#municipalwaste — Public Fediverse posts

CHILE TERRORFEST ACTIVA UN 30% DE DESCUENTO EN SUS ENTRADAS GENERALES | #SonidosOcultos

🔗 https://www.sonidosocultos.com/noticia/chile-terrorfest-activa-un-30-de-descuento-en-sus-entradas-generales/

#Noticias #Carcass #Chargola #chargolaprods #criminal #immolation #inquisicion #Krisiun #MunicipalWaste #Necrot #testament

If you like thrash metal and trash movies that collaboration between Municipal Waste and Troma fit perfect!

Municipal Waste - Headbanger Face Rip
https://youtu.be/3LQRk4IV2nM?si=kHMmCcoM_W0Ceiox
#music #musicvideo #video #troma #municipalwaste #usa #metal #thrash #trash #thrashmetal

Good thrash as expected

Municipal Waste - High Speed Steel
https://youtu.be/0KnlmGPbToQ?si=J4_5DYBKbbRn37el

#video #musicvideo #video #thrash #heavymetal #metal #MunicipalWaste #usa

New post: Bloodstock 2026 Interview: Municipal Waste https://moshville.co.uk/interview/2026/09/bloodstock-2026-interview-municipal-waste/ #Bloodstock #MunicipalWaste

Thrash is even thrash

Municipal Waste - Crank the Heat
https://youtu.be/ixd0u8ygOT8?si=Wpi8MrqILP2105bO
#music #musicvideo #video #municipalwaste #thrash #usa #metal

https://www.europesays.com/pt/501088/ Municipal Waste é confirmado no Liberation Festival 2026 em São Paulo – #Entertainment #Entretenimento #LiberationFestival2026 #MunicipalWaste #Music #Música #Portugal #PT

https://www.europesays.com/es/716758/ Thomas de KAMELOT habla de la próxima gira. Concierto completo de AD INFINITUM. MUNICIPAL WASTE trabajan en un nuevo álbum. #ADINFINITUM #Entertainment #Entretenimiento #ES #España #KAMELOT #MUNICIPALWASTE #Music #Música #Spain

https://www.europesays.com/be-nl/119635/ Municipal Waste – Dynamo Eindhoven – 10/08/2026 #BE #België #Belgium #DynamoEindhoven #MunicipalWaste #schizophrenia #Science #ScienceAndTechnology #ScienceAndTechnology #Technologie #Technology #Wetenschap #WetenschapEnTechnologie #WetenschapTechnologie

https://www.europesays.com/dk/129233/ Waste Collection Delays in Vilnius District: What to Know #containers #Lithuania #MunicipalWaste #NemenčinėsKomunalininkas #NemėžioKomunalininkas #Vilnius #VilniusDistrict #WasteCollection

Germany sees lowest level of rubbish since 2009

Germans threw away less waste in 2024, with the total volume falling to its lowest level since 2009,…
#Germany #DE #Europe #EU #Europa #Constructionanddemolitionwaste #FederalStatisticalOffice #municipalwaste #secondarywaste #TechnischeBetriebsdiensteReutlingen #wastetreatmentplant
https://www.europesays.com/germany/28148/

Diabolvs, Torturer, Fallout e Inquisición se suman al demoledor cartel del Chile TerrorFest II | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/diabolvs-torturer-fallout-e-inquisicion-se-suman-al-demoledor-cartel-del-chile-terrorfest-ii/

#chargolaprodthefanlabclmibardemusicacriminal1969 #carcass #fallouteinquisición #franciscocautínbajovozymanuelmanoloschflerguitarras #immolation #inquisicion #municipalwaste #necrot #testament #torturer #torturerydiabolvs

This year has already kicked off in thrash-tastic fashion. We’ve seen new releases from the likes of Megadeth, Exodus, and Kreator, with Anthrax and more on the way. A quick check of my thrash bingo card shows that, by the end of the year, at least half of the “Big 4”1 will have dropped new records, with many of the honorable-mention heavyweights joining the fray. While we wait for the next boot to drop, we turn our attention to Würzburg, Germany’s Zerre, one of modern thrash’s promising upstarts. Their debut, Scorched Souls, was a Metallica-meets-Municipal Waste slab of old-school aggression loaded with crossover, beer-chugging grooves. Taking the foundations of their debut, Rotting on a Golden Throne finds Zerre tearing through nine tracks with a sharpened sense of purpose—more aggressive, more political, and more sadistic than its predecessor. And let me tell you, it delivers in spades. I hope you’re thirsty for some tallboys, because thrash is still on the menu.

Forging their songwriting into material that’s meaner, tighter, and far more assured, Rotting on a Golden Throne shines with the violently tempered alloy of classic thrash and modern crossover’s street-level grit that never lets its energy wane. Heavily steeped in Municipal Waste’s party chaos and …And Justice for All’s rapid, surgical picking, Zerre also imbues the album with Power Trip’s coarseness, Anthrax’s stomping swagger (“Killing Taste”) and the frantic wails of Slayer (“No Alibi,” “Deception of the Weak”). Riffs hit in relentless waves, with raw aggression spilling over into massive, replay-ready grooves, while strategically placed interludes are woven directly into the album’s 40-minute runtime rather than sliced off as filler (“Mental Vacation,” “Rotting on a Golden Throne”). This smart choice gives Rotting on a Golden Throne a more cohesive flow and breaks up the record’s accelerated attack just enough to keep things elastic. Zerre delivers it all seamlessly, with a dialed‑up piss‑and‑vinegar attitude that hits you right between the eyes.

