#progressivethrashmetal — Public Fediverse posts

VIOLENT OMEN (Ucraïna) presenta nou àlbum: "Locomotive of Chaos" #ViolentOmen #ProgressiveThrashMetal #Setembre2026 #Ucraïna #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

VIOLENT OMEN (Ucraïna) presenta nou àlbum: "Locomotive of Chaos" #ViolentOmen #ProgressiveThrashMetal #Setembre2026 #Ucraïna #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

VIOLENT OMEN (Ucraïna) presenta nou single: "The 24 Faces of Lunacy" #ViolentOmen #ProgressiveThrashMetal #Agost2026 #Ucraïna #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

VIOLENT OMEN (Ucraïna) presenta nou single: "The 24 Faces of Lunacy" #ViolentOmen #ProgressiveThrashMetal #Agost2026 #Ucraïna #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

CHASING PREDATOR (Xina) presenta nou single: "禁忌之池" #ChasingPredator #ProgressiveThrashMetal #Abril2026 #Xina #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

CHASING PREDATOR (Xina) presenta nou single: "禁忌之池" #ChasingPredator #ProgressiveThrashMetal #Abril2026 #Xina #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Review: Cryptic Shift – Overspace & Supertime

Published by Clay on March 12, 2026March 12, 2026 Artwork by Jesse Jacobi Style: Progressive death metal, progressive thrash…
#NewsBeep #News #Music #2026 #8 #Englishlyrics #Entertainment #february #harshvocals #MetalBladeRecords #progressivedeathmetal #progressivethrashmetal #technicaldeathmetal #UK #UnitedKingdom
https://www.newsbeep.com/uk/472911/

Anacrusis - Dream Again

Yes, another post about this great band from the past. I will stop right after this one. 😄

This song is from the album Manic Impressions, which is more technical than Screams and Whispers.

Progressive thrash metal from 1991, highly acclaimed by critics, obviously not so much by the fans. Enjoy it anyway.

https://tidal.com/track/22760091/u

#musicreviews #vinyl #ProgressiveThrashMetal #anacrusis

Anacrusis - Dream Again

Yes, another post about this great band from the past. I will stop right after this one. 😄

This song is from the album Manic Impressions, which is more technical than Screams and Whispers.

Progressive thrash metal from 1991, highly acclaimed by critics, obviously not so much by the fans. Enjoy it anyway.

https://tidal.com/track/22760091/u

#musicreviews #vinyl #ProgressiveThrashMetal #anacrusis

Anacrusis - Screams and Whispers

Blast from the past by this vastly underrated band. Delicate and sturdy progressive thrash metal, if that is a suitable description to you.

There are several great songs on this album, but 'Grateful' quite sums it up.

https://tidal.com/track/22763576/u

#reviews #music #metal #ProgressiveThrashMetal #anacrusis @metal

Anacrusis - Screams and Whispers

Blast from the past by this vastly underrated band. Delicate and sturdy progressive thrash metal, if that is a suitable description to you.

There are several great songs on this album, but 'Grateful' quite sums it up.

https://tidal.com/track/22763576/u

#reviews #music #metal #ProgressiveThrashMetal #anacrusis @metal

ANARCHŸ (Estats Units) presenta nou single: "Cult of the Birdlady" #Anarchÿ #Melodic #ProgressiveThrashMetal #Febrer2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

ANARCHŸ (Estats Units) presenta nou single: "Cult of the Birdlady" #Anarchÿ #Melodic #ProgressiveThrashMetal #Febrer2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

VIOLENT OMEN (Ucraïna) presenta nou single: "Path of Illumination" #ViolentOmen #ProgressiveThrashMetal #Febrer2026 #Ucraïna #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

VIOLENT OMEN (Ucraïna) presenta nou single: "Path of Illumination" #ViolentOmen #ProgressiveThrashMetal #Febrer2026 #Ucraïna #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Mekong Delta - Dances of Death

(And other Walking Shadows)

If you are into progressive Thrash Metal then here is one of my favourites. IMO a classic album by Mekong Delta.

You can hear the love for classical music in all the works of mastermind Ralph Hubbert. Here it is combined with complex, yet melodic thrash.

The record starts with a longtrack and
then features two songs in normal duration plus an interpretation of ‘Night on a bare mountain’.

Here on Tidal it’s not the original mix. The bass is more present and there is a flanger effect on the vocals.

https://tidal.com/album/145850980/u

#metal #rezensionen #vinyl #music #mekongdelta #ProgressiveThrashMetal

Mekong Delta - Dances of Death

(And other Walking Shadows)

If you are into progressive Thrash Metal then here is one of my favourites. IMO a classic album by Mekong Delta.

You can hear the love for classical music in all the works of mastermind Ralph Hubbert. Here it is combined with complex, yet melodic thrash.

The record starts with a longtrack and
then features two songs in normal duration plus an interpretation of ‘Night on a bare mountain’.

Here on Tidal it’s not the original mix. The bass is more present and there is a flanger effect on the vocals.

https://tidal.com/album/145850980/u

#metal #rezensionen #vinyl #music #mekongdelta #ProgressiveThrashMetal

SONIC VOYAGER (Japó) presenta nou àlbum: "Bending Horizons" #SonicVoyager #ProgressiveThrashMetal #Gener2026 #Japó #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SONIC VOYAGER (Japó) presenta nou àlbum: "Bending Horizons" #SonicVoyager #ProgressiveThrashMetal #Gener2026 #Japó #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

CALLISTO 5 presenta nou àlbum: "Imaginary Explorer" #Callisto5 #ProgressiveThrashMetal #Gener2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

CALLISTO 5 presenta nou àlbum: "Imaginary Explorer" #Callisto5 #ProgressiveThrashMetal #Gener2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

POLARIS EXPERIENCE (Japó) presenta nou àlbum: "Drifting Through Voids" #PolarisExperience #ProgressiveThrashMetal #Gener2026 #Japó #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

POLARIS EXPERIENCE (Japó) presenta nou àlbum: "Drifting Through Voids" #PolarisExperience #ProgressiveThrashMetal #Gener2026 #Japó #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

DOOM (Japó) presenta nou àlbum: "Apocalypse" #Doom #ProgressiveThrashMetal #AvantGardeRock #Desembre2025 #Japó #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

DOOM (Japó) presenta nou àlbum: "Apocalypse" #Doom #ProgressiveThrashMetal #AvantGardeRock #Desembre2025 #Japó #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Coroner – Dissonance Theory Review

By Dolphin Whisperer

Whether it’s the mystifying hourglass of parenthood or a sudden collision of earth to brain, time erodes both in steady, unnoticeable stutters and blink-speed slides.1 I’m sure Coroner never quite planned to sit this long on new material, with its inception a decade ago sliding to present today in maturity. But after thirty-plus years, there’s little rush in releasing anything for the sake of the release itself. In thoughtful construction, a composed comeback will warrant discussion upon emergence and later on down the road. And with Dissonance Theory, both a foot in a deep thrash history and desire to explore a progressive sound, Coroner seeks to prove that a vital record can still exist under their storied name.

