#toxic-holocaust — Public Fediverse posts

I’ve been on a bit of a thrash bender in June, and Ruyned will conclude this month’s kick for ol’ Grin. The Romanian trio sends me deep into the heart of July with turbocharged, high-octane riffing and a moderate case of whiplash. Profanum Sacrificium, Ruyned’s sophomore LP, plays thrash the way the olde school intended—at furious speeds with the subtlety of an uppercut to the jawbone. My elevator pitch for Ruyned is, ‘Midnight but faster,’ yet the crew also channels Kill ‘Em All-era Metallica and a stripped-down Hellripper. With blistering paces in all the right places, does Profanum Sacrificium satisfy listeners’ need for speed?

Profanum Sacrificium is a tale of two halves, covering a pair of narrative arcs that relate accounts of violence and death. The front-end scorches with instantaneous shots of adrenaline and describes the heinous depravity of the Vampire of Düsseldorf. “Speedchain” and “Sex’n Speed” reek of OG Metallica, where “Hit the Lights” seems a major inspiration for both “Speedchain”‘s thunderous opening as well as the primary hook in “Sex’n Speed.” “Sex Commander 666” sprints into Motörhead territory, opening with a solo that Fast Eddie Clark would approve of before slinking into a funky swagger that reminds me of “Love Me Like a Reptile.” Where Ruyned plays a touch too close to influence on the first two, “Sex Commander 666” exudes a freshness that hints at touchstones without plaguing me with questions of where I’ve heard a riff before. Meanwhile, “Orgasm Through Death” slows proceedings down appreciably, with Bogdan Mateescu’s tortured, blackened rasps guiding listeners through a plodding march that amplifies the drama.

The second half of Profanum Sacrificium shifts to a separate narrative, describing centuries-long witch hunts from post-medieval Europe steeped in folklore and flames. Musically, this pulls Ruyned away from the straightforward ragers that define Profanum Sacrificium’s first half and into darker, more novel waters. The most immediate difference is that more time gets dedicated to instrumentation on the back half, with two instrumentals and less vocal focus towards the ends of tracks “Malleus Maleficarum” and “Witches Gallöw.” Originality flares here as well, where the instrumentation is reminiscent of bands like Bütcher and Toxic Holocaust, but the songs don’t blur with comparisons. “Profanum Sacrificium,” “Malleus Maleficarum,” and “Witches Gallöw” could pass for decade-old Kreator B-sides sung by Tapping the Vein-era Tom Angelripper, boasting snappy melodic riffing supported by Mihai Marinescu’s machine-gun blast drums and Tiberiu Olescher’s mid-range bass attack.

In all, Ruyned zips through half an hour of breakneck thrash with enough energy and grit that it’s unerringly easy to enjoy despite some bumps along the way. Even before I discovered Profanum Sacrificium’s two narrative arcs, the musical split between them stood out. While each half succeeds on its own, together they present a whole too disjointed to flourish without an interceding mixer. Ruyned’s instrumentals also undercut Profanum Sacrificium’s potential, where the three of them total four-and-a-half minutes of fluff. The remainder of Profanum Sacrificium barely contains enough meat to qualify for LP status, leaving the album longing for another well-developed song or two rather than three throwaway tracks.1 Still, the rest of the album supplies plenty of good thrashing, and with a little more consideration to songwriting cohesion, Ruyned possesses the pizzazz to set barns ablaze their next time out.

After several listens through Profanum Sacrificium, I’m convinced Ruyned can write first-class thrash. Rapidfire riffs and blackened edges give Ruyned a sense of familiarity, and if they can take care to push further away from genre greats and commit to more unified songwriting, they’ll menace listeners with an all-killer fusillade next time. Until then, Profanum Sacrificium serves as a fun diversion when time doesn’t allow for a longer dive, but it ultimately doesn’t threaten what other acts have done in the space this year.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

I’ve been on a bit of a thrash bender in June, and Ruyned will conclude this month’s kick for ol’ Grin. The Romanian trio sends me deep into the heart of July with turbocharged, high-octane riffing and a moderate case of whiplash. Profanum Sacrificium, Ruyned’s sophomore LP, plays thrash the way the olde school intended—at furious speeds with the subtlety of an uppercut to the jawbone. My elevator pitch for Ruyned is, ‘Midnight but faster,’ yet the crew also channels Kill ‘Em All-era Metallica and a stripped-down Hellripper. With blistering paces in all the right places, does Profanum Sacrificium satisfy listeners’ need for speed?