Rotting on a Golden Throne by Zerre

Neck-snapping riffs abound on Rotting on a Golden Throne, driven by Zerre’s full-throttle dual axe attack of Dominik Bertelt and Rocco Lepore. The two throw their weight around effortlessly with hyperspeed picking mixed with trilling, power cord syncopations, whammy dives, and a metric ton of technical solos. After the “Battery”-inspired acoustic intro, “Pigs will be Pigs” fires the first shot with blistering runs that give way to a soaring melodic solo, while “Deception of the Weak” counters with sharp twin harmonies and nimble hammer‑ons and pull‑offs. Even the slower approach of “Concrete Hell” packs a punch and “Tin God” seals the deal with a squealing, tapping frenzy that illustrates how purposefully Zerre uses solos—coupled with keen songwriting—to drive the record’s peaks. The Nordic folk lick stretching out into intertwining leads in “Mental Vacation” is also a pleasant surprise, as is the power metal riff in the self-titled track, proving that when these guys branch out of their comfort zone, they do so tastefully and with restraint rather than veering off into left field.

Vocalist Nick Ziska2 brings a feral edge to Zerre’s sound. His performance swings between Tom Araya‑styled screams (“No Alibi”) and a Riley Gale-esque snarling mid‑range, anchoring Rotting on a Golden Throne’s songs with a serrated bark that sounds abrasive and weathered, yet still clear enough to slice through the chaos. Zerre’s songwriting leans heavily on gang vocals, and while they’re a clear fallback move, they inject a sense of rowdy fun that magnifies Ziska’s lyrics and makes the choruses instantly hooky. Ziska takes the lead, and the rest of the crew pile in behind him, creating shout-along moments that demand listener participation. Lyrically, Rotting on a Golden Throne sticks to thrash’s customary grievances—anti-police sentiment, prison system disdain and broad political ire—but these tropes feel less like a crutch and more like part of the total package, reinforcing the album’s scrappy, kinetic energy.

Talking about this album in the staff lounge, our resident Reaper categorized Rotting on a Golden Throne as one of the best straight-up thrash records of the year so far, and I couldn’t agree more. Detractors may point to Zerre’s stylistic touchstones as a mere recombination of established genre language, and while they wouldn’t be wrong, I don’t care. Zerre has dropped an album that embodies everything I want my thrash to be. Rotting on a Golden Throne is bursting with energy, aggression, groove, and a sense of unfiltered fun. It’s a combination that’s hard to find in today’s thrash metal landscape, and it’s one that’s worth raising a beer for.

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: dyingvictimsproductions.bandcamp.com/album/rotting-on-a-golden-throne | facebook.com/zerre.thrash
Releases Worldwide: March 27th, 2026

Nappy ever after: From landfill crisis to recycling triumph, Japan gives dirty diapers a clean comeback

SHIBUSHI (Japan), March 26 — Billions of dirty diapers end up buried or burned every year in Japan…
#NewsBeep #News #Environment #ageingJapan #diaperrecycling #environment #EnvironmentMinistry #municipalwaste #Science #SHIBUSHIJapan #UK #Unicharm #UnitedKingdom
https://www.newsbeep.com/uk/497996/

https://www.europesays.com/ie/405776/ Nappy ever after: From landfill crisis to recycling triumph, Japan gives dirty diapers a clean comeback #AgeingJapan #DiaperRecycling #Éire #Environment #EnvironmentMinistry #IE #Ireland #MunicipalWaste #Science #SHIBUSHIJapan #Unicharm

When I think about Miami, the first things that come to mind are excellent empanadas, terrible traffic, and Cynic. What doesn’t come to mind is thrash, although I’ve learned that the Magic City has some history in this regard (Solstice). Thrash quintet Acidosis currently resides in Los Angeles, but their own history dates back to a Miami high school in the mid-to-late 2000s, where frontperson Ben Katzman and guitarist Diego Edsel first formed the band. Arrival, Acidosis’s long-gestating debut album, re-records and reimagines songs Katzman, Edsel, and crew first concocted when they were teenagers. Acidosis may lie their heads in La La Land, but the flamingo-pink background and seafoam-green eyelid tentacles adorning that cover clearly aim to put Miami on the thrash map.1

Arrival is a survivor story, in more ways than one. After dissolving Acidosis, Katzman served stints in several other acts and even competed in season 46 of Survivor.2 In reforming the band, Katzman and Edsel enlist the talents of Harry Schwarz (drums), Jonathan Rusten (rhythm guitars), and Deo Budnevich (lead guitars) to create Arrival, a 9-song, 26-minute thrash incursion.3 Acidosis channels Municipal Waste in wasting no time with long songs, favoring crossovery bangers filled with riffs more rambunctious than a pitbull. “Arrival” opens things up with a sly devil, “They Live!” keeps the party going with punk energy, and “Hostile Negotiations” caps nifty pull-offs and speedy power chords with a delicious tag. Later on, Acidosis conjure the classics, with riffing reminiscent of the chromaticism of Megadeth (“Mankind”) and the stomp-age of Anthrax (“Deadly Fits”). I have no idea how much/little these songs have changed since Katzman and crew were in high school, but Arrival’s riffs have survived the test of time.

