#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/

SPEEDFREAKS (Xina) presenta nou Split: "Rusty Engine/Reborn from the Evil Bitch Nightmare" #Speedfreaks #SpeedMetal #Setembre2026 #Xina #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

SPEEDFREAKS (Xina) presenta nou Split: "Rusty Engine/Reborn from the Evil Bitch Nightmare" #Speedfreaks #SpeedMetal #Setembre2026 #Xina #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

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/

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/

Clouds of smoke obscure your view of the stage, where amps are littered with empty glass bottles. The scents of sweat and spilled beer dance in your nostrils as five long-haired reprobates clad in denim and leather walk onto the stage, a swagger in their step and street tough bravado oozing from their pores. Looking to take in a show whilst sitting on your ass? Get fucked. Total Maniac expects you to be on your feet and moving, and if you’re not ready for that, why are you even here? These boys from Baltimore play a raucous brand of classic rock-meets-speed metal that lives somewhere between Motörhead, Mötley Crüe, and Ted Nugent, delivering no-frills cheap thrills on sophomore effort Love Overdrive. So slap on your battle vest and steel-toe boots—when adrenaline starts to flow, and you’re thrashing all around, you’ve gotta be prepared to act like a Total Maniac.

Compared to Total Maniac’s self-titled debut, Love Overdrive veers more into the trad metal/rock ‘n’ roll lane than Total Maniac’s thrash ‘n’ roll stylings. While both albums showcase Total Maniac’s snotty disregard for authority and decorum, Total Maniac dedicated more attention to thrashy chugs and barked vocals. On Love Overdrive, the focus centers on sticky leads and hooky riffs over palm-muted riffing and abrasive grit. Love Overdrive also tones down what passed for technicality on their debut. Not that Total Maniac doesn’t host capable musicians, but there are moments across the album where guitars and vocals sound like they’re pushing just past their ability. Despite that, Love Overdrive features an enthusiastic embrace of freewheeling sin-dealing that’s easy to appreciate.

What Total Maniac lacks in virtuosic prowess, they make up in impish pluck. With only twenty-seven minutes on tap, Love Overdrive never feels phoned in. Each moment sounds crafted to maximize fist-pumping carnage, from the “Panama”-meets-“Wild Side” riffing in “Love Overdrive” to the Phil Campbell-inspired soloing toward the end of “Flatline.” It’s unclear which of Total Maniac’s guitarists takes the lead at any given point, but both Mike Brown and Nick Etson lay down earworm after earworm, frequently breaking away for a quick solo before snapping back to let vocalist Diamond Dustin regale you about hard living, hard loving, and hard rocking. Double-D doesn’t lack conviction, although his upper range sometimes gets away from him. It’s not a deal-breaker, as this sort of rowdy street metal lends itself to imperfect performances that enhance its DIY charm, but piercing falsettos occasionally hit like a sour King Diamond. As for the rhythm section, drummer Vaughn Volkman does a commendable job keeping Love Overdrive’s eight tracks on the rails, but it’s bassist Ben Martin who steals the show. His beefy grumbles and well-mixed countermelodies offset Total Maniac’s dual-guitar attack, creating a well-balanced stringed menace that defines my favorite aspect of Love Overdrive.

Though Total Maniac bleeds authenticity and fun, Love Overdrive does little to stake an identity that hasn’t already been claimed. Many of the riffs seem like variations on Mötley Crüe’s 80s heyday, with “Early Grave” echoing the main motif from “Kickstart My Heart” and the intro from “Set Fire to the Sun” hitting the same mid-paced groove and brief bass sustains as “Shout at the Devil.” The mid-song break in “Drinkin’ Our Way to Hell” even reminds me of Nugent’s crackpot rant towards the end of “Wango Tango.” In this way, Love Overdrive feels like a step back from Total Maniac, which was rougher around the edges, but better defined a unique voice for the band.

