#overkill — Public Fediverse posts

Hölle, Hölle, Hölle

https://musiccloud.io/vVoyUNr4

#Overkill

Much of underground metal is fueled by the devotion of single-minded enthusiasts. For every obscure band that spends years lingering between major releases, there are several solitary creators like Gary Brents or Damián Antón Ojeda whose prolific output forms a substantial part of the genre’s global ecosystem. Die Entweihung is one such project, serving as the creative outlet for Israeli multi-instrumentalist Denis Tereschenko. Over the past 15 years, Tereschenko has released an astonishing 11 full-length albums under the Die Entweihung banner. I’d never encountered his work before, but the project’s latest release, Worldwide Terror, landed in our overflowing promo bin promising a blend of progressive thrash and classic heavy metal. Joined by vocalist Alena 7, Tereschenko aims to deliver a forward-thinking, challenging record fit for a turbulent era. With that much experience behind him, does Die Entweihung’s twelfth full-length live up to its ambitions?

The particular brand of thrash on Worldwide Terror feels ripped straight out of the mid-80s. This is a vintage flavor of the style that largely eschews modern production and tonecraft for an analog-flavored, heavy metal-adjacent payload that recalls early Overkill, tempered with flashes of Voivod. The eponymous opener sets the stage with the expected power-chord gallop, but tempers its aggression with subtle melodic keyboard lines throughout and largely succeeds as a piece of throw-back enjoyment. Tereschenko deploys plenty of energetic, odd-meter riffs, and his active bass work and grounded drumming style provide some much-appreciated instrumental meat even as the song rides a standard structure for just a tad too long. On tracks like this and “Warriors of the Lie,” Die Entweihung reads as competent prog-tinged retro thrash executed with just enough personality to keep things engaging, but the same cannot be said for much of the album’s runtime.

Alena 7’s vocal performance on Worldwide Terror recalls the hard-rocking delivery of Doro Pesch or Lee Aaron, lending Die Entweihung a distinctive, campy personality even when the vocal lines themselves fall short. She switches between throaty mid-growls and charmingly unpolished operatics, but too many songs are undermined by grating melodies. The hooks on “Newborn,” “Really Your Life, and “Eight Billion Headed Whore” are particularly tough to stomach, actively detracting from the listening experience. Thrash may not be known for stellar vocal performances, but the record’s heavier traditional-metal leanings and vintage production place far more emphasis on the vocals, making their inconsistencies difficult to ignore. As a result, the back half becomes a slog, particularly when the shaky vocals are compounded by increasingly uninspired songwriting.

There are plenty of exciting instrumental moments on Worldwide Terror, but the disparate pieces rarely coalesce into satisfying songs. Die Entweihung largely deploys all-too-familiar riffs and songwriting clichés that just fail to register as anything interesting. Tereschenko is a skilled musician who understands the assignment, yet his compositions too often feel plodding and directionless. Every track stretches past the five-minute mark, and there simply isn’t enough substance to justify those runtimes. “The Darkest Morning” and “Newborn” push seven and eight minutes, respectively, and while both feature dynamic shifts and notable turns, their transitions are clumsy enough that every minute of their length is felt. Occasional flourishes, like the strings and saxophone interjections on “Generation of Pawns,” add some welcome texture but can’t rescue songs that fundamentally lack momentum. Moreso, the record features two full-length instrumentals (“Generation of Pawns” and “The Brightest Night”) which offer little structural variation and ultimately feel more like unfinished compositions in search of vocals.

It brings me no joy to pen such a negative review of a small artist, but I struggled immensely to make it through repeat listens of Worldwide Terror. Die Entweihung has delivered an album of overlong songs built around riffs that are simultaneously boilerplate and ineffective, further kneecapped by some genuinely unpleasant vocal lines. It’s clear that Tereschenko is both a veteran of the scene and a talented musician, but this entry in his prolific catalog is best left unattended.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Morbid and Miserable Records
Websites: morbidandmiserable.bandcamp.com| instagram.com/dieentweihung
Releases Worldwide: August 7th, 2026

#nowspinning Years of Decay - #Overkill ❤️

Wegen Krankheit habe ich zwei Tickets für Overkill im Z-Bau abzugeben. Das Konzert findet am 16.7. ab 20 Ihr statt.

https://z-bau.com/programm/overkill-us-150641

Tickets kosten normal 43 € das Stück. Ich würde mich freuen, wenn wir uns auf 30 € pro Ticket einigen.

