#power-trip — Public Fediverse posts

Ah yes, the riveting saga of "rich tech dude tries Linux" 🙄. Apparently, #Omarchy is the groundbreaking fusion of Arch #Linux and some guy's config files—truly a revolution in mediocrity 🎉. If you've ever wondered what happens when someone with too much time and money chases a pointless power trip, here's your answer 🥳.
https://tante.cc/2026/09/11/power-grab/ #richtechdude #techmediocrity #powertrip #archlinux #HackerNews #ngated

Ah yes, the riveting saga of "rich tech dude tries Linux" 🙄. Apparently, #Omarchy is the groundbreaking fusion of Arch #Linux and some guy's config files—truly a revolution in mediocrity 🎉. If you've ever wondered what happens when someone with too much time and money chases a pointless power trip, here's your answer 🥳.
https://tante.cc/2026/09/11/power-grab/ #richtechdude #techmediocrity #powertrip #archlinux #HackerNews #ngated

Ah yes, the riveting saga of "rich tech dude tries Linux" 🙄. Apparently, #Omarchy is the groundbreaking fusion of Arch #Linux and some guy's config files—truly a revolution in mediocrity 🎉. If you've ever wondered what happens when someone with too much time and money chases a pointless power trip, here's your answer 🥳.
https://tante.cc/2026/09/11/power-grab/ #richtechdude #techmediocrity #powertrip #archlinux #HackerNews #ngated

Ah yes, the riveting saga of "rich tech dude tries Linux" 🙄. Apparently, #Omarchy is the groundbreaking fusion of Arch #Linux and some guy's config files—truly a revolution in mediocrity 🎉. If you've ever wondered what happens when someone with too much time and money chases a pointless power trip, here's your answer 🥳.
https://tante.cc/2026/09/11/power-grab/ #richtechdude #techmediocrity #powertrip #archlinux #HackerNews #ngated

Ah yes, the riveting saga of "rich tech dude tries Linux" 🙄. Apparently, #Omarchy is the groundbreaking fusion of Arch #Linux and some guy's config files—truly a revolution in mediocrity 🎉. If you've ever wondered what happens when someone with too much time and money chases a pointless power trip, here's your answer 🥳.
https://tante.cc/2026/09/11/power-grab/ #richtechdude #techmediocrity #powertrip #archlinux #HackerNews #ngated

Maryland’s Ninth Realm has the scales of judgement tipped in their favor from the outset. First, Jerry “Wyrmwalk” Hionis’ stunning cover art is impossible to ignore, resembling a version of Dissection’s Storm of the Light’s Bane turned up to eleven. Then there’s the band’s origin story. Drummer Joey Burke and guitarist Liam McMahon first met in a medieval history class at the University of Maryland, both sporting metal shirts. They sat next to each other, became friends, started making music, and voilà, Ninth Realm was born. Their debut, A Fate Unbroken (2022), introduced the scene to the quintet’s aggressive mix of styles and traditions, until our friends at Transcending Obscurity snatched them up for their sophomore release. With the stage now set, Damnation’s Veil arrives, and if the album is half as mighty as the forces that brought it into being, listeners are in for a treat.

Damnation’s Veil thrives on berserker energy, hurling itself forward with barely any controlled momentum while somehow still holding itself together. Ninth Realm play with the reckless abandon of thrash, but channel it with hardcore hostility. Burke once labeled it “…a band for hardcore kids who are into Iron Maiden or Manowar” and honestly, that isn’t too far from the truth. Still, easy comparisons remain elusive. Throughout Damnation’s Veil, the group ventures into Deceased’s rancid death (“All Hail Treachery,” “Damnation’s Veil”), embraces classic heavy metal heroics (“Twilight’s Blade,” “Wyrd of Strideborne”), and dishes out a heavy dose of pit-inducing Power Trip thrash. Guitarists Liam McMahon and Charles House lead the charge with a barrage of galloping riffs and merciless hooks, while Ben Hageage serves as the battlefield herald, his corrosive roars pronouncing judgment upon the fallen as Damnation’s Veil’s eleven tracks pass in a blur of steel and fire. Burke’s performance on songs like “Beyond the Void,” “Wyrd of Strideborne,” and “Cohorts of the Abyss” feels so untethered at times they could be considered sloppy, yet that untamed quality is also part of Ninth Realm’s charm.

