#speedmetal — Public Fediverse posts

Rapid – Enter the Realm of Fire Review

Rapid by name, rapid by nature. A simple but effective moniker for this rip-roaring trio emerging from the…
#NewsBeep #News #Music #2026 #3.0 #AU #Australia #BlackMetal #butcher #DyingVictimsProductions #EntertheRealmofFire #Entertainment #FinnishMetal #HeavyMetal #MercyfulFate #midnight #rapid #review #reviews #Slayer #SpeedMetal #ThrashMetal #Venom
https://www.newsbeep.com/au/882314/

Rapid – Enter the Realm of Fire Review

Rapid by name, rapid by nature. A simple but effective moniker for this rip-roaring trio emerging from the…
#NewsBeep #News #Music #2026 #3.0 #AU #Australia #BlackMetal #butcher #DyingVictimsProductions #EntertheRealmofFire #Entertainment #FinnishMetal #HeavyMetal #MercyfulFate #midnight #rapid #review #reviews #Slayer #SpeedMetal #ThrashMetal #Venom
https://www.newsbeep.com/au/882314/

Rapid by name, rapid by nature. A simple but effective moniker for this rip-roaring trio emerging from the Helsinki underground with a gnarly and riotous speed, thrash, and old school black metal attack. Featuring additional lashings of classic heavy metal, punk, and death influences, Rapid unleash their retro brand of ugly, thrashy mayhem on debut album, Enter the Realm of Fire. And from the get-go, these dudes share a clear devotion of ye olden days of underground, piss-and-vinegar-drenched metal, creating an authentically twisted concoction, brooding with bombast, evil vibes, and over-the-top theatrics. The colorfully named trio, consisting of bassist/vocalist Vincent Revenge, drummer The Goon, and axe wielder Atte ‘Spectre’ Nikku, formed back in 2014. During this time, they spat out a couple of demos and 2022’s Blackstar Oppression Regime EP generating underground buzz. Boasting a mean, unvarnished sound, and metal cred up the ying-yang, can Rapid back things up with songwriting to match their trve old school values?

Following an unnecessary intro piece, Rapid launch into their work proper on the ripping “Witchcraft of Horror,” laying their cards on the table, flexing their blackened thrash and speed metal combo, taking cues from the likes of Venom, early Slayer, Mercyful Fate and modern retro heavyweights Bütcher and Midnight. It’s a raucous, unhinged formula to warm the blackened hearts of’80s metal and underground aficionados. Once more, Rapid is a deceptively nimble beast, wielding their crude weapons and vicious badassery with deft hands, threading slithering melodies and sinister atmospheres into the thrashing cauldron, where galloping speed, raucously blackened riffs and unhinged vocals conspire to wreak havoc. Revenge’s vocals lend the album a wickedly over-the-top and charismatic edge, as black-thrash howls, croaks, demented screams and a rough-around-the-edges cleaner style are unleashed.

Aside from the punkish, first-wave gallop and thrust of mid-album burner “Horemheb,” and epic, if slightly overcooked closer “Beyond the Gates of the Rapid Flames,” Rapid keep the songwriting sharp and punchy, much to the album’s advantage. While the raw slash-and-burn riffage reigns supreme, the melodic embellishments and occasional noteworthy soloing add layers of substance and intrigue to the otherwise cutthroat nature of the Rapid formula. The hugely energetic delivery, coupled with their feral streak and deft handling of tempo variations, helps maintain interest across the album’s duration. At its best, Enter the Realm of Fire goes hard and comes emblazoned with deadly hooks and killer atmosphere, such as those adorning the frosty death march of “Wielder of Might – Death from Above,” grimly venomous meloblack meets heavy metal grooves of “Black Poison,” and blackened heavy metal gallop exhibited on the hooky, over-the-top “Pest Eater.” Not all tracks hit the same heights, but it’s all pretty solid and enjoyable fare.

Enter the Realm of Fire comes armed and dangerous with a roughshod production that tramples modern production values into dust, complimenting the looser vibes and gritty underground aesthetics, without sacrificing overall bite, clarity and tasty dynamics. Rough production and looser vibes do not translate to sloppy performances. The trio bust out energetic, tightly synced performances, highlighted by Revenge’s unusual yet often compelling vocals and Spectre’s raw, menacing riffs, blazing melodies, and often eloquently shredded solos. There are slight ebbs and flows in song-to-song quality, though aside from the throwaway intro and almost comically odd slower-paced track “Gaze of the Black Void,” the album is uniformly solid with a few especially potent bangers.

