#massacre-records — Public Fediverse posts

Is a supergroup still a supergroup if the members who made it a supergroup are no longer part of the band? Last Canada’s Wreck-Defy passed through these halls, Steel Druhm was pleasantly surprised by their third LP, Powers That Be. However, the band that Steel reviewed has seen some significant lineup changes since then. Two of the original power players—Aaron Randall (ex-Annihilator) and Alex Marquez (ex-Malevolent Creation)—have departed, replaced with one newbie (David Allan, drums) and one seasoned vet in vocalist Greg Wagner (Wags Metal Inc.). The glue holding Wreck-Defy together is lead guitarist Matt Hanchuck and ex-Testament bassist Greg Christian, and at essence they remain a speedy act with plenty of killer riff acrobatics. Six albums in, Wreck-Defy prove they remain a force in thrash.

Dissecting the Leech sets the thrashy tone with some sweet riffs and thumping blast beats on opener “Under the Sun.” Hanchuck collaborates with a long list of guest guitarists, such as Chris Poland (ex-Megadeth) and Mike Gilbert (Flotsam and Jetsam), to ensure a never-ending supply of fresh, exciting riffs, solos, and other guitar antics. As in prior outings, Wreck-Defy plays largely in the Testament mold with a few Megadethian flourishes. However, it’s not all pedal to the medal—plenty of songs vary in tempo, like the melodic, mid-paced “Millenial Dystopia” and the near-ballad “The Path.” While retaining their core identity, Wreck-Defy manage a varied sound throughout Dissecting the Leech, with tunes lasting anywhere from the blink-of-an-eye at three-and-a-half minutes (“Do It Again”) to the progressively-paced six-and-a-half minutes of “I Don’t Care.”1 The latter flexes creative songwriting similar to last year’s Helms Deep, with a mid-track portion that unexpectedly rockets off into a shreddy solo that’s absolutely riveting.

While Hanchuck and Christian prove to be the heart, the two new players more than hold their own. Greg Wagner has the grizzled voice of an old soul and brings a level of grit to the music. Yet he’s no one-trick pony, occasionally rising to the falsetto of many power metal vocalists, not to mention taking a few stabs at King Diamond shrieks. His surprise melodic lilt on “Another Day” proves to be one of the record’s highlights.2 David Allan proves to be quite effective behind the kit as well. His opening kicks to “Under the Sun” establish a fiercely energetic tone that resonates throughout much of Dissecting the Leech. Perhaps my favorite moment comes from “The Haunting Past,” a completely bonkers track that sounds like its instruments have gone haywire before delivering a blitzkrieg of thrashy riffs and blast beats powered by Allan’s jaw-dropping performance.

Wreck-Defy power their thrash into social critiques that prove forceful behind their spirited performances. They tackle environmental, political, and generational issues, casting a gloomy pall over modern events. On “Under the Sun,” they lament the degradation of our planet through warfare (“Look at the damage we’ve done”) and warn, “we’ll all die under the sun.” Concern turns towards the younger generations on “Millenial Dystopia,” where Wreck-Defy observes that “there’s no room to grow old,” leading to a “generation of no hope.” All people want, according to “Another Day,” is “air to breathe / just let me live another day.” Considering critiques from Steel and commenters over juvenile lyrics from Powers That Be, Wreck-Defy appear to have matured in their storytelling and thematic content. They offer a coherent narrative, even if it just boils down to “the world is a mess,” and mankind is facing “a dark, dismal future” (“Revolt”), and end on the hopeful message that they’ll “keep on fighting” for what’s right (“Apocalypse of Hope”).

Like Steel before me, I had never heard of Wreck-Defy before taking this promo, and I’m impressed. Dissecting the Leech is proving among the best in a rather good year for thrash so far, though a few things do hold it back. At 48 minutes, it’s a tad long, but considering its progressive leanings and the impressive musicianship, that’s a minor issue. A couple of songs don’t fit in as well as the rest (“Dissecting the Leech,” “The Path”), proving to be weak links amidst a great set. “The Path” is particularly puzzling, appearing to serve as the evening wind-down music to help settle the kids and old-timers for bedtime. But you’d better hurry because the ironically-named finale, “Apocalypse of Hope,” serves a jolt of caffeine to keep the party going. If you like thrash, you’ll have a good time with Dissecting the Leech.