Ninth Realm storm battlements, raze villages and leave little standing, blasting through their overpowering blend of metal with unyielding force. The title track is a battering ram of old-school blackened death and thrash that charges forward like an armored destrier, carrying the ferocity of Dissection and hitting with lethal force as its thunderous drums and swarms of buzzing tremolos ignite the sky with dragonfire. “Cohorts of the Abyss” and “Imbued in Hellfire” immediately take off on a thrash-induced frenzy that drags your defenseless body behind the war wagon without remorse, while “Rituals in Thar’amath” taps into the compressed hardcore violence of Nails. Outside atmospheric opener “Valigeth,” Ninth Realm only lower their guard once across the record’s 37 minutes, offering a brief respite with interlude “Orphaned Throne” before the siege engines roar back to life with “Wyrd of Strideborne.”

And it’s here, in Damnation’s Veil’s back half, where classic metal begins to assert itself. Shifting gears, Ninth Realm embrace a more traditional speed philosophy on “Beyond the Void,” “Wyrd of Strideborne,” and “Twilight’s Blade,” pairing epic intros with galloping riffs. The classic metal influences add variety, but they come at the expense of some of the urgency that fuels the record’s strongest material before “Orphaned Throne.” Although the latter portion of Damnation’s Veil never collapses, the songwriting feels less assured and energetic, occasionally stumbling into clunkier passages that lack the conviction of earlier tracks. Aside from the excellent “All Hail Treachery,” few back-half songs reach the same heights as the material before it. The record also largely adheres to a formula that Ninth Realm are clearly adept at executing and while there’s nothing inherently wrong with that approach, the result feels a bit too one-trick at times, leaving me satisfied in the moment without leading to an immediate urge to revisit it.

With Damnation’s Veil, Ninth Realm have crafted an album that seeks to run listeners through with a broadsword before tossing their remains into the nearest moat, and they certainly succeed. Old-school charm permeates Damnation’s Veil, broadening its appeal across the metal spectrum. Although Ninth Realm’s sound breaks little new ground and their reliance on a familiar formula prevents the record from ascending to greater heights, there is nothing wrong with the approach these Marylanders embrace. Armed with energy, charisma, and plenty of attack, Ninth Realm are destined for bigger battles ahead.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: ninthrealm-label.bandcamp.com/album/damnations-veil | instagram.com/ninthrealmmd
Releases Worldwide: August 28th, 2026

Maryland’s Ninth Realm has the scales of judgement tipped in their favor from the outset. First, Jerry “Wyrmwalk” Hionis’ stunning cover art is impossible to ignore, resembling a version of Dissection’s Storm of the Light’s Bane turned up to eleven. Then there’s the band’s origin story. Drummer Joey Burke and guitarist Liam McMahon first met in a medieval history class at the University of Maryland, both sporting metal shirts. They sat next to each other, became friends, started making music, and voilà, Ninth Realm was born. Their debut, A Fate Unbroken (2022), introduced the scene to the quintet’s aggressive mix of styles and traditions, until our friends at Transcending Obscurity snatched them up for their sophomore release. With the stage now set, Damnation’s Veil arrives, and if the album is half as mighty as the forces that brought it into being, listeners are in for a treat.