Profanum Sacrificium is a tale of two halves, covering a pair of narrative arcs that relate accounts of violence and death. The front-end scorches with instantaneous shots of adrenaline and describes the heinous depravity of the Vampire of Düsseldorf. “Speedchain” and “Sex’n Speed” reek of OG Metallica, where “Hit the Lights” seems a major inspiration for both “Speedchain”‘s thunderous opening as well as the primary hook in “Sex’n Speed.” “Sex Commander 666” sprints into Motörhead territory, opening with a solo that Fast Eddie Clark would approve of before slinking into a funky swagger that reminds me of “Love Me Like a Reptile.” Where Ruyned plays a touch too close to influence on the first two, “Sex Commander 666” exudes a freshness that hints at touchstones without plaguing me with questions of where I’ve heard a riff before. Meanwhile, “Orgasm Through Death” slows proceedings down appreciably, with Bogdan Mateescu’s tortured, blackened rasps guiding listeners through a plodding march that amplifies the drama.

The second half of Profanum Sacrificium shifts to a separate narrative, describing centuries-long witch hunts from post-medieval Europe steeped in folklore and flames. Musically, this pulls Ruyned away from the straightforward ragers that define Profanum Sacrificium’s first half and into darker, more novel waters. The most immediate difference is that more time gets dedicated to instrumentation on the back half, with two instrumentals and less vocal focus towards the ends of tracks “Malleus Maleficarum” and “Witches Gallöw.” Originality flares here as well, where the instrumentation is reminiscent of bands like Bütcher and Toxic Holocaust, but the songs don’t blur with comparisons. “Profanum Sacrificium,” “Malleus Maleficarum,” and “Witches Gallöw” could pass for decade-old Kreator B-sides sung by Tapping the Vein-era Tom Angelripper, boasting snappy melodic riffing supported by Mihai Marinescu’s machine-gun blast drums and Tiberiu Olescher’s mid-range bass attack.

In all, Ruyned zips through half an hour of breakneck thrash with enough energy and grit that it’s unerringly easy to enjoy despite some bumps along the way. Even before I discovered Profanum Sacrificium’s two narrative arcs, the musical split between them stood out. While each half succeeds on its own, together they present a whole too disjointed to flourish without an interceding mixer. Ruyned’s instrumentals also undercut Profanum Sacrificium’s potential, where the three of them total four-and-a-half minutes of fluff. The remainder of Profanum Sacrificium barely contains enough meat to qualify for LP status, leaving the album longing for another well-developed song or two rather than three throwaway tracks.1 Still, the rest of the album supplies plenty of good thrashing, and with a little more consideration to songwriting cohesion, Ruyned possesses the pizzazz to set barns ablaze their next time out.

After several listens through Profanum Sacrificium, I’m convinced Ruyned can write first-class thrash. Rapidfire riffs and blackened edges give Ruyned a sense of familiarity, and if they can take care to push further away from genre greats and commit to more unified songwriting, they’ll menace listeners with an all-killer fusillade next time. Until then, Profanum Sacrificium serves as a fun diversion when time doesn’t allow for a longer dive, but it ultimately doesn’t threaten what other acts have done in the space this year.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

I’ve been on a bit of a thrash bender in June, and Ruyned will conclude this month’s kick for ol’ Grin. The Romanian trio sends me deep into the heart of July with turbocharged, high-octane riffing and a moderate case of whiplash. Profanum Sacrificium, Ruyned’s sophomore LP, plays thrash the way the olde school intended—at furious speeds with the subtlety of an uppercut to the jawbone. My elevator pitch for Ruyned is, ‘Midnight but faster,’ yet the crew also channels Kill ‘Em All-era Metallica and a stripped-down Hellripper. With blistering paces in all the right places, does Profanum Sacrificium satisfy listeners’ need for speed?

Profanum Sacrificium is a tale of two halves, covering a pair of narrative arcs that relate accounts of violence and death. The front-end scorches with instantaneous shots of adrenaline and describes the heinous depravity of the Vampire of Düsseldorf. “Speedchain” and “Sex’n Speed” reek of OG Metallica, where “Hit the Lights” seems a major inspiration for both “Speedchain”‘s thunderous opening as well as the primary hook in “Sex’n Speed.” “Sex Commander 666” sprints into Motörhead territory, opening with a solo that Fast Eddie Clark would approve of before slinking into a funky swagger that reminds me of “Love Me Like a Reptile.” Where Ruyned plays a touch too close to influence on the first two, “Sex Commander 666” exudes a freshness that hints at touchstones without plaguing me with questions of where I’ve heard a riff before. Meanwhile, “Orgasm Through Death” slows proceedings down appreciably, with Bogdan Mateescu’s tortured, blackened rasps guiding listeners through a plodding march that amplifies the drama.