While the aged gap between albums presents as a hurdle to momentum, Coroner hasn’t been dormant leading up to Dissonance Theory, a healthy festival and gig routine since 2010 stoking their creative flame. And cornerstone guitarist Tommy Baron has remained engaged in studio management while weaving through extra-Coroner band activities over the years, like his brief stint with fellow thrash legends Kreator in the late ’90s2 or his more modern chug-a-lug with the alternative/industrial-laced 69 Chambers. Along this timeline, then, it makes sense that Dissonance Theory presents not as a widening of the take-it-or-leave-it Grin but as an exploration of how history has shaped their own interpretation of their sound. Lower-tuned tap ‘n’ go strides follow the splinter that spiraled dark groove machines like Nevermore and Morgana Lefay (“Consequence,” “Symmetry,” “Renewal”). Heavier anthemic numbers mirror the booming stadium feel of modern Kreator (“Sacrificial Lamb”), even verging on Lamb of God thrash-thuggery at its most simple (“Crisium Bound”). Many faces have worn Coroner over the years, but Coroner wearing them back reveals new wrinkles.

Yet Dissonance Theory hits what makes modern Coroner a force when layered guitar textures and screaming solos have space to warp and twist about dips into classic thrash breaks and screaming solos. Baron has always been an expressive guitarist. But in the long road since the Celtic Frosted days of RIP, he’s found a way both to whip the frenetic scramble of a pit-ready bridge into heroic fretboard gymnastics (“Consequence,” “Symmetry”) and drop jaws with melodic, bluesy tone-wailing (“Transparent Eye”). Likewise, jangling chords find resonant space and careful modulation in pocketed drum rhythms and steady, growling bass, showcasing the careful ear for harmony that Coroner has always endorsed (“The Law,” “Transparent Eye”). And though a couple tracks may use their space less effectively than others, finding a slight meandering in their joy of sound, Dissonance Theory breezes by in a veteran flex of songwriting maturity.

However, I take some issue with the ways in which the Bogren production job bolsters Coroner into the modern day. Again, part of what makes Coroner, well, Coroner is a vibrant guitar identity that twangs and twirls and cuts with buttery precision. And while a nasally compression still helps to define the chatter of Dissonance Theory’s most thrashing moments (“Consequence,” “Symmetry”), more weight finds a home in a thick and pulverizing rhythm tone. Ron Royce’s thick-stringed assault, naturally, finds a happy home with the lean into low-end emboldening, and that partnering with the muddier rhythm tone finds a unison richness on certain brooding runs (“Sacrificial Lamb” through “Symmetry”). Furthermore, new drummer Diego Rapacchietti finds a powerful march and kick clamor that creates a playful propulsion against bright, palm-muted runs (“Sacrificial Lamb,” “The Law”). Against the flat rhythm guitar characterization, alas, all of these production accents don’t always add up to song sections that feel distinct over the whole of the album.

Coroner’s influence continues to ripple through thrashy and deathly forms alike despite the current day being far removed from their initial declarations. But more importantly, Dissonance Theory proves that in 2025, Coroner has been paying attention to their progeny in order to shape a new face for the flock of hopefuls to follow. I don’t think Dissonance Theory carves quite as deep a notch as the Swiss stalwarts had hoped, though in its collective wisdom, it can be hard to put down. As first steps in a new direction, Dissonance Theory fills me with hope that a Coroner second coming will bear fruit at least once more with a greater level of determination.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records | Bandcamp
Websites: coronerofficial.com | coronerofficial.bandcamp.com
Releases Worldwide: October 17th, 2025

#2025 #35 #CenturyMediaRecords #Coroner #DissonanceTheory #Kreator #LambOfGod #MorganaLefay #Nevermore #Oct25 #ProgressiveMetal #ProgressiveThrashMetal #Review #Reviews #SwissMetal #TechnicalThrashMetal #ThrashMetal

Coroner – Dissonance Theory Review

By Dolphin Whisperer

Whether it’s the mystifying hourglass of parenthood or a sudden collision of earth to brain, time erodes both in steady, unnoticeable stutters and blink-speed slides.1 I’m sure Coroner never quite planned to sit this long on new material, with its inception a decade ago sliding to present today in maturity. But after thirty-plus years, there’s little rush in releasing anything for the sake of the release itself. In thoughtful construction, a composed comeback will warrant discussion upon emergence and later on down the road. And with Dissonance Theory, both a foot in a deep thrash history and desire to explore a progressive sound, Coroner seeks to prove that a vital record can still exist under their storied name.

While the aged gap between albums presents as a hurdle to momentum, Coroner hasn’t been dormant leading up to Dissonance Theory, a healthy festival and gig routine since 2010 stoking their creative flame. And cornerstone guitarist Tommy Baron has remained engaged in studio management while weaving through extra-Coroner band activities over the years, like his brief stint with fellow thrash legends Kreator in the late ’90s2 or his more modern chug-a-lug with the alternative/industrial-laced 69 Chambers. Along this timeline, then, it makes sense that Dissonance Theory presents not as a widening of the take-it-or-leave-it Grin but as an exploration of how history has shaped their own interpretation of their sound. Lower-tuned tap ‘n’ go strides follow the splinter that spiraled dark groove machines like Nevermore and Morgana Lefay (“Consequence,” “Symmetry,” “Renewal”). Heavier anthemic numbers mirror the booming stadium feel of modern Kreator (“Sacrificial Lamb”), even verging on Lamb of God thrash-thuggery at its most simple (“Crisium Bound”). Many faces have worn Coroner over the years, but Coroner wearing them back reveals new wrinkles.

Yet Dissonance Theory hits what makes modern Coroner a force when layered guitar textures and screaming solos have space to warp and twist about dips into classic thrash breaks and screaming solos. Baron has always been an expressive guitarist. But in the long road since the Celtic Frosted days of RIP, he’s found a way both to whip the frenetic scramble of a pit-ready bridge into heroic fretboard gymnastics (“Consequence,” “Symmetry”) and drop jaws with melodic, bluesy tone-wailing (“Transparent Eye”). Likewise, jangling chords find resonant space and careful modulation in pocketed drum rhythms and steady, growling bass, showcasing the careful ear for harmony that Coroner has always endorsed (“The Law,” “Transparent Eye”). And though a couple tracks may use their space less effectively than others, finding a slight meandering in their joy of sound, Dissonance Theory breezes by in a veteran flex of songwriting maturity.