Damnation’s Veil thrives on berserker energy, hurling itself forward with barely any controlled momentum while somehow still holding itself together. Ninth Realm play with the reckless abandon of thrash, but channel it with hardcore hostility. Burke once labeled it “…a band for hardcore kids who are into Iron Maiden or Manowar” and honestly, that isn’t too far from the truth. Still, easy comparisons remain elusive. Throughout Damnation’s Veil, the group ventures into Deceased’s rancid death (“All Hail Treachery,” “Damnation’s Veil”), embraces classic heavy metal heroics (“Twilight’s Blade,” “Wyrd of Strideborne”), and dishes out a heavy dose of pit-inducing Power Trip thrash. Guitarists Liam McMahon and Charles House lead the charge with a barrage of galloping riffs and merciless hooks, while Ben Hageage serves as the battlefield herald, his corrosive roars pronouncing judgment upon the fallen as Damnation’s Veil’s eleven tracks pass in a blur of steel and fire. Burke’s performance on songs like “Beyond the Void,” “Wyrd of Strideborne,” and “Cohorts of the Abyss” feels so untethered at times they could be considered sloppy, yet that untamed quality is also part of Ninth Realm’s charm.

Ninth Realm storm battlements, raze villages and leave little standing, blasting through their overpowering blend of metal with unyielding force. The title track is a battering ram of old-school blackened death and thrash that charges forward like an armored destrier, carrying the ferocity of Dissection and hitting with lethal force as its thunderous drums and swarms of buzzing tremolos ignite the sky with dragonfire. “Cohorts of the Abyss” and “Imbued in Hellfire” immediately take off on a thrash-induced frenzy that drags your defenseless body behind the war wagon without remorse, while “Rituals in Thar’amath” taps into the compressed hardcore violence of Nails. Outside atmospheric opener “Valigeth,” Ninth Realm only lower their guard once across the record’s 37 minutes, offering a brief respite with interlude “Orphaned Throne” before the siege engines roar back to life with “Wyrd of Strideborne.”

And it’s here, in Damnation’s Veil’s back half, where classic metal begins to assert itself. Shifting gears, Ninth Realm embrace a more traditional speed philosophy on “Beyond the Void,” “Wyrd of Strideborne,” and “Twilight’s Blade,” pairing epic intros with galloping riffs. The classic metal influences add variety, but they come at the expense of some of the urgency that fuels the record’s strongest material before “Orphaned Throne.” Although the latter portion of Damnation’s Veil never collapses, the songwriting feels less assured and energetic, occasionally stumbling into clunkier passages that lack the conviction of earlier tracks. Aside from the excellent “All Hail Treachery,” few back-half songs reach the same heights as the material before it. The record also largely adheres to a formula that Ninth Realm are clearly adept at executing and while there’s nothing inherently wrong with that approach, the result feels a bit too one-trick at times, leaving me satisfied in the moment without leading to an immediate urge to revisit it.

With Damnation’s Veil, Ninth Realm have crafted an album that seeks to run listeners through with a broadsword before tossing their remains into the nearest moat, and they certainly succeed. Old-school charm permeates Damnation’s Veil, broadening its appeal across the metal spectrum. Although Ninth Realm’s sound breaks little new ground and their reliance on a familiar formula prevents the record from ascending to greater heights, there is nothing wrong with the approach these Marylanders embrace. Armed with energy, charisma, and plenty of attack, Ninth Realm are destined for bigger battles ahead.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: ninthrealm-label.bandcamp.com/album/damnations-veil | instagram.com/ninthrealmmd
Releases Worldwide: August 28th, 2026

Maryland’s Ninth Realm has the scales of judgement tipped in their favor from the outset. First, Jerry “Wyrmwalk” Hionis’ stunning cover art is impossible to ignore, resembling a version of Dissection’s Storm of the Light’s Bane turned up to eleven. Then there’s the band’s origin story. Drummer Joey Burke and guitarist Liam McMahon first met in a medieval history class at the University of Maryland, both sporting metal shirts. They sat next to each other, became friends, started making music, and voilà, Ninth Realm was born. Their debut, A Fate Unbroken (2022), introduced the scene to the quintet’s aggressive mix of styles and traditions, until our friends at Transcending Obscurity snatched them up for their sophomore release. With the stage now set, Damnation’s Veil arrives, and if the album is half as mighty as the forces that brought it into being, listeners are in for a treat.