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Massacre Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

It’s heartening to see Par Olofsson getting work in the age of cheap generative AI. In retrospect, his purple, shining renderings of cityscape kaijou vortex gore, now a visual synonym for modern death metal, share a looseness and repetition of detail that’s strikingly reminiscent of midjourney products. It would be all too easy to ask the computer to ape, though you’d lose the structural, communicative logic that comes from putting a sandwich-powered Swede1 rather than a gas-powered server farm behind the brush. Icon, the third record from Switzerland’s Defaced, comes wrapped up in a characteristically Olofsson-ey work and, much like the cover, is decidedly human, if a bit unambitious. Defaced have re-emerged more than a decade for good reason; a record’s worth of carefully-crafted death metal.

Defaced operate in the style of bands like Abysmal Dawn or Throne of Heresy, unabashedly ornamenting their death metal with splashes of black metal and melodeath and foregoing flashy playing and stylized production. “The Antagonist” opens Icon at full speed, demonstrating Defaced’s strengths. After a bit of string bending, the song’s low, tremolo-picked theme kicks in, and the band trades between this riff and a few others for the rest of the song, adding a new flourish each time. A secondary melody here gets a few variations, first staccato, then subdued to back a solo, then broadly chugged with a subtle pinch harmonic tag at the end, then chugged again with a big rest after the first phrase for a bit of ornamentation. Guitarists Matze Schiemann and Marco Kessi don’t pull out show-stopping riffs but play around plenty with what they do put forth and transition very smoothly between variations, ones that usually give the rhythm section (drummer Massimiliano Malvassora and bassist Michael Gertsch) some room to show off. The other Gertsch (gruff-voiced Thomas) gets a few nice cut-outs as well, with the more melodic, black-metal-influenced “The Initiation” letting his burly roars and hoarse croaks ring out above the other instruments, frequently multi-tracked. The Gertsches even get themselves a little bass/barker duet before the bouncy pit riff of “Culling the Herd” kicks in.

Icon is expertly paced and organized. Mid-album duo of “Anthem of Vermin” and “Sonate” shakes expectations just as things seem to get static, the former ending in trem-picked triumph before transitioning to the latter, an acoustic guitar piece that a half-dozen Gothenburgers would have been proud to write to tape thirty years ago. In both pieces, Defaced practice the same shrewd and thoughtful songwriting found across the album; neither follows a predictable path, but each new idea flows from the last seemingly without effort or thought.

Yet Icon lacks the punch to compel listening. The band plays expertly with their compositions and, at small scales, demonstrates a playfulness and creativity that’s often missing from death metal. But somewhere in the middle detail—the riffs and melodies themselves—things are a bit gray. Defaced’s last effort—the decade-old Forging the Sanctuary—suffered similarly, though it had a bit more ambition. Icon plays death metal well but plays it safely, carefully welding riffs together and sanding the joints smooth into something very strong and very cube-shaped.

The more closely I listen to Icon, the more I appreciate Defaced’s obvious skill; it’s more than a competent record, with watertight songs that wring their riffs pretty dry without ever getting tedious. But those riffs just aren’t very exciting, and this middle-of-the-road modern death metal style really needs spectacle to excel, like the catchy choruses and wild Death-isms of Abysmal Dawn. Icon doesn’t offer listeners excitement, but there’s room in it for plenty of contentment. If you like your death metal well-played and without the fuss, Icon is your cup of tea.2



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/defacedswiss
Releases Worldwide: January 30th, 2026

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
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026

Frozen Land – Icemelter Review

By Twelve

I have such a soft spot in my heart for Frozen Land. After writing my first-ever review for Angry Metal Guy, I remember feeling shaky. It went through quite a few revisions. My second, Frozen Land’s eponymous debut, was, comparatively, simple. Their 1999 Euro power metal meets 2001 Euro power metal vision made for a catchy, delightfully fun album, and my enjoyment for it showed in my writing—still my favorite intro to any review I’ve written. So it is to my great astonishment that these Finns are now on album number three with Icemelter. Time, it just keeps going, but has it changed anything for these vivacious Vikings?

