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The Maranatha Empire
There is a prayer so holy that it should burn the tongue of every empire that tries to speak it.
#anabaptist #antiImperialTheology #breadAndCup #ChristianEthics #ChristianNationalism #ChristianWitness #Church #churchAndEmpire #comeLordJesus #cruciformFaith #Discipleship #domination #Empire #empireCritique #Faithfulness #FootWashing #Humility #Jesus #kingdomOfGod #LambOfGod #Maranatha #MaranathaEmpire #Nonviolence #peaceTheology #Peacemaking #Power #propheticChristianity #PropheticEssay #religiousPower #Revelation #SpiritualReflection #Theology
Maranatha.
Come, Lord.
It is the cry of the small church under pressure. The cry of the persecuted and the patient. The cry of those who have no armies to summon, no throne to defend, no voting bloc sufficient to save them, no market share large enough to secure their future. It is the cry of those who wait because they know they are not God.
But in every age, there are those who take this prayer of waiting and turn it into a banner of possession.
They say, “Come, Lord,” but what they mean is, “Give us control.”
They say, “Thy kingdom come,” but what they mean is, “Let our faction rule.”
They say, “Prepare the way of the Lord,” but what they build are prisons, borders, propaganda machines, religious celebrity platforms, and monuments to their own fear.
This is the Maranatha Empire.
It is not one nation only, though nations may become its servants. It is not one denomination only, though denominations may become its chapels. It is not merely Rome, nor Geneva, nor Washington, nor Moscow, nor any other city that has mistaken power for providence. The Maranatha Empire is the recurring temptation of the religious heart: to stop waiting for Christ and begin replacing him.
It begins quietly.
It begins with concern.
The world is dangerous. The children are vulnerable. The church is shrinking. The enemies are multiplying. The culture is changing. The old certainties are crumbling. The people are afraid.
Fear, when baptized, often calls itself faithfulness.
So the frightened church begins to reach for tools Jesus refused.
A throne.
A sword.
A spectacle.
A scapegoat.
A strongman.
A law that can accomplish what love has not yet persuaded.
A state that can enforce what the Spirit has not yet formed.
A leader who promises to defend Christ, as though Christ ever asked Peter to keep swinging after Gethsemane.
This is how the prayer becomes an empire.
The early church cried, “Come, Lord Jesus,” because it knew that Caesar was not Lord. The Maranatha Empire cries, “Come, Lord Jesus,” because it wants Caesar to become useful.
The early church broke bread in homes. The Maranatha Empire builds platforms and calls them altars.
The early church welcomed the stranger. The Maranatha Empire sees the stranger as a threat.
The early church died rather than kill. The Maranatha Empire kills and calls the dead collateral damage in the defense of righteousness.
The early church believed the Lamb had conquered. The Maranatha Empire keeps looking for a beast strong enough to protect the Lamb.
And there is the blasphemy.
Not that empire rejects Christ outright. That would be too honest. The Maranatha Empire does something more dangerous. It uses Christ as decoration for a power that is fundamentally afraid of the cross.
It sings of the Lamb while trusting the dragon.
It preaches resurrection while organizing itself around survival.
It displays the cross while despising weakness.
It quotes Jesus while ignoring the people Jesus told us to notice: the poor, the imprisoned, the hungry, the foreigner, the enemy, the child, the wounded man beside the road.
The Maranatha Empire is not built by atheists. It is built by believers who have lost patience with the way of Jesus.
For the way of Jesus is slow.
It is seed, yeast, salt, light.
It is foot-washing.
It is forgiveness seventy times seven.
It is refusing the shortcut of domination even when domination appears efficient.
It is telling Peter to put away the sword when everything in Peter’s body screams that this is the moment for holy violence.
It is standing before Pilate and saying, “My kingdom is not from this world,” not because the kingdom has nothing to do with the world, but because it does not come by the world’s methods.
The Maranatha Empire cannot tolerate this.
It cannot tolerate a Messiah who will not seize power.
It cannot tolerate a church that would rather be faithful than influential.
It cannot tolerate a people whose politics begin at the basin and towel.
It cannot tolerate enemy-love, because enemy-love ruins the machinery. Empire requires enemies. It needs them. It feeds on them. Without enemies, the crowd might look too closely at the throne.
So, the Maranatha Empire manufactures urgency.
There is no time to love.
No time to listen.
No time to discern.
No time for reconciliation.
No time for peacemaking.
No time to ask whether the means resemble the Christ we claim to serve.
The hour is late, they say. The danger is great. The stakes are too high. We must act now. We must take control now. We must win now.
And somewhere beneath all that urgency is a terrible confession:
They do not actually believe the Lord is coming.
Or, if he is coming, they do not trust him to arrive in the right way.
So they build him an empire to inherit.
But Christ does not inherit empires.
He judges them.
He walks in alleyways, not palaces. He asks whether the churches have kept their first love. He warns those who are rich and comfortable and self-satisfied that they may be poor, blind, and naked. He stands at the door and knocks, not because he has been defeated by secularism, but because religious people have locked him outside while holding meetings in his name.
The Maranatha Empire is always shocked when Jesus is found outside the gate.
Outside the camp.
Outside respectability.
Outside the approved narrative.
Outside the walls with the crucified, the excluded, the unclean, the inconvenient, and the condemned.
The empire expected him in the capital.
But he is with the refugees.
The empire expected him in the cathedral of victory.
But he is with the mother of the disappeared.
The empire expected him on the reviewing stand.
But he is washing feet in the basement.
The empire expected him to bless the troops.
But he is asking why his followers are still carrying swords.
This is why Maranatha must remain a dangerous prayer.
It must never be allowed to become a slogan for conquest. It must never be printed on the banners of those who are unwilling to be converted by the One they summon. To pray “Come, Lord” is not to invite divine endorsement of our projects. It is to invite judgment upon them.
Come, Lord, and judge our churches.
Come, Lord, and judge our flags.
Come, Lord, and judge our markets.
Come, Lord, and judge our weapons.
Come, Lord, and judge our sermons.
Come, Lord, and judge our secret hatreds.
Come, Lord, and judge the ways we have used your name to avoid your way.
This is the prayer empire cannot honestly pray.
Because if the Lord comes, the first thing to fall may not be our enemies.
It may be our idols.
The algorithm.
The nation.
The party.
The brand.
The gun.
The strongman.
The myth of innocence.
The lie that we can harm others for a righteous cause and remain untouched by the harm.
The Maranatha Empire teaches us to fear the collapse of Christian influence.
Jesus teaches us to fear gaining the world and losing our soul.
The Maranatha Empire asks, “How do we take back the culture?”
Jesus asks, “Can you drink the cup that I drink?”
The Maranatha Empire says, “Blessed are the winners.”
Jesus says, “Blessed are the meek.”
The Maranatha Empire says, “Blessed are the forceful, for they shall secure the future.”
Jesus says, “Blessed are the peacemakers, for they shall be called children of God.”
And perhaps this is the word for us now:
The church does not need to become more powerful.
The church needs to become more faithful.
Not passive. Not silent. Not withdrawn into pious irrelevance. But faithful in the particular, cruciform, stubborn way of Jesus. Faithful enough to resist evil without becoming its mirror. Faithful enough to tell the truth without hatred. Faithful enough to protect the vulnerable without worshiping violence. Faithful enough to build communities of economic sharing, hospitality, forgiveness, courage, and joy. Faithful enough to be a people who can live without controlling the outcome.
That is the hard part.
Empire is attractive because it promises control.
Jesus offers communion.
Empire promises security.
Jesus offers peace.
Empire promises victory over enemies.
Jesus offers reconciliation that may begin with our repentance.
Empire promises to make us great.
Jesus invites us to become small enough to enter the kingdom.
So, let the Maranatha Empire fall.
Let it fall first in us.
Let it fall in every place where we have confused anxiety with zeal. Let it fall where we have preferred dominance to witness. Let it fall where we have wanted laws to do what discipleship would not. Let it fall where we have used the suffering of others as fuel for our own righteousness. Let it fall where we have asked Jesus to come only after we have arranged the throne to our liking.
And when it falls, may something older and more beautiful remain.
A table.
A basin.
A towel.
A loaf.
A cup.
A people gathered without illusion, without empire, without the need to be impressive, whispering the ancient prayer not as conquerors but as witnesses:
Maranatha.
Come, Lord Jesus.
Come not to crown our domination, but to free us from it.
Come not to baptize our fear, but to cast it out.
Come not to make our empire holy, but to teach us again that your kingdom comes like a seed, like yeast, like mercy, like a Lamb who was slain and yet lives.
And until you come, make us faithful.
Not imperial.
Not triumphant.
Not afraid.
Faithful. -
The Maranatha Empire
There is a prayer so holy that it should burn the tongue of every empire that tries to speak it.
#anabaptist #antiImperialTheology #breadAndCup #ChristianEthics #ChristianNationalism #ChristianWitness #Church #churchAndEmpire #comeLordJesus #cruciformFaith #Discipleship #domination #Empire #empireCritique #Faithfulness #FootWashing #Humility #Jesus #kingdomOfGod #LambOfGod #Maranatha #MaranathaEmpire #Nonviolence #peaceTheology #Peacemaking #Power #propheticChristianity #PropheticEssay #religiousPower #Revelation #SpiritualReflection #Theology
Maranatha.
Come, Lord.
It is the cry of the small church under pressure. The cry of the persecuted and the patient. The cry of those who have no armies to summon, no throne to defend, no voting bloc sufficient to save them, no market share large enough to secure their future. It is the cry of those who wait because they know they are not God.
But in every age, there are those who take this prayer of waiting and turn it into a banner of possession.
They say, “Come, Lord,” but what they mean is, “Give us control.”
They say, “Thy kingdom come,” but what they mean is, “Let our faction rule.”
They say, “Prepare the way of the Lord,” but what they build are prisons, borders, propaganda machines, religious celebrity platforms, and monuments to their own fear.
This is the Maranatha Empire.
It is not one nation only, though nations may become its servants. It is not one denomination only, though denominations may become its chapels. It is not merely Rome, nor Geneva, nor Washington, nor Moscow, nor any other city that has mistaken power for providence. The Maranatha Empire is the recurring temptation of the religious heart: to stop waiting for Christ and begin replacing him.
It begins quietly.
It begins with concern.
The world is dangerous. The children are vulnerable. The church is shrinking. The enemies are multiplying. The culture is changing. The old certainties are crumbling. The people are afraid.
Fear, when baptized, often calls itself faithfulness.
So the frightened church begins to reach for tools Jesus refused.
A throne.
A sword.
A spectacle.
A scapegoat.
A strongman.
A law that can accomplish what love has not yet persuaded.
A state that can enforce what the Spirit has not yet formed.
A leader who promises to defend Christ, as though Christ ever asked Peter to keep swinging after Gethsemane.
This is how the prayer becomes an empire.
The early church cried, “Come, Lord Jesus,” because it knew that Caesar was not Lord. The Maranatha Empire cries, “Come, Lord Jesus,” because it wants Caesar to become useful.
The early church broke bread in homes. The Maranatha Empire builds platforms and calls them altars.
The early church welcomed the stranger. The Maranatha Empire sees the stranger as a threat.
The early church died rather than kill. The Maranatha Empire kills and calls the dead collateral damage in the defense of righteousness.
The early church believed the Lamb had conquered. The Maranatha Empire keeps looking for a beast strong enough to protect the Lamb.
And there is the blasphemy.
Not that empire rejects Christ outright. That would be too honest. The Maranatha Empire does something more dangerous. It uses Christ as decoration for a power that is fundamentally afraid of the cross.
It sings of the Lamb while trusting the dragon.
It preaches resurrection while organizing itself around survival.
It displays the cross while despising weakness.
It quotes Jesus while ignoring the people Jesus told us to notice: the poor, the imprisoned, the hungry, the foreigner, the enemy, the child, the wounded man beside the road.
The Maranatha Empire is not built by atheists. It is built by believers who have lost patience with the way of Jesus.
For the way of Jesus is slow.
It is seed, yeast, salt, light.
It is foot-washing.
It is forgiveness seventy times seven.
It is refusing the shortcut of domination even when domination appears efficient.
It is telling Peter to put away the sword when everything in Peter’s body screams that this is the moment for holy violence.
It is standing before Pilate and saying, “My kingdom is not from this world,” not because the kingdom has nothing to do with the world, but because it does not come by the world’s methods.
The Maranatha Empire cannot tolerate this.
It cannot tolerate a Messiah who will not seize power.
It cannot tolerate a church that would rather be faithful than influential.
It cannot tolerate a people whose politics begin at the basin and towel.
It cannot tolerate enemy-love, because enemy-love ruins the machinery. Empire requires enemies. It needs them. It feeds on them. Without enemies, the crowd might look too closely at the throne.
So, the Maranatha Empire manufactures urgency.
There is no time to love.
No time to listen.
No time to discern.
No time for reconciliation.
No time for peacemaking.
No time to ask whether the means resemble the Christ we claim to serve.
The hour is late, they say. The danger is great. The stakes are too high. We must act now. We must take control now. We must win now.
And somewhere beneath all that urgency is a terrible confession:
They do not actually believe the Lord is coming.
Or, if he is coming, they do not trust him to arrive in the right way.
So they build him an empire to inherit.
But Christ does not inherit empires.
He judges them.
He walks in alleyways, not palaces. He asks whether the churches have kept their first love. He warns those who are rich and comfortable and self-satisfied that they may be poor, blind, and naked. He stands at the door and knocks, not because he has been defeated by secularism, but because religious people have locked him outside while holding meetings in his name.
The Maranatha Empire is always shocked when Jesus is found outside the gate.
Outside the camp.
Outside respectability.
Outside the approved narrative.
Outside the walls with the crucified, the excluded, the unclean, the inconvenient, and the condemned.
The empire expected him in the capital.
But he is with the refugees.
The empire expected him in the cathedral of victory.
But he is with the mother of the disappeared.
The empire expected him on the reviewing stand.
But he is washing feet in the basement.
The empire expected him to bless the troops.
But he is asking why his followers are still carrying swords.
This is why Maranatha must remain a dangerous prayer.
It must never be allowed to become a slogan for conquest. It must never be printed on the banners of those who are unwilling to be converted by the One they summon. To pray “Come, Lord” is not to invite divine endorsement of our projects. It is to invite judgment upon them.
Come, Lord, and judge our churches.
Come, Lord, and judge our flags.
Come, Lord, and judge our markets.
Come, Lord, and judge our weapons.
Come, Lord, and judge our sermons.
Come, Lord, and judge our secret hatreds.
Come, Lord, and judge the ways we have used your name to avoid your way.
This is the prayer empire cannot honestly pray.
Because if the Lord comes, the first thing to fall may not be our enemies.
It may be our idols.
The algorithm.
The nation.
The party.
The brand.
The gun.
The strongman.
The myth of innocence.
The lie that we can harm others for a righteous cause and remain untouched by the harm.
The Maranatha Empire teaches us to fear the collapse of Christian influence.
Jesus teaches us to fear gaining the world and losing our soul.
The Maranatha Empire asks, “How do we take back the culture?”
Jesus asks, “Can you drink the cup that I drink?”
The Maranatha Empire says, “Blessed are the winners.”
Jesus says, “Blessed are the meek.”
The Maranatha Empire says, “Blessed are the forceful, for they shall secure the future.”
Jesus says, “Blessed are the peacemakers, for they shall be called children of God.”
And perhaps this is the word for us now:
The church does not need to become more powerful.
The church needs to become more faithful.
Not passive. Not silent. Not withdrawn into pious irrelevance. But faithful in the particular, cruciform, stubborn way of Jesus. Faithful enough to resist evil without becoming its mirror. Faithful enough to tell the truth without hatred. Faithful enough to protect the vulnerable without worshiping violence. Faithful enough to build communities of economic sharing, hospitality, forgiveness, courage, and joy. Faithful enough to be a people who can live without controlling the outcome.