However, I take some issue with the ways in which the Bogren production job bolsters Coroner into the modern day. Again, part of what makes Coroner, well, Coroner is a vibrant guitar identity that twangs and twirls and cuts with buttery precision. And while a nasally compression still helps to define the chatter of Dissonance Theory’s most thrashing moments (“Consequence,” “Symmetry”), more weight finds a home in a thick and pulverizing rhythm tone. Ron Royce’s thick-stringed assault, naturally, finds a happy home with the lean into low-end emboldening, and that partnering with the muddier rhythm tone finds a unison richness on certain brooding runs (“Sacrificial Lamb” through “Symmetry”). Furthermore, new drummer Diego Rapacchietti finds a powerful march and kick clamor that creates a playful propulsion against bright, palm-muted runs (“Sacrificial Lamb,” “The Law”). Against the flat rhythm guitar characterization, alas, all of these production accents don’t always add up to song sections that feel distinct over the whole of the album.

Coroner’s influence continues to ripple through thrashy and deathly forms alike despite the current day being far removed from their initial declarations. But more importantly, Dissonance Theory proves that in 2025, Coroner has been paying attention to their progeny in order to shape a new face for the flock of hopefuls to follow. I don’t think Dissonance Theory carves quite as deep a notch as the Swiss stalwarts had hoped, though in its collective wisdom, it can be hard to put down. As first steps in a new direction, Dissonance Theory fills me with hope that a Coroner second coming will bear fruit at least once more with a greater level of determination.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records | Bandcamp
Websites: coronerofficial.com | coronerofficial.bandcamp.com
Releases Worldwide: October 17th, 2025

#2025 #35 #CenturyMediaRecords #Coroner #DissonanceTheory #Kreator #LambOfGod #MorganaLefay #Nevermore #Oct25 #ProgressiveMetal #ProgressiveThrashMetal #Review #Reviews #SwissMetal #TechnicalThrashMetal #ThrashMetal

Coroner – Dissonance Theory Review

By Dolphin Whisperer

Whether it’s the mystifying hourglass of parenthood or a sudden collision of earth to brain, time erodes both in steady, unnoticeable stutters and blink-speed slides.1 I’m sure Coroner never quite planned to sit this long on new material, with its inception a decade ago sliding to present today in maturity. But after thirty-plus years, there’s little rush in releasing anything for the sake of the release itself. In thoughtful construction, a composed comeback will warrant discussion upon emergence and later on down the road. And with Dissonance Theory, both a foot in a deep thrash history and desire to explore a progressive sound, Coroner seeks to prove that a vital record can still exist under their storied name.

While the aged gap between albums presents as a hurdle to momentum, Coroner hasn’t been dormant leading up to Dissonance Theory, a healthy festival and gig routine since 2010 stoking their creative flame. And cornerstone guitarist Tommy Baron has remained engaged in studio management while weaving through extra-Coroner band activities over the years, like his brief stint with fellow thrash legends Kreator in the late ’90s2 or his more modern chug-a-lug with the alternative/industrial-laced 69 Chambers. Along this timeline, then, it makes sense that Dissonance Theory presents not as a widening of the take-it-or-leave-it Grin but as an exploration of how history has shaped their own interpretation of their sound. Lower-tuned tap ‘n’ go strides follow the splinter that spiraled dark groove machines like Nevermore and Morgana Lefay (“Consequence,” “Symmetry,” “Renewal”). Heavier anthemic numbers mirror the booming stadium feel of modern Kreator (“Sacrificial Lamb”), even verging on Lamb of God thrash-thuggery at its most simple (“Crisium Bound”). Many faces have worn Coroner over the years, but Coroner wearing them back reveals new wrinkles.

Yet Dissonance Theory hits what makes modern Coroner a force when layered guitar textures and screaming solos have space to warp and twist about dips into classic thrash breaks and screaming solos. Baron has always been an expressive guitarist. But in the long road since the Celtic Frosted days of RIP, he’s found a way both to whip the frenetic scramble of a pit-ready bridge into heroic fretboard gymnastics (“Consequence,” “Symmetry”) and drop jaws with melodic, bluesy tone-wailing (“Transparent Eye”). Likewise, jangling chords find resonant space and careful modulation in pocketed drum rhythms and steady, growling bass, showcasing the careful ear for harmony that Coroner has always endorsed (“The Law,” “Transparent Eye”). And though a couple tracks may use their space less effectively than others, finding a slight meandering in their joy of sound, Dissonance Theory breezes by in a veteran flex of songwriting maturity.

However, I take some issue with the ways in which the Bogren production job bolsters Coroner into the modern day. Again, part of what makes Coroner, well, Coroner is a vibrant guitar identity that twangs and twirls and cuts with buttery precision. And while a nasally compression still helps to define the chatter of Dissonance Theory’s most thrashing moments (“Consequence,” “Symmetry”), more weight finds a home in a thick and pulverizing rhythm tone. Ron Royce’s thick-stringed assault, naturally, finds a happy home with the lean into low-end emboldening, and that partnering with the muddier rhythm tone finds a unison richness on certain brooding runs (“Sacrificial Lamb” through “Symmetry”). Furthermore, new drummer Diego Rapacchietti finds a powerful march and kick clamor that creates a playful propulsion against bright, palm-muted runs (“Sacrificial Lamb,” “The Law”). Against the flat rhythm guitar characterization, alas, all of these production accents don’t always add up to song sections that feel distinct over the whole of the album.