Of course not! Frozen Land is just as I remember them, or at least they are for the most part—Icemelter has a more aggressive edge to it, but is easily and recognizably the same Frozen Land I met in 2018. Opener “The Carrier,” for example, features a riff that could easily be found on a Tarot album, a notable sign of a heavier direction. But the rapid-fire vocals bridging their way to a bombastic, catchy chorus? That’s familiar Frozen Land, borrowing from the ancient playbook of Stratovarius and Sonata Arctica (who were themselves borrowing from the aforementioned playbook at the time). Their unique personality emerges in Thomas Hirvonen’s sardonic riffing in “Dream Away,” in Lauri Nylund’s subtle but effective keyboards in “Losing My Mind,” in the infectious energy of bassist Eero Pakkanen and drummer Matias Rokio throughout, but especially in “Chosen, Corrupt, and Cancerous,” and in Tony Meloni’s singing all the time.

As is typical in power metal, it’s the vocalist who takes up most of the spotlight, and Meloni’s unique style is little exception. I could see his higher register feeling awkward or out of place with the wrong group, but Frozen Land’s songs are very much written for his voice. The bombastic choruses commonly pair him with Nylund’s keys—barely noticeable, but lending him that extra bit of presence to make them shine. He also adds an important element of dynamism to Icemelter, on songs like “Haunted,” which take him from aggressive cleans to a smoother, impassioned chorus that gets stuck in the head, and wouldn’t work nearly so well with a less invested delivery.

The reason I highlight Meloni’s performance isn’t to take away from the rest of Frozen Land at all—as I’ve mentioned, the five work extremely well together to form their modern-yet-nostalgic sound. But if there’s one weakness to Icemelter, it’s that, musically at least, it’s a touch formulaic, due in part to the dated (seeming) inspiration for their material and the style with which they take to it. And, to be clear, none of their material is boring or even the slightest bit un-fun. Hirvonen’s and leads are electric, and “Black Domina” is a great example, but by the time we get there, it’s just starting to feel a bit tired. The good news is that Icemelter is only thirty-six minutes long and so never has a chance to overstay its welcome. On the other hand, when I do dislike a song, as is only the case for the title track (which comes across disjointed in its songwriting and doesn’t quite land for me), it feels like a disproportionately big deal.

Icemelter is a very fun listen. If it’s only flaw is that all the energetic, fun power metal blurs together a bit, I can live with it. Frozen Land being a quintessentially Finnish touch to a classic style, modernizes both it and themselves enough to make a strong impression. As I look back on this review, it occurs to me that it’s a bit short compared to my usual writing here, but that’s kind of the point—Frozen Land’s straightforward, easy approach to a classic style is exactly what makes them so endearing to listen to.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Massacre Records
Websites: facebook.com/frozenlandband
Releases Worldwide: November 21st, 2025

#2025 #35 #finnishMetal #frozenLand #icemelter #massacreRecords #nov25 #powerMetal #review #reviews #sonataArctica #stratovarius #tarot

Helstar – The Devil’s Masquerade Review

By Steel Druhm

When folks look back on the magic and glory of 80s metal, Helstar tend to get overlooked. The little Texas band that could, Helstar dropped a series of influential albums from 1984 to 1989 that were important to the US power metal and prog-power genres. Their Burning Star debut was charmingly rough and raw, and so metal it hurt, giving birth to classic cuts like “Witch’s Eye” and the timeless “Run With the Pack.” 1986s Remnants of War saw the band fully embrace the USPM sound for a righteous platter of bold, badass battle tunes that sound as mighty today as they did when released.1 Both 1988s Distant Thunder and especially 1989s Nosferatu helped lay the groundwork for many future prog-power acts, most notably, Nevermore. After that, Helstar had missteps, broke up, reformed, and never quite recaptured the magic of their salad days, despite a few solid late career releases like The Wicked Nest and, most recently, 2016s Vampiro. It’s been a long time in the crypt since then, and I was quite shocked to see The Devil’s Masquerade arrive in the promo sump. With much of the same lineup intact from Vampiro, can Helstar rise from the dead once more and draw fresh blood?