Total Maniac does a fantastic job of harnessing the spirit of the music I grew up listening to, but Love Overdrive rarely captures moments that achieve the promise of their inspirations. Fun abounds, and the music encourages beer-chugging shenanigans with a shit-eating grin, yet in the end Total Maniac leaves me wanting to revisit songs I already know rather than learn these new ones. Even so, it’s a quick listen worthy of a spin for anyone craving new material harkening to simpler times. I look forward to hearing where Total Maniac ventures next, and I hope they find a way to continue celebrating the glory of the past while sending their future into Overdrive.



Rating: Mixed
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
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

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

Intellect Devourer + Har + Archaic Behest

ask a punk, Friday, October 3 at 09:00 PM GMT+2

https://berlin.askapunk.de/event/intellect-devourer-har-archaic-behest

Lucille – Dawn of Destruction Review

By Tyme

I might not have four hungry children and a crop in the field, but what I do have is the debut album from Polish thrashers Lucille. So don’t leave just yet, dear readers; you’ve picked a fine time to join me. Formed in 2017, Lucille spent a considerable amount of time gigging the underground circuit while writing and refining their message, which would form the basis of their 2021 EP, Too Proud to Beg for Mercy, which caught the attention of Dying Victims Productions. Upon solidifying themselves as a quartet, with a love for 80’s thrash and Negan’s barbed wire-wrapped baseball bat in their hearts, Lucille set out to put together the pieces for their debut album, Dawn of Destruction. Will Lucille succeed at expanding the up-and-coming thrash culture in a Polish metal scene dominated by black, death, and Sexmag metal, or should the uprising be squashed with one swift blow to the head?

With a cover evoking Sodom, Dawn of Destruction embodies the 80s-era thrashthetic. Clad in the standard-issue uniform of black leather, bullet belts, boots, and battle vests, Lucille looks the part, and the music is as you’d expect. Downpicked riffs come fast and furious, courtesy of Ramone and K. Dragunov, whose dueling solo work is reminiscent of those classic King/Hanneman battles; the two tearing through this homage to the golden age of thrash with reckless abandon. Foundationally anchored by Matthew’s ever-present, hulking bass lines and Jugen’s traffic-controlling drum work, Lucille presents an above-average grasp of what it takes to recreate the chaotic energy inherent to the early works of Slayer, Megadeth, and Kreator, and more importantly, the chops to execute their vision.

Remnants of Lucille‘s influences inhabit much of Dawn of Destruction. As if swept up from the cutting room floor of the So Far, So Good… So What! sessions, the one-and-a-half minute album opener “Desolate Winds” blows through its superfluous existence before settling into “Brand New World,” a Megadethian tribute full of Mustaine-ic riffs and leads. Likewise is the album title track, “Dawn of Destruction,” with its faux Show No Mercy vibes, or the Pleasure to Killish riffs and speeds of “Genetic Curse,” a reflection of the raw thrash heart Lucille so unapologetically wears on their leathered-up sleeves. A fifth integral component here is Aleksander Hybś’ mix and master, which perfectly captures the rawness of the 80’s thrash movement but manages to wrap it in a modern production that gives the sonic space necessary for the instrumentation to thrive, an element largely missing from albums recorded during the target period. Dawn of Destruction swirls in the past instead of forging a new future but does so with a level of talent that warrants notice.

Much of the make-or-break decision for those listening to Lucille will hinge on the tolerance level for Ramone’s vocal approach. A mix of Kreator‘s Mille Petrozza and Destruction‘s Schmier, Ramone snarls, sneers, and growls his way through Dawn of Destruction‘s nearly 43 minutes, punctuating the performance with plenty of high-pitched screams. I wasn’t particularly bothered by it—there were a few times it distracted—as there’s an unhinged element to his delivery that imparts some nostalgic charm. Still, I could see it being a problem for some listeners. The mercury of modern thrash, however, is definitely in retrograde, as there are few bands truly pushing the thrash envelope in an attempt to create a new space for the genre to thrive and exist. There are so many bands continuing to cash the checks written by forebears as part of the ongoing retro movement that many albums, like Lucille‘s Dawn of Destruction, are as a drop of water in a vast sea of similarity.

Musically tight and capably equipped, Lucille is a young thrash band with enough talent to set themselves apart in an ocean of also-rans, if only slightly. Dawn of Destruction, despite doing nothing to move the genre forward, is more than just a throwaway retread of a bygone era. It’s a legitimate tip of the cap to a time in metal history that saw some of metal’s most influential bands emerge and flourish, a six-pack on a summery Saturday choice for a good time, but not much more. I enjoyed my time with Dawn of Destruction and am anxious to hear what Lucille does next. I’m hopeful they’ll continue to carve out a sound of their own, swinging for the fences with that barbed-wire bat.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: 320kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 20, 2025

#2025 #30 #DawnOfDestruction #Destruction #DyingVictimsProductions #Jun25 #Kreator #Lucille #Megadeth #PolishMetal #Review #Slayer #SpeedMetal #ThrashMetal

Lucille – Dawn of Destruction Review

By Tyme

I might not have four hungry children and a crop in the field, but what I do have is the debut album from Polish thrashers Lucille. So don’t leave just yet, dear readers; you’ve picked a fine time to join me. Formed in 2017, Lucille spent a considerable amount of time gigging the underground circuit while writing and refining their message, which would form the basis of their 2021 EP, Too Proud to Beg for Mercy, which caught the attention of Dying Victims Productions. Upon solidifying themselves as a quartet, with a love for 80’s thrash and Negan’s barbed wire-wrapped baseball bat in their hearts, Lucille set out to put together the pieces for their debut album, Dawn of Destruction. Will Lucille succeed at expanding the up-and-coming thrash culture in a Polish metal scene dominated by black, death, and Sexmag metal, or should the uprising be squashed with one swift blow to the head?

With a cover evoking Sodom, Dawn of Destruction embodies the 80s-era thrashthetic. Clad in the standard-issue uniform of black leather, bullet belts, boots, and battle vests, Lucille looks the part, and the music is as you’d expect. Downpicked riffs come fast and furious, courtesy of Ramone and K. Dragunov, whose dueling solo work is reminiscent of those classic King/Hanneman battles; the two tearing through this homage to the golden age of thrash with reckless abandon. Foundationally anchored by Matthew’s ever-present, hulking bass lines and Jugen’s traffic-controlling drum work, Lucille presents an above-average grasp of what it takes to recreate the chaotic energy inherent to the early works of Slayer, Megadeth, and Kreator, and more importantly, the chops to execute their vision.

Remnants of Lucille‘s influences inhabit much of Dawn of Destruction. As if swept up from the cutting room floor of the So Far, So Good… So What! sessions, the one-and-a-half minute album opener “Desolate Winds” blows through its superfluous existence before settling into “Brand New World,” a Megadethian tribute full of Mustaine-ic riffs and leads. Likewise is the album title track, “Dawn of Destruction,” with its faux Show No Mercy vibes, or the Pleasure to Killish riffs and speeds of “Genetic Curse,” a reflection of the raw thrash heart Lucille so unapologetically wears on their leathered-up sleeves. A fifth integral component here is Aleksander Hybś’ mix and master, which perfectly captures the rawness of the 80’s thrash movement but manages to wrap it in a modern production that gives the sonic space necessary for the instrumentation to thrive, an element largely missing from albums recorded during the target period. Dawn of Destruction swirls in the past instead of forging a new future but does so with a level of talent that warrants notice.

Much of the make-or-break decision for those listening to Lucille will hinge on the tolerance level for Ramone’s vocal approach. A mix of Kreator‘s Mille Petrozza and Destruction‘s Schmier, Ramone snarls, sneers, and growls his way through Dawn of Destruction‘s nearly 43 minutes, punctuating the performance with plenty of high-pitched screams. I wasn’t particularly bothered by it—there were a few times it distracted—as there’s an unhinged element to his delivery that imparts some nostalgic charm. Still, I could see it being a problem for some listeners. The mercury of modern thrash, however, is definitely in retrograde, as there are few bands truly pushing the thrash envelope in an attempt to create a new space for the genre to thrive and exist. There are so many bands continuing to cash the checks written by forebears as part of the ongoing retro movement that many albums, like Lucille‘s Dawn of Destruction, are as a drop of water in a vast sea of similarity.

Musically tight and capably equipped, Lucille is a young thrash band with enough talent to set themselves apart in an ocean of also-rans, if only slightly. Dawn of Destruction, despite doing nothing to move the genre forward, is more than just a throwaway retread of a bygone era. It’s a legitimate tip of the cap to a time in metal history that saw some of metal’s most influential bands emerge and flourish, a six-pack on a summery Saturday choice for a good time, but not much more. I enjoyed my time with Dawn of Destruction and am anxious to hear what Lucille does next. I’m hopeful they’ll continue to carve out a sound of their own, swinging for the fences with that barbed-wire bat.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: 320kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 20, 2025

#2025 #30 #DawnOfDestruction #Destruction #DyingVictimsProductions #Jun25 #Kreator #Lucille #Megadeth #PolishMetal #Review #Slayer #SpeedMetal #ThrashMetal

Lucille – Dawn of Destruction Review

By Tyme

I might not have four hungry children and a crop in the field, but what I do have is the debut album from Polish thrashers Lucille. So don’t leave just yet, dear readers; you’ve picked a fine time to join me. Formed in 2017, Lucille spent a considerable amount of time gigging the underground circuit while writing and refining their message, which would form the basis of their 2021 EP, Too Proud to Beg for Mercy, which caught the attention of Dying Victims Productions. Upon solidifying themselves as a quartet, with a love for 80’s thrash and Negan’s barbed wire-wrapped baseball bat in their hearts, Lucille set out to put together the pieces for their debut album, Dawn of Destruction. Will Lucille succeed at expanding the up-and-coming thrash culture in a Polish metal scene dominated by black, death, and Sexmag metal, or should the uprising be squashed with one swift blow to the head?

With a cover evoking Sodom, Dawn of Destruction embodies the 80s-era thrashthetic. Clad in the standard-issue uniform of black leather, bullet belts, boots, and battle vests, Lucille looks the part, and the music is as you’d expect. Downpicked riffs come fast and furious, courtesy of Ramone and K. Dragunov, whose dueling solo work is reminiscent of those classic King/Hanneman battles; the two tearing through this homage to the golden age of thrash with reckless abandon. Foundationally anchored by Matthew’s ever-present, hulking bass lines and Jugen’s traffic-controlling drum work, Lucille presents an above-average grasp of what it takes to recreate the chaotic energy inherent to the early works of Slayer, Megadeth, and Kreator, and more importantly, the chops to execute their vision.

Remnants of Lucille‘s influences inhabit much of Dawn of Destruction. As if swept up from the cutting room floor of the So Far, So Good… So What! sessions, the one-and-a-half minute album opener “Desolate Winds” blows through its superfluous existence before settling into “Brand New World,” a Megadethian tribute full of Mustaine-ic riffs and leads. Likewise is the album title track, “Dawn of Destruction,” with its faux Show No Mercy vibes, or the Pleasure to Killish riffs and speeds of “Genetic Curse,” a reflection of the raw thrash heart Lucille so unapologetically wears on their leathered-up sleeves. A fifth integral component here is Aleksander Hybś’ mix and master, which perfectly captures the rawness of the 80’s thrash movement but manages to wrap it in a modern production that gives the sonic space necessary for the instrumentation to thrive, an element largely missing from albums recorded during the target period. Dawn of Destruction swirls in the past instead of forging a new future but does so with a level of talent that warrants notice.

Much of the make-or-break decision for those listening to Lucille will hinge on the tolerance level for Ramone’s vocal approach. A mix of Kreator‘s Mille Petrozza and Destruction‘s Schmier, Ramone snarls, sneers, and growls his way through Dawn of Destruction‘s nearly 43 minutes, punctuating the performance with plenty of high-pitched screams. I wasn’t particularly bothered by it—there were a few times it distracted—as there’s an unhinged element to his delivery that imparts some nostalgic charm. Still, I could see it being a problem for some listeners. The mercury of modern thrash, however, is definitely in retrograde, as there are few bands truly pushing the thrash envelope in an attempt to create a new space for the genre to thrive and exist. There are so many bands continuing to cash the checks written by forebears as part of the ongoing retro movement that many albums, like Lucille‘s Dawn of Destruction, are as a drop of water in a vast sea of similarity.

