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Mit #sepultura s #motörhead Cover gehts eigentlich. #orgasmatron

Mit #sepultura s #motörhead Cover gehts eigentlich. #orgasmatron

In Malice’s Wake – The Profound Darkness Review

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s…
#NewsBeep #News #Music #2026 #3.5 #AustralianMetal #CA #Canada #DeathMetal #Dissection #Entertainment #Harlott #InMalice'sWake #May26 #PowerTrip #review #reviews #SelfRelease #Sepultura #Slayer #Testament #TheProfoundDarkness #ThrashMetal
https://www.newsbeep.com/ca/636896/

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#ReleaseFriday: On today's list we have the new album "We Are The Gods That Tear Ourselves Apart" by #Necrotted and the final EP "The Cloud Of Unknowing" by #Sepultura. Let's hear it 🤘

https://www.europesays.com/es/508512/ SEPULTURA no descartan conciertos esporádicos. SKID ROW tienen dos posibles cantantes. IMMORTAL han terminado su próximo trabajo. #Entertainment #Entretenimiento #ES #España #immortal #Music #Música #sepultura #SkidRow #Spain

Should I go see Sepultura at Copenhell in June?

I love Sepultura. I love Derrick Green era Sepultura. I like Schizophrenia and BTR from the Max era too. It's probably my last chance to ever see them since it's a farewell tour. But, I don't particularly like festivals though. And, tickets are pricey.

Can't decide if I should fork out.

#Sepultura #Copenhell #ThrashMetal

Graufar – Via Necropolis Review

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an…
#NewsBeep #News #Music #2026 #3.5 #AustrianMetal #BlackMetal #BlackenedDeathMetal #DeathMetal #Dissection #Entertainment #Graufar #Mar26 #Mayhem #Necrophobic #review #Reviews #Rimfrost #SelfReleased #Self-Releases #Sepultura #UK #UnitedKingdom #ViaNecropolis #Watain
https://www.newsbeep.com/uk/538287/

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

https://www.europesays.com/be-nl/42160/ Anthrax en Sepultura aan de Limburgse vlaai? Maastrichts festival maakt het mogelijk #Amusement #ANTHRAX #BE #België #Belgium #BOKKERIJDERS #Entertainment #Festival #HALESTORM #HELDEN #LIMBURG #megadeth #Music #Muziek #muziekgieterij #NIENABOCKEN #SEPULTURA #SOUTHOFHEAVEN #VLAAI

https://www.europesays.com/nl/?p=182283 Anthrax en Sepultura aan de Limburgse vlaai? Maastrichts festival maakt het mogelijk #Amusement #ANTHRAX #BOKKERIJDERS #Dutch #Entertainment #festival #HALESTORM #HELDEN #Limburg #megadeth #Music #Muziek #muziekgieterij #Nederland #Nederlanden #Nederlands #Netherlands #NIENABOCKEN #NL #sepultura #SOUTHOFHEAVEN #vlaai

https://www.europesays.com/be-nl/42072/ Anthrax en Sepultura aan de Limburgse vlaai? Maastrichts festival maakt het mogelijk #Amusement #ANTHRAX #BE #België #Belgium #BOKKERIJDERS #Entertainment #Festival #HALESTORM #HELDEN #LIMBURG #megadeth #Music #Muziek #muziekgieterij #NIENABOCKEN #SEPULTURA #SOUTHOFHEAVEN #VLAAI

https://www.europesays.com/nl/?p=182171 Anthrax en Sepultura aan de Limburgse vlaai? Maastrichts festival maakt het mogelijk #Amusement #ANTHRAX #BOKKERIJDERS #Dutch #Entertainment #festival #HALESTORM #HELDEN #Limburg #megadeth #Music #Muziek #muziekgieterij #Nederland #Nederlanden #Nederlands #Netherlands #NIENABOCKEN #NL #sepultura #SOUTHOFHEAVEN #vlaai

🇺🇦 #NowPlaying on #BBC6Music's #CraigCharles

Sepultura:
🎵 Desperate Cry

#Sepultura

https://disgracehardcore.bandcamp.com/track/desperate-cry-sepultura

https://open.spotify.com/track/3PWgD7Gk14tGxHIEK8PQ6o

Man, I’ve not been in love with a lot of newer #Sepultura but this song has a really cool groove to it. #Metal https://www.youtube.com/watch?si=_Sr2WHwBTvSRoaoE&v=QP5dSeCeQkg&feature=youtu.be

Sepultura drop new single “Beyond the Dream”

#Sepultura #BeyondTheDream #NewSong #NewMusic

Link: https://metalinsider.net/new-music/sepultura-drop-new-single-beyond-the-dream

Sepultura drop new single “Beyond the Dream”

#Sepultura #BeyondTheDream #NewSong #NewMusic

Link: https://metalinsider.net/new-music/sepultura-drop-new-single-beyond-the-dream

New post: Sepultura share “Beyond the Dream” from upcoming farewell EP https://moshville.co.uk/news/2026/03/sepultura-share-beyond-the-dream-from-upcoming-farewell-ep/ #Sepultura

G-Nitro’s Daily Music Wrap-Up – 3/15/26

I say hell no to a Sepultura album, and check out the latest release by Leven Kali.