I’ll admit I wasn’t expecting as much heat and venom as the band delivers on the opening title track. It’s a beefy, bruising beast with churning riffs and James Rivera’s distinctive vocals raging. It could have appeared on Nosferatu, which is a major compliment. It has the classic Helstar sound and vibe, Rivera sounds great, and the guitarwork from original axe master Larry Barragán and new(ish) slinger Alan DeLeon Jr. achieves the right blend of beef, brains, and balls. The burly alchemy extends into “Stygian Miracles,” which really sounds like 80s era Helstar, especially the riff work and neo-classical noodling. “Carcass for a King” almost crosses over into thrash, and it’s a delightfully aggressive aural beating with uber dramatic vocals and enough riff weight to crush an industrial earth mover.

By the time you get to “Seek Out Your Sins,” you may start to realize how Helstar reminds you of Nevermore. That’s understandable, since there isn’t all that much space between what Helstar was doing in 1988-89 and what Nevermore did from 1995 onward, and here you get a hyper-active overdose of prog-power intensity reflecting both acts. “The Black Wall” is another nostalgia-inducing trip back to the past with all the beloved Helstar elements of olde exploding back into life. Likewise, the impressive and shreddy instrumental “Suerte De Muleta” would have fit on any of the band’s later 80s works. Surprisingly, The Devil’s Masquerade holds the line on quality from start to finish, and that finish is the burning speed and fury of “I Am the Way,” which even features guest vocals by Robert Lowe (Solitude Aeturnus) and Jason McMaster (Watchtower, Dangerous Toys). At a super tight 38 minutes and with all songs smartly constrained in the 3-5 minute window, there’s no filler or chaff to deal with, just raging heavy metal full of adrenalized aggression and anger.

James Riveria has been at the mic for Helstar since the beginning, and damn, his voice has held up shockingly well over the ensuing 41-plus years. Sure, he can’t just toss out stratospheric screams at every juncture anymore, but his voice sounds strong, firm, and commanding nonetheless. He even dabbles in extreme vocals for extra spice. Not bad for a guy pushing 65. Larry Barragán and Alan DeLeon Jr. bring all the bells and whistles to the Black Mass, offering wild, shreddy fretboard surfing while making everything sound smart and stately rather than chaotic and showboaty. They dazzle with crushing riffs and heavy-as-fook leads, then color the skies with fancy fingering. They make the album’s instrumental a must listen and I’m suitably impressed by what they accomplish.

The Devil’s Masquerade is the best thing Helstar have done since Nosferatu, and I’m quite shocked that they had something this potent up their sleeves at this point in their lives. It feels enough like their heyday to satisfy old heads like me, but it offers enough nods to modern times to avoid feeling stuck in the past. Most importantly, you get a collection of well-written, entertaining metal songs with power, poise, and precision. This reminds me why I loved Helstar so much as a kid, and now I get to love them again in my dotage. If you’ve never heard Helstar, this is not a bad starting point at all. After that, go back to discover their 80s material. It’s something special.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 256 kbps
Label: Massacre
Websites: facebook.com/helstar.metal | instagram.com/helstarofficial
Releases Worldwide: September 12th, 2025

#2025 #35 #AmericanMetal #HeavyMetal #Helstar #MassacreRecords #Nevermore #Review #Reviews #Sep25 #SpeedMetal #TheDevilSMasquerade

BLUTGOTT - Beyond The Eternity Gate (Blood God Version) (Official Video)

https://youtu.be/N_lyv_0KAZo

#music #metal #heavymetal #blutgott #massacrerecords

DAMNATION'S HAMMER - Sutter Cane (Lyric Video)

https://youtu.be/7qsQ2FH-GmE

#music #metal #heavymetal #doommetal #groovemetal #thrashmetal #damnationshammer #massacrerecords

HEATHEN FORAY - Oathbreaker (Official Video)

https://youtu.be/DpUhpOPo-zo

#music #metal #melodicdeathmetal #heathenforay #massacrerecords

HEATHEN FORAY - Leben (Official Video)

https://youtu.be/i1RDQuKa1Dg

#music #metal #deathmetal #melodicdeathmetal #heathenforay #massacrerecords

PRESTIGE - Candles (Official Video)

https://youtu.be/Pp9T80fY1Bo

#music #metal #thrashmetal #prestige #massacrerecords