The second half of Profanum Sacrificium shifts to a separate narrative, describing centuries-long witch hunts from post-medieval Europe steeped in folklore and flames. Musically, this pulls Ruyned away from the straightforward ragers that define Profanum Sacrificium’s first half and into darker, more novel waters. The most immediate difference is that more time gets dedicated to instrumentation on the back half, with two instrumentals and less vocal focus towards the ends of tracks “Malleus Maleficarum” and “Witches Gallöw.” Originality flares here as well, where the instrumentation is reminiscent of bands like Bütcher and Toxic Holocaust, but the songs don’t blur with comparisons. “Profanum Sacrificium,” “Malleus Maleficarum,” and “Witches Gallöw” could pass for decade-old Kreator B-sides sung by Tapping the Vein-era Tom Angelripper, boasting snappy melodic riffing supported by Mihai Marinescu’s machine-gun blast drums and Tiberiu Olescher’s mid-range bass attack.

In all, Ruyned zips through half an hour of breakneck thrash with enough energy and grit that it’s unerringly easy to enjoy despite some bumps along the way. Even before I discovered Profanum Sacrificium’s two narrative arcs, the musical split between them stood out. While each half succeeds on its own, together they present a whole too disjointed to flourish without an interceding mixer. Ruyned’s instrumentals also undercut Profanum Sacrificium’s potential, where the three of them total four-and-a-half minutes of fluff. The remainder of Profanum Sacrificium barely contains enough meat to qualify for LP status, leaving the album longing for another well-developed song or two rather than three throwaway tracks.1 Still, the rest of the album supplies plenty of good thrashing, and with a little more consideration to songwriting cohesion, Ruyned possesses the pizzazz to set barns ablaze their next time out.

After several listens through Profanum Sacrificium, I’m convinced Ruyned can write first-class thrash. Rapidfire riffs and blackened edges give Ruyned a sense of familiarity, and if they can take care to push further away from genre greats and commit to more unified songwriting, they’ll menace listeners with an all-killer fusillade next time. Until then, Profanum Sacrificium serves as a fun diversion when time doesn’t allow for a longer dive, but it ultimately doesn’t threaten what other acts have done in the space this year.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

I’ve been on a bit of a thrash bender in June, and Ruyned will conclude this month’s kick for ol’ Grin. The Romanian trio sends me deep into the heart of July with turbocharged, high-octane riffing and a moderate case of whiplash. Profanum Sacrificium, Ruyned’s sophomore LP, plays thrash the way the olde school intended—at furious speeds with the subtlety of an uppercut to the jawbone. My elevator pitch for Ruyned is, ‘Midnight but faster,’ yet the crew also channels Kill ‘Em All-era Metallica and a stripped-down Hellripper. With blistering paces in all the right places, does Profanum Sacrificium satisfy listeners’ need for speed?

Profanum Sacrificium is a tale of two halves, covering a pair of narrative arcs that relate accounts of violence and death. The front-end scorches with instantaneous shots of adrenaline and describes the heinous depravity of the Vampire of Düsseldorf. “Speedchain” and “Sex’n Speed” reek of OG Metallica, where “Hit the Lights” seems a major inspiration for both “Speedchain”‘s thunderous opening as well as the primary hook in “Sex’n Speed.” “Sex Commander 666” sprints into Motörhead territory, opening with a solo that Fast Eddie Clark would approve of before slinking into a funky swagger that reminds me of “Love Me Like a Reptile.” Where Ruyned plays a touch too close to influence on the first two, “Sex Commander 666” exudes a freshness that hints at touchstones without plaguing me with questions of where I’ve heard a riff before. Meanwhile, “Orgasm Through Death” slows proceedings down appreciably, with Bogdan Mateescu’s tortured, blackened rasps guiding listeners through a plodding march that amplifies the drama.

The second half of Profanum Sacrificium shifts to a separate narrative, describing centuries-long witch hunts from post-medieval Europe steeped in folklore and flames. Musically, this pulls Ruyned away from the straightforward ragers that define Profanum Sacrificium’s first half and into darker, more novel waters. The most immediate difference is that more time gets dedicated to instrumentation on the back half, with two instrumentals and less vocal focus towards the ends of tracks “Malleus Maleficarum” and “Witches Gallöw.” Originality flares here as well, where the instrumentation is reminiscent of bands like Bütcher and Toxic Holocaust, but the songs don’t blur with comparisons. “Profanum Sacrificium,” “Malleus Maleficarum,” and “Witches Gallöw” could pass for decade-old Kreator B-sides sung by Tapping the Vein-era Tom Angelripper, boasting snappy melodic riffing supported by Mihai Marinescu’s machine-gun blast drums and Tiberiu Olescher’s mid-range bass attack.

In all, Ruyned zips through half an hour of breakneck thrash with enough energy and grit that it’s unerringly easy to enjoy despite some bumps along the way. Even before I discovered Profanum Sacrificium’s two narrative arcs, the musical split between them stood out. While each half succeeds on its own, together they present a whole too disjointed to flourish without an interceding mixer. Ruyned’s instrumentals also undercut Profanum Sacrificium’s potential, where the three of them total four-and-a-half minutes of fluff. The remainder of Profanum Sacrificium barely contains enough meat to qualify for LP status, leaving the album longing for another well-developed song or two rather than three throwaway tracks.1 Still, the rest of the album supplies plenty of good thrashing, and with a little more consideration to songwriting cohesion, Ruyned possesses the pizzazz to set barns ablaze their next time out.

After several listens through Profanum Sacrificium, I’m convinced Ruyned can write first-class thrash. Rapidfire riffs and blackened edges give Ruyned a sense of familiarity, and if they can take care to push further away from genre greats and commit to more unified songwriting, they’ll menace listeners with an all-killer fusillade next time. Until then, Profanum Sacrificium serves as a fun diversion when time doesn’t allow for a longer dive, but it ultimately doesn’t threaten what other acts have done in the space this year.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Toxic Holocaust forced to exit Death Angel tour due to Joel Grind’s hand injury

Toxic Holocaust have withdrawn from their upcoming run with Death Angel, Lions At The Gate, and Misfire after…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #DeathAngel #Entertainment #hardcore #Lambgoat #Metal #ToxicHolocaust
https://www.newsbeep.com/us/264203/

Death Angel announce “Act III” 35th-anniversary tour with Toxic Holocaust, Lions At The Gate & Misfire:

#DeathAngel #ActIII #AnniversaryTour #ToxicHolocaust #LionsAtTheGate #Misfire #TourAlert

Link: https://metalinsider.net/touring/death-angel-announce-act-iii-35th-anniversary-tour-with-toxic-holocaust-lions-at-the-gate-misfire

Death Angel announce “Act III” 35th-anniversary tour with Toxic Holocaust, Lions At The Gate & Misfire:

#DeathAngel #ActIII #AnniversaryTour #ToxicHolocaust #LionsAtTheGate #Misfire #TourAlert

Link: https://metalinsider.net/touring/death-angel-announce-act-iii-35th-anniversary-tour-with-toxic-holocaust-lions-at-the-gate-misfire

Photos/Review: GWAR closes Milwaukee Metal Fest 2025 Day 3:

#MilwaukeeMetalFest #GWAR #DillingerEscapePlan #MorbidSaint #ToxicHolocaust #LivePhotos #LiveReview

Link: https://metalinsider.net/photos/photos-review-gwar-closes-milwaukee-metal-fest-2025-day-3-with-taylor-swift-dissection

Photos/Review: GWAR closes Milwaukee Metal Fest 2025 Day 3:

#MilwaukeeMetalFest #GWAR #DillingerEscapePlan #MorbidSaint #ToxicHolocaust #LivePhotos #LiveReview

Link: https://metalinsider.net/photos/photos-review-gwar-closes-milwaukee-metal-fest-2025-day-3-with-taylor-swift-dissection

Despite disruptions to train services, we managed to make it to #eindhoven for day one of #dynamometalfest and saw #uadaband #ToxicHolocaust (second time this year, lucky us!) #deathmetal giants #decapitatedband and trident-obsessed #watainblackmetal #Watain Here are the usual unedited action shots. Check out out Instagram profile for a couple of reels. YouTube videos will follow shortly.

Despite disruptions to train services, we managed to make it to #eindhoven for day one of #dynamometalfest and saw #uadaband #ToxicHolocaust (second time this year, lucky us!) #deathmetal giants #decapitatedband and trident-obsessed #watainblackmetal #Watain Here are the usual unedited action shots. Check out out Instagram profile for a couple of reels. YouTube videos will follow shortly.

Despite disruptions to train services, we managed to make it to #eindhoven for day one of #dynamometalfest and saw #uadaband #ToxicHolocaust (second time this year, lucky us!) #deathmetal giants #decapitatedband and trident-obsessed #watainblackmetal #Watain Here are the usual unedited action shots. Check out out Instagram profile for a couple of reels. YouTube videos will follow shortly.

This was photographing Dynamo Metalfest Day 1️⃣: Black Friday Pre-party 🔥

Bands: #helleruinblackmetal , #Uadaband , #ToxicHolocaust, #decapitatedband & #Watainblackmetal

📍#DynamoMetalFest, Eindhoven
🗓️ 16-8-2024
📷 #Sethpicturesmusic - #SethAbrikoos
ℹ️ A7iii + 35mm f/q.8 & A7ii + 18mm f/2.8

#blackmetal #blackmetalhead #blackmetalband #metalconcert #metalgirl #longhairmen #longhairmenstyle #metaldrummer #metalguitar #metalguitarist #dutchmetal #dutchmetalband #metalvocals #metalvocalist

🤘✌️

This was photographing Dynamo Metalfest Day 1️⃣: Black Friday Pre-party 🔥

Bands: #helleruinblackmetal , #Uadaband , #ToxicHolocaust, #decapitatedband & #Watainblackmetal

📍#DynamoMetalFest, Eindhoven
🗓️ 16-8-2024
📷 #Sethpicturesmusic - #SethAbrikoos
ℹ️ A7iii + 35mm f/q.8 & A7ii + 18mm f/2.8

#blackmetal #blackmetalhead #blackmetalband #metalconcert #metalgirl #longhairmen #longhairmenstyle #metaldrummer #metalguitar #metalguitarist #dutchmetal #dutchmetalband #metalvocals #metalvocalist

🤘✌️

Wraithfyre – Of Fell Peaks and Haunted Chasms Review

By Dear Hollow

Not that I’m the biggest symphonic black aficionado out there, but the UK-based Wraithfyre appealed to me because its name and inconsistent uses of i’s and y’s reflected my band in high school.1 Regardless, like some of atmoblack’s more ancient conjurations, I’ve always felt like symphonic black a la Limbonic Art, Vordven, and Cult of Fire embody more extreme versions of their trve and pvrist second-wave counterparts, a direct antithesis to the more mainstream antics of Dimmu Borgir and Cradle of Filth. Wraithfyre professes likewise an icy blast of black metal.

A project from Tom O’Dell, mastermind behind the Tolkien-inspired black metal of Dwarrowdelf and instrumental deathgrind Gimli, Son of Glóin, as well as the power metalling Battle Born, Wraithfyre offers a different, decidedly second-wave attack. While too often symphonic black metal sees its cold and icy buried beneath the bombast of keys and choirs, debut Of Fell Peaks and Haunted Chasms is no stranger to the riff. Instead utilizing macabre atmosphere as a flourish to its viciousness, O’Dell puts thorny riffs and scathing melodic lines upon the pedestal with its keys as the supporting cast. While it periodically struggles with memorability, Wraithfyre offers an obscenely entertaining debut.

You would be forgiven to believe that intro “A Lunar Descent” sets the tone for sprawling symphonic decadence. Wraithfyre kicks the gate open with icy blast with “Fallen Before Their Blazing Altar,” whose intensity is well-matched with its memorable central melody that straddles memorability and iciness in equal measure, keys supplementing the riffs. This trend continues into the juxtaposition of bouncy tremolo and aggressive plodding of “Queen of the Blighted Throne” and “Eternal Pyres from Beyond the Void,” the instrumental-focused exploration of “Infernal Heresy,” and the blastbeat-dominated intensity and chuggy riffs of “Echoes of a Forgotten Dream.” Moods of desperation, horror, and aggression are offered with seamless fluidity atop scathing tremolo, while edged riffs anchor the sound beyond mindless second-wave blasting. Of Fell Peaks and Haunted Chasms is raw and intense, recalling a tasteful fusion of black metal’s lo-fi history and the more modern thrash-infused incarnations of The Infernal Sea or Toxic Holocaust.

While there is plenty killer aboard the summit Of Fell Peaks, Wraithfyre concocts unfortunate filler. While the instrumental explorations of “Infernal Heresy” and “Eternal Pyres from Beyond the Void” are mile markers along the spooky journey, tracks “Ablaze in Abyssal Frosts” blurs into the scenery while closer “Dark Souls Devoured” features a slightly wonky melody that questions its integrity, even if its plodding riffs feel emotive and powerful. That said, with very few blights, Of Fell Peaks feels safely constructed – while it never explicitly fails, its safety ensures its ambition is also kept in check. While featuring that signature vampiric sound, O’Dell has infused in it a thrashy riffage approach that won’t change your mind about either style. It also doesn’t mean to, with this debut being a fun romp but little else.