That is the hard part.
Empire is attractive because it promises control.
Jesus offers communion.
Empire promises security.
Jesus offers peace.
Empire promises victory over enemies.
Jesus offers reconciliation that may begin with our repentance.
Empire promises to make us great.
Jesus invites us to become small enough to enter the kingdom.
So, let the Maranatha Empire fall.
Let it fall first in us.
Let it fall in every place where we have confused anxiety with zeal. Let it fall where we have preferred dominance to witness. Let it fall where we have wanted laws to do what discipleship would not. Let it fall where we have used the suffering of others as fuel for our own righteousness. Let it fall where we have asked Jesus to come only after we have arranged the throne to our liking.
And when it falls, may something older and more beautiful remain.
A table.
A basin.
A towel.
A loaf.
A cup.
A people gathered without illusion, without empire, without the need to be impressive, whispering the ancient prayer not as conquerors but as witnesses:
Maranatha.
Come, Lord Jesus.
Come not to crown our domination, but to free us from it.
Come not to baptize our fear, but to cast it out.
Come not to make our empire holy, but to teach us again that your kingdom comes like a seed, like yeast, like mercy, like a Lamb who was slain and yet lives.
And until you come, make us faithful.
Not imperial.
Not triumphant.
Not afraid.
Faithful. -
The Maranatha Empire
There is a prayer so holy that it should burn the tongue of every empire that tries to speak it.
#anabaptist #antiImperialTheology #breadAndCup #ChristianEthics #ChristianNationalism #ChristianWitness #Church #churchAndEmpire #comeLordJesus #cruciformFaith #Discipleship #domination #Empire #empireCritique #Faithfulness #FootWashing #Humility #Jesus #kingdomOfGod #LambOfGod #Maranatha #MaranathaEmpire #Nonviolence #peaceTheology #Peacemaking #Power #propheticChristianity #PropheticEssay #religiousPower #Revelation #SpiritualReflection #Theology
Maranatha.
Come, Lord.
It is the cry of the small church under pressure. The cry of the persecuted and the patient. The cry of those who have no armies to summon, no throne to defend, no voting bloc sufficient to save them, no market share large enough to secure their future. It is the cry of those who wait because they know they are not God.
But in every age, there are those who take this prayer of waiting and turn it into a banner of possession.
They say, “Come, Lord,” but what they mean is, “Give us control.”
They say, “Thy kingdom come,” but what they mean is, “Let our faction rule.”
They say, “Prepare the way of the Lord,” but what they build are prisons, borders, propaganda machines, religious celebrity platforms, and monuments to their own fear.
This is the Maranatha Empire.
It is not one nation only, though nations may become its servants. It is not one denomination only, though denominations may become its chapels. It is not merely Rome, nor Geneva, nor Washington, nor Moscow, nor any other city that has mistaken power for providence. The Maranatha Empire is the recurring temptation of the religious heart: to stop waiting for Christ and begin replacing him.
It begins quietly.
It begins with concern.
The world is dangerous. The children are vulnerable. The church is shrinking. The enemies are multiplying. The culture is changing. The old certainties are crumbling. The people are afraid.
Fear, when baptized, often calls itself faithfulness.
So the frightened church begins to reach for tools Jesus refused.
A throne.
A sword.
A spectacle.
A scapegoat.
A strongman.
A law that can accomplish what love has not yet persuaded.
A state that can enforce what the Spirit has not yet formed.
A leader who promises to defend Christ, as though Christ ever asked Peter to keep swinging after Gethsemane.
This is how the prayer becomes an empire.
The early church cried, “Come, Lord Jesus,” because it knew that Caesar was not Lord. The Maranatha Empire cries, “Come, Lord Jesus,” because it wants Caesar to become useful.
The early church broke bread in homes. The Maranatha Empire builds platforms and calls them altars.
The early church welcomed the stranger. The Maranatha Empire sees the stranger as a threat.
The early church died rather than kill. The Maranatha Empire kills and calls the dead collateral damage in the defense of righteousness.
The early church believed the Lamb had conquered. The Maranatha Empire keeps looking for a beast strong enough to protect the Lamb.
And there is the blasphemy.
Not that empire rejects Christ outright. That would be too honest. The Maranatha Empire does something more dangerous. It uses Christ as decoration for a power that is fundamentally afraid of the cross.
It sings of the Lamb while trusting the dragon.
It preaches resurrection while organizing itself around survival.
It displays the cross while despising weakness.
It quotes Jesus while ignoring the people Jesus told us to notice: the poor, the imprisoned, the hungry, the foreigner, the enemy, the child, the wounded man beside the road.
The Maranatha Empire is not built by atheists. It is built by believers who have lost patience with the way of Jesus.
For the way of Jesus is slow.
It is seed, yeast, salt, light.
It is foot-washing.
It is forgiveness seventy times seven.
It is refusing the shortcut of domination even when domination appears efficient.
It is telling Peter to put away the sword when everything in Peter’s body screams that this is the moment for holy violence.
It is standing before Pilate and saying, “My kingdom is not from this world,” not because the kingdom has nothing to do with the world, but because it does not come by the world’s methods.
The Maranatha Empire cannot tolerate this.
It cannot tolerate a Messiah who will not seize power.
It cannot tolerate a church that would rather be faithful than influential.
It cannot tolerate a people whose politics begin at the basin and towel.
It cannot tolerate enemy-love, because enemy-love ruins the machinery. Empire requires enemies. It needs them. It feeds on them. Without enemies, the crowd might look too closely at the throne.
So, the Maranatha Empire manufactures urgency.
There is no time to love.
No time to listen.
No time to discern.
No time for reconciliation.
No time for peacemaking.
No time to ask whether the means resemble the Christ we claim to serve.
The hour is late, they say. The danger is great. The stakes are too high. We must act now. We must take control now. We must win now.
And somewhere beneath all that urgency is a terrible confession:
They do not actually believe the Lord is coming.
Or, if he is coming, they do not trust him to arrive in the right way.
So they build him an empire to inherit.
But Christ does not inherit empires.
He judges them.
He walks in alleyways, not palaces. He asks whether the churches have kept their first love. He warns those who are rich and comfortable and self-satisfied that they may be poor, blind, and naked. He stands at the door and knocks, not because he has been defeated by secularism, but because religious people have locked him outside while holding meetings in his name.
The Maranatha Empire is always shocked when Jesus is found outside the gate.
Outside the camp.
Outside respectability.
Outside the approved narrative.
Outside the walls with the crucified, the excluded, the unclean, the inconvenient, and the condemned.
The empire expected him in the capital.
But he is with the refugees.
The empire expected him in the cathedral of victory.
But he is with the mother of the disappeared.
The empire expected him on the reviewing stand.
But he is washing feet in the basement.
The empire expected him to bless the troops.
But he is asking why his followers are still carrying swords.
This is why Maranatha must remain a dangerous prayer.
It must never be allowed to become a slogan for conquest. It must never be printed on the banners of those who are unwilling to be converted by the One they summon. To pray “Come, Lord” is not to invite divine endorsement of our projects. It is to invite judgment upon them.
Come, Lord, and judge our churches.
Come, Lord, and judge our flags.
Come, Lord, and judge our markets.
Come, Lord, and judge our weapons.
Come, Lord, and judge our sermons.
Come, Lord, and judge our secret hatreds.
Come, Lord, and judge the ways we have used your name to avoid your way.
This is the prayer empire cannot honestly pray.
Because if the Lord comes, the first thing to fall may not be our enemies.
It may be our idols.
The algorithm.
The nation.
The party.
The brand.
The gun.
The strongman.
The myth of innocence.
The lie that we can harm others for a righteous cause and remain untouched by the harm.
The Maranatha Empire teaches us to fear the collapse of Christian influence.
Jesus teaches us to fear gaining the world and losing our soul.
The Maranatha Empire asks, “How do we take back the culture?”
Jesus asks, “Can you drink the cup that I drink?”
The Maranatha Empire says, “Blessed are the winners.”
Jesus says, “Blessed are the meek.”
The Maranatha Empire says, “Blessed are the forceful, for they shall secure the future.”
Jesus says, “Blessed are the peacemakers, for they shall be called children of God.”
And perhaps this is the word for us now:
The church does not need to become more powerful.
The church needs to become more faithful.
Not passive. Not silent. Not withdrawn into pious irrelevance. But faithful in the particular, cruciform, stubborn way of Jesus. Faithful enough to resist evil without becoming its mirror. Faithful enough to tell the truth without hatred. Faithful enough to protect the vulnerable without worshiping violence. Faithful enough to build communities of economic sharing, hospitality, forgiveness, courage, and joy. Faithful enough to be a people who can live without controlling the outcome.
That is the hard part.
Empire is attractive because it promises control.
Jesus offers communion.
Empire promises security.
Jesus offers peace.
Empire promises victory over enemies.
Jesus offers reconciliation that may begin with our repentance.
Empire promises to make us great.
Jesus invites us to become small enough to enter the kingdom.
So, let the Maranatha Empire fall.
Let it fall first in us.
Let it fall in every place where we have confused anxiety with zeal. Let it fall where we have preferred dominance to witness. Let it fall where we have wanted laws to do what discipleship would not. Let it fall where we have used the suffering of others as fuel for our own righteousness. Let it fall where we have asked Jesus to come only after we have arranged the throne to our liking.
And when it falls, may something older and more beautiful remain.
A table.
A basin.
A towel.
A loaf.
A cup.
A people gathered without illusion, without empire, without the need to be impressive, whispering the ancient prayer not as conquerors but as witnesses:
Maranatha.
Come, Lord Jesus.
Come not to crown our domination, but to free us from it.
Come not to baptize our fear, but to cast it out.
Come not to make our empire holy, but to teach us again that your kingdom comes like a seed, like yeast, like mercy, like a Lamb who was slain and yet lives.
And until you come, make us faithful.
Not imperial.
Not triumphant.
Not afraid.
Faithful. -
The Maranatha Empire
There is a prayer so holy that it should burn the tongue of every empire that tries to speak it.
#anabaptist #antiImperialTheology #breadAndCup #ChristianEthics #ChristianNationalism #ChristianWitness #Church #churchAndEmpire #comeLordJesus #cruciformFaith #Discipleship #domination #Empire #empireCritique #Faithfulness #FootWashing #Humility #Jesus #kingdomOfGod #LambOfGod #Maranatha #MaranathaEmpire #Nonviolence #peaceTheology #Peacemaking #Power #propheticChristianity #PropheticEssay #religiousPower #Revelation #SpiritualReflection #Theology
Maranatha.
Come, Lord.
It is the cry of the small church under pressure. The cry of the persecuted and the patient. The cry of those who have no armies to summon, no throne to defend, no voting bloc sufficient to save them, no market share large enough to secure their future. It is the cry of those who wait because they know they are not God.
But in every age, there are those who take this prayer of waiting and turn it into a banner of possession.
They say, “Come, Lord,” but what they mean is, “Give us control.”
They say, “Thy kingdom come,” but what they mean is, “Let our faction rule.”
They say, “Prepare the way of the Lord,” but what they build are prisons, borders, propaganda machines, religious celebrity platforms, and monuments to their own fear.
This is the Maranatha Empire.
It is not one nation only, though nations may become its servants. It is not one denomination only, though denominations may become its chapels. It is not merely Rome, nor Geneva, nor Washington, nor Moscow, nor any other city that has mistaken power for providence. The Maranatha Empire is the recurring temptation of the religious heart: to stop waiting for Christ and begin replacing him.
It begins quietly.
It begins with concern.
The world is dangerous. The children are vulnerable. The church is shrinking. The enemies are multiplying. The culture is changing. The old certainties are crumbling. The people are afraid.
Fear, when baptized, often calls itself faithfulness.
So the frightened church begins to reach for tools Jesus refused.
A throne.
A sword.
A spectacle.
A scapegoat.
A strongman.
A law that can accomplish what love has not yet persuaded.
A state that can enforce what the Spirit has not yet formed.
A leader who promises to defend Christ, as though Christ ever asked Peter to keep swinging after Gethsemane.
This is how the prayer becomes an empire.
The early church cried, “Come, Lord Jesus,” because it knew that Caesar was not Lord. The Maranatha Empire cries, “Come, Lord Jesus,” because it wants Caesar to become useful.
The early church broke bread in homes. The Maranatha Empire builds platforms and calls them altars.
The early church welcomed the stranger. The Maranatha Empire sees the stranger as a threat.
The early church died rather than kill. The Maranatha Empire kills and calls the dead collateral damage in the defense of righteousness.
The early church believed the Lamb had conquered. The Maranatha Empire keeps looking for a beast strong enough to protect the Lamb.
And there is the blasphemy.
Not that empire rejects Christ outright. That would be too honest. The Maranatha Empire does something more dangerous. It uses Christ as decoration for a power that is fundamentally afraid of the cross.
It sings of the Lamb while trusting the dragon.
It preaches resurrection while organizing itself around survival.
It displays the cross while despising weakness.
It quotes Jesus while ignoring the people Jesus told us to notice: the poor, the imprisoned, the hungry, the foreigner, the enemy, the child, the wounded man beside the road.
The Maranatha Empire is not built by atheists. It is built by believers who have lost patience with the way of Jesus.
For the way of Jesus is slow.
It is seed, yeast, salt, light.
It is foot-washing.
It is forgiveness seventy times seven.
It is refusing the shortcut of domination even when domination appears efficient.
It is telling Peter to put away the sword when everything in Peter’s body screams that this is the moment for holy violence.
It is standing before Pilate and saying, “My kingdom is not from this world,” not because the kingdom has nothing to do with the world, but because it does not come by the world’s methods.
The Maranatha Empire cannot tolerate this.
It cannot tolerate a Messiah who will not seize power.
It cannot tolerate a church that would rather be faithful than influential.
It cannot tolerate a people whose politics begin at the basin and towel.
It cannot tolerate enemy-love, because enemy-love ruins the machinery. Empire requires enemies. It needs them. It feeds on them. Without enemies, the crowd might look too closely at the throne.
So, the Maranatha Empire manufactures urgency.
There is no time to love.
No time to listen.
No time to discern.
No time for reconciliation.
No time for peacemaking.
No time to ask whether the means resemble the Christ we claim to serve.
The hour is late, they say. The danger is great. The stakes are too high. We must act now. We must take control now. We must win now.
And somewhere beneath all that urgency is a terrible confession:
They do not actually believe the Lord is coming.
Or, if he is coming, they do not trust him to arrive in the right way.
So they build him an empire to inherit.
But Christ does not inherit empires.
He judges them.
He walks in alleyways, not palaces. He asks whether the churches have kept their first love. He warns those who are rich and comfortable and self-satisfied that they may be poor, blind, and naked. He stands at the door and knocks, not because he has been defeated by secularism, but because religious people have locked him outside while holding meetings in his name.
The Maranatha Empire is always shocked when Jesus is found outside the gate.
Outside the camp.
Outside respectability.
Outside the approved narrative.
Outside the walls with the crucified, the excluded, the unclean, the inconvenient, and the condemned.
The empire expected him in the capital.
But he is with the refugees.
The empire expected him in the cathedral of victory.
But he is with the mother of the disappeared.
The empire expected him on the reviewing stand.
But he is washing feet in the basement.
The empire expected him to bless the troops.
But he is asking why his followers are still carrying swords.
This is why Maranatha must remain a dangerous prayer.
It must never be allowed to become a slogan for conquest. It must never be printed on the banners of those who are unwilling to be converted by the One they summon. To pray “Come, Lord” is not to invite divine endorsement of our projects. It is to invite judgment upon them.
Come, Lord, and judge our churches.
Come, Lord, and judge our flags.
Come, Lord, and judge our markets.
Come, Lord, and judge our weapons.