Arrival by Acidosis

Ben Katzman ultimately supplies the fuel that powers this Miami Thrash Machine. As a vocalist, he sounds like a less shouty, more tuneful Tony Foresta (Municipal Waste). Katzman knows how to implant a titular line in the listener’s head (“Hostile Negotiations,” “Mankind”) and when to throw some anthemic ‘whoas’ into the mix (“They Live!”). As a bassist, he is equally integral to imbuing Acidosis with its unique charm. Whether (re)charing songs with a bass break (“They Live!,” “Where I Stand”) or shredding a low-end solo (“Hostile Negotiations”), Katzman kills it on the four strings, with a tone that is just the right amount of distorted and clangy. Arrival is clearly Katzman’s passion project, and his passion shines throughout.

Alas, no album with roots in Vice City was going to pass without sin. While I appreciate the spirit of succinct songwriting here, some tracks are definitely in need of more flesh. “Hostile Negotiations” is a banger that would benefit from bridge development, and album-closer “Where I Stand” opens with a country western lick that implies scope that isn’t realized. Switching from slothful songwriting to gluttonous album-craft: the interludes are completely unnecessary. Arrival isn’t even ten minutes old before “Interlude” breaks up the thrash action, and “Interlude 2” intervenes after only two more tracks that total less than nine minutes. These interludes, though short, disrupt the energetic pace, lengthening an album that’s chief virtue is its brevity. Arrival also suffers from inconsistent soloing. Edsel and Budnevich trade off on many of these tracks, revealing that one of these shredders is stronger than the other. Unfortunately, there are several moments where uncontrolled guitar wrath rears its ugly head, with solos sounding like they’re struggling (“Mankind,” “Deadly Fits”).

Having hypocritically cast my critical stones, I will say that none of these sins are deadly. The long-awaited Arrival of Acidosis is a fun time, certainly worth a 26-minute investment from thrashers and metalheads more broadly. Acidosis play a familiar style with no real innovation, but they stamp it with their own personality, much of which stems from Katzman’s presence as a frontman and essential bassist. Add Acidosis to the list of things I positively associate with Miami—I’ll scope out the line if and when they serve up their next platter of thrash turnovers.

Rating: 3.0/5.04
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Clean environment a right to life: SC issues pan-India directions on solid waste management https://www.byteseu.com/1818699/ ##CleanEnvironment ##EnvironmentalCompliance ##LegacyWaste ##MunicipalWaste ##SourceSegregation ##SWM ##WasteFreeIndia ##WasteManagementRules2026 #environment #SolidWasteManagement #SupremeCourtOrder

https://www.europesays.com/2796096/ Clean environment a right to life: SC issues pan-India directions on solid waste management ##CleanEnvironment ##EnvironmentalCompliance ##LegacyWaste ##MunicipalWaste ##SourceSegregation ##SWM ##WasteFreeIndia ##WasteManagementRules2026 #Environment #SolidWasteManagement #SupremeCourtOrder

https://www.europesays.com/uk/769416/ The big recycling change that will affect your plastic waste #AdamHerriott #Environment #FlexiblePlastic #FoodWaste #MunicipalWaste #PlasticBags #PlasticBottles #PlasticRecycling #Recycling #Science #UK #UnitedKingdom #WasteContainers

Teutonic Slaughter – Cheap Food Review

Becoming a fully-fledged metalhead is when you stop associating German metal with Rammstein and start with Teutonic thrash.…
#NewsBeep #News #Music #2026 #3.5 #BlindGuardian #cheapfood #Entertainment #GermanMetal #Helloween #IronShield #Jan26 #Kreator #municipalwaste #RammingSpeed #Rammstein #review #Reviews #Sodom #Tankard #TeutonicSlaughter #ThrashMetalRecords #UK #UnitedKingdom
https://www.newsbeep.com/uk/424472/

https://www.europesays.com/uk/762833/ Teutonic Slaughter – Cheap Food Review #2026 #35 #BlindGuardian #CheapFood #Entertainment #GermanMetal #Helloween #IronShield #Jan26 #Kreator #MunicipalWaste #music #RammingSpeed #Rammstein #Review #Reviews #Sodom #Tankard #TeutonicSlaughter #ThrashMetalRecords #UK #UnitedKingdom

Becoming a fully-fledged metalhead is when you stop associating German metal with Rammstein and start with Teutonic thrash.1 There’s something about Germany that just makes thrash metal meaner, dirtier, and nastier than anywhere else, and without Teutonic thrash, extreme metal would likely look very different from where it is today. Knowing and loving this heritage, Germany’s own Teutonic Slaughter throws their feather-capped hat into the ring with their third album, Cheap Food, brandishing both a ridiculous album cover and a conviction to maintain the glory of old school Teutonic thrash metal. But it can be a challenge staying firmly rooted in the past while sounding vital in the present. Can Teutonic Slaughter make the cut with Cheap Food, or will this record go down hard like dry currywurst?