Damnation’s Veil thrives on berserker energy, hurling itself forward with barely any controlled momentum while somehow still holding itself together. Ninth Realm play with the reckless abandon of thrash, but channel it with hardcore hostility. Burke once labeled it “…a band for hardcore kids who are into Iron Maiden or Manowar” and honestly, that isn’t too far from the truth. Still, easy comparisons remain elusive. Throughout Damnation’s Veil, the group ventures into Deceased’s rancid death (“All Hail Treachery,” “Damnation’s Veil”), embraces classic heavy metal heroics (“Twilight’s Blade,” “Wyrd of Strideborne”), and dishes out a heavy dose of pit-inducing Power Trip thrash. Guitarists Liam McMahon and Charles House lead the charge with a barrage of galloping riffs and merciless hooks, while Ben Hageage serves as the battlefield herald, his corrosive roars pronouncing judgment upon the fallen as Damnation’s Veil’s eleven tracks pass in a blur of steel and fire. Burke’s performance on songs like “Beyond the Void,” “Wyrd of Strideborne,” and “Cohorts of the Abyss” feels so untethered at times they could be considered sloppy, yet that untamed quality is also part of Ninth Realm’s charm.

Ninth Realm storm battlements, raze villages and leave little standing, blasting through their overpowering blend of metal with unyielding force. The title track is a battering ram of old-school blackened death and thrash that charges forward like an armored destrier, carrying the ferocity of Dissection and hitting with lethal force as its thunderous drums and swarms of buzzing tremolos ignite the sky with dragonfire. “Cohorts of the Abyss” and “Imbued in Hellfire” immediately take off on a thrash-induced frenzy that drags your defenseless body behind the war wagon without remorse, while “Rituals in Thar’amath” taps into the compressed hardcore violence of Nails. Outside atmospheric opener “Valigeth,” Ninth Realm only lower their guard once across the record’s 37 minutes, offering a brief respite with interlude “Orphaned Throne” before the siege engines roar back to life with “Wyrd of Strideborne.”

And it’s here, in Damnation’s Veil’s back half, where classic metal begins to assert itself. Shifting gears, Ninth Realm embrace a more traditional speed philosophy on “Beyond the Void,” “Wyrd of Strideborne,” and “Twilight’s Blade,” pairing epic intros with galloping riffs. The classic metal influences add variety, but they come at the expense of some of the urgency that fuels the record’s strongest material before “Orphaned Throne.” Although the latter portion of Damnation’s Veil never collapses, the songwriting feels less assured and energetic, occasionally stumbling into clunkier passages that lack the conviction of earlier tracks. Aside from the excellent “All Hail Treachery,” few back-half songs reach the same heights as the material before it. The record also largely adheres to a formula that Ninth Realm are clearly adept at executing and while there’s nothing inherently wrong with that approach, the result feels a bit too one-trick at times, leaving me satisfied in the moment without leading to an immediate urge to revisit it.

With Damnation’s Veil, Ninth Realm have crafted an album that seeks to run listeners through with a broadsword before tossing their remains into the nearest moat, and they certainly succeed. Old-school charm permeates Damnation’s Veil, broadening its appeal across the metal spectrum. Although Ninth Realm’s sound breaks little new ground and their reliance on a familiar formula prevents the record from ascending to greater heights, there is nothing wrong with the approach these Marylanders embrace. Armed with energy, charisma, and plenty of attack, Ninth Realm are destined for bigger battles ahead.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: ninthrealm-label.bandcamp.com/album/damnations-veil | instagram.com/ninthrealmmd
Releases Worldwide: August 28th, 2026

Maryland’s Ninth Realm has the scales of judgement tipped in their favor from the outset. First, Jerry “Wyrmwalk” Hionis’ stunning cover art is impossible to ignore, resembling a version of Dissection’s Storm of the Light’s Bane turned up to eleven. Then there’s the band’s origin story. Drummer Joey Burke and guitarist Liam McMahon first met in a medieval history class at the University of Maryland, both sporting metal shirts. They sat next to each other, became friends, started making music, and voilà, Ninth Realm was born. Their debut, A Fate Unbroken (2022), introduced the scene to the quintet’s aggressive mix of styles and traditions, until our friends at Transcending Obscurity snatched them up for their sophomore release. With the stage now set, Damnation’s Veil arrives, and if the album is half as mighty as the forces that brought it into being, listeners are in for a treat.