Come, Lord, and judge our sermons.
Come, Lord, and judge our secret hatreds.
Come, Lord, and judge the ways we have used your name to avoid your way.
This is the prayer empire cannot honestly pray.
Because if the Lord comes, the first thing to fall may not be our enemies.
It may be our idols.
The algorithm.
The nation.
The party.
The brand.
The gun.
The strongman.
The myth of innocence.
The lie that we can harm others for a righteous cause and remain untouched by the harm.
The Maranatha Empire teaches us to fear the collapse of Christian influence.
Jesus teaches us to fear gaining the world and losing our soul.
The Maranatha Empire asks, “How do we take back the culture?”
Jesus asks, “Can you drink the cup that I drink?”
The Maranatha Empire says, “Blessed are the winners.”
Jesus says, “Blessed are the meek.”
The Maranatha Empire says, “Blessed are the forceful, for they shall secure the future.”
Jesus says, “Blessed are the peacemakers, for they shall be called children of God.”
And perhaps this is the word for us now:
The church does not need to become more powerful.
The church needs to become more faithful.
Not passive. Not silent. Not withdrawn into pious irrelevance. But faithful in the particular, cruciform, stubborn way of Jesus. Faithful enough to resist evil without becoming its mirror. Faithful enough to tell the truth without hatred. Faithful enough to protect the vulnerable without worshiping violence. Faithful enough to build communities of economic sharing, hospitality, forgiveness, courage, and joy. Faithful enough to be a people who can live without controlling the outcome.
That is the hard part.
Empire is attractive because it promises control.
Jesus offers communion.
Empire promises security.
Jesus offers peace.
Empire promises victory over enemies.
Jesus offers reconciliation that may begin with our repentance.
Empire promises to make us great.
Jesus invites us to become small enough to enter the kingdom.
So, let the Maranatha Empire fall.
Let it fall first in us.
Let it fall in every place where we have confused anxiety with zeal. Let it fall where we have preferred dominance to witness. Let it fall where we have wanted laws to do what discipleship would not. Let it fall where we have used the suffering of others as fuel for our own righteousness. Let it fall where we have asked Jesus to come only after we have arranged the throne to our liking.
And when it falls, may something older and more beautiful remain.
A table.
A basin.
A towel.
A loaf.
A cup.
A people gathered without illusion, without empire, without the need to be impressive, whispering the ancient prayer not as conquerors but as witnesses:
Maranatha.
Come, Lord Jesus.
Come not to crown our domination, but to free us from it.
Come not to baptize our fear, but to cast it out.
Come not to make our empire holy, but to teach us again that your kingdom comes like a seed, like yeast, like mercy, like a Lamb who was slain and yet lives.
And until you come, make us faithful.
Not imperial.
Not triumphant.
Not afraid.
Faithful. -
The Maranatha Empire
There is a prayer so holy that it should burn the tongue of every empire that tries to speak it.
#anabaptist #antiImperialTheology #breadAndCup #ChristianEthics #ChristianNationalism #ChristianWitness #Church #churchAndEmpire #comeLordJesus #cruciformFaith #Discipleship #domination #Empire #empireCritique #Faithfulness #FootWashing #Humility #Jesus #kingdomOfGod #LambOfGod #Maranatha #MaranathaEmpire #Nonviolence #peaceTheology #Peacemaking #Power #propheticChristianity #PropheticEssay #religiousPower #Revelation #SpiritualReflection #Theology
Maranatha.
Come, Lord.
It is the cry of the small church under pressure. The cry of the persecuted and the patient. The cry of those who have no armies to summon, no throne to defend, no voting bloc sufficient to save them, no market share large enough to secure their future. It is the cry of those who wait because they know they are not God.
But in every age, there are those who take this prayer of waiting and turn it into a banner of possession.
They say, “Come, Lord,” but what they mean is, “Give us control.”
They say, “Thy kingdom come,” but what they mean is, “Let our faction rule.”
They say, “Prepare the way of the Lord,” but what they build are prisons, borders, propaganda machines, religious celebrity platforms, and monuments to their own fear.
This is the Maranatha Empire.
It is not one nation only, though nations may become its servants. It is not one denomination only, though denominations may become its chapels. It is not merely Rome, nor Geneva, nor Washington, nor Moscow, nor any other city that has mistaken power for providence. The Maranatha Empire is the recurring temptation of the religious heart: to stop waiting for Christ and begin replacing him.
It begins quietly.
It begins with concern.
The world is dangerous. The children are vulnerable. The church is shrinking. The enemies are multiplying. The culture is changing. The old certainties are crumbling. The people are afraid.
Fear, when baptized, often calls itself faithfulness.
So the frightened church begins to reach for tools Jesus refused.
A throne.
A sword.
A spectacle.
A scapegoat.
A strongman.
A law that can accomplish what love has not yet persuaded.
A state that can enforce what the Spirit has not yet formed.
A leader who promises to defend Christ, as though Christ ever asked Peter to keep swinging after Gethsemane.
This is how the prayer becomes an empire.
The early church cried, “Come, Lord Jesus,” because it knew that Caesar was not Lord. The Maranatha Empire cries, “Come, Lord Jesus,” because it wants Caesar to become useful.
The early church broke bread in homes. The Maranatha Empire builds platforms and calls them altars.
The early church welcomed the stranger. The Maranatha Empire sees the stranger as a threat.
The early church died rather than kill. The Maranatha Empire kills and calls the dead collateral damage in the defense of righteousness.
The early church believed the Lamb had conquered. The Maranatha Empire keeps looking for a beast strong enough to protect the Lamb.
And there is the blasphemy.
Not that empire rejects Christ outright. That would be too honest. The Maranatha Empire does something more dangerous. It uses Christ as decoration for a power that is fundamentally afraid of the cross.
It sings of the Lamb while trusting the dragon.
It preaches resurrection while organizing itself around survival.
It displays the cross while despising weakness.
It quotes Jesus while ignoring the people Jesus told us to notice: the poor, the imprisoned, the hungry, the foreigner, the enemy, the child, the wounded man beside the road.
The Maranatha Empire is not built by atheists. It is built by believers who have lost patience with the way of Jesus.
For the way of Jesus is slow.
It is seed, yeast, salt, light.
It is foot-washing.
It is forgiveness seventy times seven.
It is refusing the shortcut of domination even when domination appears efficient.
It is telling Peter to put away the sword when everything in Peter’s body screams that this is the moment for holy violence.
It is standing before Pilate and saying, “My kingdom is not from this world,” not because the kingdom has nothing to do with the world, but because it does not come by the world’s methods.
The Maranatha Empire cannot tolerate this.
It cannot tolerate a Messiah who will not seize power.
It cannot tolerate a church that would rather be faithful than influential.
It cannot tolerate a people whose politics begin at the basin and towel.
It cannot tolerate enemy-love, because enemy-love ruins the machinery. Empire requires enemies. It needs them. It feeds on them. Without enemies, the crowd might look too closely at the throne.
So, the Maranatha Empire manufactures urgency.
There is no time to love.
No time to listen.
No time to discern.
No time for reconciliation.
No time for peacemaking.
No time to ask whether the means resemble the Christ we claim to serve.
The hour is late, they say. The danger is great. The stakes are too high. We must act now. We must take control now. We must win now.
And somewhere beneath all that urgency is a terrible confession:
They do not actually believe the Lord is coming.
Or, if he is coming, they do not trust him to arrive in the right way.
So they build him an empire to inherit.
But Christ does not inherit empires.
He judges them.
He walks in alleyways, not palaces. He asks whether the churches have kept their first love. He warns those who are rich and comfortable and self-satisfied that they may be poor, blind, and naked. He stands at the door and knocks, not because he has been defeated by secularism, but because religious people have locked him outside while holding meetings in his name.
The Maranatha Empire is always shocked when Jesus is found outside the gate.
Outside the camp.
Outside respectability.
Outside the approved narrative.
Outside the walls with the crucified, the excluded, the unclean, the inconvenient, and the condemned.
The empire expected him in the capital.
But he is with the refugees.
The empire expected him in the cathedral of victory.
But he is with the mother of the disappeared.
The empire expected him on the reviewing stand.
But he is washing feet in the basement.
The empire expected him to bless the troops.
But he is asking why his followers are still carrying swords.
This is why Maranatha must remain a dangerous prayer.
It must never be allowed to become a slogan for conquest. It must never be printed on the banners of those who are unwilling to be converted by the One they summon. To pray “Come, Lord” is not to invite divine endorsement of our projects. It is to invite judgment upon them.
Come, Lord, and judge our churches.
Come, Lord, and judge our flags.
Come, Lord, and judge our markets.
Come, Lord, and judge our weapons.
Come, Lord, and judge our sermons.
Come, Lord, and judge our secret hatreds.
Come, Lord, and judge the ways we have used your name to avoid your way.
This is the prayer empire cannot honestly pray.
Because if the Lord comes, the first thing to fall may not be our enemies.
It may be our idols.
The algorithm.
The nation.
The party.
The brand.
The gun.
The strongman.
The myth of innocence.
The lie that we can harm others for a righteous cause and remain untouched by the harm.
The Maranatha Empire teaches us to fear the collapse of Christian influence.
Jesus teaches us to fear gaining the world and losing our soul.
The Maranatha Empire asks, “How do we take back the culture?”
Jesus asks, “Can you drink the cup that I drink?”
The Maranatha Empire says, “Blessed are the winners.”
Jesus says, “Blessed are the meek.”
The Maranatha Empire says, “Blessed are the forceful, for they shall secure the future.”
Jesus says, “Blessed are the peacemakers, for they shall be called children of God.”
And perhaps this is the word for us now:
The church does not need to become more powerful.
The church needs to become more faithful.
Not passive. Not silent. Not withdrawn into pious irrelevance. But faithful in the particular, cruciform, stubborn way of Jesus. Faithful enough to resist evil without becoming its mirror. Faithful enough to tell the truth without hatred. Faithful enough to protect the vulnerable without worshiping violence. Faithful enough to build communities of economic sharing, hospitality, forgiveness, courage, and joy. Faithful enough to be a people who can live without controlling the outcome.
That is the hard part.
Empire is attractive because it promises control.
Jesus offers communion.
Empire promises security.
Jesus offers peace.
Empire promises victory over enemies.
Jesus offers reconciliation that may begin with our repentance.
Empire promises to make us great.
Jesus invites us to become small enough to enter the kingdom.
So, let the Maranatha Empire fall.
Let it fall first in us.
Let it fall in every place where we have confused anxiety with zeal. Let it fall where we have preferred dominance to witness. Let it fall where we have wanted laws to do what discipleship would not. Let it fall where we have used the suffering of others as fuel for our own righteousness. Let it fall where we have asked Jesus to come only after we have arranged the throne to our liking.
And when it falls, may something older and more beautiful remain.
A table.
A basin.
A towel.
A loaf.
A cup.
A people gathered without illusion, without empire, without the need to be impressive, whispering the ancient prayer not as conquerors but as witnesses:
Maranatha.
Come, Lord Jesus.
Come not to crown our domination, but to free us from it.
Come not to baptize our fear, but to cast it out.
Come not to make our empire holy, but to teach us again that your kingdom comes like a seed, like yeast, like mercy, like a Lamb who was slain and yet lives.
And until you come, make us faithful.
Not imperial.
Not triumphant.
Not afraid.
Faithful. -
Lamb of God and Trivium Bring a Co-Headline Metal Juggernaut to Australia This October https://www.byteseu.com/2013901/ #AecTheatre #Australia #BleedFromWithin #DestroyAllLines #HordernPavilion #JohnCainArena #LambOfGod #PerthHPC #Riverstage #Trivium
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A tiny bit late to the party but the new Lamb of God is pretty fucking good. Didn't give the last two albums a lot of attention and this one has bucked the trend.
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A tiny bit late to the party but the new Lamb of God is pretty fucking good. Didn't give the last two albums a lot of attention and this one has bucked the trend.
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New post: Five Finger Death Punch announce 20th Anniversary UK tour with Lamb of God and Bleed From Within https://moshville.co.uk/news/tours/2026/05/five-finger-death-punch-announce-20th-anniversary-uk-tour-with-lamb-of-god-and-bleed-from-within/ #BleedFromWithin #FiveFingerDeathPunch #LambOfGod
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News – ‘Lamb of God’ Coins Issued by Desperate English King Found in Denmark https://www.byteseu.com/1991517/ #AethelredTheUnready #coins #Denmark #Jutland #LambOfGod #Vikings
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News – ‘Lamb of God’ Coins Issued by Desperate English King Found in Denmark
Features September/October 2025 On a small Danish island 5,000 years ago, farmers crafted tokens to bring the sun…
#Denmark #Danmark #DK #Europe #Europa #EU #AethelredtheUnready #coins #denmark #jutland #lambofgod #Vikings
https://www.europesays.com/2966597/ -
https://www.europesays.com/dk/74588/ News – ‘Lamb of God’ Coins Issued by Desperate English King Found in Denmark #AethelredTheUnready #coins #Danmark #Denmark #jutland #LambOfGod #vikings
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🔥 ¡Arrancamos la nueva temporada de #4x4 en Rockaxis! 🔥
En esta edición, nos lanzamos con la intensidad de nuevos lanzamientos de #LambOfGod, #RobZombie, #Converge y #Neurosis 🤘🔥
📻 Escúchalo ya en http://rockaxis.com/radio 📻
🎙 Conduce: @PabloCerda1
🐦🔗 https://farside.link/x.com/rockaxisoficial/status/2041168827782660450#m
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https://www.europesays.com/at/80140/ Lamb Of God gehen nie in Rente, brüstet sich Randy Blythe #AT #Austria #bühne #Entertainment #Grab #LambOfGod #MarkMorton #Music #Musik #Österreich #RandyBlythe #rente #ruhestand #Tour #Tournee #Unterhaltung
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Uus Lamb of God -albumi pääsi kyllä yllättämään! Useamman läpikuuntelun perusteella nostan sen kyllä bändin TOP5-levyihin.
Into Oblivion on aivan järkyttävän hyvä raita, jopa klassikkoainesta LoG-katalogissa!
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I'd follow this lead 🤘🏼👊🏼🎵🎶😊
#lambofgod #ozzy #bloodincantation -
I'd follow this lead 🤘🏼👊🏼🎵🎶😊
#lambofgod #ozzy #bloodincantation -
I'd follow this lead 🤘🏼👊🏼🎵🎶😊
#lambofgod #ozzy #bloodincantation -
Got the vinyl on the day of release and after streaming it on Spotify on the way to and from work, I have to say it's a cracker, well done guys 🤘🏼❤️
#lambofgod #IntoOblivion #splattervinyl -
Lamb of God – Into Oblivion Review By TymeMy appreciation for Lamb of God didn’t really take off until a very close friend of mine had me watch Killadelphia for the first time.1 Having survived more than a few metal battlefields of my own, I found the “Black Label” wall of death footage brutally fun.2 Additionally, watching LoG perform those songs live, I found the music clicked with me in a way it hadn’t before, which led me to return to those first three studio albums with renewed vigor and salivating over the upcoming release of Sacrament. Well, twenty years have passed since then,3 a span marked by no small amount of turbulence for the band, both inside and outside the recording studio, my own attention and interest in their work wavering as well. And since Saunders has so graciously ceded his seniority this Tyme around, you’re getting not just my crappy pun, but my two cents on Lamb of God’s tenth outing, Into Oblivion.