Everything about Wraithfyre feels fun. It wraps you in its logic and sweeps you to a place more reminiscent of Scooby-Doo than the depravity of men’s hearts, kicking you repeatedly in the nuts until you like it. It features a tasteful blend of keys and riffs, with the former the supporting cast rather than the decadent self-indulgence found too often in the style. Of Fell Peaks and Haunted Chasms is also another installment of bulletproof songwriting offered by Tom O’Dell, although nearly everything about Wraithfyre feels like a side project in its frolicking intensity. However, featuring flashy musicianship, tasteful atmosphere, and powerful songwriting, it enhances second-wave iciness in bombastic fashion. I dare you to listen to Of Fell Peaks and Haunted Chasms and not have a good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Naturemacht Productions
Website: wraithfyre.bandcamp.com
Releases Worldwide: July 26th, 2024

#2024 #35 #BattleBorn #BlackMetal #BlackenedThrashMetal #BritishMetal #CradleOfFilth #CultOfFire #DimmuBorgir #Dwarrowdelf #GimliSonOfGlóin #Jul24 #LimbonicArt #OfFellPeaksAndHauntedChasms #Review #Reviews #SymphonicBlackMetal #TheInfernalSea #ToxicHolocaust #Vordven #Wraithfyre

Wraithfyre – Of Fell Peaks and Haunted Chasms Review

By Dear Hollow

Not that I’m the biggest symphonic black aficionado out there, but the UK-based Wraithfyre appealed to me because its name and inconsistent uses of i’s and y’s reflected my band in high school.1 Regardless, like some of atmoblack’s more ancient conjurations, I’ve always felt like symphonic black a la Limbonic Art, Vordven, and Cult of Fire embody more extreme versions of their trve and pvrist second-wave counterparts, a direct antithesis to the more mainstream antics of Dimmu Borgir and Cradle of Filth. Wraithfyre professes likewise an icy blast of black metal.

A project from Tom O’Dell, mastermind behind the Tolkien-inspired black metal of Dwarrowdelf and instrumental deathgrind Gimli, Son of Glóin, as well as the power metalling Battle Born, Wraithfyre offers a different, decidedly second-wave attack. While too often symphonic black metal sees its cold and icy buried beneath the bombast of keys and choirs, debut Of Fell Peaks and Haunted Chasms is no stranger to the riff. Instead utilizing macabre atmosphere as a flourish to its viciousness, O’Dell puts thorny riffs and scathing melodic lines upon the pedestal with its keys as the supporting cast. While it periodically struggles with memorability, Wraithfyre offers an obscenely entertaining debut.

You would be forgiven to believe that intro “A Lunar Descent” sets the tone for sprawling symphonic decadence. Wraithfyre kicks the gate open with icy blast with “Fallen Before Their Blazing Altar,” whose intensity is well-matched with its memorable central melody that straddles memorability and iciness in equal measure, keys supplementing the riffs. This trend continues into the juxtaposition of bouncy tremolo and aggressive plodding of “Queen of the Blighted Throne” and “Eternal Pyres from Beyond the Void,” the instrumental-focused exploration of “Infernal Heresy,” and the blastbeat-dominated intensity and chuggy riffs of “Echoes of a Forgotten Dream.” Moods of desperation, horror, and aggression are offered with seamless fluidity atop scathing tremolo, while edged riffs anchor the sound beyond mindless second-wave blasting. Of Fell Peaks and Haunted Chasms is raw and intense, recalling a tasteful fusion of black metal’s lo-fi history and the more modern thrash-infused incarnations of The Infernal Sea or Toxic Holocaust.

While there is plenty killer aboard the summit Of Fell Peaks, Wraithfyre concocts unfortunate filler. While the instrumental explorations of “Infernal Heresy” and “Eternal Pyres from Beyond the Void” are mile markers along the spooky journey, tracks “Ablaze in Abyssal Frosts” blurs into the scenery while closer “Dark Souls Devoured” features a slightly wonky melody that questions its integrity, even if its plodding riffs feel emotive and powerful. That said, with very few blights, Of Fell Peaks feels safely constructed – while it never explicitly fails, its safety ensures its ambition is also kept in check. While featuring that signature vampiric sound, O’Dell has infused in it a thrashy riffage approach that won’t change your mind about either style. It also doesn’t mean to, with this debut being a fun romp but little else.

Everything about Wraithfyre feels fun. It wraps you in its logic and sweeps you to a place more reminiscent of Scooby-Doo than the depravity of men’s hearts, kicking you repeatedly in the nuts until you like it. It features a tasteful blend of keys and riffs, with the former the supporting cast rather than the decadent self-indulgence found too often in the style. Of Fell Peaks and Haunted Chasms is also another installment of bulletproof songwriting offered by Tom O’Dell, although nearly everything about Wraithfyre feels like a side project in its frolicking intensity. However, featuring flashy musicianship, tasteful atmosphere, and powerful songwriting, it enhances second-wave iciness in bombastic fashion. I dare you to listen to Of Fell Peaks and Haunted Chasms and not have a good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Naturemacht Productions
Website: wraithfyre.bandcamp.com
Releases Worldwide: July 26th, 2024

#2024 #35 #BattleBorn #BlackMetal #BlackenedThrashMetal #BritishMetal #CradleOfFilth #CultOfFire #DimmuBorgir #Dwarrowdelf #GimliSonOfGlóin #Jul24 #LimbonicArt #OfFellPeaksAndHauntedChasms #Review #Reviews #SymphonicBlackMetal #TheInfernalSea #ToxicHolocaust #Vordven #Wraithfyre

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#MetalSucks
Wraith’s Matt Sokol Names 10 Modern Thrash Bands That Would Have Killed It in the 80s
These bands would have slayed the 80s.

https://www.metalsucks.net/2024/06/06/wraiths-matt-sokol-names-10-modern-thrash-bands-that-would-have-killed-it-in-the-80s/

#ThrashMetal #Wraith #MattSokol #Havok #Warbringer #Midnight #MunicipalWaste #Bat #Hellripper #PowerTrip #Fugitive #Enforced #ToxicHolocaust

#TheMetalDogArticleList
#MetalSucks
Wraith’s Matt Sokol Names 10 Modern Thrash Bands That Would Have Killed It in the 80s
These bands would have slayed the 80s.

https://www.metalsucks.net/2024/06/06/wraiths-matt-sokol-names-10-modern-thrash-bands-that-would-have-killed-it-in-the-80s/

#ThrashMetal #Wraith #MattSokol #Havok #Warbringer #Midnight #MunicipalWaste #Bat #Hellripper #PowerTrip #Fugitive #Enforced #ToxicHolocaust

#TheMetalDogArticleList
#MetalSucks
Wraith’s Matt Sokol Names 10 Modern Thrash Bands That Would Have Killed It in the 80s
These bands would have slayed the 80s.

https://www.metalsucks.net/2024/06/06/wraiths-matt-sokol-names-10-modern-thrash-bands-that-would-have-killed-it-in-the-80s/

#ThrashMetal #Wraith #MattSokol #Havok #Warbringer #Midnight #MunicipalWaste #Bat #Hellripper #PowerTrip #Fugitive #Enforced #ToxicHolocaust

#TheMetalDogArticleList
#MetalSucks
Wraith’s Matt Sokol Names 10 Modern Thrash Bands That Would Have Killed It in the 80s
These bands would have slayed the 80s.

https://www.metalsucks.net/2024/06/06/wraiths-matt-sokol-names-10-modern-thrash-bands-that-would-have-killed-it-in-the-80s/

#ThrashMetal #Wraith #MattSokol #Havok #Warbringer #Midnight #MunicipalWaste #Bat #Hellripper #PowerTrip #Fugitive #Enforced #ToxicHolocaust

Stress Angel – Punished by Nemesis Review

By Steel Druhm

2021 saw Stress Angel belch forth out of Brooklyn with a hideous sound marrying Autopsy-core with punky d-beatery and crust-encrusted doom. Bursting Church was a slippery, slimy, nasty piece of work and the duo behind it was effective at throttling throats and sacrificing goats. 2024 comes around and the gruesome twosome returns with sophomore outing Punished by Nemesis, and with it a more expansive palette and grander vision. Now an enlarged doom element writhes alongside enhanced blackened edges while the punky, death-thrash core remains as aggressive as ever. This potent fermentation makes for some rough and rowdy fare with more middle fingers than 2 people should be capable of throwing. That means good, friendly, violent fun for all as you too get Punished by Nemesis.