A lot of bands aren’t good judges of their own sound, but Teutonic Slaughter deliver what’s on the tin with Cheap Food: no-nonsense German thrash built to bash your bratwurst in forthwith. Teutonic Slaughter riffs without restraint or mercy, drawing from the melodic but near-death metal aggressiveness of Kreator (“Redistribution,” “Hostage”) as vocalist Phillip Krisch rasps and growls with the volatility of Sodom’s Angelripper and the band tears through tracks in reckless, Tankardesque good-times-lovin’ fashion (“Witches Rock ‘n’ Roll,” “Give em Hell”). Krisch and Jan Heinen’s guitars are hefty and lacerated on Cheap Food, bolstered by drummer Christian Vollmer’s thunderous kicks and an even heftier bass presence from Fabian Kellermann. The power chord rules on Cheap Food, but Teutonic Slaughter mix it up whenever necessary, like on the twisty leads of “Cheap Food,” the arpeggios kicking off “Redistribution” or the harmonics-laden chorus of “Witches Rock ‘n’ Roll.” Teutonic Slaughter promised nothing but good, archetypal German thrash and Cheap Food has that in spades.

But more impressively, Cheap Food also delivers in hashing out good thrash to the masses by means of lean songwriting, blistering energy and vicious vocals. Though songs frequent the thrash iffy-zone of five-plus-minutes, Teutonic Slaughter serve riffs and ideas economically, letting nothing wear out and keeping energy squarely at eleven. Besides the back end of “Eviscerating Surgery” and the dead minute-and-a-half of “Intro,”2 Cheap Food is spry at 36 minutes and flies by in a head-banging haze. Teutonic Slaughter sound one volt from exploding on Cheap Food, baring teeth on “Redistribution” and “Fight the Reaper” with crossover levels of hardcore intensity reminiscent of Municipal Waste.3 Personally, I think it’s Krisch’s animal-like mic job that gives Cheap Food its meanest bite, lathering songs with deathly howls (“Eviscerating Surgery”), blackened roars (“Witches Rock ‘n’ Roll”), hardcore gang shouts (“Hostage”), and just some of the gnarliest barks and shouts this side of Sodom. Gnarly vocals on top of fatless, relentlessly aggressive songs is foam crowning Cheap Food’s beer stein, and brother, it’s flowing over.

Teutonic Slaughter made a simply fun album. You’re not getting any radical surprises out of Cheap Food, and that’s by design. Instead, Teutonic Slaughter delight through expert performances of well-trodden thrash staples. Heinen provides the dive-happy, shredful soloing you expect and demand from the genre, leaving everything he has on closer “Give ’em Hell” in a no-holds-bar display of guitar belligerence. Thematically, when not dealing in societal or political issues (“Cheap Food,” “Redistribution”), Teutonic Slaughter revel in the schlocky macabre (“Witches Rock ‘n’ Roll,” “Eviscerating Surgery”) and fist-pumping motivation (“Fight the Reaper,” “Give em Hell”). It’s not meant to be complicated. Teutonic Slaughter aimed to pound your brain to spätzle with Cheap Food, and if you give it a spin, they’ll have succeeded handily.

Worthy of their countrymates’ thrash legacies, Teutonic Slaughter produced an incredibly enjoyable album in Cheap Food. Riffing heavy, fast, and without stop, it’s a record that’s here for good times and for making good times. Perhaps it gets a bit played out by the end, repeating a short list of moves for half-an-hour, but Cheap Food proved to be a surprisingly compelling listen that only further endeared itself to me with every listen. Obviously, if you like thrash, I’m going to recommend you give Cheap Food a spin. If not, don’t let the door hit your lederhosen on the way out. Mahlzeit!



Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Iron Shield Records
Websites: facebook.com/teutonicslaughter | teutonicslaughter.bigcartel.com
Available Worldwide: January 30th, 2026

Paper and cardboard will be recycled separately from March in household bins change – here’s why

Many households will see changes to how they recycle cardboard and paper in the coming weeks, when the…
#NewsBeep #News #Environment #environment #foodwaste #municipalwaste #recyclablematerials #recycledproducts #recyclingbin #Recyclingcardboard #Science #sustainablepackaging #UK #UnitedKingdom
https://www.newsbeep.com/uk/419281/

Paper and cardboard will be recycled separately from March in household bins change – here’s why

Paper and cardboard will need to be recycled separately under new legislation coming into force from 31 March.…
#NewsBeep #News #Environment #environment #foodwaste #municipalwaste #recyclablematerials #recycledproducts #recyclingbin #Recyclingcardboard #Science #sustainablepackaging #UK #UnitedKingdom
https://www.newsbeep.com/uk/417190/

Power Trip and Municipal Waste to Headline 2026 Decibel Magazine Metal & Beer Fest: Philly:

#DecibelMagazineMetalBeerFest #Philly #PowerTrip #MunicipalWaste

Link: https://metalinsider.net/festivals/power-trip-and-municipal-waste-to-headline-2026-decibel-magazine-metal-beer-fest-philly