Damnation’s Veil thrives on berserker energy, hurling itself forward with barely any controlled momentum while somehow still holding itself together. Ninth Realm play with the reckless abandon of thrash, but channel it with hardcore hostility. Burke once labeled it “…a band for hardcore kids who are into Iron Maiden or Manowar” and honestly, that isn’t too far from the truth. Still, easy comparisons remain elusive. Throughout Damnation’s Veil, the group ventures into Deceased’s rancid death (“All Hail Treachery,” “Damnation’s Veil”), embraces classic heavy metal heroics (“Twilight’s Blade,” “Wyrd of Strideborne”), and dishes out a heavy dose of pit-inducing Power Trip thrash. Guitarists Liam McMahon and Charles House lead the charge with a barrage of galloping riffs and merciless hooks, while Ben Hageage serves as the battlefield herald, his corrosive roars pronouncing judgment upon the fallen as Damnation’s Veil’s eleven tracks pass in a blur of steel and fire. Burke’s performance on songs like “Beyond the Void,” “Wyrd of Strideborne,” and “Cohorts of the Abyss” feels so untethered at times they could be considered sloppy, yet that untamed quality is also part of Ninth Realm’s charm.

Ninth Realm storm battlements, raze villages and leave little standing, blasting through their overpowering blend of metal with unyielding force. The title track is a battering ram of old-school blackened death and thrash that charges forward like an armored destrier, carrying the ferocity of Dissection and hitting with lethal force as its thunderous drums and swarms of buzzing tremolos ignite the sky with dragonfire. “Cohorts of the Abyss” and “Imbued in Hellfire” immediately take off on a thrash-induced frenzy that drags your defenseless body behind the war wagon without remorse, while “Rituals in Thar’amath” taps into the compressed hardcore violence of Nails. Outside atmospheric opener “Valigeth,” Ninth Realm only lower their guard once across the record’s 37 minutes, offering a brief respite with interlude “Orphaned Throne” before the siege engines roar back to life with “Wyrd of Strideborne.”

And it’s here, in Damnation’s Veil’s back half, where classic metal begins to assert itself. Shifting gears, Ninth Realm embrace a more traditional speed philosophy on “Beyond the Void,” “Wyrd of Strideborne,” and “Twilight’s Blade,” pairing epic intros with galloping riffs. The classic metal influences add variety, but they come at the expense of some of the urgency that fuels the record’s strongest material before “Orphaned Throne.” Although the latter portion of Damnation’s Veil never collapses, the songwriting feels less assured and energetic, occasionally stumbling into clunkier passages that lack the conviction of earlier tracks. Aside from the excellent “All Hail Treachery,” few back-half songs reach the same heights as the material before it. The record also largely adheres to a formula that Ninth Realm are clearly adept at executing and while there’s nothing inherently wrong with that approach, the result feels a bit too one-trick at times, leaving me satisfied in the moment without leading to an immediate urge to revisit it.

With Damnation’s Veil, Ninth Realm have crafted an album that seeks to run listeners through with a broadsword before tossing their remains into the nearest moat, and they certainly succeed. Old-school charm permeates Damnation’s Veil, broadening its appeal across the metal spectrum. Although Ninth Realm’s sound breaks little new ground and their reliance on a familiar formula prevents the record from ascending to greater heights, there is nothing wrong with the approach these Marylanders embrace. Armed with energy, charisma, and plenty of attack, Ninth Realm are destined for bigger battles ahead.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: ninthrealm-label.bandcamp.com/album/damnations-veil | instagram.com/ninthrealmmd
Releases Worldwide: August 28th, 2026

Maryland’s Ninth Realm has the scales of judgement tipped in their favor from the outset. First, Jerry “Wyrmwalk” Hionis’ stunning cover art is impossible to ignore, resembling a version of Dissection’s Storm of the Light’s Bane turned up to eleven. Then there’s the band’s origin story. Drummer Joey Burke and guitarist Liam McMahon first met in a medieval history class at the University of Maryland, both sporting metal shirts. They sat next to each other, became friends, started making music, and voilà, Ninth Realm was born. Their debut, A Fate Unbroken (2022), introduced the scene to the quintet’s aggressive mix of styles and traditions, until our friends at Transcending Obscurity snatched them up for their sophomore release. With the stage now set, Damnation’s Veil arrives, and if the album is half as mighty as the forces that brought it into being, listeners are in for a treat.