Rapid’s accomplished debut comes as a pleasant surprise, skillfully straddling the line between nostalgia, ’80s metal trvness, and raw underground grit, while sounding fresh enough to stand on its own. Sure, influences are proudly adorned on their ragged battle vests, but there is ample upside to what Rapid have cooked up. A wild and venomous ride, Enter the Realm of Fire is a gleefully violent, old school metal rampage that largely overcomes its warts and all flaws with solidly entertaining songwriting. The future looks bright for these throwback underground warriors.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp
Releases Worldwide: August 21st, 2026

Il Segreto del Vero Rock: Perché la Tua Chitarra Ha Bisogno di un Mastro Liutaio (E Dove Trovarlo!)

https://metal-lore.com/2026/07/20/il-segreto-del-vero-rock-perche-la-tua-chitarra-ha-bisogno-di-un-mastro-liutaio-e-dove-trovarlo/

Let me start by saying that the nom de jure adopted by this French heavy/speed metal act gives me a minor case of major league OCD. Was Iron Onslaught unavailable? How about Iron Slaughter? Iron SlaughterER?1 Anywho, the duo behind Iron Slaught started life in 2015 with their Crusading Metal Mercenaries debut,2 and it’s taken them 11 long years to get back in the black with sophomore outing, Metallic Torments. Exactly what kind of metallic torments await the listener, you ask? Well, the formula here is a potent merger of 80s Germanic thrash like Deathrow, Vendetta, and Iron Angel with classic heavy metal and touches of black and death included for extra spice. Does that sound a touch overly ambitious? Mayhaps, but the gruesome twosome behind this project brings a lot of energy and verve to the war hall, and damn if they don’t deliver pure tundra thunder at times. That’s enough to get Steel slaughting3

After a lengthy but interesting instrumental intro, the real fire gets to spreading on “Ghastly Obsession.” This is fast, aggressive 80s speed excess with a premium on catchy, melodic leads that remind me of Running Wild or their blackened descendant, Forefather. In fact, some of the rollicking, rocking riffs are so Running Wild, I almost donned an eye patch and bought meself a parrot. This means the song is plenty of wild, lawless fun, and it will bring the privateers to the YARRRRd. “The Executioner” is another rip ride, brimming with blackened thrash energy and 80s heavy metal bravado. Some of the guitar work is straight up 80s Mercyful Fate, but these moments eventually give way to German-flavored speed assaults with mucho machismo. “Soldier of Fortune” is pure 80s gold with a joyously anthemic, fist-pumping energy and wild guitar pyrotechnics. The clean vocals are interesting and not always great, but they work well enough to sell the product.

Several tracks are sung entirely in French, including the very Bütcher-esque “Condamné Pour L’Éternité” and the large-and-in-charge power ballad “Charme Funeste.” Both work despite being the language barrier for uncouth clods like myself, though the latter feels a touch too portly at 7 minutes. Many of my favorite moments arrive during the equally stout 8-plus minutes of closer “Fatal Retaliations,” where the level of blackened thrash reaches Desaster levels of berserk lunacy. There’s also a competing Grave Digger vibe that rudely and Germanically injects itself, thereby making the whole construct feel loony and amusingly over-the-top as the time passes by quickly. There’s more than enough sheer chaos in this one to keep you entertained as the duo stretches itself to the utmost compositionally. At a trim 44 minutes with no tracks tanking and only minor issues with bloatage, there’s enough unbridled enthusiasm on Metallic Torments to keep you locked in and thrashing along.

Iron Jérémy4 handles guitars and vocals, and his fretboard surfing is quite impressive. The dude can noodle up a storm, but he also has a firm grasp on how to craft memorable, ear-snagging riffs that stick the landing. Whether he’s borrowing from various heroes of 80s classic metal or veering into the extremes of thrash and black metal, there’s a keen sense of purpose and craftsmanship to what he does. His rough, raw thrash bellows and harsher blackened rasps are solid and effective, and even when he ventures into clean singing, he manages to pull it off more often than not, and at times he really brings it. Partner-in-grime Nikrass mans the bass, and though he isn’t all that audible amid the mayhem, he provides a solid foundational rumble upon which they build a temple to batshit craziness. The drums were apparently programmed, but I didn’t detect that on my review spins, so they did a good job there.

Metallic Toments is one of those unsung little albums you happen upon that ends up punching way above its weight, and there’s no way to blast this and not get your metal mood elevated. It’s easy to digest, high-octane, and ambitious enough to throw some surprises at the listener. Iron Slaught may not be a household name, or even have a name worthy of entry into most houses, but they know how to bring the metal to the filthy masses, and bring it they do here. Bless this poorly monikered mess.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Gates of Hell
Websites: ironslaught.bandcamp.com |facebook.com/profile.php
Releases Worldwide: July 10th, 2026

🔥BEWARE OF THE DUNGEON MASTER(S)🔥

June 19 is not only the release day of our third album ETERNAL DAGGER, but finally our debut album DUNGEON MASTERS will finally see its first re-press on vinyl and CD!

For obvious reasons, this album holds a special place in our hearts. It also contains some of the absolute fan favourites like Black Magic Spells, Born under the Tower, or Heavy Metal Generation.

We recorded the album at the legendary Toxomusic Studio in Koblenz, the same place Cruel Force recorded their debut album THE RISE OF SATANIC MIGHT. #HeavyMetal #IronKobra #SpeedMetal #DungeonMasters #CruelForce #metal

Evolution. It’s one of those principles that seems to undergird just about every aspect of existence in this universe. As students of our most favorite of genres, we often speak about the “evolution of heavy metal” and how it has birthed a plethora of subgenres of varying degrees of viability. While some of these subgenres carry enough useful traits to become long-lasting pillars in the monument of heavy metal, others seem to serve the role of transitional forms or “missing links” between more well-known styles. Case in point: speed metal. Often seen as a momentary stop on metal’s journey from traditional to thrash, relatively few bands have built a career on speed alone. Acts who start with speed metal (many early thrash bands and power metal bands, especially) often incorporate other elements or transition to something else entirely. While this may be the general trend in metal’s history, Germany’s Cruel Force says, “Fuck that.”

Formed back in the late aughts as a blackened thrash/speed metal band, Cruel Force regrouped after a long hiatus, reinventing themselves as a pure and simple speed metal band with 2023’s Dawn of the Axe, an album that impressed me enough to earn a spot on my list of honorable mentions for that year. Well, if that was the dawn of the axe, 2026’s Haneda is the reign of the axe, an axe that has been meticulously honed and polished to the point of being as beautiful as it is lethal. I’d suggest doing a proper warmup before pressing play on the embedded “Whips-A-Swinging,” because severe neck damage is all but inevitable.

Haneda by CRUEL FORCE

In fact, Haneda should have come with a warning from the surgeon general stating something like, “May cause permanent stank face. May cause carpal tunnel syndrome secondary to excessive involuntary air guitar. May cause the user to run through walls, laugh maniacally at inappropriate times, or punch strangers in the face. Do not use while operating motor vehicles, as dangerous and irreversible acceleration has occurred. User may also feel the urge to destroy said vehicle with their bare hands, Street Fighter style.” And that’s just my experience with the record these maniacs have produced. Guitarist Slaughter absolutely lives up to his name, slaying all before him with unbelievable rhythm skills and classic metal leads, while Spider’s fingers crawl across his bass fretboard in an effort to keep up. Carnivore feasts, delivering a timeless, thrashy vocal performance that suits the music oh so well, but MVP honors go to drummer GG Alex, whose incessant fills have managed to become a hallmark of Cruel Force’s sound.

The prospect of 42 minutes of speed metal probably doesn’t sound all that special or exciting, but in Cruel Force’s capable hands, Haneda has managed to transcend the genre’s ham-fisted, beer-guzzling stereotype to create something truly special. The compositions are incredible, ranging from 4-minute rippers like “Whips-A-Swinging,” “Savage Gods,” “Sword of Iron,” and “Black Talon,” stretching into more complex work like “Warlords” or the album’s instrumental centerpiece “Crystal Skull,” and finishing in grand fashion with the epic, 9-minute, Song o’ the Year-frontrunning title track. Every song features wild, yet somehow graceful transitions and killer grooves, and the production is simply beautiful, proving that an album can sound authentically old and brutal while simultaneously feeling cultured and refined. I’m honestly still in shock from how hard this album hit me; what on first listen felt like just a really good speed metal album has revealed itself to be utterly excellent.

To finish my musings on evolution, Haneda sounds like a handful of speed metal bands become isolated on an island that drifted away from mainland Metal millions of years ago (let’s call this island ‘Metalgascar’) and whose progeny have spent the intervening time adapting and mutating without any other external musical influence. Where mainland Metal achieved heaviness through ever more extreme vocalization, down-tuning, and genre bastardization, Metalgascar developed its heaviness through ever-increasing speed and compositional quality. Far from being some hunched-over figure towards the beginning of heavy metal’s March of Progress, speed metal, in the form of Cruel Force, has achieved its final form, becoming Homo deus, the Übermensch, the Gigachad, or as the kids say these days, “he’s him” (or “she’s her,” or “they’re them,” if you prefer). This fantastic record will undoubtedly be on my year-end list (if not atop it), because I doubt that 2026 can produce something that’s more quintessentially metal.

Rating: 4.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Shadow Kingdom Records
Websites: cruelforce.bandcamp.com | facebook.com/cruelforce
Releases Worldwide: March 27th, 2026

Unlike some of our staff, I’ve never been in a band. However, I can imagine the feeling of satisfaction in putting together and releasing that first full-length record. For every band that achieves this milestone, countless more never do. Italy’s Borrower was nearly among that number. Formed in 1993, Borrower released three demos in the ’90s, a fourth in 2005, and then disappeared until 2018 with their debut EP. Whatever interrupted their musical career, the dream remained, and they finally released their first album (and signed to a label, to boot) 33 years later with their founding vocalist, Massano Ratano, and drummer, Frank Formoso, joined by new guitarists Matteo Marzo and Matteo Marini. Behold their vision, a story of killer, humanoid demons as told through music that harks back to some of the legends of ’80s and ’90s speed metal.

Granted, the concept of an album where each song tells a story about a distinctive demonic entity with its own unique “physical traits” and “specific weapon” is extremely silly, yet Killerdemons proves to be a catchy and cool affair. Borrower claim Motörhead, Judas Priest, and Dio as their main influences, and they write spare, riff-tastic tunes in their honor. The guitars carry much more heft than their influences, however, with enough reverb to take tunes dangerously close to stoner territory a lá High on Fire and Black Sabbath. This marriage between speed and stoner proves effective. “El Degollador” oscillates between lightning-fast, “Ace of Spades”-inspired riffs and slower, “War Pigs”-style stoner riffs in a performance that’s sure to give you whiplash. Taking a cue from AC/DC, Borrower keeps their song structures simple yet catchy. The rollicking “Stay Alive” best demonstrates this virtue with crisp songwriting and energetic pacing. Each track has distinctive riffs that are far more powerful than the demons it conjures.

In the eight years since their 2018 EP, A Plague Chapter…, Borrower has vastly improved their sound and instrumental prowess. The two Matteos have played a major role in this transformation. Marini’s fuzzy guitar tone adds heft where the EP’s guitars sounded tinny. His blending of Motörhead-style riffcrafting with the density of High on Fire and Mastodon adds an extra oomph to tracks like “Der Todessoldat” and “Tough Fight.” Marzo’s bass takes a commanding presence as well. He adds depth and backbone to the music, making his presence especially felt on the slower moments of “Knocking on the Coffins.” Formoso takes a restrained approach behind the kit, occasionally blasting the cymbals (“Dream on Fire”), but mostly setting the pace with an effective simplicity. The wild card of the group is vocalist Ratano. He seemingly channels Lemmy, Arnold Schwarzenegger, and Fozzie Bear in a truly strange, yet somehow endearing performance. His Italian accent, which drags out the words “kee-ler dee-mons” during the chorus of “Killerdemons,” adds a level of camp that contributes to the goofy fun.

While Borrower keeps Killerdemons to a concise 36 minutes, the record does falter on the two songs that stray from the 3-4 minute range. The first, “Knocking on the Coffins,” has some memorable riffs, including a cool, old school solo, but at over five minutes, it drags on a bit too long. Positioned between the album’s two best tracks, it also proves to be a major momentum killer. The biggest sore thumb, however, is the six-plus minute finale, “A Chaos Vortex.” Not only does it lack memorable riffs, but it falters in its final two minutes as the band sorely misjudges when to best wrap it up. Trimming 2-3 minutes from each of these songs would have immensely improved the album’s otherwise incredible pacing.

As I established last month, metal tends to invite some weird characters, and the killer demon universe created here is certainly an odd one. But that’s also what makes metal so much fun. Bands feel free to try out their off-the-wall ideas, from literary– or video game-inspired themes to the creation of fantasy or sci-fi realms. And sometimes these ideas actually work. Borrower finally sees through their vision, or at least the start of it, and presents it in such a catchy, cool way. I love to see original ideas performed with such care and passion, and I hope these guys continue to cultivate their ideas and musical talents.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: February 13th, 2026

Angra – Temple Of Shadows #cd #ParadoxxMusic #id13120021 #SpeedMetal #Microservice #AA10000 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise

Live roundup 36#

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Vendel

More info: https://www.instagram.com/vendel_epic_metal/

#2 Iron Driver

More info:https://www.facebook.com/irondrivernworhm

#3 Cruelforce

More info: https://www.instagram.com/cruelforceofficial/

#4 Sinner Rage

More info: https://www.facebook.com/SinnerRageHeavyMetal

#5 Heretic Steel

More info:https://www.instagram.com/heresymetalmedia/

#6 Starlett Stock Hard N heavy Festival

More info: https://www.facebook.com/profile.php?id=100094397856444

#7 Tailgunner @ Sweden Rock

More info: https://www.facebook.com/tailgunnerhq

#8 Guerrilla Gathering

More info: https://www.tixforgigs.com/Event/69029?af=preezw1n1iwf&saf=1zr0vjf

#9 Iron Maiden US tour 2026

More info:https://www.ironmaiden.com/

#10 Taunus Metal Festival XVI

More info: https://www.facebook.com/taunusmetal

#1 #10 #2 #3 #4 #5 #6 #7 #8 #9 #AMBUSH #cruelForce #GuerrillaGathering #HeavyMetal #HereticFestival #IronDriver #IronMaiden #mechanicTyrants #NewWaveOfTraditionalHeavyMetal #NWOTHM #SinnerRage #speedMetal #spitfire #starlettStock #SwedenRock #Tailgunner #TaunusMetalFestivalXVI #thenwothm #vendel

Bastard Cröss – Crossripper Review

By Tyme

As a massive fan of anything that creeps, crawls, horrifies, or shocks, I enjoy no season more than Halloween. And since October 31st falls on a release day to steel-toed-boot this year, and with me closing in on my first 365-day stint as a staffer at AMG no less, I was especially eager to recover something particularly apropos from the promo pit. Enter Philly’s fresh and ferocious foursome, Bastard Cröss, and their Morbid and Miserable Records debut album, Crossripper. Formed in 2021, with a couple of EPs and splits tucked under their bulleted belts, Bastard Cröss come correct from the crypts of Philadelphia to regale us all with crude, blackened-thrash tales ‘inspired by horror movies’ and ‘notably dark and violent documented events from religious history.’ Sounds like a recipe for tons o’ fetid fun as this most horrible of holidays draws nigh. Does Bastard Cröss have what it takes to toll Samhain’s bell, though, or are they just one more razor-blade-filled treat meant to trick us?

Bastard Cröss play Neanderthalic, throwb(l)ack thrash, and it’s clear they poured every ounce of their blood, sweat, and beers into Crossripper as it sounds like a long-lost 1985 album that would’ve had tape traders salivating back in the day. Forged in fires from an age when Slayer were still Showing No Mercy and Bathory had yet to quaff a drop of Blood Fire or Death, and with a pinch or two of punk attitude ala early Motörhead and Anti-Cimex thrown in as well, Crossripper is robustious and raw. Album opener “Parasitic” sets the table by delivering all the Bastard Cröss goods. Infernal Bastard’s pulse-quickening drum intro gives way to Beheader of Priests’ heaving bass and the satisfyingly speedy, dual guitar mayhem of Blasphemous Axe and Heathen Chevalier, who also share vocal duties. Their approach runs the gamut from Quorthonic croaks and Tom Araya-like wails to everyman gutturals that would complement any would-be death outfit to a tee. Adrift in the sea of metal’s retro movement—more modern comparisons to Nocturnal or Deathhammer are apt—Bastard Cröss stand out by injecting perfect amounts of mayhem and melody into Crossripper’s well-written, tightly executed songs.

Bastard Cröss are nothing if not all-out balls-to-the-wall, horns-held-high fun. Memorable moments abound throughout Crossripper’s easily digestible thirty-seven-minute runtime. Whether plodding forth in Morbid Tales-like fashion before death galloping along (“Crossripper”) or wammy diving your ears into liquified submission (“Lycan Knights”), by the time the beer-can popping sound byte accentuates the punk-in-cheek attitude swarming the start of “Satanic Pandemonium,” you should be thrash-stomping your drunk ass all over the living room and smashing empty PBR cans against your forehead. Bastard Cröss even manage to squeeze in an admirable homage to 80s hair-metal cock rock in the form of “Demons at Midnight,” a song possessed by sleazy riffage and another one of Crossripper’s many catchy-as-hell choruses. I even looked forward to the beautifully executed, acoustically driven outro to the excellent album closer “Behead the Priest,” which features some angelic, cherry-on-top vocal emanations from Marisa Monaco.

Everything about Crossripper oozes speed-laced, devil-metal nostalgia. From the primitive, yet perfectly rendered, Sandy Rezalmi cover art to the cheeky, we-mean-business band aesthetic and appropriately raw, period-style production, Bastard Cröss nail so many things on Crossripper, I’m left with little to complain about. In fact, I can’t look back on any part of my time with Crossripper and say I didn’t enjoy it. I suppose my lone critique would be that if Bastard Cröss continue swimming in the pool of retro-80s speed-blackened thrash metal, it might be a bridge too far for them to cross and achieve any level of innovative greatness. Not that this is a death sentence by any means. Should Bastard Cröss continue to put out this level of quality horror-loving retro metal, they’re poised to enjoy a pretty solid career.

I’m not the biggest fan of the phrase ‘mileage may vary,’ but I feel it’s appropriate when it comes to summarizing the Bastard Cröss experience. Crossripper doesn’t do anything you haven’t probably heard before. But what it does do is pretty damn good. In this digital age, when there’s more music at your fingertips than at any other moment in history, it’s assessing what music warrants your time and, in some cases, hard-earned cash that has become the commodity by which reviewers provide the most value. And I can assure you, spending thirty-seven minutes with Bastard Cröss and Crossripper this Halloween is definitely worth yours.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Morbid and Miserable Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 31st, 2025

#2025 #35 #AmericanMetal #AntiCimex #BastardCröss #Bathory #BlackMetal #Crossripper #MorbidAndMiserableRecords #Motörhead #Oct25 #Review #Slayer #SpeedMetal #ThrashMetal

IRON SAVIOR (Alemanya) presenta nou single: "Fame" #IronSavior #SpeedMetal #PowerMetal #Octubre2025 #Alemanya #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Stuck in the Filter: August 2025’s Angry Misses

By Kenstrosity

The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.1 The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.2 The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Luke’s Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

#2025 #Aeternus #AmericanMetal #Americana #AnOceanOvPutridStinkyVileDisgustingHell #Aug25 #Bask #BlackMetal #BlackenedDeathMetal #BurningWitches #CelestialTwilightBeyondTheCrimsonVeil #CelticFrost #Clutch #CosmicMother #CrimsonDawn #Danzig #DarkAmbient #DeathMetal #Deathhammer #DefLeppard #Defacement #Demilich #DigitalPlague #Doomed #DryDrunk #DutchMetal #EdgedCircleProductions #Emperor #Enslaved #Fellship #FinnishMetal #FrozenCrown #FuManchu #GermanMetal #GiantHaze #Glassing #Hardcore #HeavyMetal #Hellbutcher #HellsHeadbangersRecords #HotGraves #Huntsmen #Incantation #Inquisition #IronMaiden #JudasPriest #Kallias #Kraków #Kyuss #MelodicBlackMetal #Meshuggah #MoonlightSorcery #MorbidAngel #Motörhead #NapalmRecords #NorwegianMetal #OldNick #PersonalRecords #PhantomFire #Plasmodulated #PowerMetal #ProgressiveDeathMetal #RawBlackMetal #Review #Reviews #SelfRelease #SilentMillenia #Slayer #Sludge #SludgeMetal #SomaliYachtClub #SpeedMetal #StonerRock #Stormkeep #StreetSects #StuckInTheFilter #StuckInTheFilter2025 #SwissMetal #SymphonicBlackMetal #TechnicalDeathMetal #TheTurning #TonzonenRecords #Turian #Voivod #Voyager #Wharflurch

Crucible – Hail to the Force Review

By Steel Druhm

By: Nameless_n00b_604

Whether you’re a fledgling artist or an industry veteran, the process of making music is hard, strewn with obstacles internal and external. For the speed/US-inspired power metallers Crucible, that obstacle was Mother Nature, who gifted them a massive snowstorm that drastically impeded their studio time to record their debut album Hail to the Force. The Danes, thus, banged out the entire ten-track, thirty-seven-minute record in a week. For a young band recording a debut together, that’s nuts. But we’re not here for the story—we’re here for the album, a throwback affair of promo-purported “ferocious aggression with strong melodies and epic heavy metal atmospheres.” Did Nature not want this thing made, or was she testing Crucible to give Hail to the Force the fire they need to stand amongst the Metal Gods they venerate?

Crucible really likes the ’80s. Throughout Hail to the Force, Crucible administer Judas Priestly heroics at Riotous speeds, ripping Defenders of the Faith leads on the title track and injecting “Savage Weapon” with Thundersteel adrenaline. Openers “Deathdealer” and “Embrace of Steele” are as archetypically speed metal as they come, awash with thundering drums and bass by Ole Iversen and Kenneth Frandsen respectively, soaring vocals by Phillip Butler (Pectora) and massively palm-muted riffs by guitarists Thomas Carnell (Impalers) and Jon Brogård. “Manic Minute” sees Butler deliver power metal wails as the band rages with Motörhead delinquency, while “Far Beyond the Grave” revels in the retro futuristic aesthetics of Iron Maiden’s Somewhere in Time. They even recall fellow throwback acts, deploying belligerent vocals on “Evilforce” reminiscent of Livewire and the modernly loud, yet organic production of Riot City. Without question, Crucible is married to their influences.

Crucible brings talent and vitality to Hail to the Force, but never escapes their influences’ shadows. Stomping the pedal down and rarely letting up, with “Evilforce” and “Mad Minute” showcasing their most frantic capabilities, Crucible can’t be accused of sluggishness. Neither could their guitarists be justly labeled as shlubs: their solos are brimming with sharp, vintage shredding and tasteful sweeping. But too often, Crucible stick to the speed metal playbook like glue. “Deathdealer,” “Savage Weapon” and the title track mimic thrashy power metal riffs and piercing wails done countless times before them, leaving little of their own DNA in the mix. Rhythmically, Crucible keeps it basic, only flirting with groove on “Far Beyond the Grave” and some surprise stop-and-starts throughout. Unexpectedly, the instrumental “While My Guitar Gently Sweeps” with its Bladerunner-evocative synth-scape, relaxed tempo and root-note-escaping bass lines showcase Crucible at their freshest and reveal how one-note much of the other songs can be. Hail to the Force is undeniably fun, but its derivativeness leaves it stuck in the realm of mere tribute.

Sadly, awkward songwriting pulls Hail to the Force down further. Crucible’s short-and-sweet songcraft is admirable, demonstrating a willingness to self-edit, but many tracks feel somewhat half-baked. “Deathdealer’s” solo ends anticlimactically, while “Mad Minute” wraps up with little resolution following its solo. Despite short runtimes, over-repetition remains a problem, with “Redwing” wearing thin its Maidenesque “oh-oh” bridge and the title track wearing its name out with overuse. Vocals can also flounder, as Butler’s lines—kept primarily to a high, strained register—are sometimes clunky. “Embrace of Steele’s” chorus sounds off-balance, like it’s rushing through its last couple lines, while the melismatic runs in “Far Beyond the Grave” don’t sound strictly in-key. Butler’s best performance is on “Splashed to the Four Winds,” a Judas Priest-like bruiser where he plays a veritable Halford and, coincidentally, sings lower than normal. Nothing on Hail to the Force is bad or—worse—boring, but enough nitpicks keep most of Crucible’s offerings from reaching their fullest potential.

Hail to the Force is enjoyable, but I know Crucible have more interesting material in them. Crucible know how to trim down, which is half the battle of good music, but now they need to learn when to let loose. If the power and chutzpah Crucible exhibited on this record were to appear on a more adventurously diverse sophomore release, it would make for a gangbusters follow-up. But as is, fans of the olde school will likely appreciate Hail to the Force’s retro aesthetics, youthful enthusiasm, and proficient musicianship. I just hope Mother Nature cuts Crucible a break for their next one.

Rating: Mixed.
DR: 6 | Review Format: 320 kb/s mp3
Label: From the Vaults
Websites: crucibledk.bandcamp | facebook.com/cruciblespeedmetal | instagram.com/cruciblespeedmetal
Release Date: September 12th, 2025

#25 #2025 #Crucible #DanishMetal #FromTheVaults #HailToTheForce #HeavyMetal #IronMaiden #JudasPriest #LiveWire #Motörhead #PowerMetal #Review #Reviews #Riot #RiotCity #RiotV #Sep25 #SpeedMetal

Sölicitör – Enemy in Mirrors Review

By ClarkKent

Sölicitör’s 2020 debut made quite the splash ’round these parts when 4.Öldeneye heaped glorious praise all over it. The five-piece out of Seattle has been quiet since then, releasing an EP in 2022 totaling two songs. Now they return for their sophomore release with a philosophy of more – more songs, more length, and even a couple more instruments (piano, synths). The members wanted to take a more hands-on approach with Enemy in Mirrors, which is why vocalist Amy Lee Carlson lent not only her pipes but also her artistic ability in designing the cover art. While Sölicitör retains their core sound, Enemy in Mirrors promises to be a more melodic journey. Not to worry, this is still your Holdenfather’s Sölicitör, albeit with a touch more nuance.

As Holdeneye described in his review of Spectral Devastation, Sölicitör’s style isn’t as straightforward as it appears on the surface. They find inspiration from ’80s speedy heavy acts like Judas Priest and Iron Maiden, only this time around, they add more melodic elements reminiscent of Bloodletter. The resemblance to the latter is apparent early, as the combination of speed and melodic leads gets “Paralysis” going right out the gates. “Iron Wolves of War” and “We Who Remain” continue this streak while also including some catchy choruses that channel Sölicitör’s influences. When Carlson sings “Flee! Flee in horror!” on “Iron Wolves of War,” I couldn’t help but think of Dickinson’s iconic chorus on “Run to the Hills.” Then, on the chorus of “We Who Remain,” it sounds an awful lot like she’s singing “Defenders of the faith.”1 Sölicitör inject plenty of spirit into their speed, and the addition of melodic leads adds depth and a layer of infectiousness.

Enemy in Mirrors is not just speed, however. The record combines up-tempo velocity with mid-tempo grooves, pianos and synths that build suspense, and, of course, Carlson’s formidable voice to perform songs that prove Sölicitör to be effective storytellers. “Spellbound Mist” is the first to dabble in this more nuanced storytelling, beginning at a slower pace as Carlson croons and casts her spell over the listener. Then it takes a sudden turn on the back half towards furious shredding and thrash that gave me flashbacks of the twists and turns that Helms Deep took on Chasing the Dragon. The final two songs similarly impress in their ability to spin a yarn, beginning with synths that create ghostly atmospheres before melodic riffs and a thrumming bass add to the enchanting soundscape. With this patient buildup, Carlson eventually gets fists pumping with well-timed vocal entrances—singing “I am the deceiver” on “Black Magick (Part I)” and throwing out a creatively pronounced “Ooooh yeah!” on “The Devil’s Hand (Part II).” Both tracks end Enemy in Mirrors on a high note, showcasing Sölicitör’s maturity in songwriting.