Coroner’s influence continues to ripple through thrashy and deathly forms alike despite the current day being far removed from their initial declarations. But more importantly, Dissonance Theory proves that in 2025, Coroner has been paying attention to their progeny in order to shape a new face for the flock of hopefuls to follow. I don’t think Dissonance Theory carves quite as deep a notch as the Swiss stalwarts had hoped, though in its collective wisdom, it can be hard to put down. As first steps in a new direction, Dissonance Theory fills me with hope that a Coroner second coming will bear fruit at least once more with a greater level of determination.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records | Bandcamp
Websites: coronerofficial.com | coronerofficial.bandcamp.com
Releases Worldwide: October 17th, 2025

#2025 #35 #CenturyMediaRecords #Coroner #DissonanceTheory #Kreator #LambOfGod #MorganaLefay #Nevermore #Oct25 #ProgressiveMetal #ProgressiveThrashMetal #Review #Reviews #SwissMetal #TechnicalThrashMetal #ThrashMetal

Coroner – Dissonance Theory Review

By Dolphin Whisperer

Whether it’s the mystifying hourglass of parenthood or a sudden collision of earth to brain, time erodes both in steady, unnoticeable stutters and blink-speed slides.1 I’m sure Coroner never quite planned to sit this long on new material, with its inception a decade ago sliding to present today in maturity. But after thirty-plus years, there’s little rush in releasing anything for the sake of the release itself. In thoughtful construction, a composed comeback will warrant discussion upon emergence and later on down the road. And with Dissonance Theory, both a foot in a deep thrash history and desire to explore a progressive sound, Coroner seeks to prove that a vital record can still exist under their storied name.

While the aged gap between albums presents as a hurdle to momentum, Coroner hasn’t been dormant leading up to Dissonance Theory, a healthy festival and gig routine since 2010 stoking their creative flame. And cornerstone guitarist Tommy Baron has remained engaged in studio management while weaving through extra-Coroner band activities over the years, like his brief stint with fellow thrash legends Kreator in the late ’90s2 or his more modern chug-a-lug with the alternative/industrial-laced 69 Chambers. Along this timeline, then, it makes sense that Dissonance Theory presents not as a widening of the take-it-or-leave-it Grin but as an exploration of how history has shaped their own interpretation of their sound. Lower-tuned tap ‘n’ go strides follow the splinter that spiraled dark groove machines like Nevermore and Morgana Lefay (“Consequence,” “Symmetry,” “Renewal”). Heavier anthemic numbers mirror the booming stadium feel of modern Kreator (“Sacrificial Lamb”), even verging on Lamb of God thrash-thuggery at its most simple (“Crisium Bound”). Many faces have worn Coroner over the years, but Coroner wearing them back reveals new wrinkles.

Yet Dissonance Theory hits what makes modern Coroner a force when layered guitar textures and screaming solos have space to warp and twist about dips into classic thrash breaks and screaming solos. Baron has always been an expressive guitarist. But in the long road since the Celtic Frosted days of RIP, he’s found a way both to whip the frenetic scramble of a pit-ready bridge into heroic fretboard gymnastics (“Consequence,” “Symmetry”) and drop jaws with melodic, bluesy tone-wailing (“Transparent Eye”). Likewise, jangling chords find resonant space and careful modulation in pocketed drum rhythms and steady, growling bass, showcasing the careful ear for harmony that Coroner has always endorsed (“The Law,” “Transparent Eye”). And though a couple tracks may use their space less effectively than others, finding a slight meandering in their joy of sound, Dissonance Theory breezes by in a veteran flex of songwriting maturity.

However, I take some issue with the ways in which the Bogren production job bolsters Coroner into the modern day. Again, part of what makes Coroner, well, Coroner is a vibrant guitar identity that twangs and twirls and cuts with buttery precision. And while a nasally compression still helps to define the chatter of Dissonance Theory’s most thrashing moments (“Consequence,” “Symmetry”), more weight finds a home in a thick and pulverizing rhythm tone. Ron Royce’s thick-stringed assault, naturally, finds a happy home with the lean into low-end emboldening, and that partnering with the muddier rhythm tone finds a unison richness on certain brooding runs (“Sacrificial Lamb” through “Symmetry”). Furthermore, new drummer Diego Rapacchietti finds a powerful march and kick clamor that creates a playful propulsion against bright, palm-muted runs (“Sacrificial Lamb,” “The Law”). Against the flat rhythm guitar characterization, alas, all of these production accents don’t always add up to song sections that feel distinct over the whole of the album.

Coroner’s influence continues to ripple through thrashy and deathly forms alike despite the current day being far removed from their initial declarations. But more importantly, Dissonance Theory proves that in 2025, Coroner has been paying attention to their progeny in order to shape a new face for the flock of hopefuls to follow. I don’t think Dissonance Theory carves quite as deep a notch as the Swiss stalwarts had hoped, though in its collective wisdom, it can be hard to put down. As first steps in a new direction, Dissonance Theory fills me with hope that a Coroner second coming will bear fruit at least once more with a greater level of determination.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records | Bandcamp
Websites: coronerofficial.com | coronerofficial.bandcamp.com
Releases Worldwide: October 17th, 2025

#2025 #35 #CenturyMediaRecords #Coroner #DissonanceTheory #Kreator #LambOfGod #MorganaLefay #Nevermore #Oct25 #ProgressiveMetal #ProgressiveThrashMetal #Review #Reviews #SwissMetal #TechnicalThrashMetal #ThrashMetal

Coroner – Dissonance Theory Review

By Dolphin Whisperer

Whether it’s the mystifying hourglass of parenthood or a sudden collision of earth to brain, time erodes both in steady, unnoticeable stutters and blink-speed slides.1 I’m sure Coroner never quite planned to sit this long on new material, with its inception a decade ago sliding to present today in maturity. But after thirty-plus years, there’s little rush in releasing anything for the sake of the release itself. In thoughtful construction, a composed comeback will warrant discussion upon emergence and later on down the road. And with Dissonance Theory, both a foot in a deep thrash history and desire to explore a progressive sound, Coroner seeks to prove that a vital record can still exist under their storied name.

While the aged gap between albums presents as a hurdle to momentum, Coroner hasn’t been dormant leading up to Dissonance Theory, a healthy festival and gig routine since 2010 stoking their creative flame. And cornerstone guitarist Tommy Baron has remained engaged in studio management while weaving through extra-Coroner band activities over the years, like his brief stint with fellow thrash legends Kreator in the late ’90s2 or his more modern chug-a-lug with the alternative/industrial-laced 69 Chambers. Along this timeline, then, it makes sense that Dissonance Theory presents not as a widening of the take-it-or-leave-it Grin but as an exploration of how history has shaped their own interpretation of their sound. Lower-tuned tap ‘n’ go strides follow the splinter that spiraled dark groove machines like Nevermore and Morgana Lefay (“Consequence,” “Symmetry,” “Renewal”). Heavier anthemic numbers mirror the booming stadium feel of modern Kreator (“Sacrificial Lamb”), even verging on Lamb of God thrash-thuggery at its most simple (“Crisium Bound”). Many faces have worn Coroner over the years, but Coroner wearing them back reveals new wrinkles.