Damnation’s Veil thrives on berserker energy, hurling itself forward with barely any controlled momentum while somehow still holding itself together. Ninth Realm play with the reckless abandon of thrash, but channel it with hardcore hostility. Burke once labeled it “…a band for hardcore kids who are into Iron Maiden or Manowar” and honestly, that isn’t too far from the truth. Still, easy comparisons remain elusive. Throughout Damnation’s Veil, the group ventures into Deceased’s rancid death (“All Hail Treachery,” “Damnation’s Veil”), embraces classic heavy metal heroics (“Twilight’s Blade,” “Wyrd of Strideborne”), and dishes out a heavy dose of pit-inducing Power Trip thrash. Guitarists Liam McMahon and Charles House lead the charge with a barrage of galloping riffs and merciless hooks, while Ben Hageage serves as the battlefield herald, his corrosive roars pronouncing judgment upon the fallen as Damnation’s Veil’s eleven tracks pass in a blur of steel and fire. Burke’s performance on songs like “Beyond the Void,” “Wyrd of Strideborne,” and “Cohorts of the Abyss” feels so untethered at times they could be considered sloppy, yet that untamed quality is also part of Ninth Realm’s charm.

Ninth Realm storm battlements, raze villages and leave little standing, blasting through their overpowering blend of metal with unyielding force. The title track is a battering ram of old-school blackened death and thrash that charges forward like an armored destrier, carrying the ferocity of Dissection and hitting with lethal force as its thunderous drums and swarms of buzzing tremolos ignite the sky with dragonfire. “Cohorts of the Abyss” and “Imbued in Hellfire” immediately take off on a thrash-induced frenzy that drags your defenseless body behind the war wagon without remorse, while “Rituals in Thar’amath” taps into the compressed hardcore violence of Nails. Outside atmospheric opener “Valigeth,” Ninth Realm only lower their guard once across the record’s 37 minutes, offering a brief respite with interlude “Orphaned Throne” before the siege engines roar back to life with “Wyrd of Strideborne.”

And it’s here, in Damnation’s Veil’s back half, where classic metal begins to assert itself. Shifting gears, Ninth Realm embrace a more traditional speed philosophy on “Beyond the Void,” “Wyrd of Strideborne,” and “Twilight’s Blade,” pairing epic intros with galloping riffs. The classic metal influences add variety, but they come at the expense of some of the urgency that fuels the record’s strongest material before “Orphaned Throne.” Although the latter portion of Damnation’s Veil never collapses, the songwriting feels less assured and energetic, occasionally stumbling into clunkier passages that lack the conviction of earlier tracks. Aside from the excellent “All Hail Treachery,” few back-half songs reach the same heights as the material before it. The record also largely adheres to a formula that Ninth Realm are clearly adept at executing and while there’s nothing inherently wrong with that approach, the result feels a bit too one-trick at times, leaving me satisfied in the moment without leading to an immediate urge to revisit it.

With Damnation’s Veil, Ninth Realm have crafted an album that seeks to run listeners through with a broadsword before tossing their remains into the nearest moat, and they certainly succeed. Old-school charm permeates Damnation’s Veil, broadening its appeal across the metal spectrum. Although Ninth Realm’s sound breaks little new ground and their reliance on a familiar formula prevents the record from ascending to greater heights, there is nothing wrong with the approach these Marylanders embrace. Armed with energy, charisma, and plenty of attack, Ninth Realm are destined for bigger battles ahead.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity
Websites: ninthrealm-label.bandcamp.com/album/damnations-veil | instagram.com/ninthrealmmd
Releases Worldwide: August 28th, 2026

https://www.europesays.com/ie/652599/ Deceptor – Reign of Terror Review #2026 #30 #AmericanMetal #Anthrax #Aug26 #BoltThrower #DeathMetal #DeathThrash #Deceptor #Destruction #Dismember #DyingVictimsProductions #Éire #Enforced #Entertainment #Entombed #Grave #IE #Ireland #Kreator #Megadeth #Music #PowerTrip #Razor #ReignOfTerror #Review #Reviews #Sepultura #Slayer #Sodom #ThrashMetal