Concert Calendar (12/11-12/14) The Penultimate Hurrahs: Municipal Waste, Imperial Triumphant, & more:

#ConcertCalendar #MunicipalWaste #ImperialTriumphant #UpcomingShows

Link: https://metalinsider.net/touring/concert-calendar-12-11-12-14-the-penultimate-hurrahs-municipal-waste-imperial-triumphant-more

Morbikon – Lost Within the Astral Crypts

By Owlswald

When he’s not dealing in the Slime and Punishment of Municipal Waste or pissing off the neighbors with Iron Reagan, axe-wielder Phil “Landphil” Hall channels his focus into Morbikon. Formed in 2020, Hall’s black metal side-project earned recognition from AMG Industries when Ferox highlighted the supergroup’s debut, Ov Mournful Twilight, as his surprise record of 2022. Rooted in all things kvlt and trve, the album’s second wave frostbitten anthems plunged into the remnants of burned churches and stale corpse paint, resulting in “eight meloblack rippers calibrated to bring winter to your soul and whiplash to your neck.” Now, Morbikon’s sophomore LP finds Hall honing his homage to the black arts, promising to descend his creation into a deeper, more sepulchral state. Ignite your torch and prepare the Necronomicon—it’s time to get Lost Within the Astral Crypts.

Lost Within the Astral Crypts forges the scorched spirit of Ov Mournful Twilight into a leaner, more technical and overwhelmingly black entity. Drawing on the lineup’s pedigree, Morbikon’s collective talent coalesces into an authoritative, and at times downright impressive, synthesis of 90s-influenced blackened thrash. Vocalist Mathias “Vreth” Lillmåns (Finntroll, …And Oceans) returns with his characteristic throat-ripping vocals, as furious down-picked riffs and swarming, lightning-quick tremolodic scales consistently anchor the material firmly in the black. Complementing Hall’s stylish fretwork, drummer Pierce Williams (Ænigmatum, ex-Skeletal Remains)—who replaces Dave Witte—adds raw, destructive rhythms with tight rolls and syncopations that are both refreshing and sophisticated. Tracks like “Unending Legions of Baal,” “Masters of Eternal Night” and “Flames that Bind and Shadows Cast” evoke a full-on black metal assault reminiscent of Satyricon or Emperor, complete with pounding double bass and subtle synths, while “Ghoul Infested Mausoleum” and “Heavens that Burn and Eons Divided” push the envelope with airy Wintersun melodicism peppered with thrash savagery.

The necrotic might of Lost Within the Astral Crypts rests in Morbikon’s technical excellence, elevating the album’s eight tracks beyond the seminal Scandinavian sound. Worshipping at the altar of the almighty riff, Hall and company immediately demonstrate their capabilities on “Heavens that Burn and Eons Divided”—an energetic, fun and melodic banger driven by a potent layered tremolo attack, fantasy-toned leads and Williams’ tomb-raiding blasts that promptly underscore Morbikon’s technical ambition. “Ghoul Infested Mausoleum” features the record’s best tremolo riff: a spectral high/low scale progression imbued with nocturnal gravity, bolstered by Williams’ accented beats and Lillmåns’ gnarly shrieks. Shreddy, virtuosic solos on the title track, “Flames that Bind and Shadows Cast” and “Numeric Portal Ascendency” push Lost Within the Astral Crypts past the point of a stereotypical tremolo-fest, while strategic thrash and death explorations (such as the opening passage of “Flames that Bind and Shadows Cast”) help maintain listener interest before regrounding the album’s dark, aggressive roots.

Given Morbikon’s stellar execution and the album’s efficient 43-minute runtime—with little bloat to be found—any criticism must instead focus on Lost Within the Astral Crypts’ songwriting. “Masters of Eternal Night” is a serviceable track, but often clings too tightly to classic Scandinavian conventions (even adopting a familiar Mayhem-like conclusion), rendering it less engaging than the album’s superior cuts. “Sworn to the Beheaded King” briefly adopts a more aggressive, in-your-face death metal spirit at its midpoint, including a tasteful guitar solo. Yet, these highlights can’t mask the track’s conventionality as it quickly retreats to familiar black metal terrain. Although the monolithic presence of Lost Within the Astral Crypts occasionally falters in favor of genre conventions, stagnant sections (“Ghoul Infested Mausoleum,” “Flames that Bind and Shadows Cast”) and even some superfluous wankery (“Lost Within the Astral Crypts”), the underlying songwriting remains solid, with engaging riffs and hooks that are strong enough to largely sustain the album’s momentum.