Yet Dissonance Theory hits what makes modern Coroner a force when layered guitar textures and screaming solos have space to warp and twist about dips into classic thrash breaks and screaming solos. Baron has always been an expressive guitarist. But in the long road since the Celtic Frosted days of RIP, he’s found a way both to whip the frenetic scramble of a pit-ready bridge into heroic fretboard gymnastics (“Consequence,” “Symmetry”) and drop jaws with melodic, bluesy tone-wailing (“Transparent Eye”). Likewise, jangling chords find resonant space and careful modulation in pocketed drum rhythms and steady, growling bass, showcasing the careful ear for harmony that Coroner has always endorsed (“The Law,” “Transparent Eye”). And though a couple tracks may use their space less effectively than others, finding a slight meandering in their joy of sound, Dissonance Theory breezes by in a veteran flex of songwriting maturity.

However, I take some issue with the ways in which the Bogren production job bolsters Coroner into the modern day. Again, part of what makes Coroner, well, Coroner is a vibrant guitar identity that twangs and twirls and cuts with buttery precision. And while a nasally compression still helps to define the chatter of Dissonance Theory’s most thrashing moments (“Consequence,” “Symmetry”), more weight finds a home in a thick and pulverizing rhythm tone. Ron Royce’s thick-stringed assault, naturally, finds a happy home with the lean into low-end emboldening, and that partnering with the muddier rhythm tone finds a unison richness on certain brooding runs (“Sacrificial Lamb” through “Symmetry”). Furthermore, new drummer Diego Rapacchietti finds a powerful march and kick clamor that creates a playful propulsion against bright, palm-muted runs (“Sacrificial Lamb,” “The Law”). Against the flat rhythm guitar characterization, alas, all of these production accents don’t always add up to song sections that feel distinct over the whole of the album.

Coroner’s influence continues to ripple through thrashy and deathly forms alike despite the current day being far removed from their initial declarations. But more importantly, Dissonance Theory proves that in 2025, Coroner has been paying attention to their progeny in order to shape a new face for the flock of hopefuls to follow. I don’t think Dissonance Theory carves quite as deep a notch as the Swiss stalwarts had hoped, though in its collective wisdom, it can be hard to put down. As first steps in a new direction, Dissonance Theory fills me with hope that a Coroner second coming will bear fruit at least once more with a greater level of determination.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media Records | Bandcamp
Websites: coronerofficial.com | coronerofficial.bandcamp.com
Releases Worldwide: October 17th, 2025

#2025 #35 #CenturyMediaRecords #Coroner #DissonanceTheory #Kreator #LambOfGod #MorganaLefay #Nevermore #Oct25 #ProgressiveMetal #ProgressiveThrashMetal #Review #Reviews #SwissMetal #TechnicalThrashMetal #ThrashMetal

Got myself the vinyl version of the new Coroner album “Dissonance Theory”.

It’s a masterpiece, no less.

Mostly not pure thrash metal anymore, but something as if Pink Floyd would have been influenced by Meshuggah.

Atmospheric. Ripe. Evolved. Grand.

https://tidal.com/browse/album/451214775?u

#metal #coroner #progressivemetal #vinyl #music #ProgressiveThrashMetal @metal

PANSOPHIC (Canadà) presenta nou àlbum: "Kingdom Come" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou àlbum: "Kingdom Come" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou àlbum: "Kingdom Come" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou àlbum: "Kingdom Come" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou àlbum: "Kingdom Come" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SPECIES (Polònia) presenta nou àlbum: "Changelings" #Species #Technical #ProgressiveThrashMetal #Setembre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SPECIES (Polònia) presenta nou àlbum: "Changelings" #Species #Technical #ProgressiveThrashMetal #Setembre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SPECIES (Polònia) presenta nou àlbum: "Changelings" #Species #Technical #ProgressiveThrashMetal #Setembre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SPECIES (Polònia) presenta nou àlbum: "Changelings" #Species #Technical #ProgressiveThrashMetal #Setembre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SPECIES (Polònia) presenta nou àlbum: "Changelings" #Species #Technical #ProgressiveThrashMetal #Setembre2025 #Polònia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou single: "Fire and Brimstone" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou single: "Fire and Brimstone" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou single: "Fire and Brimstone" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou single: "Fire and Brimstone" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou single: "Fire and Brimstone" #Pansophic #ProgressiveThrashMetal #Setembre2025 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

The Final Witness – Beneath the Altar Review

By: Nameless_n00b_607 In a genre long since matured, a common way to avoid retreads is to combine multiple…
#NewsBeep #News #Music #2.5 #2025 #AmericanMetal #AU #Aug25 #Australia #BecomingtheArchetype #BeneaththeAltar #coroner #DeathThrash #Entertainment #ProgressiveThrashMetal #review #RottweilerRecords #TheFinalWitness #ThrashMetal #Vader
https://www.newsbeep.com/au/138620/

The Final Witness – Beneath the Altar Review

By Angry Metal Guy

By: Nameless_n00b_607

In a genre long since matured, a common way to avoid retreads is to combine multiple subgenres.1 Contemporary thrash in particular is difficult to get right without the proper guitar assault required to break necks. Hence, many opt to go for one of its offshoots instead. One newcomer looking to explore the avenue of genre blending is The Final Witness, the solo project of multi-instrumentalist Josh Henderson. Debut Beneath the Altar promises to deliver death and thrash in progressive form to the unwashed masses. I dove into Beneath the Altar with caution, having seen how often this combination of terms gets misused, but hoping The Final Witness would fulfill its promise.

Inspired guitar work and appropriate variety are the main strengths of The Final Witness. The majority of Beneath the Altar involves two core components: progressive thrash (“Coronation,” “The Blood”) and death/thrash (“Sanctum of the Holy”). Plentiful melodic leads further color the album, with “Testimony” even evoking the Gothenburg sound. Lastly, quieter semi-acoustic passages bridge these individual pieces together with varied levels of success. The compositions are vivid and frenetic, alternating between traditional breakneck drumming and rhythmic trickery. Henderson’s distorted vocals lack a bit of thrash attitude, but they do a fine job of punctuating the compositions with barks and snarls. Beneath the Altar’s best moments take inspiration from Coroner and Vader, and I wish those moments were much more frequent, because the sound leans a bit too close towards the groove school of guitar chugging on occasion (“Negative World,” “Principalities”). Nevertheless, the foundation of the album holds, and Henderson’s performances are impressive.