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes don’t sound like they’ve been unearthed and freed from the clutches of a class of ’91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptor’s bygone blend of death and thrash, although several others creep in as well. It’s a compelling concoction, and one that slugs ‘n’ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?

Throughout Reign of Terror, Deceptor channels the blood ‘n’ guts of decades past to chisel out an uncompromising slab of deathrash. “Red Dawn” inaugurates the album with a beefy build that reminds me of S.O.D.’s “March of the S.O.D.” before “Human Cavity” starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from “Human Cavity” is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of ‘Thrax, “Whammer” showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, “Firing Squad” elicits early Kreator and Dismember,1 “Street General” wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.

Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harper’s relentless battery, which adds a wicked charge to Reign of Terror’s brutal regime. From “Fog of War”’s sinister double bass rolls to “Join or Die”’s tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanier’s guitars likewise impress, from the recklessly unrestrained Slayer shredding on “Join or Die” to the 80s Razor and Destruction riffage of “Whammer.” It’s not all thrash, though, as Lanier also conjures early Entombed on “Fog of War” and even Grave with “Combat Patrol” and “Street General.” Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.

As you might expect given the framework for Deceptor’s mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metal’s salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terror’s lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.

All told, Deceptor’s Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the album’s production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror they’re destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptor’s next outing could be an unholy smash. Until then, I’m content to revisit this debut and let Terror reign o’er me.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026

The Painful Truth of Exactly How ICE’s New Shock Gloves Work

https://fed.brid.gy/r/https://www.wired.com/story/the-painful-truth-of-exactly-how-ice-new-shock-gloves-actually-work/

The Painful Truth of Exactly How ICE’s New Shock Gloves Work

https://fed.brid.gy/r/https://www.wired.com/story/the-painful-truth-of-exactly-how-ice-new-shock-gloves-actually-work/

The Painful Truth of Exactly How ICE’s New Shock Gloves Work

https://fed.brid.gy/r/https://www.wired.com/story/the-painful-truth-of-exactly-how-ice-new-shock-gloves-actually-work/

The Painful Truth of Exactly How ICE’s New Shock Gloves Work

https://fed.brid.gy/r/https://www.wired.com/story/the-painful-truth-of-exactly-how-ice-new-shock-gloves-actually-work/

The Painful Truth of Exactly How ICE’s New Shock Gloves Work

https://fed.brid.gy/r/https://www.wired.com/story/the-painful-truth-of-exactly-how-ice-new-shock-gloves-actually-work/

Time-Based Use Rates and Whole-Home Battery Backups Combine

https://fed.brid.gy/r/https://www.wired.com/story/i-slashed-my-power-bill-in-half-with-a-whole-home-battery/

Time-Based Use Rates and Whole-Home Battery Backups Combine

https://web.brid.gy/r/https://www.wired.com/story/i-slashed-my-power-bill-in-half-with-a-whole-home-battery/

Time-Based Use Rates and Whole-Home Battery Backups Combine

https://fed.brid.gy/r/https://www.wired.com/story/i-slashed-my-power-bill-in-half-with-a-whole-home-battery/

Time-Based Use Rates and Whole-Home Battery Backups Combine

https://fed.brid.gy/r/https://www.wired.com/story/i-slashed-my-power-bill-in-half-with-a-whole-home-battery/

Time-Based Use Rates and Whole-Home Battery Backups Combine

https://fed.brid.gy/r/https://www.wired.com/story/i-slashed-my-power-bill-in-half-with-a-whole-home-battery/