Lost Within the Astral Crypts is a worthy reinvention of a well-trodden sound. While the album is certainly not groundbreaking—nor is it trying to be—it demonstrates top-notch musical dexterity and delivers exceptionally well-executed material that is aggressive, dark and steeped in 90s nostalgia. At its weakest, Lost Within the Astral Crypts serves as a grim invitation to exhume those second-wave classics from your collection; at its strongest, it stands as a fun, rock-solid blackened thrash record that advances and validates Hall’s creative vision, confirming Morbikon’s vast potential.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Tankcrimes
Websites: instagram.com/morbikon | facebook.com/morbikon
Releases Worldwide: November 21st, 2025

#andOceans #2025 #30 #aenigmatum #americanMetal #blackMetal #emperor #finntroll #ironReagan #lostWithinTheAstralCrypts #mayhem #morbikon #municipalWaste #nov25 #review #reviews #satyricon #skeletalRemains #tankcrimes #wintersun

Gig Review: Cannibal Corpse Sacrificed the Paramount – 10/17/25

#CannibalCorpse #MunicipalWaste #FullOfHell #Fulci #GigReview #LiveReview #LivePhotos #Photos

Link: https://metalinsider.net/photos/gig-review-cannibal-corpse-sacrificed-the-paramount-10-17-25

Sat September 20 - #NewEngland #Metal and #Hardcore #Festival in #WorcesterMA

Discounted passes avail through July 6, $90 all in, else $140

Headliner: #LornaShore
All Out War
Bayway
Big Ass Truck
#BuryYourDead (Final Show — Classic Lineup)
#CannibalCorpse
Chamber
Despised Icon
Drain
Full of Hell
Gates to Hell
Gideon
Guilt Trip
Hard Target
#KublaiKhan TX
Madball
#MunicipalWaste
PeelingFlesh
Sanguisugabogg
Shadow of Intent
Teeth
The Black Dahlia Murder
Varials
Vomit Forth

https://metalandhardcorefest.com
#NEMHF #BostonMusic 22/x #Boston #Worcester #massachusetts

Big drop today, #heavensgate has members of #cannibalcorpse #reversalofman and #municipalwaste to name a few. Tapes and CDs available from our temporary mini store toliveal.ie/hg

80s thrash and speed #metal is quite an aesthetic. I'm a bit familiar with it thanks to more recent bands like #MunicipalWaste, but look at this gem of a cover by #NuclearAssault!

Stress Test – Stress Test Review

By Dolphin Whisperer

Just as much as any genre that’s been around for 40-plus years, hardcore is not a monolith, not by a long stretch. As an unleashing of rough-and-tumble punk energy with an extra flash of sharpness and swagger, its permutations can run the gamut of high-tempo riffage, ragged vocal attitude, and instrumental histrionics, all while wearing the speed-loaded label. With a classic thrash attack and a dash of grind spirit, Stress Test wears the genre like a tattered and patched denim vest befitted with snappy pull-off runs, d-beat anthemics, and short bursts fit for a moshing audience. No one needs to reinvent the urge to start up the pit to have a good time.

Featuring the rhythm section of Unto Others, with Brandon Hill assuming guitar and vocals instead of bass for Stress Test, Stress Test lands with a polish and focus not typical of acts whose songs frequent the sub-two minute range. Though that energy presents in some of the harder-hitting cuts that Unto Others has to offer, Stress Test shares little but members in the kind of drive that this debut holds. Hill and co.’s understanding of the studio helps Stress Test find smart and punchy pockets for deep bass propulsions (“Coward,” “Bastard Behavior,” “Stress Test”), which go a long way in adding color to the snarl and shifty riffcraft that perpetuates its eighteen-minute run. And with colors that range from the early 90s death/grind of Napalm Death to the meatheaded aggro-crossover of Terror, Stress Test uses their experience to travel familiar paths with a skanking stride that sounds urgent.

Even though time-tested riffs and a cadence rooted in thrash history defines the simple appeal of Stress Test, its tracks flow with healthy variation to maintain a momentum that remains unbreakable and memorable. Embracing the smooth and sliding Exodus stomp with the brevity of Municipal Waste party bangers spells, on its own, an easy-to-enjoy, never-ending circle of punky abandon (“Coward,” “Bastard Behavior”). But that p-word attitude, alongside the other important p’s of pummel and political edge, also serves as its hissing core, fueling snarky sample punches (“Degrees of Violence,” “It Isn’t Real,” “God Sucks”) and unrelenting layered vocal assaults—a barking fervor and accompanying caveman-frenzied bellow—color the bouncing intensity as Stress Test progresses. Nothing that Stress Test rips from the sweat and beer-stained pages of thrash reads as new, but its in-and-out groove remains difficult to deny.

The choice to keep Stress Test svelte hinders how high it can fly, though. Stress Test knows their way around a whiplash tune and quick guitar hero cut-in to let accelerating tempos breathe (“Degrees of Violence,” “It Isn’t Real,” “Gullible”). And while these bite-size ragers take up a small percentage of runtime in this already low-commitment affair, they also make for the most interesting guitar parts that Stress Test can muster. Of course, it would be hard to call longer cuts like mid-album “Suffer” and “Bastard Behavior” slouching, as their vocal bite and rhythmic overload ensure swinging arms and cracking necks from start to finish. However, in their self-similar nature, along with “Stress Test,” they allow fewer avenues for Stress Test to leave a stronger identifying mark.