Beneath the Altar’s experimental side comes at the expense of its strengths. On top of the album’s bread and butter, most tracks differentiate themselves with eccentricities. For example, the title track’s electronic break with an almost hip-hop-like beat is memorable and surprisingly well-made, but it doesn’t exactly fit. “Testimony” ends with a dramatic organ layer that could sound excellent if the mix didn’t turn it into an ear-piercing inconvenience. Many of these one-off gimmicks are fun, but they are either misused or discarded before leaving an impact. Worse, they are a distraction. Beneath the Altar really shines when exploring the rhythmic and melodic sides of death/thrash. Diverging from this path trades depth for breadth; a tighter track like “Sanctum of the Holy” proves that The Final Witness would only benefit from holding onto a theme for longer.

The disparate ideas of Beneath the Altar are greater than the sum of their parts. Its foundational pillars work wonders individually, but interact too infrequently, and one-off experimental touches are fun but out of place. The somber semi-acoustic parts—while well done—hinder song flow when utilized too frequently (“Principalities”) and blend together after multiple listens. Good ideas feel haphazardly assembled. The foregoing is exacerbated by its production, overseen by Jason Wisdom of Becoming the Archetype. The sound is both sterile and rough, with Wisdom prioritizing guitars over vocals and drums—both of which are loud and distracting. Its qualities conjure a strange illusion of metalcore adjacency, further contributing to the album’s incoherent identity. All that being said, I don’t mind listening to Beneath the Altar again. There’s a lot to like, and a brief 36-minute runtime makes sure the record doesn’t overstay its welcome. Yet I feel more compelled to revisit individual parts of songs rather than any particular song in full.

Beneath the Altar is an interesting but unfocused prototype. Getting a solo project this far is already respectable, but I reckon Mr. Henderson is still capable of much more. With more coherent composition and a unified vision, the ideas on this record could form a powerful message. There are exciting bits and pieces here to digest, even if they don’t necessarily form a cohesive whole, and the result is that Beneath the Altar feels like a starting point for better things to come. But for the time being, The Final Witness is still trying to find its sound—and I find myself craving some Coroner instead.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s CBR MP3
Label: Rottweiler Records
Websites: Bandcamp | Facebook | Instagram
Release Date: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #BecomingTheArchetype #BeneathTheAltar #Coroner #DeathThrash #ProgressiveThrashMetal #Review #RottweilerRecords #TheFinalWitness #ThrashMetal #Vader

The Final Witness – Beneath the Altar Review

By Angry Metal Guy

By: Nameless_n00b_607

In a genre long since matured, a common way to avoid retreads is to combine multiple subgenres.1 Contemporary thrash in particular is difficult to get right without the proper guitar assault required to break necks. Hence, many opt to go for one of its offshoots instead. One newcomer looking to explore the avenue of genre blending is The Final Witness, the solo project of multi-instrumentalist Josh Henderson. Debut Beneath the Altar promises to deliver death and thrash in progressive form to the unwashed masses. I dove into Beneath the Altar with caution, having seen how often this combination of terms gets misused, but hoping The Final Witness would fulfill its promise.

Inspired guitar work and appropriate variety are the main strengths of The Final Witness. The majority of Beneath the Altar involves two core components: progressive thrash (“Coronation,” “The Blood”) and death/thrash (“Sanctum of the Holy”). Plentiful melodic leads further color the album, with “Testimony” even evoking the Gothenburg sound. Lastly, quieter semi-acoustic passages bridge these individual pieces together with varied levels of success. The compositions are vivid and frenetic, alternating between traditional breakneck drumming and rhythmic trickery. Henderson’s distorted vocals lack a bit of thrash attitude, but they do a fine job of punctuating the compositions with barks and snarls. Beneath the Altar’s best moments take inspiration from Coroner and Vader, and I wish those moments were much more frequent, because the sound leans a bit too close towards the groove school of guitar chugging on occasion (“Negative World,” “Principalities”). Nevertheless, the foundation of the album holds, and Henderson’s performances are impressive.

Beneath the Altar’s experimental side comes at the expense of its strengths. On top of the album’s bread and butter, most tracks differentiate themselves with eccentricities. For example, the title track’s electronic break with an almost hip-hop-like beat is memorable and surprisingly well-made, but it doesn’t exactly fit. “Testimony” ends with a dramatic organ layer that could sound excellent if the mix didn’t turn it into an ear-piercing inconvenience. Many of these one-off gimmicks are fun, but they are either misused or discarded before leaving an impact. Worse, they are a distraction. Beneath the Altar really shines when exploring the rhythmic and melodic sides of death/thrash. Diverging from this path trades depth for breadth; a tighter track like “Sanctum of the Holy” proves that The Final Witness would only benefit from holding onto a theme for longer.

The disparate ideas of Beneath the Altar are greater than the sum of their parts. Its foundational pillars work wonders individually, but interact too infrequently, and one-off experimental touches are fun but out of place. The somber semi-acoustic parts—while well done—hinder song flow when utilized too frequently (“Principalities”) and blend together after multiple listens. Good ideas feel haphazardly assembled. The foregoing is exacerbated by its production, overseen by Jason Wisdom of Becoming the Archetype. The sound is both sterile and rough, with Wisdom prioritizing guitars over vocals and drums—both of which are loud and distracting. Its qualities conjure a strange illusion of metalcore adjacency, further contributing to the album’s incoherent identity. All that being said, I don’t mind listening to Beneath the Altar again. There’s a lot to like, and a brief 36-minute runtime makes sure the record doesn’t overstay its welcome. Yet I feel more compelled to revisit individual parts of songs rather than any particular song in full.

Beneath the Altar is an interesting but unfocused prototype. Getting a solo project this far is already respectable, but I reckon Mr. Henderson is still capable of much more. With more coherent composition and a unified vision, the ideas on this record could form a powerful message. There are exciting bits and pieces here to digest, even if they don’t necessarily form a cohesive whole, and the result is that Beneath the Altar feels like a starting point for better things to come. But for the time being, The Final Witness is still trying to find its sound—and I find myself craving some Coroner instead.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s CBR MP3
Label: Rottweiler Records
Websites: Bandcamp | Facebook | Instagram
Release Date: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #BecomingTheArchetype #BeneathTheAltar #Coroner #DeathThrash #ProgressiveThrashMetal #Review #RottweilerRecords #TheFinalWitness #ThrashMetal #Vader

The Final Witness – Beneath the Altar Review

By Angry Metal Guy

By: Nameless_n00b_607

In a genre long since matured, a common way to avoid retreads is to combine multiple subgenres.1 Contemporary thrash in particular is difficult to get right without the proper guitar assault required to break necks. Hence, many opt to go for one of its offshoots instead. One newcomer looking to explore the avenue of genre blending is The Final Witness, the solo project of multi-instrumentalist Josh Henderson. Debut Beneath the Altar promises to deliver death and thrash in progressive form to the unwashed masses. I dove into Beneath the Altar with caution, having seen how often this combination of terms gets misused, but hoping The Final Witness would fulfill its promise.

