#morbidsaint — Public Fediverse posts

Faithxtractor – Loathing and the Noose Review

By Maddog

Faithxtractor’s second biggest musical contribution was the comment section from their last album. With a Farmers Only joke, a thread about metalcore album names, and a story that must be read to be believed, the birdbrain community’s mockery of Faithxtractor’s name has left me giggling for two years. Of course, the band’s biggest contribution was 2023’s Contempt for a Failed Dimension itself. Perhaps my favorite frill-free death metal record in recent memory, Faithxtractor’s fourth full-length dealt in riffs and also riffs. Unlike the other wannabes that litter the old-school death metal revival scene, Faithxtractor stood out through thoughtful songwriting. The album’s doom-tinged riffs were punchy, and its cohesive flow has withstood two years of wear. Ohio’s underground farmers are back with another slab of death metal. As I started spinning Loathing and the Noose, I knew what to expect.

At least, I thought I did. While Contempt for a Failed Dimension reveled in riffy simplicity, Loathing and the Noose is much more adventurous. Faithxtractor’s signature remains, with extra chunky riffs that alternate between furious death metal and Asphyxiating death-doom. However, while Contempt turned everything up to eleven, Loathing shatters the knob altogether. The most intense sections veer into blackened death-thrash, landing in between Morbid Saint and Panzer Division Marduk (“Fever Dream Litanies”). Even early Suffocation rears its head in Faithxtractor’s most bludgeoning brutal riffwork (“Flooded Tombs”). Spastic flailing guitar solos complement this unhinged assault on the senses. However, Faithxtractor ventures in the opposite direction as well. Loathing’s soaring leads and its melodeath-inflected riffs make it feel more melodic than Contempt. Meanwhile, the album’s starkest change lies in its bluer shade of doom. Faithxtractor’s melodic death-doom passages recall Swallow the Sun, displaying a newfound emotive side rather than merely adding heft. While Loathing and the Noose is far from an avant-garde record, it marks a sea change for Faithxtractor.

Miraculously, Faithxtractor’s experiments pay off. Even the most unexpected pieces are bafflingly powerful. Despite my knee-jerk skepticism, the melodic death-doom escapades are as evocative as the genre’s best (“Cerecloth Vision Veil”). Conversely, Loathing and the Noose’s speediest blackened cuts hijack my brain using frantic melodies and Marduk riffs (“Ethos Moribund”). These varied elements fit together with uncanny grace. The mid-section of opener “Noose of Being” mutates from blackened riffs to melodeath to sadboi death-doom to knuckle-dragging Autopsy worship, with fluid transitions that make each long jump feel like a natural step. Similarly, “Caveats” shines through its dynamic back-and-forth between an elegiac key melody and an enormous doom riff. While Faithxtractor’s round-trip transitions are sometimes abrupt, like the funeral-doom-and-back of “Flooded Tombs,” these are rare exceptions. Indeed, because it’s so well-crafted, Loathing and the Noose is an immediate hit despite its evolution; even the doomy seven-minute closer flies by, lodging into my memory by my second listen. Over-experimentation can be a turn-off, but Faithxtractor makes it work by whole-assing their every move.

Of course, it helps that the caveman segments slay. Even on its more adventurous tracks, Loathing’s overpowering death metal riffs are grin-inducing (“Cerecloth Vision Veil”). I have a soft spot for guitar solos paired with a dominant rhythm guitar, and Faithxtractor delivers on this with reckless abandon (“The Loathing”). If anything, Loathing and the Noose’s explosive tendencies make it a more visceral and infectious listen than its predecessor. And because the album’s climactic fury is sprinkled across each track rather than being sequestered, its 37 minutes are consistently lovable. While Loathing’s loud in-your-face master blunts its teeth, it remains a delight to revisit.