It’s not often that commercially thriving bands return from flights of progressive exploration to successfully tap back into their foundational roots. Yet, since the inconsistent VII: Sturm und Drang, Lamb of God seem focused on recapturing some of that lightning in the bottle from their earliest efforts—every step from 2020’s hopeful Lamb of God to 2022’s crunchy and visceral Omens,4 has led the Richmond ragers here, Into Oblivion. Operating musically in a space free from the confines of agendas or trends, LoG are writing songs for no one but themselves. Though lyrically no less acerbic, Into Oblivion serves as Blythe’s commentary on the continued erosion of the social contract here in the States. Mark Morton’s and Willie Adler’s signature guitar sound greets us at the door, the mix of chugs, spindly leads, and technical riffs of the opening title track a good launch point for the rest of the album. Which immediately transitions to “Parasocial Christ,” a thrashy barn burner that is one of the best songs Lamb of God have written in a decade and features one of Blythe’s most visceral performances, who recorded all his vocals at the legendary Total Access studio in Redondo Beach.5
It became increasingly evident that Lamb of God wrote Into Oblivion for the stage. While listening, I could vividly see the impending whiplash under seizure-inducing strobes that blister fests like “Parasocial Christ” and “St. Catherine’s Wheel” will cause just as clearly as I envisioned the swarms of boot-stomping brutality in pits across the country incited by the chugging, bruising grooves of “The Killing Floor” and “Blunt Force Blues.” Much of Into Oblivion should sate long-time fans yearning for days of yore, and settle the argument that the rhythm section anchored by Art Cruz would suffer from Chris Adler’s departure. Lamb of God has also found a way to inject a satisfying amount of experimentation into the strict confines of the album that works without turning things into an overwrought bloat-fest.
With a FAFO runtime of just over 39 minutes, Into Oblivion is the leanest a Lamb of God album has been since 2003’s As the Palaces Burn. Still, LoG managed to color some moments outside the lines. With an opening John Campbell bass line unexpectedly soaked in reverb, “Sepsis” is a monstrous sludgefest that trudges through verses where Blythe falls into a spoken but mostly shouted hybrid tone—an improvement over his mostly cringey straight spoken word—before dipping into a crushing riff that supports the chorus’s screams. This newfound bass-forward sludginess manifests again on “A Thousand Years,” before giving way to a sexy riff full of slithery Southern swagger. Here, Blythe layers some grungy cleans over spoken croaks that work within the song’s style. “El Vacìo” represents the largest departure, reaching near-ballad status as Blythe croons much-improved cleans over Morton and Adler’s moody guitar lines, then crawls into a dramatically tense chorus that gives me goosebumps every time I hear it.
Not everything about Into Oblivion works—for starters, the generic cover and new logo aren’t really hitting, and, while not terrible, I could live with or without the four-plus-minute “Bully.” Still, I wasn’t expecting to like Into Oblivion as much as I do. When I first popped its top, I joked in the AMG lunch room that it might threaten the safety counter. To which Steel immediately replied, ‘wut!’ While the safety counter is fine, Into Oblivion earned its score and might be the best thing Lamb of God has done since Wrath.
Rating: 3.5/5.0
#2026 #35 #AmericanMetal #EpicRecords #GrooveMetal #IntoOblivion #LambOfGod #Mar26 #Review #Reviews #ThrashMetal
DR: n/a | Format Reviewed: Farging Stream
Label: Epic Records
Websites: LambofGod.com | Bandcamp | Facebook
Releases Worldwide: March 13th, 2026 -
Sylosis – The New Flesh Review
Sylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience,…
#NewsBeep #News #Music #2026 #3.5 #Architects #BritishMetal #CA #Canada #Entertainment #Feb2026 #HeavyMetal #LambofGod #Metalcore #NuclearBlast #review #reviews #Sylosis #TheNewFlesh #ThrashMetal
https://www.newsbeep.com/ca/484198/ -
Sylosis – The New Flesh Review
Sylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience,…
#NewsBeep #News #Music #2026 #3.5 #Architects #BritishMetal #Entertainment #Feb2026 #HeavyMetal #LambofGod #Metalcore #NuclearBlast #review #Reviews #Sylosis #TheNewFlesh #ThrashMetal #UK #UnitedKingdom
https://www.newsbeep.com/uk/433077/ -
Sylosis – The New Flesh Review By Lavender LarcenistSylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience, many have heard of, but few listen to. When I go to shout about the greatness of albums like Monolith or Dormant Heart from the highest peaks, it seems to fall on deaf ears. No more, I say! Lead vocalist and guitarist Josh Middleton has led the band since Edge of the Earth. As the last remaining original member, he became the de facto songwriter and soul of a group that has seen many members over the years and near dissolution during Middleton’s time with Architects. After returning to Sylosis full-time, the band is on their third release in this latest era, The New Flesh. Marking the second album since Middleton purposefully set a new direction with A Sign of Things to Come. While the title references David Cronenberg’s Videodrome, is The New Flesh transformative for the band or a refinement?
Dormant Heart was the closing chapter on a trio of unfuckwithable albums that deftly melded viscous thrash, modern core sensibilities, and instrumental tangents with guitar heroics rivaling the best bands out there. Post 2020 put the band on a new path, and The New Flesh offers a continuation and evolution of their previous record. For a band with so many past members, their latest shows zero signs of flagging. Clearly, Middleton’s direction has been a north star for the band, and nothing on The New Flesh will surprise longtime fans.
Sylosis’s obsession with riffs remains intact, and The New Flesh is chock-full of them like every record before it. Middleton’s vocals are as powerful as ever, and his range remains impressive. The band seems almost always to avoid the worst parts of metalcore clean singing, and there is so much pathos in his delivery that you can hear the venom dripping from every word. “All Glory, No Valour” is a drumming tour de force for Ali Richardson, whose feats keep up with Middleton and Conor Marshall’s barreling riffs. It isn’t all roses, though, and Ben Thomas’s low end gets lost in the overly clean modern metal production. While there is enough there to give the riffs proper weight, the bass only occasionally shines and is rarely present without straining your ears.
The New Flesh’s creative focus only occasionally falters, and any song that has one or two individual weak spots has twice as many head-banging turn-arounds. The slightly uninspired chorus of “Erased” is quickly forgotten amid the song’s infectious groove, chest-thumping ethos, and refrain of “Here’s your parting gift,” before it drops into delirious riffing and devastating pick-scraping. Album closer “Seeds In The River” features a bit of tired metaphor, but also has some of the best riffs on the record, and more than enough to keep listeners coming back. The only real blemish on The New Flesh is a tale as old as time, a misplaced ballad. While Sylosis has never shied from clean singing or big melodic swings, “Everywhere At Once” may be the band’s first true “ballad,” and it shows. It lacks the atmosphere of similar songs on past albums like Dormant Heart’s “Quiescent” or the soaring riffs and bombasticity of “Abandon” on Cycle of Suffering. It is entirely skippable, with generic musings about missing family when touring that feel trite compared to Sylosis’ usual lyrical targets and vitriolic delivery.
Outside of those few stumbles, The New Flesh is nearly spotless. “Circle Of Swords” feels like a makeup track after dropping a ballad on the listener, giving some much-needed headbanging whiplash. “Beneath The Surface” kicks things off in wild fashion, “Lacerations” is a stadium melter, and “Spared From The Guillotine” is one of Sylosis’ most unhinged tracks in the last decade. Sans ballad, The New Flesh, is ten tracks of furious, solid, and infectious metal that feel essential in an era lacking in just good old-fashioned headbangers. The band finds a spot where the speed and technical sensibility of thrash meld with the belligerent energy of core and the hooky riffs of groove metal. For modern metal fans, Sylosis deserves a spot at the forefront. Where older acts like Lamb of God seem to have basically lost the creative energy that originally drove them, The New Flesh is here to offer up a no frills heavy metal record that leaves all pretense at the door after kicking it down. Sylosis has more than earned its seat among the modern metal greats, and The New Flesh only further cements that legacy.
Rating: Very Good
#2026 #35 #Architects #BritishMetal #Feb2026 #HeavyMetal #LambOfGod #Metalcore #NuclearBlast #Review #Reviews #Sylosis #TheNewFlesh #ThrashMetal
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: www.sylosis-band.com | Bandcamp
Releases Worldwide: February 20th, 2026 -
Sylosis – The New Flesh Review By Lavender Larcenist
Sylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience, many have heard of, but few listen to. When I go to shout about the greatness of albums like Monolith or Dormant Heart from the highest peaks, it seems to fall on deaf ears. No more, I say! Lead vocalist and guitarist Josh Middleton has led the band since Edge of the Earth. As the last remaining original member, he became the de facto songwriter and soul of a group that has seen many members over the years and near dissolution during Middleton’s time with Architects. After returning to Sylosis full-time, the band is on their third release in this latest era, The New Flesh. Marking the second album since Middleton purposefully set a new direction with A Sign of Things to Come. While the title references David Cronenberg’s Videodrome, is The New Flesh transformative for the band or a refinement?
Dormant Heart was the closing chapter on a trio of unfuckwithable albums that deftly melded viscous thrash, modern core sensibilities, and instrumental tangents with guitar heroics rivaling the best bands out there. Post 2020 put the band on a new path, and The New Flesh offers a continuation and evolution of their previous record. For a band with so many past members, their latest shows zero signs of flagging. Clearly, Middleton’s direction has been a north star for the band, and nothing on The New Flesh will surprise longtime fans.
Sylosis’s obsession with riffs remains intact, and The New Flesh is chock-full of them like every record before it. Middleton’s vocals are as powerful as ever, and his range remains impressive. The band seems almost always to avoid the worst parts of metalcore clean singing, and there is so much pathos in his delivery that you can hear the venom dripping from every word. “All Glory, No Valour” is a drumming tour de force for Ali Richardson, whose feats keep up with Middleton and Conor Marshall’s barreling riffs. It isn’t all roses, though, and Ben Thomas’s low end gets lost in the overly clean modern metal production. While there is enough there to give the riffs proper weight, the bass only occasionally shines and is rarely present without straining your ears.
The New Flesh’s creative focus only occasionally falters, and any song that has one or two individual weak spots has twice as many head-banging turn-arounds. The slightly uninspired chorus of “Erased” is quickly forgotten amid the song’s infectious groove, chest-thumping ethos, and refrain of “Here’s your parting gift,” before it drops into delirious riffing and devastating pick-scraping. Album closer “Seeds In The River” features a bit of tired metaphor, but also has some of the best riffs on the record, and more than enough to keep listeners coming back. The only real blemish on The New Flesh is a tale as old as time, a misplaced ballad. While Sylosis has never shied from clean singing or big melodic swings, “Everywhere At Once” may be the band’s first true “ballad,” and it shows. It lacks the atmosphere of similar songs on past albums like Dormant Heart’s “Quiescent” or the soaring riffs and bombasticity of “Abandon” on Cycle of Suffering. It is entirely skippable, with generic musings about missing family when touring that feel trite compared to Sylosis’ usual lyrical targets and vitriolic delivery.
Outside of those few stumbles, The New Flesh is nearly spotless. “Circle Of Swords” feels like a makeup track after dropping a ballad on the listener, giving some much-needed headbanging whiplash. “Beneath The Surface” kicks things off in wild fashion, “Lacerations” is a stadium melter, and “Spared From The Guillotine” is one of Sylosis’ most unhinged tracks in the last decade. Sans ballad, The New Flesh, is ten tracks of furious, solid, and infectious metal that feel essential in an era lacking in just good old-fashioned headbangers. The band finds a spot where the speed and technical sensibility of thrash meld with the belligerent energy of core and the hooky riffs of groove metal. For modern metal fans, Sylosis deserves a spot at the forefront. Where older acts like Lamb of God seem to have basically lost the creative energy that originally drove them, The New Flesh is here to offer up a no frills heavy metal record that leaves all pretense at the door after kicking it down. Sylosis has more than earned its seat among the modern metal greats, and The New Flesh only further cements that legacy.
Rating: Very Good
#2026 #35 #Architects #BritishMetal #Feb2026 #HeavyMetal #LambOfGod #Metalcore #NuclearBlast #Review #Reviews #Sylosis #TheNewFlesh #ThrashMetal
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: www.sylosis-band.com | Bandcamp
Releases Worldwide: February 20th, 2026 -
Sylosis – The New Flesh Review By Lavender LarcenistSylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience, many have heard of, but few listen to. When I go to shout about the greatness of albums like Monolith or Dormant Heart from the highest peaks, it seems to fall on deaf ears. No more, I say! Lead vocalist and guitarist Josh Middleton has led the band since Edge of the Earth. As the last remaining original member, he became the de facto songwriter and soul of a group that has seen many members over the years and near dissolution during Middleton’s time with Architects. After returning to Sylosis full-time, the band is on their third release in this latest era, The New Flesh. Marking the second album since Middleton purposefully set a new direction with A Sign of Things to Come. While the title references David Cronenberg’s Videodrome, is The New Flesh transformative for the band or a refinement?
Dormant Heart was the closing chapter on a trio of unfuckwithable albums that deftly melded viscous thrash, modern core sensibilities, and instrumental tangents with guitar heroics rivaling the best bands out there. Post 2020 put the band on a new path, and The New Flesh offers a continuation and evolution of their previous record. For a band with so many past members, their latest shows zero signs of flagging. Clearly, Middleton’s direction has been a north star for the band, and nothing on The New Flesh will surprise longtime fans.
Sylosis’s obsession with riffs remains intact, and The New Flesh is chock-full of them like every record before it. Middleton’s vocals are as powerful as ever, and his range remains impressive. The band seems almost always to avoid the worst parts of metalcore clean singing, and there is so much pathos in his delivery that you can hear the venom dripping from every word. “All Glory, No Valour” is a drumming tour de force for Ali Richardson, whose feats keep up with Middleton and Conor Marshall’s barreling riffs. It isn’t all roses, though, and Ben Thomas’s low end gets lost in the overly clean modern metal production. While there is enough there to give the riffs proper weight, the bass only occasionally shines and is rarely present without straining your ears.
The New Flesh’s creative focus only occasionally falters, and any song that has one or two individual weak spots has twice as many head-banging turn-arounds. The slightly uninspired chorus of “Erased” is quickly forgotten amid the song’s infectious groove, chest-thumping ethos, and refrain of “Here’s your parting gift,” before it drops into delirious riffing and devastating pick-scraping. Album closer “Seeds In The River” features a bit of tired metaphor, but also has some of the best riffs on the record, and more than enough to keep listeners coming back. The only real blemish on The New Flesh is a tale as old as time, a misplaced ballad. While Sylosis has never shied from clean singing or big melodic swings, “Everywhere At Once” may be the band’s first true “ballad,” and it shows. It lacks the atmosphere of similar songs on past albums like Dormant Heart’s “Quiescent” or the soaring riffs and bombasticity of “Abandon” on Cycle of Suffering. It is entirely skippable, with generic musings about missing family when touring that feel trite compared to Sylosis’ usual lyrical targets and vitriolic delivery.
Outside of those few stumbles, The New Flesh is nearly spotless. “Circle Of Swords” feels like a makeup track after dropping a ballad on the listener, giving some much-needed headbanging whiplash. “Beneath The Surface” kicks things off in wild fashion, “Lacerations” is a stadium melter, and “Spared From The Guillotine” is one of Sylosis’ most unhinged tracks in the last decade. Sans ballad, The New Flesh, is ten tracks of furious, solid, and infectious metal that feel essential in an era lacking in just good old-fashioned headbangers. The band finds a spot where the speed and technical sensibility of thrash meld with the belligerent energy of core and the hooky riffs of groove metal. For modern metal fans, Sylosis deserves a spot at the forefront. Where older acts like Lamb of God seem to have basically lost the creative energy that originally drove them, The New Flesh is here to offer up a no frills heavy metal record that leaves all pretense at the door after kicking it down. Sylosis has more than earned its seat among the modern metal greats, and The New Flesh only further cements that legacy.