Inspired guitar work and appropriate variety are the main strengths of The Final Witness. The majority of Beneath the Altar involves two core components: progressive thrash (“Coronation,” “The Blood”) and death/thrash (“Sanctum of the Holy”). Plentiful melodic leads further color the album, with “Testimony” even evoking the Gothenburg sound. Lastly, quieter semi-acoustic passages bridge these individual pieces together with varied levels of success. The compositions are vivid and frenetic, alternating between traditional breakneck drumming and rhythmic trickery. Henderson’s distorted vocals lack a bit of thrash attitude, but they do a fine job of punctuating the compositions with barks and snarls. Beneath the Altar’s best moments take inspiration from Coroner and Vader, and I wish those moments were much more frequent, because the sound leans a bit too close towards the groove school of guitar chugging on occasion (“Negative World,” “Principalities”). Nevertheless, the foundation of the album holds, and Henderson’s performances are impressive.

Beneath the Altar’s experimental side comes at the expense of its strengths. On top of the album’s bread and butter, most tracks differentiate themselves with eccentricities. For example, the title track’s electronic break with an almost hip-hop-like beat is memorable and surprisingly well-made, but it doesn’t exactly fit. “Testimony” ends with a dramatic organ layer that could sound excellent if the mix didn’t turn it into an ear-piercing inconvenience. Many of these one-off gimmicks are fun, but they are either misused or discarded before leaving an impact. Worse, they are a distraction. Beneath the Altar really shines when exploring the rhythmic and melodic sides of death/thrash. Diverging from this path trades depth for breadth; a tighter track like “Sanctum of the Holy” proves that The Final Witness would only benefit from holding onto a theme for longer.

The disparate ideas of Beneath the Altar are greater than the sum of their parts. Its foundational pillars work wonders individually, but interact too infrequently, and one-off experimental touches are fun but out of place. The somber semi-acoustic parts—while well done—hinder song flow when utilized too frequently (“Principalities”) and blend together after multiple listens. Good ideas feel haphazardly assembled. The foregoing is exacerbated by its production, overseen by Jason Wisdom of Becoming the Archetype. The sound is both sterile and rough, with Wisdom prioritizing guitars over vocals and drums—both of which are loud and distracting. Its qualities conjure a strange illusion of metalcore adjacency, further contributing to the album’s incoherent identity. All that being said, I don’t mind listening to Beneath the Altar again. There’s a lot to like, and a brief 36-minute runtime makes sure the record doesn’t overstay its welcome. Yet I feel more compelled to revisit individual parts of songs rather than any particular song in full.

Beneath the Altar is an interesting but unfocused prototype. Getting a solo project this far is already respectable, but I reckon Mr. Henderson is still capable of much more. With more coherent composition and a unified vision, the ideas on this record could form a powerful message. There are exciting bits and pieces here to digest, even if they don’t necessarily form a cohesive whole, and the result is that Beneath the Altar feels like a starting point for better things to come. But for the time being, The Final Witness is still trying to find its sound—and I find myself craving some Coroner instead.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s CBR MP3
Label: Rottweiler Records
Websites: Bandcamp | Facebook | Instagram
Release Date: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #BecomingTheArchetype #BeneathTheAltar #Coroner #DeathThrash #ProgressiveThrashMetal #Review #RottweilerRecords #TheFinalWitness #ThrashMetal #Vader

The Final Witness – Beneath the Altar Review

By Angry Metal Guy

By: Nameless_n00b_607

In a genre long since matured, a common way to avoid retreads is to combine multiple subgenres.1 Contemporary thrash in particular is difficult to get right without the proper guitar assault required to break necks. Hence, many opt to go for one of its offshoots instead. One newcomer looking to explore the avenue of genre blending is The Final Witness, the solo project of multi-instrumentalist Josh Henderson. Debut Beneath the Altar promises to deliver death and thrash in progressive form to the unwashed masses. I dove into Beneath the Altar with caution, having seen how often this combination of terms gets misused, but hoping The Final Witness would fulfill its promise.

Inspired guitar work and appropriate variety are the main strengths of The Final Witness. The majority of Beneath the Altar involves two core components: progressive thrash (“Coronation,” “The Blood”) and death/thrash (“Sanctum of the Holy”). Plentiful melodic leads further color the album, with “Testimony” even evoking the Gothenburg sound. Lastly, quieter semi-acoustic passages bridge these individual pieces together with varied levels of success. The compositions are vivid and frenetic, alternating between traditional breakneck drumming and rhythmic trickery. Henderson’s distorted vocals lack a bit of thrash attitude, but they do a fine job of punctuating the compositions with barks and snarls. Beneath the Altar’s best moments take inspiration from Coroner and Vader, and I wish those moments were much more frequent, because the sound leans a bit too close towards the groove school of guitar chugging on occasion (“Negative World,” “Principalities”). Nevertheless, the foundation of the album holds, and Henderson’s performances are impressive.

Beneath the Altar’s experimental side comes at the expense of its strengths. On top of the album’s bread and butter, most tracks differentiate themselves with eccentricities. For example, the title track’s electronic break with an almost hip-hop-like beat is memorable and surprisingly well-made, but it doesn’t exactly fit. “Testimony” ends with a dramatic organ layer that could sound excellent if the mix didn’t turn it into an ear-piercing inconvenience. Many of these one-off gimmicks are fun, but they are either misused or discarded before leaving an impact. Worse, they are a distraction. Beneath the Altar really shines when exploring the rhythmic and melodic sides of death/thrash. Diverging from this path trades depth for breadth; a tighter track like “Sanctum of the Holy” proves that The Final Witness would only benefit from holding onto a theme for longer.

The disparate ideas of Beneath the Altar are greater than the sum of their parts. Its foundational pillars work wonders individually, but interact too infrequently, and one-off experimental touches are fun but out of place. The somber semi-acoustic parts—while well done—hinder song flow when utilized too frequently (“Principalities”) and blend together after multiple listens. Good ideas feel haphazardly assembled. The foregoing is exacerbated by its production, overseen by Jason Wisdom of Becoming the Archetype. The sound is both sterile and rough, with Wisdom prioritizing guitars over vocals and drums—both of which are loud and distracting. Its qualities conjure a strange illusion of metalcore adjacency, further contributing to the album’s incoherent identity. All that being said, I don’t mind listening to Beneath the Altar again. There’s a lot to like, and a brief 36-minute runtime makes sure the record doesn’t overstay its welcome. Yet I feel more compelled to revisit individual parts of songs rather than any particular song in full.