Yet, as a feisty debut, Stress Test makes for a powerful, practiced statement. It doesn’t take a virtuoso to make music that is fast, loud, and angry. But, as Stress Test shows, steady (enough) hands and an ear looking for the right accents and accelerations will find a grace in wild tempos that mimics the fury of an untethered mind. With a varied pool of legacy influences, these Portland-based punks hold the potential to develop their low-frills sound in just about any way that they choose. And though Stress Test lacks in extreme choices that could hoist this fledgling act to a loftier status, Stress Test has taken aim at becoming a primary form of relief for those in need of boiled-over thrash madness.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Transylvanian Recordings
Websites: stresstest.us | stresstestpdx.bandcamp.com | facebook.com/stresstestpdx
Releases Worldwide: February 28th, 2025

#2025 #30 #AmericanMetal #CrossoverThrash #CrustPunk #Exodus #Feb25 #Hardcore #MunicipalWaste #NapalmDeath #Review #Reviews #StressTest #Terror #TransylvanianRecordings #UntoOthers

LP 12" TOKE DE KEDA: "Holocaust: nightmare of death". Un #Crossover brutal de #Metal y #Punk al más puro estilo ochentero, desde Chile nos hicieron llegar esta estupendísima referencia, no dejara indiferente a fans de #GBH, #Anthrax o #MunicipalWaste. collectorseriesdiy.bandcamp.com/album/cs-044...

Black Talon – Scenes of Agony Review

By Kenstrosity

The thrash revival scene is alive and well, for better or worse. I don’t have a horse in the “for better or worse” race, but any thrash, newe or olde, hits hard when it strikes true. A big part of that impact comes from the spirit of thrash at its core. An inherent political lean and a pointed, punk energy defines much of what makes thrash thrash—to oversimplify the scene—and also makes up a significant portion of its appeal. For Edinburgh’s Black Talon, that spirit thrives and that appeal remains intact, despite ten long years separating their upcoming Scenes of Agony from their unsung debut, Endless Realities. With such a lengthy turnaround between albums, I’m interested to hear what Black Talon have to say in 2025.

If you’ve heard Havok and Municipal Waste, you possess a decent frame of reference for Black Talon’s sound. Throw in the particularly energetic wiles of Death Angel and their ilk, and a greater sense of familiarity with this material manifests. Politics and current events remain Black Talon’s subject of choice. To that end, earnest, if wholly unsubtle, lyrics deliver their message of frustration and disdain for various modern-age issues sneering from Johnny Steele’s versatile and venomous throat. Guitarist Rory Strachan stuffs an intimidating number of high-octane riffs, pulling from all corners of the thrashverse, into these forty-seven minutes, while drummer Dave Taylor pummels D-beats, freakouts, and double-bass runs—among other neat tricks—with wild abandon. Plucky and audible, bassist Eddie Campbell allots a delightful measure of low-end bounce to Scenes of Agony, giving the record a fuller heft than many modern records of this ilk can claim.

The style they play may be well-worn and reliable, but Black Talon’s execution on Scenes of Agony is rock-solid and at least a cut above stock. No matter where you look, a ridiculously effective hook lurks right around the corner. One of my favorite examples, “Falsifier” offers choice vocal nuggets such as “STAGES OF DENIAL AT YOUR DISCRETION,” bouncy riffing and a deeply satisfying double bass run to seal the song permanently inside my hippocampus. Quick and vicious cuts “Scenes of Agony,” “Cryptocracy,” and “Killing Time” offer similar sticky moments that make it easy to pick them out of a lineup without checking the tracklist. Unexpectedly, long-form troublemakers “Isolation” and “The Bastard Gene” also stand out as highlights by virtue of sheer vivacity. Even factoring in their somewhat lengthy buildups, these songs shrink before my ears so radically that I would never guess “Isolation” ran over nine minutes and “The Bastard Gene” barely under eight. To achieve this result, these numbers exhibit strong motifs of similar sharpness to their leaner companions, a high level of instrumental detail, and dynamic momentum.

Meanwhile, other sections of Scenes of Agony struggle to clear the high bar Black Talon set with their strongest material. Obviously, ten years of marinating time permitted even these cuts to make some marks, but offerings such as “Obnoxion” and closer “Not Meant to Last” don’t have the same staying power as others. In the former example, I struggle to grasp what the underlying message its lyrics mean to express. While it might be just a comprehension failure on my part (very likely), this confusion takes me out of the musical experience, as does the disorienting rapid fade that rudely shuts the number down. “Not Meant to Last,” on the flipside, simply lacks strong characteristics to magnify its voice in the greater crowd of engaging material preceding it, save for a very nice guitar solo. As a result, it sends Scenes of Agony off on a weaker note than it deserved. As an additional note, while I appreciate Black Talon’s focus on excellent riffcraft and muscular songwriting, developing fiery solo work, like that on “The Bastard Gene” and “Not Meant to Last,” into a few more nooks and crannies might’ve offered complementary points interest to an already compelling work.

It bears mentioning that Scenes of Agony sounds great regardless of its songwriting strengths and weaknesses. Full tones, rich textures, and a nice balance between instruments with Johnny’s vocals placed appropriately in front, this production strikes the right chord with this sponge. In effect, that’s what pushes Scenes of Agony past Good and into Very Good territory. It’s clear Black Talon loved making this record, and that care and passion for the craft comes through in the final product. A couple of nicks here and there aren’t nearly enough to dull the ear-catching luster of what might be one of the better modern thrash records to come out this year. Only time will tell!