This is not the death metal album I was looking for. I showed up expecting a single-minded half-hour curbstomp. While Loathing and the Noose retains these simple roots, it does so much more. With influences ranging from blackened thrash to weepy death-doom, Faithxtractor’s newest record marks a transformation that initially left me worried. But its gargantuan death metal riffs, its smooth songwriting, and its excellence across its genre romps won me over. Contempt for a Failed Dimension was not just one of the greatest albums of 2023; it shocked me, revitalizing a subgenre that rarely rises above a 3.0. Loathing and the Noose sounds worlds apart, but checks the same elusive box. Mastermind Ash Thomas continues to understand my taste better than I do, releasing fantastic records in styles that often let me down. Keep an open mind and give this a shot.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: faithxtractor.bandcamp.com | facebook.com/Faithxtractor
Releases Worldwide: January 10th, 2025

#2025 #40 #AmericanMetal #Asphyx #Autopsy #BlackenedDeath #BlackenedDeathMetal #ContemptForAFailedDimension #DeathDoom #DeathMetal #DeathDoomMetal #Faithxtractor #Jan25 #LoathingAndTheNoose #Marduk #MelodicDeathDoom #MorbidSaint #RedefiningDarkness #RedefiningDarknessRecords #Review #Reviews #Suffocation #SwallowTheSun

Faithxtractor – Loathing and the Noose Review

By Maddog

Faithxtractor’s second biggest musical contribution was the comment section from their last album. With a Farmers Only joke, a thread about metalcore album names, and a story that must be read to be believed, the birdbrain community’s mockery of Faithxtractor’s name has left me giggling for two years. Of course, the band’s biggest contribution was 2023’s Contempt for a Failed Dimension itself. Perhaps my favorite frill-free death metal record in recent memory, Faithxtractor’s fourth full-length dealt in riffs and also riffs. Unlike the other wannabes that litter the old-school death metal revival scene, Faithxtractor stood out through thoughtful songwriting. The album’s doom-tinged riffs were punchy, and its cohesive flow has withstood two years of wear. Ohio’s underground farmers are back with another slab of death metal. As I started spinning Loathing and the Noose, I knew what to expect.

At least, I thought I did. While Contempt for a Failed Dimension reveled in riffy simplicity, Loathing and the Noose is much more adventurous. Faithxtractor’s signature remains, with extra chunky riffs that alternate between furious death metal and Asphyxiating death-doom. However, while Contempt turned everything up to eleven, Loathing shatters the knob altogether. The most intense sections veer into blackened death-thrash, landing in between Morbid Saint and Panzer Division Marduk (“Fever Dream Litanies”). Even early Suffocation rears its head in Faithxtractor’s most bludgeoning brutal riffwork (“Flooded Tombs”). Spastic flailing guitar solos complement this unhinged assault on the senses. However, Faithxtractor ventures in the opposite direction as well. Loathing’s soaring leads and its melodeath-inflected riffs make it feel more melodic than Contempt. Meanwhile, the album’s starkest change lies in its bluer shade of doom. Faithxtractor’s melodic death-doom passages recall Swallow the Sun, displaying a newfound emotive side rather than merely adding heft. While Loathing and the Noose is far from an avant-garde record, it marks a sea change for Faithxtractor.

Miraculously, Faithxtractor’s experiments pay off. Even the most unexpected pieces are bafflingly powerful. Despite my knee-jerk skepticism, the melodic death-doom escapades are as evocative as the genre’s best (“Cerecloth Vision Veil”). Conversely, Loathing and the Noose’s speediest blackened cuts hijack my brain using frantic melodies and Marduk riffs (“Ethos Moribund”). These varied elements fit together with uncanny grace. The mid-section of opener “Noose of Being” mutates from blackened riffs to melodeath to sadboi death-doom to knuckle-dragging Autopsy worship, with fluid transitions that make each long jump feel like a natural step. Similarly, “Caveats” shines through its dynamic back-and-forth between an elegiac key melody and an enormous doom riff. While Faithxtractor’s round-trip transitions are sometimes abrupt, like the funeral-doom-and-back of “Flooded Tombs,” these are rare exceptions. Indeed, because it’s so well-crafted, Loathing and the Noose is an immediate hit despite its evolution; even the doomy seven-minute closer flies by, lodging into my memory by my second listen. Over-experimentation can be a turn-off, but Faithxtractor makes it work by whole-assing their every move.