Rating: Very Good
#2026 #35 #Architects #BritishMetal #Feb2026 #HeavyMetal #LambOfGod #Metalcore #NuclearBlast #Review #Reviews #Sylosis #TheNewFlesh #ThrashMetal
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: www.sylosis-band.com | Bandcamp
Releases Worldwide: February 20th, 2026 -
Sylosis – The New Flesh Review By Lavender LarcenistSylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience, many have heard of, but few listen to. When I go to shout about the greatness of albums like Monolith or Dormant Heart from the highest peaks, it seems to fall on deaf ears. No more, I say! Lead vocalist and guitarist Josh Middleton has led the band since Edge of the Earth. As the last remaining original member, he became the de facto songwriter and soul of a group that has seen many members over the years and near dissolution during Middleton’s time with Architects. After returning to Sylosis full-time, the band is on their third release in this latest era, The New Flesh. Marking the second album since Middleton purposefully set a new direction with A Sign of Things to Come. While the title references David Cronenberg’s Videodrome, is The New Flesh transformative for the band or a refinement?
Dormant Heart was the closing chapter on a trio of unfuckwithable albums that deftly melded viscous thrash, modern core sensibilities, and instrumental tangents with guitar heroics rivaling the best bands out there. Post 2020 put the band on a new path, and The New Flesh offers a continuation and evolution of their previous record. For a band with so many past members, their latest shows zero signs of flagging. Clearly, Middleton’s direction has been a north star for the band, and nothing on The New Flesh will surprise longtime fans.
Sylosis’s obsession with riffs remains intact, and The New Flesh is chock-full of them like every record before it. Middleton’s vocals are as powerful as ever, and his range remains impressive. The band seems almost always to avoid the worst parts of metalcore clean singing, and there is so much pathos in his delivery that you can hear the venom dripping from every word. “All Glory, No Valour” is a drumming tour de force for Ali Richardson, whose feats keep up with Middleton and Conor Marshall’s barreling riffs. It isn’t all roses, though, and Ben Thomas’s low end gets lost in the overly clean modern metal production. While there is enough there to give the riffs proper weight, the bass only occasionally shines and is rarely present without straining your ears.
The New Flesh’s creative focus only occasionally falters, and any song that has one or two individual weak spots has twice as many head-banging turn-arounds. The slightly uninspired chorus of “Erased” is quickly forgotten amid the song’s infectious groove, chest-thumping ethos, and refrain of “Here’s your parting gift,” before it drops into delirious riffing and devastating pick-scraping. Album closer “Seeds In The River” features a bit of tired metaphor, but also has some of the best riffs on the record, and more than enough to keep listeners coming back. The only real blemish on The New Flesh is a tale as old as time, a misplaced ballad. While Sylosis has never shied from clean singing or big melodic swings, “Everywhere At Once” may be the band’s first true “ballad,” and it shows. It lacks the atmosphere of similar songs on past albums like Dormant Heart’s “Quiescent” or the soaring riffs and bombasticity of “Abandon” on Cycle of Suffering. It is entirely skippable, with generic musings about missing family when touring that feel trite compared to Sylosis’ usual lyrical targets and vitriolic delivery.
Outside of those few stumbles, The New Flesh is nearly spotless. “Circle Of Swords” feels like a makeup track after dropping a ballad on the listener, giving some much-needed headbanging whiplash. “Beneath The Surface” kicks things off in wild fashion, “Lacerations” is a stadium melter, and “Spared From The Guillotine” is one of Sylosis’ most unhinged tracks in the last decade. Sans ballad, The New Flesh, is ten tracks of furious, solid, and infectious metal that feel essential in an era lacking in just good old-fashioned headbangers. The band finds a spot where the speed and technical sensibility of thrash meld with the belligerent energy of core and the hooky riffs of groove metal. For modern metal fans, Sylosis deserves a spot at the forefront. Where older acts like Lamb of God seem to have basically lost the creative energy that originally drove them, The New Flesh is here to offer up a no frills heavy metal record that leaves all pretense at the door after kicking it down. Sylosis has more than earned its seat among the modern metal greats, and The New Flesh only further cements that legacy.
Rating: Very Good
#2026 #35 #Architects #BritishMetal #Feb2026 #HeavyMetal #LambOfGod #Metalcore #NuclearBlast #Review #Reviews #Sylosis #TheNewFlesh #ThrashMetal
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: www.sylosis-band.com | Bandcamp
Releases Worldwide: February 20th, 2026 -
Sylosis – The New Flesh Review By Lavender LarcenistSylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience, many have heard of, but few listen to. When I go to shout about the greatness of albums like Monolith or Dormant Heart from the highest peaks, it seems to fall on deaf ears. No more, I say! Lead vocalist and guitarist Josh Middleton has led the band since Edge of the Earth. As the last remaining original member, he became the de facto songwriter and soul of a group that has seen many members over the years and near dissolution during Middleton’s time with Architects. After returning to Sylosis full-time, the band is on their third release in this latest era, The New Flesh. Marking the second album since Middleton purposefully set a new direction with A Sign of Things to Come. While the title references David Cronenberg’s Videodrome, is The New Flesh transformative for the band or a refinement?
Dormant Heart was the closing chapter on a trio of unfuckwithable albums that deftly melded viscous thrash, modern core sensibilities, and instrumental tangents with guitar heroics rivaling the best bands out there. Post 2020 put the band on a new path, and The New Flesh offers a continuation and evolution of their previous record. For a band with so many past members, their latest shows zero signs of flagging. Clearly, Middleton’s direction has been a north star for the band, and nothing on The New Flesh will surprise longtime fans.
Sylosis’s obsession with riffs remains intact, and The New Flesh is chock-full of them like every record before it. Middleton’s vocals are as powerful as ever, and his range remains impressive. The band seems almost always to avoid the worst parts of metalcore clean singing, and there is so much pathos in his delivery that you can hear the venom dripping from every word. “All Glory, No Valour” is a drumming tour de force for Ali Richardson, whose feats keep up with Middleton and Conor Marshall’s barreling riffs. It isn’t all roses, though, and Ben Thomas’s low end gets lost in the overly clean modern metal production. While there is enough there to give the riffs proper weight, the bass only occasionally shines and is rarely present without straining your ears.
The New Flesh’s creative focus only occasionally falters, and any song that has one or two individual weak spots has twice as many head-banging turn-arounds. The slightly uninspired chorus of “Erased” is quickly forgotten amid the song’s infectious groove, chest-thumping ethos, and refrain of “Here’s your parting gift,” before it drops into delirious riffing and devastating pick-scraping. Album closer “Seeds In The River” features a bit of tired metaphor, but also has some of the best riffs on the record, and more than enough to keep listeners coming back. The only real blemish on The New Flesh is a tale as old as time, a misplaced ballad. While Sylosis has never shied from clean singing or big melodic swings, “Everywhere At Once” may be the band’s first true “ballad,” and it shows. It lacks the atmosphere of similar songs on past albums like Dormant Heart’s “Quiescent” or the soaring riffs and bombasticity of “Abandon” on Cycle of Suffering. It is entirely skippable, with generic musings about missing family when touring that feel trite compared to Sylosis’ usual lyrical targets and vitriolic delivery.
Outside of those few stumbles, The New Flesh is nearly spotless. “Circle Of Swords” feels like a makeup track after dropping a ballad on the listener, giving some much-needed headbanging whiplash. “Beneath The Surface” kicks things off in wild fashion, “Lacerations” is a stadium melter, and “Spared From The Guillotine” is one of Sylosis’ most unhinged tracks in the last decade. Sans ballad, The New Flesh, is ten tracks of furious, solid, and infectious metal that feel essential in an era lacking in just good old-fashioned headbangers. The band finds a spot where the speed and technical sensibility of thrash meld with the belligerent energy of core and the hooky riffs of groove metal. For modern metal fans, Sylosis deserves a spot at the forefront. Where older acts like Lamb of God seem to have basically lost the creative energy that originally drove them, The New Flesh is here to offer up a no frills heavy metal record that leaves all pretense at the door after kicking it down. Sylosis has more than earned its seat among the modern metal greats, and The New Flesh only further cements that legacy.
Rating: Very Good
#2026 #35 #Architects #BritishMetal #Feb2026 #HeavyMetal #LambOfGod #Metalcore #NuclearBlast #Review #Reviews #Sylosis #TheNewFlesh #ThrashMetal
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast
Websites: www.sylosis-band.com | Bandcamp
Releases Worldwide: February 20th, 2026 -
Desoration – NON Review By Owlswald
Self-releasing an album is a monumental effort. Between production, distribution, artwork, press, yadda yadda yadda, the logistical weight quickly consumes vast amounts of time, money and energy. And that’s before you factor in the arduous task of creating music that’s actually fucking good. Indeed, for a young band, initial encounters are everything, which means it behooves one to ensure everything is as polished and professional as possible. Desoration understands this.1 The Christchurch, New Zealand five-piece submitted their debut album, NON, via AMG’s contact form, catching my eye with their professional-grade press kit. Since their 2020 formation, the group has been refining their identity, with 2024’s Apotechnosis EP introducing Desoration’s techy blend of melodic death metal. NON aims to take this to a new level, weaving symphonic textures into their deathly foundation alongside a narrative that charts a protagonist’s descent from modern despair into an otherworldly transformation, culminating in their emergence as a “nemessiah” who brings about the total annihilation of the corporeal plane.2 Will NON’s ambition be a non-starter? Or will it be a non-negotiable addition to your playlist?
Puns aside, NON frequently oscillates between melodic death and symphonic black metal. Tracks like “Corporealisation Threshold,” “Deadened and Scarified” and “Excoriating Reality” channel the guitar-forward spirit of Omnium Gatherum or Mors Principium Est, while others are forged in the cold 90s-era symphonic black mold of yore (“Black Dawn,” “The Befouled Ziggurat of Non”). Desoration even finds room to pepper in the punchy, rhythmic grooves of Lamb of God (“Beyond the Veil of Sleep”) or the operatic brutality of Fleshgod Apocalypse (“Singularity Ritual,” “Interitus the Herald of Ruin”). Regardless of NON’s stylistic lean, Desoration fortifies every note with pinpoint accuracy, as high-velocity picking, assaulting blasts and syncopated chugging underpin dramatic synchestral flourishes. The orchestral arrangements act as NON’s nexus, fueling the record’s kinetic energy with both urgency and dramatic intensity. Though Desoration’s sound doesn’t break new ground, the formula works as a whole, relying on instrumental prowess to keep the listener locked in.
Great albums live or die by their songwriting, and the writing on NON is solid. “Singularity Ritual,” “Those Who Dwell in Darkness” and “Interitus the Herald of Ruin” thrive on sharp hooks, cavalry-charge gallops and solos brimming with bright, sweeping scales that put Desoration’s talent on full display. “Corporealisation Threshold,” in particular, reaches its zenith during a synchronized closing battery of percussive riffing and double-kick work. It’s a necessary jolt of energy that arrives just in time, delivering the adrenaline spike I found myself chasing through the preceding tracks. While the writing isn’t perfectly consistent across all eleven songs—”Beyond the Veil of Sleep,” for instance, lacks hooks and “Black Dawn” is far too long—NON overcomes these lulls through Desoration’s sheer talent and an obvious command of the melodic death sound.
Favoring a synthetic sheen, NON’s main weakness is its production. While a sterilized production style is a common aesthetic that many bands seemingly adopt for convenience, here it results in an overly digitized sound that quickly becomes tiresome. In fact, I spent my entire time with NON craving the dynamics Desoration abandoned in the editing room. Aean Campbell’s vocals are adept and hit all the standard death beats, but they sit so far forward in the mix that they drown out much of the instrumental nuance, particularly the guitars. The biggest tragedy, however, is the drums. Bennett Jones’ performance itself is stellar, but the tones are a disaster. The toms sound thin, and the cymbals are a wash of static. It honestly sounds like they plugged in a Roland electronic kit, hit “record” and called it a day. It’s a shame that low-effort tones bury such high-level playing. I understand the necessity of working within tight constraints to achieve a pro sound on an indie budget, but production this over-processed takes a toll on my feathery ears.
Desoration is a young act that radiates promise and NON proves these Kiwis possess the pedigree to compete globally. It’s frustrating that the production prevents the album from reaching its full potential. However, if you can look past this blemish, you’ll find a good melodic death record with solid songwriting and impressive performances full of symphonic carnage. NON firmly establishes Desoration as a group to watch.
Rating: Good
#2026 #30 #DeathMetal #Desoration #Feb26 #FleshgodApocalypse #LambOfGod #melodic #MelodicDeathMetal #MorsPrincipiumEst #NewZealandMetal #NON #OmniumGatherum #Review #Reviews #SelfReleased #TechnicalDeathMetal
DR: 5 | Format Reviewed: PCM
Label: Self-Released
Websites: desoration.bandcamp.com | desoration.com | facebook.com/desorationmetal
Releases Worldwide: February 6th, 2026 -
Coronatus – Dreadful Waters Review By Andy-War-Hall
Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in all of its be-corset-ed miscellany. Why? Maybe I need a break from dudes singing ugly for ladies singing pretty. Maybe falling for Seven Spires justified my continued curiosity in the style.1 Maybe I’ve never been as happy as I was discovering Imaginaerum in high school. Regardless, the call brought me now to the German symphonic group Coronatus and their new record, Dreadful Waters. Led by songwriter/drummer Mats Kurth, Coronatus features three singers in mezzo sopranos Leni Eitrich and Sabine Prechtel, and “rock vocals” by Nemesis, who also contributes to songwriting along with guitarist Harry Zeidler. Rounded out with bassist Simon Gutbrod and violinist Tine Jülich, Coronatus wrote Dreadful Waters with a focus on “merging mysticism, danger and the elemental force of water.” All good words, but does Dreadful Waters bring the strings to live up to them and, more importantly, can Coronatus meet my fix for symphonic metal?
Whatever Coronatus is doing, Dreadful Waters sounds nice doing it. Oscillating between varying degrees of symphonic (“The Siren” and “Die Hexe und der Teufel”) and nautically inclined folk metals (“Southern Cross” and “A Seaman’s Yarn”), Dreadful Waters’ production and mix bring out the best in Coronatus’ instrumentation and give everything a rich openness. Guitars sound chunky and bold while taking on an auxiliary role to the violin and vocals, which are always warm and upfront. Coronatus’ mezzo sopranos bring your typical Tarja-era Nightwish operatics to “The Maelstrom” and “To the Reef!” while Nemesis’ “rock voice” means she brings a Jørn-like grizzled theatricality to her performances on “Dark Ice” and “The Ship’s Cook.” But what really stands out to me is Kurth’s drumming, which is more nuanced than the average symphonic drumming performance. The kick patterns on “Through the Brightest Blue”‘s chorus sound more like a Lamb of God drum track than Nightwish, and “To the Reef!” boasts a palpable jauntiness thanks to the percussion groove. Dreadful Waters is composed of many different pieces, so it’s nice that Coronatus got them all to sound good together.
But symphonic metal lives and dies on its vocalists, and while Coronatus’ singers are skilled musicians, their performances can feel awkward. Each vocalist often brings an almost comical level of warble to their voices, swinging tracks like “Southern Cross” and “A Seaman’s Yarn” towards the ridiculous. Nemesis in particular can overdo it, as her heavy, gravelly vibrato can at times chew the scenery. The mezzo soprano and “rock voice” stylings also sometimes stand at odds with each other, as on songs like “The Siren” and “Dark Ice,” they blend poorly and give off the impression that they weren’t in the studio at the same time. When Coroantus coalesce, like on the album highlight “The Ship’s Cook,” the result is a riveting blend of sophistication and grit that I could listen to all day, but moments like this are unfortunately rare on Dreadful Waters.