Beneath the Altar is an interesting but unfocused prototype. Getting a solo project this far is already respectable, but I reckon Mr. Henderson is still capable of much more. With more coherent composition and a unified vision, the ideas on this record could form a powerful message. There are exciting bits and pieces here to digest, even if they don’t necessarily form a cohesive whole, and the result is that Beneath the Altar feels like a starting point for better things to come. But for the time being, The Final Witness is still trying to find its sound—and I find myself craving some Coroner instead.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s CBR MP3
Label: Rottweiler Records
Websites: Bandcamp | Facebook | Instagram
Release Date: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #BecomingTheArchetype #BeneathTheAltar #Coroner #DeathThrash #ProgressiveThrashMetal #Review #RottweilerRecords #TheFinalWitness #ThrashMetal #Vader

The Final Witness – Beneath the Altar Review

By Baguette of Bodom

In a genre long since matured, a common way to avoid retreads is to combine multiple subgenres.1 Contemporary thrash in particular is difficult to get right without the proper guitar assault required to break necks. Hence, many opt to go for one of its offshoots instead. One newcomer looking to explore the avenue of genre blending is The Final Witness, the solo project of multi-instrumentalist Josh Henderson. Debut Beneath the Altar promises to deliver death and thrash in progressive form to the unwashed masses. I dove into Beneath the Altar with caution, having seen how often this combination of terms gets misused, but hoping The Final Witness would fulfill its promise.

Inspired guitar work and appropriate variety are the main strengths of The Final Witness. The majority of Beneath the Altar involves two core components: progressive thrash (“Coronation,” “The Blood”) and death/thrash (“Sanctum of the Holy”). Plentiful melodic leads further color the album, with “Testimony” even evoking the Gothenburg sound. Lastly, quieter semi-acoustic passages bridge these individual pieces together with varied levels of success. The compositions are vivid and frenetic, alternating between traditional breakneck drumming and rhythmic trickery. Henderson’s distorted vocals lack a bit of thrash attitude, but they do a fine job of punctuating the compositions with barks and snarls. Beneath the Altar’s best moments take inspiration from Coroner and Vader, and I wish those moments were much more frequent, because the sound leans a bit too close towards the groove school of guitar chugging on occasion (“Negative World,” “Principalities”). Nevertheless, the foundation of the album holds, and Henderson’s performances are impressive.

Beneath the Altar’s experimental side comes at the expense of its strengths. On top of the album’s bread and butter, most tracks differentiate themselves with eccentricities. For example, the title track’s electronic break with an almost hip-hop-like beat is memorable and surprisingly well-made, but it doesn’t exactly fit. “Testimony” ends with a dramatic organ layer that could sound excellent if the mix didn’t turn it into an ear-piercing inconvenience. Many of these one-off gimmicks are fun, but they are either misused or discarded before leaving an impact. Worse, they are a distraction. Beneath the Altar really shines when exploring the rhythmic and melodic sides of death/thrash. Diverging from this path trades depth for breadth; a tighter track like “Sanctum of the Holy” proves that The Final Witness would only benefit from holding onto a theme for longer.

The disparate ideas of Beneath the Altar are greater than the sum of their parts. Its foundational pillars work wonders individually, but interact too infrequently, and one-off experimental touches are fun but out of place. The somber semi-acoustic parts—while well done—hinder song flow when utilized too frequently (“Principalities”) and blend together after multiple listens. Good ideas feel haphazardly assembled. The foregoing is exacerbated by its production, overseen by Jason Wisdom of Becoming the Archetype. The sound is both sterile and rough, with Wisdom prioritizing guitars over vocals and drums—both of which are loud and distracting. Its qualities conjure a strange illusion of metalcore adjacency, further contributing to the album’s incoherent identity. All that being said, I don’t mind listening to Beneath the Altar again. There’s a lot to like, and a brief 36-minute runtime makes sure the record doesn’t overstay its welcome. Yet I feel more compelled to revisit individual parts of songs rather than any particular song in full.

Beneath the Altar is an interesting but unfocused prototype. Getting a solo project this far is already respectable, but I reckon Mr. Henderson is still capable of much more. With more coherent composition and a unified vision, the ideas on this record could form a powerful message. There are exciting bits and pieces here to digest, even if they don’t necessarily form a cohesive whole, and the result is that Beneath the Altar feels like a starting point for better things to come. But for the time being, The Final Witness is still trying to find its sound—and I find myself craving some Coroner instead.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s CBR MP3
Label: Rottweiler Records
Websites: Bandcamp | Facebook | Instagram
Release Date: August 15th, 2025

#25 #2025 #AmericanMetal #Aug25 #BecomingTheArchetype #BeneathTheAltar #Coroner #DeathThrash #ProgressiveThrashMetal #Review #RottweilerRecords #TheFinalWitness #ThrashMetal #Vader

Coroner - Renewal

Oh my goodness - how long have I been waiting for this. Progressive thrash legends Coroner are back with a new song. The first since 1993.

I hope they will release a proper album.

I saw them live on their last tour with Poltergeist. There were about 20 people and the stage was 10 cm high. IMO one of the most underrated metal bands of all time.

Listen to their album “Grin” and tell me otherwise.

Enjoy

https://tidal.com/browse/track/451203415?u

#metal #rezensionen #vinyl #music #ProgressiveThrashMetal #coroner @metal

ANARCHŸ (Estats Units) presenta nou EP: "Re-Anarchatör" #Anarchÿ #Melodic #ProgressiveThrashMetal #Agost2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

ANARCHŸ (Estats Units) presenta nou EP: "Re-Anarchatör" #Anarchÿ #Melodic #ProgressiveThrashMetal #Agost2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou single: "Sound Burier" #Pansophic #ThrashMetal #ProgressiveThrashMetal #Agost2025 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

PANSOPHIC (Canadà) presenta nou single: "Sound Burier" #Pansophic #ThrashMetal #ProgressiveThrashMetal #Agost2025 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

VENUS (Grècia) presenta nou single: "Uploaded Brains" #Venus #ProgressiveThrashMetal #Juny2025 #Grècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

VENUS (Grècia) presenta nou single: "Uploaded Brains" #Venus #ProgressiveThrashMetal #Juny2025 #Grècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

VENUS (Grècia) presenta nou single: "Uploaded Brains" #Venus #ProgressiveThrashMetal #Juny2025 #Grècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic