#redefiningdarknessrecords — Public Fediverse posts

https://www.europesays.com/uk/817243/ No/Más – No Peace Review #2026 #35 #AmericanMetal #DeathMetal #Deathgrind #Entertainment #Exhumed #FullOfHell #Grindcore #JungleRot #Mar26 #music #Nails #NapalmDeath #NoPeace #No/Mas #NoMas #OxygenDestroyer #ProPain #RedefiningDarknessRecords #Review #Reviews #Sepultura #UK #UnitedKingdom

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

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

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

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

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

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

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

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

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

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

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

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

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

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

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

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

Oxygen Destroyer – Guardian of the Universe Review

By Holdeneye

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

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

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

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

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

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

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