The slight vocal issues I see on Dreadful Waters may be a symptom of a larger issue on the album: the lukewarm songcraft. Coronatus’ songs mostly stick to either a slowburn or mid-paced stomp, featuring pretty folk melodies and pleasant orchestrations but little in the way of gripping hooks or powerful performances. Further, vocal melodies are usually played overly straight, throwing few unexpected turns or interesting intervals in favor of a fairly standard symphonic metal play sheet. This makes the more metal-friendly tracks like “The Maelstrom” and “The Siren” come off a bit tepid and, at Dreadful Waters’ worst, its ballads in “Southern Cross” and “Die Hexe und der Teufel” real slogs to get through. Only “The Ship’s Cook” excited me, and that’s because its power metal-adjacent vocal heroics and bouncy chorus melody embody what is woefully missing on much of Dreadful Waters: character.
Dreadful Waters neither sinks nor swims. Far from awful, this record’s shortcomings stem from not doing enough to stand out from the symphonic crowd or playing exceptionally well into its tropes. Less fairweather fans of symphonic metal than I may get more out of Coronatus’ style, but detractors of the style won’t be swayed from their haterdom by it either. Coronatus snagged a real winner with “The Ship’s Cook,” though, so I don’t foresee terrible sailing for the band in their future. But for meeting the need for big strings over my metal, Dreadful Waters doesn’t do it for me.
Rating: Disappointing
#20 #2026 #Coronatus #DreadfulWaters #FolkMetal #GermanMetal #Jan26 #Jorn #LambOfGod #MassacreRecords #Nightwish #Review #Reviews #SevenSpires #SymphonicMetal
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026 -
Yeah, I dig the new Lamb of God single. I usually do. Psyched to hear the whole record.
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https://www.europesays.com/fi/133564/ Euroviisuhistoriaa ja suomalaisen metallin juhlaa: nämä albumit täyttävät tänä vuonna 20 vuotta #AmonAmarth #amorphis #CannibalCorpse #CradleOfFilth #diablo #Entertainment #FI #Finland #Finnish #IronMaiden #kalmah #LambOfGod #lordi #MajKarma #mastodon #mokoma #Music #Musiikki #MyChemicalRomance #poisonblack #ruoska #slayer #Stam1na #Suomi #Tarot #teräsbetoni #TurmionKätilöt #viihde
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Starscourge – Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed Review By Andy-War-Hall
Fromsoftware’s behemoth action-RPG Elden Ring is an enigma. How a game so obtuse, difficult, and uniquely itself in its visuals and storytelling became the blockbuster that it is baffles me, and it’s one of those precious pieces of art that simply makes me happy to live in the same world as it. It’s also metal as anything can be. Bands like Fell Omen have tapped into the game’s mythology for inspiration before and, now, the international blackened death duo Starscourge enter the fray with their debut Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed. Promising serious riffage and an emphasis on storytelling, instrumentalist Zul Bharoocha (Sweden) and vocalist Mithun MK (Singapore) have already overcome one great obstacle by getting this thing made at all. But what did Starscourge achieve with Conqueror of the Stars…? I doubt you could even imagine it…
Conqueror of the Stars…’s full title is comically verbose, but it foreshadows the sheer opulent regality exuded by Starscourge. The band masterfully captures Elden Ring’s demi-deific power struggle through massive riff-craft supported by extravagant (synth) orchestration and choir. “Ranni’s Requiem – A Night of Black Knives” imposes regal grandiosity through overwhelming choirs and guitar leads, while the weight with which “The Battle of Aeonia” heaves itself feels genuinely symphonic. “Athwart Hereditary Taint, Thence Doth the Valkyrie Ride” wields a wonderful balance of airy dueling guitars and piano and blistering, throat-shredding black metal, standing in contrast to the maniacal, overtly evil decadence of “Together, My Serpentine Valentine” immediately following. Even the Slayer cover “Spirit in Black” sounds opulent, imbuing MK’s Araya impersonation with the arrogant pomp suited to a Golden Order lord of Elden Ring. If you like your metal as haughty as it is heavy, Starscourge is your band and Conqueror of the Stars… is your album.
Athwart Hereditary Taint, Thence Doth The Valkyrie Ride by Starscourge
Conqueror of the Stars… may reek of vainglory and overwriting, but don’t be fooled: Starscourge are exhilarating. Bharoocha’s riffs tap into the fullest majesty of black metal (“The Shattering”) and melodeath’s sharpest hooks (“I Am the Starscourge”), even indulging in NWOBHM-isms on “The Battle of Aeonia.” MK’s growls resemble a mix of Aeternam’s Achraf Loudiy and Lamb of God’s Randy Blythe, while his cleans recall both Borknagar’s ICS Vortex and, when he breaks out the falsettos, King Diamond. Conqueror of the Stars… rages from start to finish,1 whether by propulsive chops on “Whereunto Frenzy Beckoneth” or furious tremolos on “Destiny’s Dastardly Dynasty,” and Bharoocha’s leads and solos approach Moonlight Sorcery levels of show-off-ness in their technicality (“Blessings Upon the Golden Throne”). Starscourge also prove expert editors, as everything but “The Battle of Aeonia” sits tight at three to four minutes of no fat, all muscle goodness.2 Starscourge could’ve afforded to put on some weight, as both “Blessings Upon the Golden Order” and “I Am the Starscourge” end somewhat anticlimactically. Like Elden Ring, Conqueror of the Stars… brings the goods in great quantity without resorting to padding.
But there’s no avoiding Starscourge’s Achilles heel: insistence upon voice acting. Opener “Betwixt Sundered Seraphim…” sees Starscourge read off one of Elden Ring’s trailer scripts in an unconvincing Shakespearean inflection over boring synths, failing to either achieve the dramatic pulse of the original read or excite the listener. This is the least offensive spoken word moment on the album, however, because it at least doesn’t distract from a good instrumental. Too often, a bruising riff (“Destiny’s Dastardly Dynasty”), half a solo (“The Shattering”), or a slow build-up (“The Battle of Aeonia”) is buried under cringey monologue that doesn’t immerse the listener into the story any better than a compelling instrumental could’ve. Given voice acting’s prominent role in Conqueror of the Stars…, it’s clear that Starscourge think of it as an integral factor of their style. I don’t. It’s boring, a bit silly, and stands in conflict with the rest of the music. Conqueror of the Stars… is already an engrossing, deeply dramatic record without it, so why insist upon it?3
But even with Starscourge’s voice acting woes, not to mention less-than-thrilling mixing and mastering,4 Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed is a monumentally entertaining record. Both grandiose and lean, the few but notable hiccups this album has just barely held my hand from shattering the Score Safety Box one last time this year. Whether you abide by the frenzy of black metal or live in death, or just really like Elden Ring, Conqueror of the Stars… is an easy recommendation. Bear witness!
Rating: Very Good…
#2025 #35 #Aeternam #BlackenedDeathMetal #Borknagar #ConquerorOfTheStarsBetwixtSunderedSeraphimTheLandsBetweenBleed #Dec25 #FellOmen #InternationalMetal #KingDiamond #LambOfGod #MoonlightSorcery #Review #Reviews #SelfReleased #Slayer #Starscourge
DR: 6… | Format Reviewed: 320 kbps MP3…
Label: Self-Release…
Websites: facebook.com/official.starscourge | starscourgeofficial.bandcamp.com …
Releases Worldwide: December 19th, 2025… -
Starscourge – Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed Review By Andy-War-Hall
Fromsoftware’s behemoth action-RPG Elden Ring is an enigma. How a game so obtuse, difficult, and uniquely itself in its visuals and storytelling became the blockbuster that it is baffles me, and it’s one of those precious pieces of art that simply makes me happy to live in the same world as it. It’s also metal as anything can be. Bands like Fell Omen have tapped into the game’s mythology for inspiration before and, now, the international blackened death duo Starscourge enter the fray with their debut Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed. Promising serious riffage and an emphasis on storytelling, instrumentalist Zul Bharoocha (Sweden) and vocalist Mithun MK (Singapore) have already overcome one great obstacle by getting this thing made at all. But what did Starscourge achieve with Conqueror of the Stars…? I doubt you could even imagine it…
Conqueror of the Stars…’s full title is comically verbose, but it foreshadows the sheer opulent regality exuded by Starscourge. The band masterfully captures Elden Ring’s demi-deific power struggle through massive riff-craft supported by extravagant (synth) orchestration and choir. “Ranni’s Requiem – A Night of Black Knives” imposes regal grandiosity through overwhelming choirs and guitar leads, while the weight with which “The Battle of Aeonia” heaves itself feels genuinely symphonic. “Athwart Hereditary Taint, Thence Doth the Valkyrie Ride” wields a wonderful balance of airy dueling guitars and piano and blistering, throat-shredding black metal, standing in contrast to the maniacal, overtly evil decadence of “Together, My Serpentine Valentine” immediately following. Even the Slayer cover “Spirit in Black” sounds opulent, imbuing MK’s Araya impersonation with the arrogant pomp suited to a Golden Order lord of Elden Ring. If you like your metal as haughty as it is heavy, Starscourge is your band and Conqueror of the Stars… is your album.
Athwart Hereditary Taint, Thence Doth The Valkyrie Ride by Starscourge
Conqueror of the Stars… may reek of vainglory and overwriting, but don’t be fooled: Starscourge are exhilarating. Bharoocha’s riffs tap into the fullest majesty of black metal (“The Shattering”) and melodeath’s sharpest hooks (“I Am the Starscourge”), even indulging in NWOBHM-isms on “The Battle of Aeonia.” MK’s growls resemble a mix of Aeternam’s Achraf Loudiy and Lamb of God’s Randy Blythe, while his cleans recall both Borknagar’s ICS Vortex and, when he breaks out the falsettos, King Diamond. Conqueror of the Stars… rages from start to finish,1 whether by propulsive chops on “Whereunto Frenzy Beckoneth” or furious tremolos on “Destiny’s Dastardly Dynasty,” and Bharoocha’s leads and solos approach Moonlight Sorcery levels of show-off-ness in their technicality (“Blessings Upon the Golden Throne”). Starscourge also prove expert editors, as everything but “The Battle of Aeonia” sits tight at three to four minutes of no fat, all muscle goodness.2 Starscourge could’ve afforded to put on some weight, as both “Blessings Upon the Golden Order” and “I Am the Starscourge” end somewhat anticlimactically. Like Elden Ring, Conqueror of the Stars… brings the goods in great quantity without resorting to padding.
But there’s no avoiding Starscourge’s Achilles heel: insistence upon voice acting. Opener “Betwixt Sundered Seraphim…” sees Starscourge read off one of Elden Ring’s trailer scripts in an unconvincing Shakespearean inflection over boring synths, failing to either achieve the dramatic pulse of the original read or excite the listener. This is the least offensive spoken word moment on the album, however, because it at least doesn’t distract from a good instrumental. Too often, a bruising riff (“Destiny’s Dastardly Dynasty”), half a solo (“The Shattering”), or a slow build-up (“The Battle of Aeonia”) is buried under cringey monologue that doesn’t immerse the listener into the story any better than a compelling instrumental could’ve. Given voice acting’s prominent role in Conqueror of the Stars…, it’s clear that Starscourge think of it as an integral factor of their style. I don’t. It’s boring, a bit silly, and stands in conflict with the rest of the music. Conqueror of the Stars… is already an engrossing, deeply dramatic record without it, so why insist upon it?3
But even with Starscourge’s voice acting woes, not to mention less-than-thrilling mixing and mastering,4 Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed is a monumentally entertaining record. Both grandiose and lean, the few but notable hiccups this album has just barely held my hand from shattering the Score Safety Box one last time this year. Whether you abide by the frenzy of black metal or live in death, or just really like Elden Ring, Conqueror of the Stars… is an easy recommendation. Bear witness!
Rating: Very Good…
#2025 #35 #Aeternam #BlackenedDeathMetal #Borknagar #ConquerorOfTheStarsBetwixtSunderedSeraphimTheLandsBetweenBleed #Dec25 #FellOmen #InternationalMetal #KingDiamond #LambOfGod #MoonlightSorcery #Review #Reviews #SelfReleased #Slayer #Starscourge
DR: 6… | Format Reviewed: 320 kbps MP3…
Label: Self-Release…
Websites: facebook.com/official.starscourge | starscourgeofficial.bandcamp.com …
Releases Worldwide: December 19th, 2025… -
Starscourge – Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed Review By Andy-War-Hall
Fromsoftware’s behemoth action-RPG Elden Ring is an enigma. How a game so obtuse, difficult, and uniquely itself in its visuals and storytelling became the blockbuster that it is baffles me, and it’s one of those precious pieces of art that simply makes me happy to live in the same world as it. It’s also metal as anything can be. Bands like Fell Omen have tapped into the game’s mythology for inspiration before and, now, the international blackened death duo Starscourge enter the fray with their debut Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed. Promising serious riffage and an emphasis on storytelling, instrumentalist Zul Bharoocha (Sweden) and vocalist Mithun MK (Singapore) have already overcome one great obstacle by getting this thing made at all. But what did Starscourge achieve with Conqueror of the Stars…? I doubt you could even imagine it…
Conqueror of the Stars…’s full title is comically verbose, but it foreshadows the sheer opulent regality exuded by Starscourge. The band masterfully captures Elden Ring’s demi-deific power struggle through massive riff-craft supported by extravagant (synth) orchestration and choir. “Ranni’s Requiem – A Night of Black Knives” imposes regal grandiosity through overwhelming choirs and guitar leads, while the weight with which “The Battle of Aeonia” heaves itself feels genuinely symphonic. “Athwart Hereditary Taint, Thence Doth the Valkyrie Ride” wields a wonderful balance of airy dueling guitars and piano and blistering, throat-shredding black metal, standing in contrast to the maniacal, overtly evil decadence of “Together, My Serpentine Valentine” immediately following. Even the Slayer cover “Spirit in Black” sounds opulent, imbuing MK’s Araya impersonation with the arrogant pomp suited to a Golden Order lord of Elden Ring. If you like your metal as haughty as it is heavy, Starscourge is your band and Conqueror of the Stars… is your album.
Athwart Hereditary Taint, Thence Doth The Valkyrie Ride by Starscourge
Conqueror of the Stars… may reek of vainglory and overwriting, but don’t be fooled: Starscourge are exhilarating. Bharoocha’s riffs tap into the fullest majesty of black metal (“The Shattering”) and melodeath’s sharpest hooks (“I Am the Starscourge”), even indulging in NWOBHM-isms on “The Battle of Aeonia.” MK’s growls resemble a mix of Aeternam’s Achraf Loudiy and Lamb of God’s Randy Blythe, while his cleans recall both Borknagar’s ICS Vortex and, when he breaks out the falsettos, King Diamond. Conqueror of the Stars… rages from start to finish,1 whether by propulsive chops on “Whereunto Frenzy Beckoneth” or furious tremolos on “Destiny’s Dastardly Dynasty,” and Bharoocha’s leads and solos approach Moonlight Sorcery levels of show-off-ness in their technicality (“Blessings Upon the Golden Throne”). Starscourge also prove expert editors, as everything but “The Battle of Aeonia” sits tight at three to four minutes of no fat, all muscle goodness.2 Starscourge could’ve afforded to put on some weight, as both “Blessings Upon the Golden Order” and “I Am the Starscourge” end somewhat anticlimactically. Like Elden Ring, Conqueror of the Stars… brings the goods in great quantity without resorting to padding.
But there’s no avoiding Starscourge’s Achilles heel: insistence upon voice acting. Opener “Betwixt Sundered Seraphim…” sees Starscourge read off one of Elden Ring’s trailer scripts in an unconvincing Shakespearean inflection over boring synths, failing to either achieve the dramatic pulse of the original read or excite the listener. This is the least offensive spoken word moment on the album, however, because it at least doesn’t distract from a good instrumental. Too often, a bruising riff (“Destiny’s Dastardly Dynasty”), half a solo (“The Shattering”), or a slow build-up (“The Battle of Aeonia”) is buried under cringey monologue that doesn’t immerse the listener into the story any better than a compelling instrumental could’ve. Given voice acting’s prominent role in Conqueror of the Stars…, it’s clear that Starscourge think of it as an integral factor of their style. I don’t. It’s boring, a bit silly, and stands in conflict with the rest of the music. Conqueror of the Stars… is already an engrossing, deeply dramatic record without it, so why insist upon it?3
But even with Starscourge’s voice acting woes, not to mention less-than-thrilling mixing and mastering,4 Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed is a monumentally entertaining record. Both grandiose and lean, the few but notable hiccups this album has just barely held my hand from shattering the Score Safety Box one last time this year. Whether you abide by the frenzy of black metal or live in death, or just really like Elden Ring, Conqueror of the Stars… is an easy recommendation. Bear witness!