Of course, it helps that the caveman segments slay. Even on its more adventurous tracks, Loathing’s overpowering death metal riffs are grin-inducing (“Cerecloth Vision Veil”). I have a soft spot for guitar solos paired with a dominant rhythm guitar, and Faithxtractor delivers on this with reckless abandon (“The Loathing”). If anything, Loathing and the Noose’s explosive tendencies make it a more visceral and infectious listen than its predecessor. And because the album’s climactic fury is sprinkled across each track rather than being sequestered, its 37 minutes are consistently lovable. While Loathing’s loud in-your-face master blunts its teeth, it remains a delight to revisit.

This is not the death metal album I was looking for. I showed up expecting a single-minded half-hour curbstomp. While Loathing and the Noose retains these simple roots, it does so much more. With influences ranging from blackened thrash to weepy death-doom, Faithxtractor’s newest record marks a transformation that initially left me worried. But its gargantuan death metal riffs, its smooth songwriting, and its excellence across its genre romps won me over. Contempt for a Failed Dimension was not just one of the greatest albums of 2023; it shocked me, revitalizing a subgenre that rarely rises above a 3.0. Loathing and the Noose sounds worlds apart, but checks the same elusive box. Mastermind Ash Thomas continues to understand my taste better than I do, releasing fantastic records in styles that often let me down. Keep an open mind and give this a shot.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: faithxtractor.bandcamp.com | facebook.com/Faithxtractor
Releases Worldwide: January 10th, 2025

#2025 #40 #AmericanMetal #Asphyx #Autopsy #BlackenedDeath #BlackenedDeathMetal #ContemptForAFailedDimension #DeathDoom #DeathMetal #DeathDoomMetal #Faithxtractor #Jan25 #LoathingAndTheNoose #Marduk #MelodicDeathDoom #MorbidSaint #RedefiningDarkness #RedefiningDarknessRecords #Review #Reviews #Suffocation #SwallowTheSun

Faithxtractor – Loathing and the Noose Review

By Maddog

Faithxtractor’s second biggest musical contribution was the comment section from their last album. With a Farmers Only joke, a thread about metalcore album names, and a story that must be read to be believed, the birdbrain community’s mockery of Faithxtractor’s name has left me giggling for two years. Of course, the band’s biggest contribution was 2023’s Contempt for a Failed Dimension itself. Perhaps my favorite frill-free death metal record in recent memory, Faithxtractor’s fourth full-length dealt in riffs and also riffs. Unlike the other wannabes that litter the old-school death metal revival scene, Faithxtractor stood out through thoughtful songwriting. The album’s doom-tinged riffs were punchy, and its cohesive flow has withstood two years of wear. Ohio’s underground farmers are back with another slab of death metal. As I started spinning Loathing and the Noose, I knew what to expect.

At least, I thought I did. While Contempt for a Failed Dimension reveled in riffy simplicity, Loathing and the Noose is much more adventurous. Faithxtractor’s signature remains, with extra chunky riffs that alternate between furious death metal and Asphyxiating death-doom. However, while Contempt turned everything up to eleven, Loathing shatters the knob altogether. The most intense sections veer into blackened death-thrash, landing in between Morbid Saint and Panzer Division Marduk (“Fever Dream Litanies”). Even early Suffocation rears its head in Faithxtractor’s most bludgeoning brutal riffwork (“Flooded Tombs”). Spastic flailing guitar solos complement this unhinged assault on the senses. However, Faithxtractor ventures in the opposite direction as well. Loathing’s soaring leads and its melodeath-inflected riffs make it feel more melodic than Contempt. Meanwhile, the album’s starkest change lies in its bluer shade of doom. Faithxtractor’s melodic death-doom passages recall Swallow the Sun, displaying a newfound emotive side rather than merely adding heft. While Loathing and the Noose is far from an avant-garde record, it marks a sea change for Faithxtractor.