Home Batteries: How They're Installed and How Much They Cost

https://fed.brid.gy/r/https://www.wired.com/story/how-to-buy-a-home-battery/

Home Batteries: How They're Installed and How Much They Cost

https://web.brid.gy/r/https://www.wired.com/story/how-to-buy-a-home-battery/

Home Batteries: How They're Installed and How Much They Cost

https://fed.brid.gy/r/https://www.wired.com/story/how-to-buy-a-home-battery/

Home Batteries: How They're Installed and How Much They Cost

https://fed.brid.gy/r/https://www.wired.com/story/how-to-buy-a-home-battery/

Home Batteries: How They're Installed and How Much They Cost

https://fed.brid.gy/r/https://www.wired.com/story/how-to-buy-a-home-battery/

https://www.europesays.com/es/577722/ Slayer anuncia detalles de su gira latinoamericana junto a Kreator celebrando los 40 años de "Reign in Blood" – MariskalRock.com #Entertainment #Entretenimiento #ES #España #KREATOR #MR2022 #Music #Música #PowerTrip #Slayer #Spain #TomAraya

Slayer are taking the 40th-anniversary celebration of Reign In Blood to Latin America.

Details: https://metalinsider.net/touring/slayer-announce-latin-american-tour-celebrating-40-years-of-reign-in-blood

#Slayer #ReignInBlood #ThrashMetal #Kreator #PowerTrip #LatinAmericaTour #MetalNews

Slayer are taking the 40th-anniversary celebration of Reign In Blood to Latin America.

Details: https://metalinsider.net/touring/slayer-announce-latin-american-tour-celebrating-40-years-of-reign-in-blood

#Slayer #ReignInBlood #ThrashMetal #Kreator #PowerTrip #LatinAmericaTour #MetalNews

https://www.europesays.com/ie/488890/ Power Trip have been in the studio recording their first new material following Riley Gale’s death #Éire #Entertainment #Hardcore #IE #Ireland #Lambgoat #Metal #Music #News #PowerTrip

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

Metal is stacked this week.
From Uli Jon Roth and Cryptopsy to Behemoth, Amon Amarth, and Power Trip, there’s no shortage of heavy across the East Coast.
Plan your week accordingly: https://metalinsider.net/touring/metal-en-route-04-25-05-03-the-grand-nights-out-uli-jon-roth-cryptopsy-more
#Metal #LiveMusic #Concerts #MetalShows #Behemoth #Cryptopsy #AmonAmarth #PowerTrip

Metal is stacked this week.
From Uli Jon Roth and Cryptopsy to Behemoth, Amon Amarth, and Power Trip, there’s no shortage of heavy across the East Coast.
Plan your week accordingly: https://metalinsider.net/touring/metal-en-route-04-25-05-03-the-grand-nights-out-uli-jon-roth-cryptopsy-more
#Metal #LiveMusic #Concerts #MetalShows #Behemoth #Cryptopsy #AmonAmarth #PowerTrip

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

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

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

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

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

Testo della canzone “Power Trip” di J. Cole
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Guarda il testo della canzone “Power Trip” di J. Cole
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Power Trip sign with Blue Grape Music

Power Trip have signed with Blue Grape Music. The Texas crossover outfit have been plotting their next chapter…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #hardcore #Lambgoat #Metal #PowerTrip
https://www.newsbeep.com/us/523992/

Power Trip sign with Blue Grape Music

Power Trip have signed with Blue Grape Music. The Texas crossover outfit have been plotting their next chapter…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #hardcore #Lambgoat #Metal #PowerTrip
https://www.newsbeep.com/us/523992/

Sehen Sie den Text des Liedes “Power Trip” von J. Cole
#JCole #PowerTrip
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Guarda il testo della canzone “Power Trip” di J. Cole
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Consulta la letra de la canción “Power Trip” de J. Cole
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Veja a letra da música “Power Trip” de J. Cole
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Veja a letra da música “Power Trip” de J. Cole
#JCole #PowerTrip
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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

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

Letra da música “Power Trip” de J. Cole
#JCole #PowerTrip
https://daletra.com.br/j-cole/letra/power-trip.html