Musically tight and capably equipped, Lucille is a young thrash band with enough talent to set themselves apart in an ocean of also-rans, if only slightly. Dawn of Destruction, despite doing nothing to move the genre forward, is more than just a throwaway retread of a bygone era. It’s a legitimate tip of the cap to a time in metal history that saw some of metal’s most influential bands emerge and flourish, a six-pack on a summery Saturday choice for a good time, but not much more. I enjoyed my time with Dawn of Destruction and am anxious to hear what Lucille does next. I’m hopeful they’ll continue to carve out a sound of their own, swinging for the fences with that barbed-wire bat.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: 320kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 20, 2025

#2025 #30 #DawnOfDestruction #Destruction #DyingVictimsProductions #Jun25 #Kreator #Lucille #Megadeth #PolishMetal #Review #Slayer #SpeedMetal #ThrashMetal

Lucille – Dawn of Destruction Review

By Tyme

I might not have four hungry children and a crop in the field, but what I do have is the debut album from Polish thrashers Lucille. So don’t leave just yet, dear readers; you’ve picked a fine time to join me. Formed in 2017, Lucille spent a considerable amount of time gigging the underground circuit while writing and refining their message, which would form the basis of their 2021 EP, Too Proud to Beg for Mercy, which caught the attention of Dying Victims Productions. Upon solidifying themselves as a quartet, with a love for 80’s thrash and Negan’s barbed wire-wrapped baseball bat in their hearts, Lucille set out to put together the pieces for their debut album, Dawn of Destruction. Will Lucille succeed at expanding the up-and-coming thrash culture in a Polish metal scene dominated by black, death, and Sexmag metal, or should the uprising be squashed with one swift blow to the head?

With a cover evoking Sodom, Dawn of Destruction embodies the 80s-era thrashthetic. Clad in the standard-issue uniform of black leather, bullet belts, boots, and battle vests, Lucille looks the part, and the music is as you’d expect. Downpicked riffs come fast and furious, courtesy of Ramone and K. Dragunov, whose dueling solo work is reminiscent of those classic King/Hanneman battles; the two tearing through this homage to the golden age of thrash with reckless abandon. Foundationally anchored by Matthew’s ever-present, hulking bass lines and Jugen’s traffic-controlling drum work, Lucille presents an above-average grasp of what it takes to recreate the chaotic energy inherent to the early works of Slayer, Megadeth, and Kreator, and more importantly, the chops to execute their vision.

Remnants of Lucille‘s influences inhabit much of Dawn of Destruction. As if swept up from the cutting room floor of the So Far, So Good… So What! sessions, the one-and-a-half minute album opener “Desolate Winds” blows through its superfluous existence before settling into “Brand New World,” a Megadethian tribute full of Mustaine-ic riffs and leads. Likewise is the album title track, “Dawn of Destruction,” with its faux Show No Mercy vibes, or the Pleasure to Killish riffs and speeds of “Genetic Curse,” a reflection of the raw thrash heart Lucille so unapologetically wears on their leathered-up sleeves. A fifth integral component here is Aleksander Hybś’ mix and master, which perfectly captures the rawness of the 80’s thrash movement but manages to wrap it in a modern production that gives the sonic space necessary for the instrumentation to thrive, an element largely missing from albums recorded during the target period. Dawn of Destruction swirls in the past instead of forging a new future but does so with a level of talent that warrants notice.

Much of the make-or-break decision for those listening to Lucille will hinge on the tolerance level for Ramone’s vocal approach. A mix of Kreator‘s Mille Petrozza and Destruction‘s Schmier, Ramone snarls, sneers, and growls his way through Dawn of Destruction‘s nearly 43 minutes, punctuating the performance with plenty of high-pitched screams. I wasn’t particularly bothered by it—there were a few times it distracted—as there’s an unhinged element to his delivery that imparts some nostalgic charm. Still, I could see it being a problem for some listeners. The mercury of modern thrash, however, is definitely in retrograde, as there are few bands truly pushing the thrash envelope in an attempt to create a new space for the genre to thrive and exist. There are so many bands continuing to cash the checks written by forebears as part of the ongoing retro movement that many albums, like Lucille‘s Dawn of Destruction, are as a drop of water in a vast sea of similarity.