Rating: Very Good…
#2025 #35 #Aeternam #BlackenedDeathMetal #Borknagar #ConquerorOfTheStarsBetwixtSunderedSeraphimTheLandsBetweenBleed #Dec25 #FellOmen #InternationalMetal #KingDiamond #LambOfGod #MoonlightSorcery #Review #Reviews #SelfReleased #Slayer #Starscourge
DR: 6… | Format Reviewed: 320 kbps MP3…
Label: Self-Release…
Websites: facebook.com/official.starscourge | starscourgeofficial.bandcamp.com …
Releases Worldwide: December 19th, 2025… -
Starscourge – Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed Review By Andy-War-Hall
Fromsoftware’s behemoth action-RPG Elden Ring is an enigma. How a game so obtuse, difficult, and uniquely itself in its visuals and storytelling became the blockbuster that it is baffles me, and it’s one of those precious pieces of art that simply makes me happy to live in the same world as it. It’s also metal as anything can be. Bands like Fell Omen have tapped into the game’s mythology for inspiration before and, now, the international blackened death duo Starscourge enter the fray with their debut Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed. Promising serious riffage and an emphasis on storytelling, instrumentalist Zul Bharoocha (Sweden) and vocalist Mithun MK (Singapore) have already overcome one great obstacle by getting this thing made at all. But what did Starscourge achieve with Conqueror of the Stars…? I doubt you could even imagine it…
Conqueror of the Stars…’s full title is comically verbose, but it foreshadows the sheer opulent regality exuded by Starscourge. The band masterfully captures Elden Ring’s demi-deific power struggle through massive riff-craft supported by extravagant (synth) orchestration and choir. “Ranni’s Requiem – A Night of Black Knives” imposes regal grandiosity through overwhelming choirs and guitar leads, while the weight with which “The Battle of Aeonia” heaves itself feels genuinely symphonic. “Athwart Hereditary Taint, Thence Doth the Valkyrie Ride” wields a wonderful balance of airy dueling guitars and piano and blistering, throat-shredding black metal, standing in contrast to the maniacal, overtly evil decadence of “Together, My Serpentine Valentine” immediately following. Even the Slayer cover “Spirit in Black” sounds opulent, imbuing MK’s Araya impersonation with the arrogant pomp suited to a Golden Order lord of Elden Ring. If you like your metal as haughty as it is heavy, Starscourge is your band and Conqueror of the Stars… is your album.
Athwart Hereditary Taint, Thence Doth The Valkyrie Ride by Starscourge
Conqueror of the Stars… may reek of vainglory and overwriting, but don’t be fooled: Starscourge are exhilarating. Bharoocha’s riffs tap into the fullest majesty of black metal (“The Shattering”) and melodeath’s sharpest hooks (“I Am the Starscourge”), even indulging in NWOBHM-isms on “The Battle of Aeonia.” MK’s growls resemble a mix of Aeternam’s Achraf Loudiy and Lamb of God’s Randy Blythe, while his cleans recall both Borknagar’s ICS Vortex and, when he breaks out the falsettos, King Diamond. Conqueror of the Stars… rages from start to finish,1 whether by propulsive chops on “Whereunto Frenzy Beckoneth” or furious tremolos on “Destiny’s Dastardly Dynasty,” and Bharoocha’s leads and solos approach Moonlight Sorcery levels of show-off-ness in their technicality (“Blessings Upon the Golden Throne”). Starscourge also prove expert editors, as everything but “The Battle of Aeonia” sits tight at three to four minutes of no fat, all muscle goodness.2 Starscourge could’ve afforded to put on some weight, as both “Blessings Upon the Golden Order” and “I Am the Starscourge” end somewhat anticlimactically. Like Elden Ring, Conqueror of the Stars… brings the goods in great quantity without resorting to padding.
But there’s no avoiding Starscourge’s Achilles heel: insistence upon voice acting. Opener “Betwixt Sundered Seraphim…” sees Starscourge read off one of Elden Ring’s trailer scripts in an unconvincing Shakespearean inflection over boring synths, failing to either achieve the dramatic pulse of the original read or excite the listener. This is the least offensive spoken word moment on the album, however, because it at least doesn’t distract from a good instrumental. Too often, a bruising riff (“Destiny’s Dastardly Dynasty”), half a solo (“The Shattering”), or a slow build-up (“The Battle of Aeonia”) is buried under cringey monologue that doesn’t immerse the listener into the story any better than a compelling instrumental could’ve. Given voice acting’s prominent role in Conqueror of the Stars…, it’s clear that Starscourge think of it as an integral factor of their style. I don’t. It’s boring, a bit silly, and stands in conflict with the rest of the music. Conqueror of the Stars… is already an engrossing, deeply dramatic record without it, so why insist upon it?3
But even with Starscourge’s voice acting woes, not to mention less-than-thrilling mixing and mastering,4 Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed is a monumentally entertaining record. Both grandiose and lean, the few but notable hiccups this album has just barely held my hand from shattering the Score Safety Box one last time this year. Whether you abide by the frenzy of black metal or live in death, or just really like Elden Ring, Conqueror of the Stars… is an easy recommendation. Bear witness!
Rating: Very Good…
#2025 #35 #Aeternam #BlackenedDeathMetal #Borknagar #ConquerorOfTheStarsBetwixtSunderedSeraphimTheLandsBetweenBleed #Dec25 #FellOmen #InternationalMetal #KingDiamond #LambOfGod #MoonlightSorcery #Review #Reviews #SelfReleased #Slayer #Starscourge
DR: 6… | Format Reviewed: 320 kbps MP3…
Label: Self-Release…
Websites: facebook.com/official.starscourge | starscourgeofficial.bandcamp.com …
Releases Worldwide: December 19th, 2025… -
Starscourge – Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed Review By Andy-War-Hall
Fromsoftware’s behemoth action-RPG Elden Ring is an enigma. How a game so obtuse, difficult, and uniquely itself in its visuals and storytelling became the blockbuster that it is baffles me, and it’s one of those precious pieces of art that simply makes me happy to live in the same world as it. It’s also metal as anything can be. Bands like Fell Omen have tapped into the game’s mythology for inspiration before and, now, the international blackened death duo Starscourge enter the fray with their debut Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed. Promising serious riffage and an emphasis on storytelling, instrumentalist Zul Bharoocha (Sweden) and vocalist Mithun MK (Singapore) have already overcome one great obstacle by getting this thing made at all. But what did Starscourge achieve with Conqueror of the Stars…? I doubt you could even imagine it…
Conqueror of the Stars…’s full title is comically verbose, but it foreshadows the sheer opulent regality exuded by Starscourge. The band masterfully captures Elden Ring’s demi-deific power struggle through massive riff-craft supported by extravagant (synth) orchestration and choir. “Ranni’s Requiem – A Night of Black Knives” imposes regal grandiosity through overwhelming choirs and guitar leads, while the weight with which “The Battle of Aeonia” heaves itself feels genuinely symphonic. “Athwart Hereditary Taint, Thence Doth the Valkyrie Ride” wields a wonderful balance of airy dueling guitars and piano and blistering, throat-shredding black metal, standing in contrast to the maniacal, overtly evil decadence of “Together, My Serpentine Valentine” immediately following. Even the Slayer cover “Spirit in Black” sounds opulent, imbuing MK’s Araya impersonation with the arrogant pomp suited to a Golden Order lord of Elden Ring. If you like your metal as haughty as it is heavy, Starscourge is your band and Conqueror of the Stars… is your album.
Athwart Hereditary Taint, Thence Doth The Valkyrie Ride by Starscourge
Conqueror of the Stars… may reek of vainglory and overwriting, but don’t be fooled: Starscourge are exhilarating. Bharoocha’s riffs tap into the fullest majesty of black metal (“The Shattering”) and melodeath’s sharpest hooks (“I Am the Starscourge”), even indulging in NWOBHM-isms on “The Battle of Aeonia.” MK’s growls resemble a mix of Aeternam’s Achraf Loudiy and Lamb of God’s Randy Blythe, while his cleans recall both Borknagar’s ICS Vortex and, when he breaks out the falsettos, King Diamond. Conqueror of the Stars… rages from start to finish,1 whether by propulsive chops on “Whereunto Frenzy Beckoneth” or furious tremolos on “Destiny’s Dastardly Dynasty,” and Bharoocha’s leads and solos approach Moonlight Sorcery levels of show-off-ness in their technicality (“Blessings Upon the Golden Throne”). Starscourge also prove expert editors, as everything but “The Battle of Aeonia” sits tight at three to four minutes of no fat, all muscle goodness.2 Starscourge could’ve afforded to put on some weight, as both “Blessings Upon the Golden Order” and “I Am the Starscourge” end somewhat anticlimactically. Like Elden Ring, Conqueror of the Stars… brings the goods in great quantity without resorting to padding.
But there’s no avoiding Starscourge’s Achilles heel: insistence upon voice acting. Opener “Betwixt Sundered Seraphim…” sees Starscourge read off one of Elden Ring’s trailer scripts in an unconvincing Shakespearean inflection over boring synths, failing to either achieve the dramatic pulse of the original read or excite the listener. This is the least offensive spoken word moment on the album, however, because it at least doesn’t distract from a good instrumental. Too often, a bruising riff (“Destiny’s Dastardly Dynasty”), half a solo (“The Shattering”), or a slow build-up (“The Battle of Aeonia”) is buried under cringey monologue that doesn’t immerse the listener into the story any better than a compelling instrumental could’ve. Given voice acting’s prominent role in Conqueror of the Stars…, it’s clear that Starscourge think of it as an integral factor of their style. I don’t. It’s boring, a bit silly, and stands in conflict with the rest of the music. Conqueror of the Stars… is already an engrossing, deeply dramatic record without it, so why insist upon it?3
But even with Starscourge’s voice acting woes, not to mention less-than-thrilling mixing and mastering,4 Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed is a monumentally entertaining record. Both grandiose and lean, the few but notable hiccups this album has just barely held my hand from shattering the Score Safety Box one last time this year. Whether you abide by the frenzy of black metal or live in death, or just really like Elden Ring, Conqueror of the Stars… is an easy recommendation. Bear witness!
Rating: Very Good…
#2025 #35 #Aeternam #BlackenedDeathMetal #Borknagar #ConquerorOfTheStarsBetwixtSunderedSeraphimTheLandsBetweenBleed #Dec25 #FellOmen #InternationalMetal #KingDiamond #LambOfGod #MoonlightSorcery #Review #Reviews #SelfReleased #Slayer #Starscourge
DR: 6… | Format Reviewed: 320 kbps MP3…
Label: Self-Release…
Websites: facebook.com/official.starscourge | starscourgeofficial.bandcamp.com …
Releases Worldwide: December 19th, 2025… -
Upon a Burning Body – Blood of the Bull Review
By Dear Hollow
Upon a Burning Body is back, baby. Your favorite groovy Texans are ready to lay on the hurt with as many riffs as your ears can muster. Predecessor 2022’s Fury offered a no-frills attack that more substantially simplified the attack, recalling more the groove-oriented likes of Pantera or Lamb of God, as opposed to the longstanding comparisons to deathcore’s partyharders Attila and “fight everyone” breakdowners Emmure to whom they’ve been compared in the past. It seemed like a new direction for the San Antonio quartet, even if hindered by some grunge-inspired cleans and sporadic and uneven homages to their deathcore roots. Blood of the Bull tries to reconcile a new direction and a past that still haunts them.
Blood of the Bull is indeed Upon a Burning Body firing on all cylinders – although its direction remains questionable. Ruben Alvarez’s guitar work is immediately recognizable, a bluesy edge and layered rhythms with manic solos to boot, Tito Felix’s drumming is as unhinged as you’d expect,1 while Danny Leal’s vocals have returned to peak form, honed mids to complement his vicious lows – even bassist/vocalist Thomas Alvarez’s cleans are better than last go. In Blood of the Bull, poppier choruses contrast heavier to its breakneck riffs and metalcore leanings, leaving it slightly below Fury in its effectiveness but remaining a solid installment in Upon a Burning Body’s rodeo of a discography.
In many ways, Blood of the Bull exists as the band’s most experimental outing. While it channels Fury’s propensity for groove, Thomas Alvarez forgoes on the grungy tone almost entirely for the most soulful choruses the band has ever offered, tracks which often feature newfound synth in creeping intros or interludes (“Daywalker,” “Another Ghost,” “Living in a Matrix”). While the presence of these assets could potentially dull the teeth that Upon a Burning Body’s sound naturally possesses, they refuse to let that stop them. Their cleaner tracks feel bigger and more significant than ever before, albeit imperfect: the soaring melodies can feel shoehorned alongside groove or deathcore beatdowns, although the lyricism (for once) sometimes improves this issue (“Another Ghost”) and ruins it for others (“Reckless Love”). The mariachi returns full-force, a welcome homage to the group’s roots (“Sangre del Toro,” “An Insatiable Hunger”).
If the tracks with clean singing are risks with mixed payoff, then, when Upon a Burning Body conjures syncopated grooves and commanding vocals with memorable one-liners offer the best listening on Blood of the Bull. Furious shredding, wild solos, and Leal’s signature vocal attack offer a trifecta of headbanging goodness. No one growls profanity the way Leal does, and while it was noticeably absent in Fury, the “fucking” one-liners pump adrenaline (“Killshot,” “Curse Breaker”) while other tracks manage to feel kickass and brooding simultaneously (“Hand of God”), highlighting Upon a Burning Body’s vocal return to deathcore’s intensity. It can be odd and off-putting when songs that feature the most intense groove riffs can also feature those soulful choruses (“Daywalker,” “Living in a Matrix”), but aside from the aforementioned, these don’t feel as awkward as I expected.
Upon a Burning Body amps almost everything in its attempt to reconcile the old with the new, and if nothing else, the effort is noted. There is more than enough corny lyrics, ham- beef-fisted anthems, and soaring clean choruses aboard Blood of the Bull, but in this way, it feels more like Upon a Burning Body than they’ve been in a hot minute. Thankfully, if you can look past the flaws, the band’s seventh full-length is at its worst full of crunchy grooves, mind-numbing breakdowns, and jarring tonal shifts, but if that’s its worst – with Danny Leal and Ruben Alvarez leading the attack – that’s a worst I can get behind. Also, highlights like “Another Ghost” or “Daywalker” feel like flashes of potential not yet seen in lyrics or songwriting. For now, it’s Upon a Burning Body, love ’em or hate ’em: a whole lotta bull.
Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: uponaburningbody.bandcamp.com | uabbtx.com | facebook.com/uponaburningbody
Releases Worldwide: December 5th, 2025#2025 #30 #AmericanMetal #Attila #BloodOfTheBull #Deathcore #Dec25 #Emmure #GrooveMetal #LambOfGod #Metalcore #Pantera #Review #Reviews #SelfReleased #UponABurningBody
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Coroner – Dissonance Theory Review
By Dolphin Whisperer
Whether it’s the mystifying hourglass of parenthood or a sudden collision of earth to brain, time erodes both in steady, unnoticeable stutters and blink-speed slides.1 I’m sure Coroner never quite planned to sit this long on new material, with its inception a decade ago sliding to present today in maturity. But after thirty-plus years, there’s little rush in releasing anything for the sake of the release itself. In thoughtful construction, a composed comeback will warrant discussion upon emergence and later on down the road. And with Dissonance Theory, both a foot in a deep thrash history and desire to explore a progressive sound, Coroner seeks to prove that a vital record can still exist under their storied name.
While the aged gap between albums presents as a hurdle to momentum, Coroner hasn’t been dormant leading up to Dissonance Theory, a healthy festival and gig routine since 2010 stoking their creative flame. And cornerstone guitarist Tommy Baron has remained engaged in studio management while weaving through extra-Coroner band activities over the years, like his brief stint with fellow thrash legends Kreator in the late ’90s2 or his more modern chug-a-lug with the alternative/industrial-laced 69 Chambers. Along this timeline, then, it makes sense that Dissonance Theory presents not as a widening of the take-it-or-leave-it Grin but as an exploration of how history has shaped their own interpretation of their sound. Lower-tuned tap ‘n’ go strides follow the splinter that spiraled dark groove machines like Nevermore and Morgana Lefay (“Consequence,” “Symmetry,” “Renewal”). Heavier anthemic numbers mirror the booming stadium feel of modern Kreator (“Sacrificial Lamb”), even verging on Lamb of God thrash-thuggery at its most simple (“Crisium Bound”). Many faces have worn Coroner over the years, but Coroner wearing them back reveals new wrinkles.
Yet Dissonance Theory hits what makes modern Coroner a force when layered guitar textures and screaming solos have space to warp and twist about dips into classic thrash breaks and screaming solos. Baron has always been an expressive guitarist. But in the long road since the Celtic Frosted days of RIP, he’s found a way both to whip the frenetic scramble of a pit-ready bridge into heroic fretboard gymnastics (“Consequence,” “Symmetry”) and drop jaws with melodic, bluesy tone-wailing (“Transparent Eye”). Likewise, jangling chords find resonant space and careful modulation in pocketed drum rhythms and steady, growling bass, showcasing the careful ear for harmony that Coroner has always endorsed (“The Law,” “Transparent Eye”). And though a couple tracks may use their space less effectively than others, finding a slight meandering in their joy of sound, Dissonance Theory breezes by in a veteran flex of songwriting maturity.
However, I take some issue with the ways in which the Bogren production job bolsters Coroner into the modern day. Again, part of what makes Coroner, well, Coroner is a vibrant guitar identity that twangs and twirls and cuts with buttery precision. And while a nasally compression still helps to define the chatter of Dissonance Theory’s most thrashing moments (“Consequence,” “Symmetry”), more weight finds a home in a thick and pulverizing rhythm tone. Ron Royce’s thick-stringed assault, naturally, finds a happy home with the lean into low-end emboldening, and that partnering with the muddier rhythm tone finds a unison richness on certain brooding runs (“Sacrificial Lamb” through “Symmetry”). Furthermore, new drummer Diego Rapacchietti finds a powerful march and kick clamor that creates a playful propulsion against bright, palm-muted runs (“Sacrificial Lamb,” “The Law”). Against the flat rhythm guitar characterization, alas, all of these production accents don’t always add up to song sections that feel distinct over the whole of the album.
Coroner’s influence continues to ripple through thrashy and deathly forms alike despite the current day being far removed from their initial declarations. But more importantly, Dissonance Theory proves that in 2025, Coroner has been paying attention to their progeny in order to shape a new face for the flock of hopefuls to follow. I don’t think Dissonance Theory carves quite as deep a notch as the Swiss stalwarts had hoped, though in its collective wisdom, it can be hard to put down. As first steps in a new direction, Dissonance Theory fills me with hope that a Coroner second coming will bear fruit at least once more with a greater level of determination.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records | Bandcamp
Websites: coronerofficial.com | coronerofficial.bandcamp.com
Releases Worldwide: October 17th, 2025#2025 #35 #CenturyMediaRecords #Coroner #DissonanceTheory #Kreator #LambOfGod #MorganaLefay #Nevermore #Oct25 #ProgressiveMetal #ProgressiveThrashMetal #Review #Reviews #SwissMetal #TechnicalThrashMetal #ThrashMetal
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Incite – Savage New Times Review
By Steel Druhm
Written By: Nameless_n00b_602
Within metal circles, one does not simply invoke the Cavalera name. Its crest is adorned with more than just the seminal works of Sepultura. There is ambition there that does not sleep. That great name is ever pushing boundaries, creating new sounds. This is no barren wasteland riddled with fire and ash and dust. There is no poisonous fume for inspiration to choke on. Not with 10,000 artists could you accomplish what those brothers have done; it is folly. Thus, it is with great interest—and a little skepticism—that I was assigned Incite’s seventh LP. Fronted by Max Cavalera’s stepson, Richie Cavalera, Savage New Times promises to be the band’s truest-to-self offering yet. Let’s see how deep the roots go.
For those unfamiliar, Incite majors in groove metal. A familiar southern aggression suffuses Layne Richardson’s axe work and Cavalera’s contentious lyrical delivery. Mid-paced tracks like “Used and Abused” or “Savage New Times” take a cue from Lamb of God or Exhorder, while rager “No Mercy, No Forgiveness” could easily fit on an early DevilDriver record. Bassist EL knows his craft well, building tension and promising violence with well-placed, threatening basslines (“Chucked Off,” “Never Die Once”). The instruments make room in verses for Cavalera’s vocal aggression to brew before crashing together in a choral release, and it is here that drummer Lennon Lopez shines. His energetic drumming steals the spotlight on the choruses of “Used and Abused” and “Chucked Off.” With such strong adherence to the tenets of groove metal, Savage New Times makes it clear that Incite has never missed a class at Pantera’s Vulgar School of Power.
Incite meets with mixed success when they venture outside their core sound. Richardson shows real prowess on “Used and Abused,” where he evokes both Amon Amarth in the bridge and the spiraling tones of System of a Down in the chorus. “Savage New Times” features leads reminiscent of Cannibal Corpse in the verse and, like “Feel This Shit (I’m Fired Up),” sports a militant burst fire tempo around the midpoint. On the other hand, “Doubts and the Fear” falters with a murky, pseudo-psychedelic bridge and nasally Agnostic Front-tinged vocals. Longest song “Dolores” also struggles. Unlike Phil Anselmo’s softer cleans that match the verses of Pantera’s “This Love,” Cavalera barely dulls his edge for the parallel sections of “Dolores,” creating a sonic disconnect between the instruments and himself. This is exacerbated by a similar divide between the rhythm section and the sprawling, idyllic solo recalling “Hotel California.”
More generally, Savage New Times suffers from unambitious songwriting. Except for the neoclassical intro of “Chucked Off” and the solo in “Used and Abused,” Richardson’s lead sections feel lethargic and unremarkable. Song structures feature minimal variation and fall into cyclical verse-chorus-verse-chorus patterns. While this isn’t a problem individually, ten songs of it feels repetitive. Additionally, several tracks lack a satisfying conclusion and feel half-baked. “Dolores” ends with a well-performed piano melody, but it feels tacked on after such a strong finish from the band. Similarly, by cutting their outros, “Lies,” “Feel This Shit (I’m Fired Up),” and “No Mercy, No Forgiveness” could have all ended powerfully rather than aimlessly.
While Savage New Times isn’t a terrible album, because of its deficiencies, I often found myself listening to Incite’s influences rather than Incite themselves. There’s plenty to critique between unmoving songcraft and mixed experimentation, but the final nail in the coffin is the production.1 There’s a slight sibilance and several artifacts throughout Savage New Times. It’s most egregious on “Used and Abused,” ruining one of the record’s best cuts.2 This is the common trend of the album—otherwise good tracks flawed by preventable missteps. I’ve spun this record dozens of times, and I’m sure that with more confidence and a clearer vision, Incite has a good record in them. Savage New Times just isn’t it.
Rating: 2.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Reigning Phoenix Music
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: August 15th, 2025#20 #2025 #AgnosticFront #AmericanMetal #AmonMarth #Aug25 #CannibalCorpse #DevilDriver #Exhorder #GrooveMetal #HeavyMetal #Incite #LambOfGod #Pantera #ReigningPhoenixMusic #Review #Reviews #SavageNewTimes #Sepultura #SystemOfADown #ThrashMetal
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By Angry Metal Guy
Written By: Nameless_n00b_604
What does it mean to be Firstborne? What does it mean to be carried or transmitted—borne—by First? This is a question likely left unpondered by the band Firstborne, who are too busy carrying the hard rockin’ glories of the past into the present and transmitting rollicking good times to the masses to care for such trifles. Comprised of ex-Lamb of God drummer Chris Adler, Girish and The Chronicles singer Girish Pradhan, and guitar journeyman Myrone, Firstborne’s sophomore album, Lucky, is the product of decades’ worth of collective experience and professional toil. They have the know-how. They have the chops. They have an awful name. But do they have the songs?
Firstborne is here for a good time, not for a long one. Across ten tracks and thirty-seven minutes, Firstborne provides high-energy, blues-infused hard rock that dabbles in thrash and punk. Songs like “Again (Lucky)” and “Prometheus (Nicotine Chris)” showcase Firstborne at their most meat-n’-taters as they brandish big riffs, slithering basslines, and huge, gravelly vocals that fit the rock radio mold. “Shine” and “Only a Fool” ooze greasy, bluesy rock while thrashers “Wake Up (It’s a God Damn F_cking Scam)” and “Human Interrupted” feel like takes on Anthrax and Testament, respectively. The biggest standouts on Lucky, “Rescue Me” and “Minefield (Ohhh Face),” are easily its highlights, the former adorning its Thin Lizzy-meets-Guns N’ Roses country rock with the most addicting chorus I’ve heard all year and the latter machine-gunning through Iced Earth triplets, Pennywise punk ‘woah’s and a surprise interpolation of Iron Maiden’s “The Trooper.” Brief and easy-listening, Lucky won’t open your mind to new artistic horizons, but it will open some pits on tour.
When Lucky works, it works because Firstborne knows how to let loose. Adler’s drumming, while not as rhythmically intense as on his Lamb of God material, is still tight and precise, and some of his signature double kicks do make appearances on “Again” and “Only a Fool.” Girish is a powerhouse belter, and his grunge grizzle and layered harmonies on “Shine” and “Prometheus” evoke Alice in Chains. But Myrone’s guitar soloing is the star of the show, navigating between uninhibited shredding (“Minefield,”) Slash-like bends (“Rescue Me,”) somber acoustics (“Heavens Return”), and southern blues on “Shine” so dank he doesn’t make it talk so much as make that shit drawl. Sometimes the band can get too loose, veering into plain goofiness on the upper-class-bashing “Only a Fool” when they espouse that “Sushi dinners are hotdogs at night.”1 Nonetheless, Firstborne can be a lot of fun when they break out and just let it rip.
But too often, the lads in Firstborne box themselves in with unimaginative songwriting. Frequently, they will sink into a groove, riff, or melody and rigidly stick to it well past its prime. This leads to real snoozers like “Normandy (The Crime Mind Anthem)” and “Prometheus,” which both plod through their runtimes with cheerless riffs and stock vocal melodies. Similarly, “Shine” and “Heavens Return” both aim for quiet-verse-loud-chorus formats but end up just boring, where the former’s “Lose Yourself” soundalike riff becomes irritating with overexposure and the latter’s sluggish chorus lands with a wet thud. These issues are further boxed in by Lucky’s brick-walled mix and sterile production. Not only does its short runtime feel much longer due to listening fatigue, but a lack of dynamics undermines any power or punch that songs like “Shine” and “Heavens Return” aspired to. Hard rock thrives on warm tones and breathable mixes,2 which this package just doesn’t allow for. Firstborne should dig deeper for more on album number three, both from their songwriting and their production.
Even though Lucky can be a frustrating listen, it still offers glimpses of what Firstborne can be. I’ll be humming “Rescue Me” all year, and even some of the songs I didn’t like have gotten stuck in my head throughout my time with Lucky. If Firstborne bequeaths every song on their next album the dynamite they brought to the highlights of Lucky, it’ll be a rager of an album indeed. But as is, Lucky is a fun, yet flawed, collection of throwback tunes worthy of any carefree highway cruise or rowdy house party. It’s not a sushi dinner, but a hot dog at night’s not so bad either.
Rating: Mixed
DR: 5 | Review Format: 320 kb/s mp3
Label: M-Theory Audio
Website: thefirstborne.com | firstborne.bandcamp.com | facebook.com/firstborneofficial | instagram.com/firstborneofficial
Releases Worldwide: August 8th, 2025#2025 #AliceInChains #AmericanMetal #Anthrax #Aug25 #Firstborne #GirishAndTheChronicles #GunsNRoses #HardRock #IcedEarth #IronMaiden #LambOfGod #Lucky #Pennywise #Review #Reviews #Testament #ThinLizzy
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#ANTHRAX & #LambofGod live at 📍 Back to the Beginning
📽️ by: Thijs van der Sluijs
I have so much FOMO
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#TheMetalDogArticleList #BLABBERMOUTH Go Behind The Scenes Of Making Of MASTODON And LAMB OF GOD's Collaborative New Single 'Floods Of Triton' blabbermouth.net/news/go-behi... #MASTODON #LAMBOFGOD #FloodsOfTriton #AshesOfLeviathan #Leviathan #HushedAndGrim #AshesOfTheWake #Omens #BrannDailor
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Go Behind The Scenes Of Making Of MASTODON And LAMB OF GOD's Collaborative New Single 'Floods Of Triton'#MASTODON #LAMBOFGOD #FloodsOfTriton #AshesOfLeviathan #Leviathan #HushedAndGrim #AshesOfTheWake #Omens #BrannDailor #RandyBlythe #TylerBates #DavidBottrill
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LINKIN PARK Returns, DEVILDRIVER Loses Their Guitarists & Other Top Stories You Might've Missed This Week#LinkinPark #Behemoth #Scorpions #DevilDriver #MikeSpreitzer #ChrisAdler #CoreyTaylor #Slipknot #Wasp #Vitriol #Hellripper #Mastodon #LambOfGod
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CHRIS ADLER Launches New Band SHALLOW RISINGhttps://metalinjection.net/new-music/chris-adler-launches-new-band-shallow-rising
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Today In Metal History 🤘 August 31st, 2024🤘
SCORPIONS, GENE HOGLAN, DEATH, MEGADETH, LAMB OF GOD, EX DEO#Scorpions #GeneHoglan #Death #Megadeth #LambOfGod #ExDeo #RudolfSchenker #RogerDean #DavidTChastain #RebBeach #KrisNorris #Testament #FearFactory #Dethklock #StrappingYoungLad #DarkAngel #Katatonia #Rush #CephalicCarnage #Murderdolls #10Years #TheAutumnOffering #ForToday #TheWordAlive #Avulsed #Ektomorf #Threshold #PhantomX
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LAMB OF GOD Unleash "Omerta" (Justin K Broadrick Remix) Lyric Video; Ashes Of The Wake (20th Anniversary Edition) Out Now -
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Today In Metal History 🤘 August 22nd, 2024🤘
ALICE IN CHAINS, LIVING COLOUR, RATT, DEICIDE, LAMB OF GOD#AliceInChains #LivingColour #Ratt #Deicide #LambOfGod #LayneStaley #JuanCroucier #VernonReid #DCCooper #LAGuns #EnuffZNuff #TheGathering #Gorod #TheHumanAbstract #MiserySignals #Terrorizer #Unexpect #WallsOfJericho
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“For a supposed prog band they put their musicianship through the pop grinder and come out on top”: Lamb Of God vocalist Randy Blythe’s passion for Rushhttps://www.loudersound.com/features/randy-blythe-lamb-of-god-loves-rush
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LAMB OF GOD, OCEANO, SANGUISUGABOGG, CRYPT SERMON & More Among Metal Injection's Top Tracks Of The Week
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