Favorite Videos include ONEW on It's Live, Claire Rosinkranz on Medium Sized Backyard, and more!

https://g-nitro.com/g-nitros-daily-music-wrap-up-3-15-26

#Music #1001Albums #Sepultura #LevenKali #Onew #ItsLive #ClaireRosinkranz #MediumSizedBackyard

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

Eleine
06.11.2026 Berlin / Cassiopeia

Jungle Rot, KHNVM und Rats Of Gomorrah
05.08.2026 Berlin / Lido

Moon Shot und Die Happy
23.10.2026 Berlin / Badehaus

Sepultura
24.06.2026 Potsdam / Waschhaus

The Hu und Skald
18.10.2026 Berlin / Columbiahalle

#Badehaus #Berlin #Cassiopeia #Columbiahalle #Eleine #JungleRot #Lido #MoonShot #Potsdam #Sepultura #TheHu #Waschhaus #SteelFeed

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

I’m sitting here in the early weeks of 2025 hoping to review a ton of traditional metal in the coming year…

These are the words of a madman, a madman who uttered said words, then immediately disappeared for the next year. What an idiot! This just goes to show that even the very, very best of us can fall victim to our hubris and that the best laid metal plans can be derailed by life circumstances and creative apathy. Don’t let Steel convince you that he placed me on sabbatical—I did that shit myself. Musically, at least, I used my time away wisely. It felt so good to let myself listen to whatever I wanted, whenever I wanted, and it was honestly the shot in the arm I needed to consider coming back to reviewing in any capacity. So here I am, ready, I think, to put digital pen to digital paper in an effort to describe how I feel about some music. Now watch as I resurrect myself through the power of Deathraiser!

When considering what Brazil is best known for, people often throw out things like the Amazon rainforest, round-ball football, coffee, beef, and that really tall statue of the Christmas Superstar, but you and I both know that Brazil is primarily known for thrash metal. Seeking to add to that legacy, Deathraiser is raising themselves from the dead by releasing sophomore album Forged in Hatred a mere 15 years after their debut. Do yourself a favor and play the embedded single, “Primitive Medicine,” and you’ll not only hear shades of the band’s famous big brothers in Sepultura, but you’ll also hear a healthy dose of Kreator and smell a touch of Bay Area botanicals.

Forged in Hatred by DEATHRAISER

Over the course of Forged in Hatred’s toight-like-a-toiger 34 minutes, Deathraiser holds religiously to the 5 R’s of thrash metal as they riff, rage, rip, wreck, and riff their hearts out. Take some deep breaths during the first 25 ambient seconds of opener “Severe Atrocity,” because it’s the last chance you’re going to have. The track shows the band’s two-pronged musical strategy, initially committing to the blazing classic thrash of yore before serving up a delicious crossover groove a la Enforced (see “Everything Dies” for a track that sounds like it was written by those violent Virginians), and the resulting contrast hits me like a Demolition Hammer. Deathraiser do the style so well that it took me multiple listens to realize that sixth track, “Symphony of Violence” is actually instrumental; far from being self-indulgent filler, it’s such a fantastic thrash song that my brain didn’t even register the lack of vocals.

Forged in Hatred has a couple of issues, but neither really lowers my opinion of the final product. The drum production leaves something to be desired as the sound lacks bottom end and feels a bit shrill. Some will say the songwriting is too derivative of the old masters. I’ll admit that there were a couple of moments—on my very first playthrough—where I accurately predicted the next riff before it actually arrived, but Deathraiser executes these songs so well that I actually don’t even care. The vocals are convincing, the riffs are fantastic, and each song is memorable in its own way.

Let Forged in Hatred take you back to your youth, a time when yer mom warned you about finding Deathraisers in your Halloween candy (this album proves that she just didn’t want you to have a good time!). Yeah, you’ve probably heard everything on this record before, from some legendary bands that are releasing new albums this very week, I might add, but few bands of any era are currently playing thrash as convincingly as Deathraiser do here.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: facebook.com/deathraiserofficial
Releases Worldwide: January 23rd, 2026

New avatar. Edited with Image Toolbox.
Yes, that's a #Sepultura tapestry in the background. I found it in "The Bins", believe it or not. (Good for me but, sad that it made it that far.)

https://f-droid.org/packages/ru.tech.imageresizershrinker
https://github.com/T8RIN/ImageToolbox

#Gothic #bassist #fretlessBass

New avatar. Edited with Image Toolbox.
Yes, that's a #Sepultura tapestry in the background. I found it in "The Bins", believe it or not. (Good for me but, sad that it made it that far.)

https://f-droid.org/packages/ru.tech.imageresizershrinker
https://github.com/T8RIN/ImageToolbox

#Gothic #bassist #fretlessBass

New avatar. Edited with Image Toolbox.
Yes, that's a #Sepultura tapestry in the background. I found it in "The Bins", believe it or not. (Good for me but, sad that it made it that far.)

https://f-droid.org/packages/ru.tech.imageresizershrinker
https://github.com/T8RIN/ImageToolbox

#Gothic #bassist #fretlessBass

New avatar. Edited with Image Toolbox.
Yes, that's a #Sepultura tapestry in the background. I found it in "The Bins", believe it or not. (Good for me but, sad that it made it that far.)

https://f-droid.org/packages/ru.tech.imageresizershrinker
https://github.com/T8RIN/ImageToolbox

#Gothic #bassist #fretlessBass

https://www.europesays.com/es/255624/ SEPULTURA anuncian su último concierto en Europa. Vídeos de THE RODS y SHIRAZ LANE. Cartel completo de Barroselas. #Barroselas #Entertainment #Entretenimiento #ES #España #Music #Música #sepultura #ShirazLane #Spain #THERODS

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

After 40+ years of noise and 30 of irrelevance, Sepultura is finally hanging it up in 2026. Call it a farewell tour, call it a cover band retirement party — either way, the circus is over. Good riddance.
#Sepultura #MetalHistory #FarewellTour #HeavyMetal #MusicObituary #RockAndRollIsDead
https://pablohoneyfish.wordpress.com/2025/09/14/sepulturas-farewell-roots-shitty-roots/