Miraculously, Faithxtractor’s experiments pay off. Even the most unexpected pieces are bafflingly powerful. Despite my knee-jerk skepticism, the melodic death-doom escapades are as evocative as the genre’s best (“Cerecloth Vision Veil”). Conversely, Loathing and the Noose’s speediest blackened cuts hijack my brain using frantic melodies and Marduk riffs (“Ethos Moribund”). These varied elements fit together with uncanny grace. The mid-section of opener “Noose of Being” mutates from blackened riffs to melodeath to sadboi death-doom to knuckle-dragging Autopsy worship, with fluid transitions that make each long jump feel like a natural step. Similarly, “Caveats” shines through its dynamic back-and-forth between an elegiac key melody and an enormous doom riff. While Faithxtractor’s round-trip transitions are sometimes abrupt, like the funeral-doom-and-back of “Flooded Tombs,” these are rare exceptions. Indeed, because it’s so well-crafted, Loathing and the Noose is an immediate hit despite its evolution; even the doomy seven-minute closer flies by, lodging into my memory by my second listen. Over-experimentation can be a turn-off, but Faithxtractor makes it work by whole-assing their every move.

Of course, it helps that the caveman segments slay. Even on its more adventurous tracks, Loathing’s overpowering death metal riffs are grin-inducing (“Cerecloth Vision Veil”). I have a soft spot for guitar solos paired with a dominant rhythm guitar, and Faithxtractor delivers on this with reckless abandon (“The Loathing”). If anything, Loathing and the Noose’s explosive tendencies make it a more visceral and infectious listen than its predecessor. And because the album’s climactic fury is sprinkled across each track rather than being sequestered, its 37 minutes are consistently lovable. While Loathing’s loud in-your-face master blunts its teeth, it remains a delight to revisit.

This is not the death metal album I was looking for. I showed up expecting a single-minded half-hour curbstomp. While Loathing and the Noose retains these simple roots, it does so much more. With influences ranging from blackened thrash to weepy death-doom, Faithxtractor’s newest record marks a transformation that initially left me worried. But its gargantuan death metal riffs, its smooth songwriting, and its excellence across its genre romps won me over. Contempt for a Failed Dimension was not just one of the greatest albums of 2023; it shocked me, revitalizing a subgenre that rarely rises above a 3.0. Loathing and the Noose sounds worlds apart, but checks the same elusive box. Mastermind Ash Thomas continues to understand my taste better than I do, releasing fantastic records in styles that often let me down. Keep an open mind and give this a shot.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: faithxtractor.bandcamp.com | facebook.com/Faithxtractor
Releases Worldwide: January 10th, 2025

#2025 #40 #AmericanMetal #Asphyx #Autopsy #BlackenedDeath #BlackenedDeathMetal #ContemptForAFailedDimension #DeathDoom #DeathMetal #DeathDoomMetal #Faithxtractor #Jan25 #LoathingAndTheNoose #Marduk #MelodicDeathDoom #MorbidSaint #RedefiningDarkness #RedefiningDarknessRecords #Review #Reviews #Suffocation #SwallowTheSun

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

Nearly three years ago, I dropped a Very Good score on Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind, the sophomore record from Seattle’s Kaiju-themed death/thrash purveyors, Oxygen Destroyer. The earnestness with which band leader Lord Kaiju and his party of massive-monster minstrels weave their tales of gargantuan creatures into their furious metal through the use of film samples and sound effects lends their no-nonsense music a certain nerdtastic charm, and that album earned an Honorable Mention spot on my 2021 year-end list. I’ll admit that when I heard the band was releasing a follow-up this year, I wasn’t initially super hyped about it. I felt like I already had Oxygen Destroyer figured out and could anticipate what Guardian of the Universe was going to sound like. I was wrong.

No, Oxygen Destroyer hasn’t gone through some huge sonic revolution; they’re still a death/thrash monstrosity. But I wasn’t expecting the jump in quality that Guardian of the Universe represents for the band. These guys were a tight, well-oiled machine before, but this album finds the band playing on a whole new level. Single “Shadow of Evil” demonstrates Oxygen Destroyer’s expanded ruthlessness by beginning with a deranged procession of savage riffs and ending with a volley of Lord Kaiju’s venomous shrieks. The song is a surgical strike, and it has utterly demolished my defenses.

While comparisons like Morbid Saint and Vader certainly still apply to Oxygen Destroyer, it feels like the band dialed up the thrash quotient of their sound this time around. I hear a lot of Kreator, Demolition Hammer, and even some frenetic Rust in Piece-era Megadeth riffing (see the opening title track) throughout much of Guardian of the Universe. As a huge fan of the thrash groove, this subtle shift elevates Oxygen Destroyer’s sound into the S-tier, giving their relentless assault a bit more breathing room and tension-building contrast. Because of this, the record has an incredible sense of momentum that won’t release its grip on you until the final note.