I see a parallel between Sölicitör and Helms Deep in that both bands churned out longer sophomore albums than their debuts. In Sölicitör’s case, the length isn’t due to longer songs, but more of them. Unfortunately, this proves my lone gripe, as there’s a slight sag in quality in the back half, which keeps Enemy in Mirrors shy of the coveted 4.Ö. These songs aren’t lacking in the speed department, but they fail to utilize the melodic leads present on the rest of the record. “Fallen Angel” isn’t the longest cut, but it feels like it due to its more uniform structure and lack of hooks. “Crimson Battle Beast” begins with a classic speed intro, but the chorus comes off awkwardly and a bit silly. What these tunes do isn’t necessarily bad, but they sound more bland than the rest. Whether these two, plus the other weaker track, “Enemy in Mirrors,” work for you or not is likely going to be a key deciding factor in how much you enjoy the album.

Enemy in Mirrors is a welcome return after a five-year break, and it’s a promising direction for these talented musicians. If you enjoyed the debut, you’ll be happy to know Sölicitör doesn’t make any core shifts in their sound, and what they do add is a definite improvement. While we would certainly prefer beloved bands to release records more frequently, the most important thing is quality, and Sölicitör has quality in spades. If you like fun, if you like speedy and melodic metal, you owe it to yourself to check this out.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Gates of Hell Records
Website: Bandcamp | Facebook
Releases Worldwide: September 19th, 2025

#35 #AmericanMetal #Bloodletter #EnemyInMirrors #GatesOfHellRecords #HeavyMetal #HelmsDeep #IronMaiden #JudasPriest #MelodicMetal #Review #Reviews2025 #Sep25 #Sölicitör #SpeedMetal #ThrashMetal

Das war mal wieder ein wunderbares #SwampFest, mit vielen Perlen aus dem #Sludge #Doom und #DeathMetal – nur in's Kino hab ich's schon wieder nicht geschafft. 😅

Und hier eines meiner Highlights:
https://skraeckoedlan.bandcamp.com/album/ppeltr-det

Viele Grüße aus dem Sumpf!

#radio27 #music #festival #metal #punk #MetalPunk #DoomMetal #Grindcore #WarMetal #SpeedMetal #BlackMetal #StonerRock #Dungeon #Wave #Art #Graffiti #Cinema #Horror

DEATHBANGER (Brasil) presenta nou single: "Satan Massacres" #Deathbanger #SpeedMetal #ThrashMetal #Maig2025 #Brasil #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

SPEEDTRAP Vol. I

Batiment 7, Saturday, April 12 at 04:00 PM EDT

Viridian Cult Productions presents:

SPEEDTRAP Vol. I

Prepare for a night of unholy and ripping speed metal punk at Bâtiment 7 for the inaugural edition of SPEEDTRAP, a new (hopefully) annual festial in Montreal dedicated to unrelenting tempos and old school sounds.

On the afternoon of Saturday, April 12th, 2025, 11 bands will take the stage at Bâtiment 7 with one purpose: rockin' the fvck out. Join us for this frenzied ritual of razor-sharp sonic terror!

The lineup for this year's event from first to last:

- Leash Aggression
- Mistwalker
- Anti-Criss (Rimouski)
- Motorwolf
- Feed
- Street Panther
- Tonnerre
- The Watcher (Boston)
- Barrow Wight (Ottawa)
- Occult Burial
- Metalian

Tickets are $30 ($33.28 with Eventbrite's fees) in advance, $40 at the door.

@ Bâtiment 7
1900 Rue le Ber, Montreal
Doors / Portes 16:00h
Show / Spectacle 16:30h
NO PUNK TIME
18+ (ID Required)

Tickets available through Eventbrite at this link:
https://www.eventbrite.ca/.../speedtrap-vol-i-tickets...

Poster by the ever-talented Ghastly McNasty.

https://montreal.askapunk.net/event/speedtrap-vol-i

#TheMetalDogArticleList
#UltimateGuitar
'There's a Fine Line Between Playing Fast and Too Fast': Kerry King Explains Why Too Much Speed Can Be Detrimental for Thrash Metal Riffs
''It's just knowing when to say, 'Hey, this is going too fast.'''

https://www.ultimate-guitar.com/news/general_music_news/theres_a_fine_line_between_playing_fast_and_too_fast_kerry_king_explains_why_too_much_speed_can_be_detrimental_for_thrash_metal_riffs.html

#KerryKing #ThrashMetal #UltimateGuitar #MusicNews #GuitarRiffs #SpeedMetal #MetalMusic #GuitarPlaying #MusicTips #HeavyMetal