#nürnberg #zbau #overkill #konzert #metal

👀 Oh, look! A casual afternoon stroll turned into a lifetime #vacation courtesy of the federal pen 🏝️🔒. Who knew waving a sign could result in more time than a Shakespearean play? #OverkillMuch 😂
https://prairielanddefendants.com/press-release/eight-federal-prairieland-defendants-sentenced-today-to-prison-terms-ranging-from-30-100-years-for-common-protest-activity/ #casualstroll #federalpen #overkill #humor #HackerNews #ngated

Report: #Russia's #nuclear-powered '#Skyfall' missile is dirty and dangerous

By Geoff Brumfiel, Connie Hanzhang Jin, June 18, 2026

"According to Russian and Western sources, the new weapon, known in Russian as #Burevestnik and by NATO as Skyfall, was powered by a small nuclear reactor. Few other details were forthcoming."

https://www.npr.org/2026/06/18/nx-s1-5843252/russia-nuclear-powered-missile-burevestnik

#WorldPol #NoNukesInSpace #USPol #RusPol #ColdWar #ProjectPluto #PutinSucks #NoNukes #NoWar #NoNuclearWar #Overkill

Since opining on thrash metal’s 2026 resurgence in Nukem’s The Grave Remains review, a steady stream of thrash clans have continued to trickle into the promo sump. Next up is Vancouver power trio W.M.D.,1 short for When Minds Develop. Formed in 2015, W.M.D. unleashed debut Lethal Revenge in 2018 before losing all but one of their founding members—guitarist and vocalist Skyler Mills. After recruiting bassist Jon Power and drummer Ryan Idris in 2023, this wrecking crew set to write and record their sophomore opus Against All Warnings. Eight years is a long time between albums, and turning over nearly the entire band can radically shift its dynamics. Has W.M.D. cleared these hurdles and incubated weapons of thrash destruction, or do they deliver a new album Against All Warnings?

W.M.D. plays thrash the way the old school intended—breakneck and direct. Against All Warnings mostly reminds me of East Coast acts, specifically Overkill and Anthrax, due to the in-your-face attitude, low-frills precision, and spirited bass spunk. Although these benchmarks are most immediate, subtler influences surface by way of Megadethian technicality and razor-sharp riffing à la classic Exodus. I’d also be remiss not to mention Hyperia, which currently features Mills and Power while hosting Idris as their live drummer. Regardless, W.M.D. absorbs the thrash that came before and forges it into a sound all their own—and it rips.

Taking crossover’s blistering speeds and supercharging them with riveting performances, Against All Warnings rams oodles of riffs, grooves, and rolls into forty engrossing minutes. I’m a sucker for bass presence, and W.M.D. packs enough beef to induce a weeklong case of the meat sweats. Jon Power discharges his burly low-end throughout Against All Warnings, bouncing and clanging with the vim and vigor of Verni or DiGiorgio (“Kleptomania,” “The Thin Red Line”). Idris rounds out the rhythm section, nimbly whipsawing across the kit as he maneuvers through full-throttle barrages (“Against All Warnings,” “Painful Vengeance”), half-time chugs (“The Thin Red Line,” “Already Dead”), and herky-jerky stutter stops (“Post Human Predator”). Mills takes on the rest, laying down barbed hooks (“The Black Expanse”) and snotty vocals that recall Lich King and Havok. As the cherry on top, guests Casey Trask (“Post Human Predator,” “Painful Vengeance”) and Kai Sakaguchi (“Against All Warnings”) contribute scorching solos, ensuring there’s never a dearth of pyrotechnics. In all, there’s no weak link in the chain, and Against All Warnings bristles with thrashy vitality.

Nearly as impressive as W.M.D.’s onslaught is their elusion of critical flaws. Against All Warnings sidesteps major pitfalls as W.M.D. navigates the treacherous channels of thrash, dancing along the knife’s edge between the genre’s primary criticisms: unoriginal and retreaded compositions and unserious stylings. Rather, the trio plays infectiously vibrant metal with utter conviction, and I’m here for every second of it. This doesn’t mean the album is perfect, however, and some fine-tuning would elevate Against All Warnings even higher. First, penultimate track “Already Dead” lingers at the end, which would be more palatable if it were the finale. Instead, after a slightly prolonged fade of thunder, we’re given “Painful Vengeance.” Switching the order of these tracks or pushing “Painful Vengeance” even earlier would work better. Also, while the production is warm and organic, the album plays a little too quietly. It’s not an issue if I’m only listening to Against All Warnings, but its songs are noticeably muted when thrown into a playlist with other material. Still, these complaints prove minor quibbles compared to the indisputable boom W.M.D. unleashes.

Thrash detractors may not be convinced by Against All Warnings, but they should be. It’s impossible to deny the energy and conviction coursing through W.M.D.’s balls-out blitz, where relentless speeds, head-banging hooks, and rousing choruses embody W.M.D.’s full-tilt bonanza. Against All Warnings ensconces itself as the best thrash album I’ve heard so far in 2026,2 and sets a high bar for the rest of the year. Somebody ought to sign these Canucks, because they’re peddling a potent brew that’s guaranteed to please, Warnings be damned.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: June 5th, 2026

@RxBrad #haunted #cursed #overkill #blessed #hashtag

#Overkill playing Overkill but it's not their Overkill but a cover of #Motörhead

SO MUCH OVERKILL!

https://song.link/y/QIFmWHAKeLI

@cvedatabase

That problems origin probably lies somewhere else:
#npm #dependency #overkill #dependencyhell #overuse

Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,1 this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026