Rating: Very Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: blacktalonthrash.bandcamp.com | facebook.com/blacktalonthrash
Releases Worldwide: January 31st, 2025

#2025 #35 #BlackTalon #BritishMetal #DeathAngel #Havok #Jan25 #MunicipalWaste #Review #Reviews #ScenesOfAgony #SelfRelease #ThrashMetal #UK

Gig Review: Cannibal Corpse / Municipal Waste / Immolation / Schizophrenia – Barrowlands, Glasgow (26th September 2024)

It's hard to believe it's been eleven years since I last saw Cannibal Corpse live, at least a full set (they played Bloodstock in

https://www.moshville.co.uk/reviews/gig-review/2024/09/gig-review-cannibal-corpse-municipal-waste-immolation-schizophrenia-barrowlands-glasgow-26th-september-2024/

#GigReviews #CannibalCorpse #Immolation #MunicipalWaste #Schizophrenia

Hatchend – Summer of ’69 Review

By Dolphin Whisperer

Nice.1 Or maybe you were thinking about the classic Bryan Adams song of the same name? Just what does a title like Summer of ’69 invoke? Maybe your mind raced to throwback stoner rock—nope, sorry. Perhaps the pop art cover took you to a bright, synth-coated land of big choruses and bigger hair? Still wrong, though. Hatchend instead circles about—cobbled of various Swedish extreme acts—waters of punk-loaded, gravel-voiced crossover thrash. And with a handful of riffs, one song structure, and an urge to throw arms, these crusty hooligans have birthed Summer of ’69. There was a pit at Woodstock, right?2

True to the classic ideals that the aged title represents, Hatchend delivers punky banger after punky banger with just about zero frills. In this lane of sonic fury, fueled by the likes of hardcore/crossover icons like Discharge and D.R.I., it can be hard to deliver a collection that iterates on the already basic structure that the style holds. Guitarist Elis Edin Markskog knows well from his main act, Birdflesh, that a little fluff and feather-ruffling can add a memorable edge to your act. Still, Hatchend seems to eschew most of that letting some mildly abrasive names apply surface wounds to the audience’s eyes (“Bloodthirsty Degenerate,” “A Fierce Scalpel Menace”). Other acts that find no charge in silly or serious messaging instead fly by the power of intensity of tone and delivery. And while Kalle Nimhagen’s (Deathening) death metal-leaning bark supplies a tactile mic spray, it also starts to beg the question of whether Hatchend really has more to offer than a tightly executed tune.

Hatchend kicks off every song of this eight-pack with all the right hooky hammers. When you’re a crossover act of the Municipal Waste variety, that first five to ten seconds of glory only have to hit hard enough to keep the fire burning. Hammering cymbal counts (“Shackled Humanity,” “Scape Goat”), full power riffage (“A Fierce Scalpel Menace,” “Feed This Emptiness”), and hyper-aggressive bass thumpage (“Who’s the Foe Today?”) all weight heavy in Summer’s arsenal of distorted charms. However, with each song being of a longer runtime, in the three to five-minute range, these mostly effective plays can’t carry enough energy into the verses and choruses and blast breaks that feel largely interchangeable between each track.

To make the menagerie of power chord shuffles even more of an indistinguishable hum, Hatchend heaves mix balance to the wayside in a bass-forward presentation that is beyond crusty. Despite the reputation that some of thrash metal’s bigger names may push, thick and leading bass rattling leads the charge in celebrated acts like Overkill or Nuclear Assault. And even in the hardcore lane that inspires this conversation more, Discharge and the like hold a respectable and flashy bass performance at the heart of their aggression—one that is heard and felt alongside all else. But Hatchend has chosen the path of the bulldozer with Dan Bengtsson’s (Pyramido, ex-Crowpath) volume-gorged bass running so wide it near negates the need for the rhythm guitar to even exist. Markskog is far from a slouch on the six, and with a real dialed ear, his riffs run bluesy, playful—and he gets a few moments to break through when there’s a little less on the board. But the choice to bury the guitars in a bassy grave robs Markskog’s performance of nuance.

Hatchend’s thirty-minute first impression struggles to break through the established lineage of thrashers, punks, and their predecessors. Overloud and under-expressed, the band’s sound lacks clarity. Summer of ’69 falls short of telling a compelling story, neither warm enough to be fanciful nor abrasive enough to embrace nihilism. It does, however, achieve the goal of being a burst of high-tempo mosh energy should you need it. With the pedigree of the manic minds who have brought forth plenty of extreme music before, I would expect no less. Unfortunately, I was also hopeful for more.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Selfmadegod Records | Bandcamp
Website: facebook.com/hatchendofficial
Releases Worldwide: August 23rd, 2024

#20 #2024 #Aug24 #Birdflesh #CrossoverThrash #CrustPunk #DBeat #DRI_ #Discharge #Hardcore #Hatchend #MunicipalWaste #NuclearAssault #Overkill #Review #Reviews #SummerOf69 #SwedishMetal #ThrashMetal