—grates after a while, especially when overpowering most of Cruel Bomb’s attempts at gang shouts, which could have served as a vocal counterpoint.

I respect Cruel Bomb’s commitment to their aesthetic and craft, even down to the logo, which I dig. Yet despite my rather negative take, I don’t believe Cruel Bomb is a complete swing and miss. It’s clear these four, a quartet since 2023, have spent a lot of time touring and playing together, reflected in Cruel Bomb’s taut performances. With a more adventurous songwriting approach and some vocal contrast, Cruel Bomb has the talent to do more. Hardcore enthusiasts and Hatebreed fans should find things to like, and though I won’t return to Cruel Bomb after closing my laptop on this review, I’ll be watching for what comes next.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #CrossoverThrash #CruelBomb #Hardcore #Hatebreed #PowerTrip #Review #Reviews #SelfRelease #Slayer

Cruel Bomb – Cruel Bomb Review

By Tyme

Wilkes-Barre, Pennsylvania, is home to self-proclaimed ‘thrash metal titans,’ Cruel Bomb. Since forming in 2018, Cruel Bomb has released three EPs—2019’s Manhattan Mischief, 2020’s Trinity Terror, and 2022’s Man Made—while touring extensively along the East Coast. Now, wrapped in an energetically bright and nuclearly holocaustic package courtesy of artist Ed Repka, Cruel Bomb prepares to drop their eponymous, independent debut album. Crafting your debut as a nod to the Big 4, while not entirely original, does come with certain expectations, at least for this reviewer. So, I mindfully sat down to pen my missive, wondering if Cruel Bomb would be the band to put Wilkes-Barre on the thrash map, or if they’d blown their whole wad requisitioning that cool cover art.

Cruel Bomb never reaches the other side of the crossover bridge with a sound more hardcore than thrash. Kenny Barto and Brandon James lay down formulaically straightforward riffs of the speedy, chuggy, and breakdown variety. And ohh, the breakdowns. Present throughout, they keep Cruel Bomb planted primarily in Hatebreed and sometimes, Power Trip territory. I also sensed whiffs of Slayer lurking about via harmonic leads (“Hell Hounds”) and Hell Awaits-like chugging (“Night of the Hunt”). Barto’s solo work makes brief appearances, which are either noodly and short-lived (“Target Neutralized”) or comprised of fretfully executed dive bombs (“Glass House”). Nick Hennebaul’s bass lines—perkily plucked and punky—permeate Cruel Bomb’s low spaces and are audibly satisfying, a result of the production job from Novro Studios, while Kyle McKeown rounds out the rhythm section and does a decent job D-beating his way through Cruel Bomb, his performance enhanced by flourishing fills and machine-gun double kicks. Vocals are hard, core, and shouted, courtesy of Brandon James, and though effectively executed, sound so much like Jamey Jasta, it was hard for me to pick out moments that didn’t remind me of Hatebreed. Framed by formula and trope, Cruel Bomb’s thrash is just hardcore in sheep’s clothing.

Mainly a mix of homogenized moments, there were a few points during Cruel Bomb that I found more engaging. Not only due to the strange, cartoonish voice at the beginning, “Hell Hounds” stood out because of its lively bass work, mid-paced thrashery, and an interlude where everything stops long enough for Brandon to scream, ‘Retreat?! We just got here!” before launching into the tracks second half. I also took note of the stanky grooves and great chorus of “Gravemind” in addition to the speedy riffs and lengthiest solo work—a whammy-tinged fret-du-jour preceded by a nice little guitar lick—on “The End.” Beyond these flashes, however, most of what Cruel Bomb does is awash in waves of similitude cannibalizing off one central idea, riff/breakdown/riff/repeat.

As good a production job as Eric Novroski did, providing enough organic spaces for Cruel Bomb’s instrumentation to thrive, a lack of dynamic songwriting and a no-escape-from-the-vocals approach hold Cruel Bomb back the most. Obligatory intro and the aforementioned “Hell Hounds” aside, every other track on Cruel Bomb starts one of two ways, with a speed happy riff or drum and chug breakdown, adhering strictly to a too-safely written formula resulting in a narrowly conceived batch of hardcore tunes that, by the time “Glass House” rolled around, had me glancing at the clock and suffering from listeners fatigue. In addition, James’ very one-dimensional vocal attack made what should have been an easily digestible thirty-four-minute platter drag, feeling much longer. Don’t get me wrong, Brandon James is a good vocalist and the amount of chesty power he brings to his shouts works. Still, his lack of tonal variety—notwithstanding the few seconds in “World Breaker” where he manages to dip into a slightly lower register—grates after a while, especially when overpowering most of Cruel Bomb’s attempts at gang shouts, which could have served as a vocal counterpoint.

I respect Cruel Bomb’s commitment to their aesthetic and craft, even down to the logo, which I dig. Yet despite my rather negative take, I don’t believe Cruel Bomb is a complete swing and miss. It’s clear these four, a quartet since 2023, have spent a lot of time touring and playing together, reflected in Cruel Bomb’s taut performances. With a more adventurous songwriting approach and some vocal contrast, Cruel Bomb has the talent to do more. Hardcore enthusiasts and Hatebreed fans should find things to like, and though I won’t return to Cruel Bomb after closing my laptop on this review, I’ll be watching for what comes next.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #CrossoverThrash #CruelBomb #Hardcore #Hatebreed #PowerTrip #Review #Reviews #SelfRelease #Slayer

Nach den Feierlichkeiten zum #Israeltag ist es nun an der Zeit, mich bezahlt anschreien zu lassen. Auf zu #Hatebreed!

New post: Killswitch Engage hit UK / IRE later this year with incredible supprt lineup https://www.moshville.co.uk/news/tours/2025/05/killswitch-engage-hit-uk-ire-later-this-year-with-incredible-supprt-lineup/ #Decapitated #FitForAnAutopsy #Hatebreed #KillswitchEngage

New post: Killswitch Engage hit UK / IRE later this year with incredible supprt lineup https://www.moshville.co.uk/news/tours/2025/05/killswitch-engage-hit-uk-ire-later-this-year-with-incredible-supprt-lineup/ #Decapitated #FitForAnAutopsy #Hatebreed #KillswitchEngage

New post: Killswitch Engage hit UK / IRE later this year with incredible supprt lineup https://www.moshville.co.uk/news/tours/2025/05/killswitch-engage-hit-uk-ire-later-this-year-with-incredible-supprt-lineup/ #Decapitated #FitForAnAutopsy #Hatebreed #KillswitchEngage

Hatebreed to headline Summer Slaughter Tour 2025

#Hatebreed #SummerSlaughter #Incite #TourAlert #SummerTour

Link: https://metalinsider.net/metal-on-metal/hatebreed-to-headline-summer-slaughter-tour-2025

Hatebreed to headline Summer Slaughter Tour 2025

#Hatebreed #SummerSlaughter #Incite #TourAlert #SummerTour

Link: https://metalinsider.net/metal-on-metal/hatebreed-to-headline-summer-slaughter-tour-2025

Carcass
14.06.2025 Berlin / Astra

Der Weg Einer Freiheit, ...And Oceans, Heretoir, Fen, Grift, Décembre Noir, Shores Of Null, Los Males Del Mundo, Deitus, Asphagor, Infestus und This Is Hell
02.05.2025 Berlin / ORWOHaus

Foxing
30.05.2025 Berlin / Neue Zukunft

Hatebreed
21.06.2025 Berlin / Astra

Rezet
23.05.2025 Berlin / Spirale

#Astra #Berlin #Carcass #DerWegEinerFreiheit #Foxing #Hatebreed #NeueZukunft #ORWOHaus #Rezet #Spirale #SteelFeed

Carcass
14.06.2025 Berlin / Astra

Der Weg Einer Freiheit, ...And Oceans, Heretoir, Fen, Grift, Décembre Noir, Shores Of Null, Los Males Del Mundo, Deitus, Asphagor, Infestus und This Is Hell
02.05.2025 Berlin / ORWOHaus

Foxing
30.05.2025 Berlin / Neue Zukunft

Hatebreed
21.06.2025 Berlin / Astra

Rezet
23.05.2025 Berlin / Spirale

#Astra #Berlin #Carcass #DerWegEinerFreiheit #Foxing #Hatebreed #NeueZukunft #ORWOHaus #Rezet #Spirale #SteelFeed

Carcass
14.06.2025 Berlin / Astra

Der Weg Einer Freiheit, ...And Oceans, Heretoir, Fen, Grift, Décembre Noir, Shores Of Null, Los Males Del Mundo, Deitus, Asphagor, Infestus und This Is Hell
02.05.2025 Berlin / ORWOHaus

Foxing
30.05.2025 Berlin / Neue Zukunft

Hatebreed
21.06.2025 Berlin / Astra

Rezet
23.05.2025 Berlin / Spirale

#Astra #Berlin #Carcass #DerWegEinerFreiheit #Foxing #Hatebreed #NeueZukunft #ORWOHaus #Rezet #Spirale #SteelFeed

Carcass
14.06.2025 Berlin / Astra

Der Weg Einer Freiheit, ...And Oceans, Heretoir, Fen, Grift, Décembre Noir, Shores Of Null, Los Males Del Mundo, Deitus, Asphagor, Infestus und This Is Hell
02.05.2025 Berlin / ORWOHaus

Foxing
30.05.2025 Berlin / Neue Zukunft

Hatebreed
21.06.2025 Berlin / Astra

Rezet
23.05.2025 Berlin / Spirale

#Astra #Berlin #Carcass #DerWegEinerFreiheit #Foxing #Hatebreed #NeueZukunft #ORWOHaus #Rezet #Spirale #SteelFeed

Carcass
14.06.2025 Berlin / Astra

Der Weg Einer Freiheit, ...And Oceans, Heretoir, Fen, Grift, Décembre Noir, Shores Of Null, Los Males Del Mundo, Deitus, Asphagor, Infestus und This Is Hell
02.05.2025 Berlin / ORWOHaus

Foxing
30.05.2025 Berlin / Neue Zukunft

Hatebreed
21.06.2025 Berlin / Astra

Rezet
23.05.2025 Berlin / Spirale

#Astra #Berlin #Carcass #DerWegEinerFreiheit #Foxing #Hatebreed #NeueZukunft #ORWOHaus #Rezet #Spirale #SteelFeed

New Artist announced for Rock The Lakes 2025

Hatebreed

Added top 5 songs to the playlist Rock The Lakes 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr10ADiR9v1_pc-lXPdLI7r8

#Rock_The_Lakes_2025 #Hatebreed #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

#TheMetalDogArticleList
#MetalInjection
HATEBREED's FLORIDA FRANK Threw Out The First Pitch At A Tampa Bay Rays Game

https://metalinjection.net/news/hatebreeds-florida-frank-threw-out-the-first-pitch-at-a-tampa-ray-rays-game

#Hatebreed #FloridaFrank #TampaBayRays #Baseball #Music #Metal

Bloodstock 2024: Mosh’s Review (Thursday / Friday)

Well... that was fun. Another Bloodstock done and a different e

https://www.moshville.co.uk/reviews/gig-review/2024/08/bloodstock-2024-moshs-review-thursday-friday/

#GigReviews #Absolence #AcidAge #Bloodstock #BornZero #Clutch #Crowley #DeathCollector #DesertStorm #Disposable #Evergrey #Hammer #Hatebreed #Hellripper #Igorrr #KingKraken #KrakenWaker #Lemmy #Nervosa #Opeth #RottingChrist #SouthOfSalem #Tailgunner #TheVintageCaravan

Bloodstock 2024: Mosh’s Review (Thursday / Friday)

Well... that was fun. Another Bloodstock done and a different e

https://www.moshville.co.uk/reviews/gig-review/2024/08/bloodstock-2024-moshs-review-thursday-friday/

#GigReviews #Absolence #AcidAge #Bloodstock #BornZero #Clutch #Crowley #DeathCollector #DesertStorm #Disposable #Evergrey #Hammer #Hatebreed #Hellripper #Igorrr #KingKraken #KrakenWaker #Lemmy #Nervosa #Opeth #RottingChrist #SouthOfSalem #Tailgunner #TheVintageCaravan

Bloodstock 2024: Mosh’s Review (Thursday / Friday)

Well... that was fun. Another Bloodstock done and a different e

https://www.moshville.co.uk/reviews/gig-review/2024/08/bloodstock-2024-moshs-review-thursday-friday/

#GigReviews #Absolence #AcidAge #Bloodstock #BornZero #Clutch #Crowley #DeathCollector #DesertStorm #Disposable #Evergrey #Hammer #Hatebreed #Hellripper #Igorrr #KingKraken #KrakenWaker #Lemmy #Nervosa #Opeth #RottingChrist #SouthOfSalem #Tailgunner #TheVintageCaravan

:megaphone: DEMNÄCHST!
*Zusammenfassung 02.08. bis 02.09. für München

The O'Reillys And The Paddyhats
02.08.2024 Augsburg / Gaswerk

The Picturebooks
02.08.2024 München / Backstage

Wolfmother
02.08.2024 München / Backstage

Blutgott
03.08.2024 München / Backstage

Chaosbay
03.08.2024 München

Classic Rock Night
03.08.2024 Traunreut

Debauchery
03.08.2024 München / Backstage

Lionheart, Pro-Pain, Havok, Evergreen Terrace, Arrow Minds
04.08.2024 München

Pro-Pain, Havok, Evergreen Terrace, Spiritworld, Arrow Minds
04.08.2024 München / Backstage

The Obsessed
04.08.2024 München

Cancer Bats
06.08.2024 München / Backstage

Hatebreed
06.08.2024 München / Backstage

#APlaceToBuryStrangers #Augsburg #Backstage #Blutgott #CancerBats #Chaosbay #ClassicRockNight #Debauchery #Gaswerk #Hatebreed #Lionheart #Milla #Munchen #ProPain #TheOReillysAndThePaddyhats #TheObsessed #ThePicturebooks #Traunreut #Wolfmother #SteelFeed #SteelFeedSoon

:megaphone: DEMNÄCHST!
*Zusammenfassung 02.08. bis 02.09. für München

The O'Reillys And The Paddyhats
02.08.2024 Augsburg / Gaswerk

The Picturebooks
02.08.2024 München / Backstage

Wolfmother
02.08.2024 München / Backstage

Blutgott
03.08.2024 München / Backstage

Chaosbay
03.08.2024 München

Classic Rock Night
03.08.2024 Traunreut

Debauchery
03.08.2024 München / Backstage

Lionheart, Pro-Pain, Havok, Evergreen Terrace, Arrow Minds
04.08.2024 München

Pro-Pain, Havok, Evergreen Terrace, Spiritworld, Arrow Minds
04.08.2024 München / Backstage

The Obsessed
04.08.2024 München

Cancer Bats
06.08.2024 München / Backstage

Hatebreed
06.08.2024 München / Backstage

#APlaceToBuryStrangers #Augsburg #Backstage #Blutgott #CancerBats #Chaosbay #ClassicRockNight #Debauchery #Gaswerk #Hatebreed #Lionheart #Milla #Munchen #ProPain #TheOReillysAndThePaddyhats #TheObsessed #ThePicturebooks #Traunreut #Wolfmother #SteelFeed #SteelFeedSoon

:megaphone: DEMNÄCHST!
*Zusammenfassung 02.08. bis 02.09. für München

The O'Reillys And The Paddyhats
02.08.2024 Augsburg / Gaswerk

The Picturebooks
02.08.2024 München / Backstage

Wolfmother
02.08.2024 München / Backstage

Blutgott
03.08.2024 München / Backstage

Chaosbay
03.08.2024 München

Classic Rock Night
03.08.2024 Traunreut

Debauchery
03.08.2024 München / Backstage

Lionheart, Pro-Pain, Havok, Evergreen Terrace, Arrow Minds
04.08.2024 München

Pro-Pain, Havok, Evergreen Terrace, Spiritworld, Arrow Minds
04.08.2024 München / Backstage

The Obsessed
04.08.2024 München

Cancer Bats
06.08.2024 München / Backstage

Hatebreed
06.08.2024 München / Backstage

#APlaceToBuryStrangers #Augsburg #Backstage #Blutgott #CancerBats #Chaosbay #ClassicRockNight #Debauchery #Gaswerk #Hatebreed #Lionheart #Milla #Munchen #ProPain #TheOReillysAndThePaddyhats #TheObsessed #ThePicturebooks #Traunreut #Wolfmother #SteelFeed #SteelFeedSoon

#Rockharz #RHZ

#Hatebreed

Das mosht. Geilomat 🤘