Musically tight and capably equipped, Lucille is a young thrash band with enough talent to set themselves apart in an ocean of also-rans, if only slightly. Dawn of Destruction, despite doing nothing to move the genre forward, is more than just a throwaway retread of a bygone era. It’s a legitimate tip of the cap to a time in metal history that saw some of metal’s most influential bands emerge and flourish, a six-pack on a summery Saturday choice for a good time, but not much more. I enjoyed my time with Dawn of Destruction and am anxious to hear what Lucille does next. I’m hopeful they’ll continue to carve out a sound of their own, swinging for the fences with that barbed-wire bat.

Rating: 3.0/5.0
DR: 12 | Format Reviewed: 320kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 20, 2025

#2025 #30 #DawnOfDestruction #Destruction #DyingVictimsProductions #Jun25 #Kreator #Lucille #Megadeth #PolishMetal #Review #Slayer #SpeedMetal #ThrashMetal

Savage Master, Nite, Meurtrier, Mistwalker @ Piranha Bar - June 21st, 2025

Piranha Bar, Saturday, June 21 at 07:00 PM EDT

American traditional heavy metal revivalists Savage Master and blackened heavy metal wizards Nite take the stage at Piranha Bar joined by Quebec City speed metallers Meurtrier and local support from black n' roll warriors Mistwalker.

Savage Master:
https://savagemasterofficial.bandcamp.com/album/dark-dangerous

Nite:
https://nitemetal.bandcamp.com/album/cult-of-the-serpent-sun

Meurtrier:
https://meurtrier.bandcamp.com/track/maligne-pr-tresse

Mistwalker:
https://mistwalker.bandcamp.com/album/oceanic-heritage

https://montreal.askapunk.net/event/savage-master-nite-meurtrier-mistwalker-piranha-bar-june-21st-2025

IRON CURTAIN (Espanya) presenta nou EP: "Obsidio Celeritas Interitus" #IronCurtain #SpeedMetal #ThrashMetal #HeavyMetal #Març2025 #Espanya #NouEp #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

Rhapsody – Symphony Of Enchanted Lands II - The Dark Secret #cd #RockBrigadeRecords #idRBRLCR3380 #DVD #NTSC #LaserCompany #SPV #cooperdisc #SpeedMetal #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #noise

#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore

#TheMetalDogArticleList
#BLABBERMOUTH
SADUS Announces First Album In 16 Years, 'The Shadow Inside'

https://blabbermouth.net/news/sadus-announces-first-album-in-16-years-the-shadow-inside

#Sadus
#TheShadowInside
#NewAlbum
#Metal
#Thrash
#16Years
#SpeedMetal
#NorthernCalifornia
#SteveDiGiorgio
#JonAllen
#DennisButkus
#SpecialGuest

#TheMetalDogArticleList
#Metal-Rules.com
Shadows - Out for Blood : Metal-Rules.com
Spread the metal:Shadows – Out for Blood Reviewed: September, 2023 Released: 2023, Sentient Ruin Laboratories Rating: 4.5/5 Reviewer: Aaron Yurkiewicz It was just about a [...]

https://www.metal-rules.com/2023/09/01/shadows-out-for-blood/

#ShadowsOutForBlood #ThrashMetal #HeavyMetal #SpeedMetal #MetalRules #AnniversaryTour

#TheMetalDogArticleList
#Loudwire
Top 50 Thrash Metal Albums of All Time
See our picks for the Top 50 Thrash Albums of All Time, and find out which disc is No. 1.

https://loudwire.com/top-thrash-metal-albums-all-time/

#ThrashMetal #HeavyMetal #AllTimeGreats #Loudwire #MetalGods #MetalliHeads #Thrashtastic #ThrashViolence #SpeedMetal #DeathMetal #NWOTHM #MetalKids #MetallicFury