Guardian of the Universe is a cohesive listening experience, so much so, that it can be hard to highlight individual songs as standouts. Fortunately, at 33 minutes long, picking out highlights is mostly unnecessary; just listen to the whole thing, damn it! Fine, if you must sample the record first, try “Shadow of Evil,” “Eradicating the Symbiotic Hive Mind Entity from Beyond the Void,” or “Banishing the Iris of Sempiternal Tenebrosity.” You’ll see that Lord Kaiju sounds extra pissed in his current incarnation, and he and the rest of the instrumentalists absolutely slay their performances. The worming riffage, in particular, is simply stellar. The production gives ample space for the unhinged cacophony that is Oxygen Destroyer’s sound to reveal all of its intricacies, and the sonic aesthetic makes it feel like a classic record from thrash’s heyday.

With Guardian of the Universe, Oxygen Destroyer convincingly established a foothold within the highest echelon of modern thrash bands. Alongside acts like Enforced and High Command, these guys are proving that groovy thrash metal is alive and still hardcore kicking in the pit. While most run in fear at the sight of giant monsters, I, for one, welcome our new overlord. All hail Oxygen Destroyer, Kaiju of Thrash!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: oxygen-destroyer.bandcamp.com | facebook.com/kaijuconjuringdeathmetal
Releases Worldwide: August 9th, 2024

#2024 #40 #AmericanMetal #Aug24 #DeathMetal #DemolitionHammer #Enforced #GuardianOfTheUniverse #HighCommand #Kreator #Megadeth #MorbidSaint #OxygenDestroyer #RedefiningDarknessRecords #Review #Reviews #ThrashMetal #Vader

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

Nearly three years ago, I dropped a Very Good score on Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind, the sophomore record from Seattle’s Kaiju-themed death/thrash purveyors, Oxygen Destroyer. The earnestness with which band leader Lord Kaiju and his party of massive-monster minstrels weave their tales of gargantuan creatures into their furious metal through the use of film samples and sound effects lends their no-nonsense music a certain nerdtastic charm, and that album earned an Honorable Mention spot on my 2021 year-end list. I’ll admit that when I heard the band was releasing a follow-up this year, I wasn’t initially super hyped about it. I felt like I already had Oxygen Destroyer figured out and could anticipate what Guardian of the Universe was going to sound like. I was wrong.

No, Oxygen Destroyer hasn’t gone through some huge sonic revolution; they’re still a death/thrash monstrosity. But I wasn’t expecting the jump in quality that Guardian of the Universe represents for the band. These guys were a tight, well-oiled machine before, but this album finds the band playing on a whole new level. Single “Shadow of Evil” demonstrates Oxygen Destroyer’s expanded ruthlessness by beginning with a deranged procession of savage riffs and ending with a volley of Lord Kaiju’s venomous shrieks. The song is a surgical strike, and it has utterly demolished my defenses.

While comparisons like Morbid Saint and Vader certainly still apply to Oxygen Destroyer, it feels like the band dialed up the thrash quotient of their sound this time around. I hear a lot of Kreator, Demolition Hammer, and even some frenetic Rust in Piece-era Megadeth riffing (see the opening title track) throughout much of Guardian of the Universe. As a huge fan of the thrash groove, this subtle shift elevates Oxygen Destroyer’s sound into the S-tier, giving their relentless assault a bit more breathing room and tension-building contrast. Because of this, the record has an incredible sense of momentum that won’t release its grip on you until the final note.

Guardian of the Universe is a cohesive listening experience, so much so, that it can be hard to highlight individual songs as standouts. Fortunately, at 33 minutes long, picking out highlights is mostly unnecessary; just listen to the whole thing, damn it! Fine, if you must sample the record first, try “Shadow of Evil,” “Eradicating the Symbiotic Hive Mind Entity from Beyond the Void,” or “Banishing the Iris of Sempiternal Tenebrosity.” You’ll see that Lord Kaiju sounds extra pissed in his current incarnation, and he and the rest of the instrumentalists absolutely slay their performances. The worming riffage, in particular, is simply stellar. The production gives ample space for the unhinged cacophony that is Oxygen Destroyer’s sound to reveal all of its intricacies, and the sonic aesthetic makes it feel like a classic record from thrash’s heyday.

With Guardian of the Universe, Oxygen Destroyer convincingly established a foothold within the highest echelon of modern thrash bands. Alongside acts like Enforced and High Command, these guys are proving that groovy thrash metal is alive and still hardcore kicking in the pit. While most run in fear at the sight of giant monsters, I, for one, welcome our new overlord. All hail Oxygen Destroyer, Kaiju of Thrash!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: oxygen-destroyer.bandcamp.com | facebook.com/kaijuconjuringdeathmetal
Releases Worldwide: August 9th, 2024

#2024 #40 #AmericanMetal #Aug24 #DeathMetal #DemolitionHammer #Enforced #GuardianOfTheUniverse #HighCommand #Kreator #Megadeth #MorbidSaint #OxygenDestroyer #RedefiningDarknessRecords #Review #Reviews #ThrashMetal #Vader

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

Nearly three years ago, I dropped a Very Good score on Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind, the sophomore record from Seattle’s Kaiju-themed death/thrash purveyors, Oxygen Destroyer. The earnestness with which band leader Lord Kaiju and his party of massive-monster minstrels weave their tales of gargantuan creatures into their furious metal through the use of film samples and sound effects lends their no-nonsense music a certain nerdtastic charm, and that album earned an Honorable Mention spot on my 2021 year-end list. I’ll admit that when I heard the band was releasing a follow-up this year, I wasn’t initially super hyped about it. I felt like I already had Oxygen Destroyer figured out and could anticipate what Guardian of the Universe was going to sound like. I was wrong.

No, Oxygen Destroyer hasn’t gone through some huge sonic revolution; they’re still a death/thrash monstrosity. But I wasn’t expecting the jump in quality that Guardian of the Universe represents for the band. These guys were a tight, well-oiled machine before, but this album finds the band playing on a whole new level. Single “Shadow of Evil” demonstrates Oxygen Destroyer’s expanded ruthlessness by beginning with a deranged procession of savage riffs and ending with a volley of Lord Kaiju’s venomous shrieks. The song is a surgical strike, and it has utterly demolished my defenses.

While comparisons like Morbid Saint and Vader certainly still apply to Oxygen Destroyer, it feels like the band dialed up the thrash quotient of their sound this time around. I hear a lot of Kreator, Demolition Hammer, and even some frenetic Rust in Piece-era Megadeth riffing (see the opening title track) throughout much of Guardian of the Universe. As a huge fan of the thrash groove, this subtle shift elevates Oxygen Destroyer’s sound into the S-tier, giving their relentless assault a bit more breathing room and tension-building contrast. Because of this, the record has an incredible sense of momentum that won’t release its grip on you until the final note.

Guardian of the Universe is a cohesive listening experience, so much so, that it can be hard to highlight individual songs as standouts. Fortunately, at 33 minutes long, picking out highlights is mostly unnecessary; just listen to the whole thing, damn it! Fine, if you must sample the record first, try “Shadow of Evil,” “Eradicating the Symbiotic Hive Mind Entity from Beyond the Void,” or “Banishing the Iris of Sempiternal Tenebrosity.” You’ll see that Lord Kaiju sounds extra pissed in his current incarnation, and he and the rest of the instrumentalists absolutely slay their performances. The worming riffage, in particular, is simply stellar. The production gives ample space for the unhinged cacophony that is Oxygen Destroyer’s sound to reveal all of its intricacies, and the sonic aesthetic makes it feel like a classic record from thrash’s heyday.

With Guardian of the Universe, Oxygen Destroyer convincingly established a foothold within the highest echelon of modern thrash bands. Alongside acts like Enforced and High Command, these guys are proving that groovy thrash metal is alive and still hardcore kicking in the pit. While most run in fear at the sight of giant monsters, I, for one, welcome our new overlord. All hail Oxygen Destroyer, Kaiju of Thrash!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: oxygen-destroyer.bandcamp.com | facebook.com/kaijuconjuringdeathmetal
Releases Worldwide: August 9th, 2024

#2024 #40 #AmericanMetal #Aug24 #DeathMetal #DemolitionHammer #Enforced #GuardianOfTheUniverse #HighCommand #Kreator #Megadeth #MorbidSaint #OxygenDestroyer #RedefiningDarknessRecords #Review #Reviews #ThrashMetal #Vader

Morbid Saint – Swallowed by Hell Review

By Steel Druhm

Once upon a time, there was a little-known thrash act out of Wisconsin called Morbid Saint. They were nasty, savage, and uncompromising. They also had trouble getting attention from labels or recording a proper album. Instead of a finished studio product, they released their 1988 demo titled Spectrums of Death in 1990. It might not have been a polished recording, but it showcased their unrelenting aggression and warmongering fury. It went on to become an underground darling and its stature has grown over time. They attempted a follow-up outing in 1991-92 but once again, it never made it past the demo stage. That demo wasn’t made public until 2015, and by then it was little but a historical footnote. This record of frustrated ambitions is why it was a shock to see a promo from Morbid Saint in the crust muck of the sump. And lo and behold, Swallowed by Hell is an actual, honest-to-goodness studio album! The first in their 36 years of on-and-off existence. With three of the founding members alive and present, what can these ancient thrashers bring to the table all these years later when thrash is all but dead?

Their infamous debut walked the line between thrash and early death metal, with a strong Kreator-meets-Demolition Hammer vibe. Swallowed by Hell however is unrelenting, merciless thrash of the olden variety. The Kreator vibes are still present, but the proto-death element is replaced by a ferocity that sometimes approaches grind. Opener “Rise from the Ashes” removes the parts of your brain that control rationality, sophistication, and decorum, performing a back alley cavemanectomy and sending you running into the night in search of beer and bad behavior. The raging title track rages, throwing lava-hot riffs as the drums pound away like a washing machine full of steel-toed work boots. Pat Lind screams and roars over the chaos like a young Mille Petrozza mixed with Sam Kinison of all people (SAY IT!! SAY IIIT!!). There’s no way to listen to this and not feel your fists clenching into sweaty knots of hostility awaiting a vulgar display.

Other high-octane thrash bastards include the gobsmacking “Bloody Floors” and the codswalloping intensity of “Burn Pits.” This one in particular gets my ape dander up and makes me want to do brutal things to unsupportive AMG coworkers, HR be damned! The entire first half is a rocket ride to the danger zone with no reverse thrusters. The back half is also full of uncivilized antics but there is a slight drop-off, though no song is a fail. The middle finger ferocity of “Fuck Them All” and the adrenaline-pumping “Bleed Them Dry” are especially lively back halfers. There’s a hint of bloat on some cuts (“Fuck Them All,” “Psychosis”), though there are no signs of terminal Metallica-itis in the stool samples. The album’s 47 minutes does feel a bit too long despite the overall quality, and toward the end, I’m in the early stages of thrash fatigue.

Jay Visser and Jim Fergades go all in with the berserk riffage, serving up an impressive stream of old school leads that chop, dice, and de-vein. On “Rise from the Ashes” and the title track it almost feels like the riffs are coming after you with bad intentions. These beasts are steeped in the history of thrash and ring a lot of Hell bells with their axe attacks. I’m especially impressed with their way over-the-top soloing. Like Visser and Fergades, Pat Lind was on the debut and he’s still here screaming and roaring like a maniac. He sounds different than he did back in 88, more like a classic thrash vocalist than a borderline death metal caveman, but he still brings the pain. The entire band sounds unhinged and savage and that’s all you can ask for from a crew in the game this long.

There was something special and strange about Spectrums of Death when it first dropped. It was like an ugly mutation and it stood apart. Swallowed by Hell is a good and often very good release with feral charms of its own, but it’s a conventional thrash album in most ways. It’s unlikely that Morbid Saint will ever recapture the bizarro magic of Spectrums, but it’s great to hear them tearing shit up again nonetheless. A hard-hitting, take-no-prisoners comeback from a band that should be six feet under the daisies and broken beer bottles.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: morbidsaint.com | facebook.com/morbidsaintofficial
Releases Worldwide: February 9th, 2024

#2024 #30 #AmericanMetal #DemolitionHammer #Feb24 #HighRollerRecords #Kreator #MorbidSaint #Review #Reviews #Sadus #SpectrumOfDeath #SwallowedByHell #ThrashMetal

Morbid Saint – Swallowed by Hell Review

By Steel Druhm

Once upon a time, there was a little-known thrash act out of Wisconsin called Morbid Saint. They were nasty, savage, and uncompromising. They also had trouble getting attention from labels or recording a proper album. Instead of a finished studio product, they released their 1988 demo titled Spectrums of Death in 1990. It might not have been a polished recording, but it showcased their unrelenting aggression and warmongering fury. It went on to become an underground darling and its stature has grown over time. They attempted a follow-up outing in 1991-92 but once again, it never made it past the demo stage. That demo wasn’t made public until 2015, and by then it was little but a historical footnote. This record of frustrated ambitions is why it was a shock to see a promo from Morbid Saint in the crust muck of the sump. And lo and behold, Swallowed by Hell is an actual, honest-to-goodness studio album! The first in their 36 years of on-and-off existence. With three of the founding members alive and present, what can these ancient thrashers bring to the table all these years later when thrash is all but dead?

Their infamous debut walked the line between thrash and early death metal, with a strong Kreator-meets-Demolition Hammer vibe. Swallowed by Hell however is unrelenting, merciless thrash of the olden variety. The Kreator vibes are still present, but the proto-death element is replaced by a ferocity that sometimes approaches grind. Opener “Rise from the Ashes” removes the parts of your brain that control rationality, sophistication, and decorum, performing a back alley cavemanectomy and sending you running into the night in search of beer and bad behavior. The raging title track rages, throwing lava-hot riffs as the drums pound away like a washing machine full of steel-toed work boots. Pat Lind screams and roars over the chaos like a young Mille Petrozza mixed with Sam Kinison of all people (SAY IT!! SAY IIIT!!). There’s no way to listen to this and not feel your fists clenching into sweaty knots of hostility awaiting a vulgar display.

Other high-octane thrash bastards include the gobsmacking “Bloody Floors” and the codswalloping intensity of “Burn Pits.” This one in particular gets my ape dander up and makes me want to do brutal things to unsupportive AMG coworkers, HR be damned! The entire first half is a rocket ride to the danger zone with no reverse thrusters. The back half is also full of uncivilized antics but there is a slight drop-off, though no song is a fail. The middle finger ferocity of “Fuck Them All” and the adrenaline-pumping “Bleed Them Dry” are especially lively back halfers. There’s a hint of bloat on some cuts (“Fuck Them All,” “Psychosis”), though there are no signs of terminal Metallica-itis in the stool samples. The album’s 47 minutes does feel a bit too long despite the overall quality, and toward the end, I’m in the early stages of thrash fatigue.

Jay Visser and Jim Fergades go all in with the berserk riffage, serving up an impressive stream of old school leads that chop, dice, and de-vein. On “Rise from the Ashes” and the title track it almost feels like the riffs are coming after you with bad intentions. These beasts are steeped in the history of thrash and ring a lot of Hell bells with their axe attacks. I’m especially impressed with their way over-the-top soloing. Like Visser and Fergades, Pat Lind was on the debut and he’s still here screaming and roaring like a maniac. He sounds different than he did back in 88, more like a classic thrash vocalist than a borderline death metal caveman, but he still brings the pain. The entire band sounds unhinged and savage and that’s all you can ask for from a crew in the game this long.

There was something special and strange about Spectrums of Death when it first dropped. It was like an ugly mutation and it stood apart. Swallowed by Hell is a good and often very good release with feral charms of its own, but it’s a conventional thrash album in most ways. It’s unlikely that Morbid Saint will ever recapture the bizarro magic of Spectrums, but it’s great to hear them tearing shit up again nonetheless. A hard-hitting, take-no-prisoners comeback from a band that should be six feet under the daisies and broken beer bottles.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: morbidsaint.com | facebook.com/morbidsaintofficial
Releases Worldwide: February 9th, 2024

#2024 #30 #AmericanMetal #DemolitionHammer #Feb24 #HighRollerRecords #Kreator #MorbidSaint #Review #Reviews #Sadus #SpectrumOfDeath #SwallowedByHell #ThrashMetal