After a grand, vaguely ecclesiastical opening, the title track comes out like an alpha baboon with rage issues, biting and tearing with jagged trem riffs and oppressive drum thundering. It’s very old school in construction and often sounds very 80s. If one can imagine vintage Autopsy mixed with The Return era Bathory and The Accüsed’s The Return of Martha Splatterhead you’d be in the general neighborhood, and brother, it’s run down! Cuts like “Monsignor’s Wish'” and “Ritual Debt” are viciously pummeling pieces of gutter trash and I mean that in the best possible way. There’s a weirdly epic vibe to the latter that belies the neanderthal brutishness of the music and it’s got a strange charm that’s tough to quantify. There’s a lot of Toxic Holocaust in its DNA, but it feels more volatile somehow; its blackened edges dangerous, the moldy death elements savage, and the traditional metal influences slick and sassy.

Track after track stuffs you in a filthy sack then beats you with rebar, and at no point do you get to come up for dirty Brooklyn air. Absolute bangers like “Close to the Presence of Suffering” and “Ancient Weakness” give no quarter while taking all your lunch money, and the bloodthirsty blackened thrash of “Jericho’s Trumpet” will have you stuck back in 1994 wondering how you’ll function with no interwebs. The central riff here is aces and will stick with you for a long, long time. It’s the little details that push the album from good to more so, like the eerie organ music that appears amid the slicing and dicing of “Ancient Weakness,” and the surprisingly beautiful and melodic soloing that erupts midway through “Rtitual Debt.” This thing has its share of happy surprises. While no song feels unnecessary, closer “Ministerial Road” lacks the same barbarian machismo and blunt force of its battle buddies. A few cuts also run longer than they should considering the nature and style. “Ancient Weakness” pushes the envelope at nearly 6 minutes and “Missionary Zeal” feels long in the yellow tooth at just over 5. At a very reasonable 39:47 however, Punished feels like a gleefully frantic ride and demands replays to get more of that tasty death rattle. The production is super retro, with tons of reverb on the vocals and a tawdry, unpolished aesthetic that works perfectly for the material.

Natur’s Manny Sores (this still makes me laugh) does a wonderfully dreadful job on vocals, with his manic shouts, growls, and screams drenched in reverb. He disinters every last bit of mold school death along the way and you’ll want to help him dig. His high-pitched screams/squeals are used infrequently but pay big dividends when they land. His drumming is rudimentary, bestial, and unforgiving. He almost sounds like a drum machine, but that works fine with this material and I enjoy the relentless hammering he dishes out. Nicolai Orifice brings his A-game with a fine collection of sharp, stabby riffs that span the genres. He provides stomping death grooves, high-octane blackened terms, and ponderous doom leads while functioning as a one-man metal riff emporium. His all-over-the-map performance is what makes the material so captivating and the man deserves a pat on the back and a warm, shitty beer for his troubles.

I was a fan of what Stress Angel was brewing on Bursting Church, but Punished by Nemesis brings a higher level of warfare to the masses. This is one of the most stupidly entertaining extreme metal albums I’ve heard in a while and I keep replaying it over and over. Get your hands on this hideousness and let the bugs fight over your rotting carcass. Welcome to Brooklyn, asshole!

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Dying Victims
Website: Too Brooklyn 4 the Nets (wait…)
Releases Worldwide: March 15th, 2024

#2024 #35 #AmericanMetal #Autopsy #BurstingChurch #DeathMetal #DyingVictimsProductions #Mar24 #Natur #PunishedByNemesis #Review #Reviews #StressAngel #ThrashMetal #ToxicHolocaust

Stress Angel – Punished by Nemesis Review

By Steel Druhm

2021 saw Stress Angel belch forth out of Brooklyn with a hideous sound marrying Autopsy-core with punky d-beatery and crust-encrusted doom. Bursting Church was a slippery, slimy, nasty piece of work and the duo behind it was effective at throttling throats and sacrificing goats. 2024 comes around and the gruesome twosome returns with sophomore outing Punished by Nemesis, and with it a more expansive palette and grander vision. Now an enlarged doom element writhes alongside enhanced blackened edges while the punky, death-thrash core remains as aggressive as ever. This potent fermentation makes for some rough and rowdy fare with more middle fingers than 2 people should be capable of throwing. That means good, friendly, violent fun for all as you too get Punished by Nemesis.

After a grand, vaguely ecclesiastical opening, the title track comes out like an alpha baboon with rage issues, biting and tearing with jagged trem riffs and oppressive drum thundering. It’s very old school in construction and often sounds very 80s. If one can imagine vintage Autopsy mixed with The Return era Bathory and The Accüsed’s The Return of Martha Splatterhead you’d be in the general neighborhood, and brother, it’s run down! Cuts like “Monsignor’s Wish'” and “Ritual Debt” are viciously pummeling pieces of gutter trash and I mean that in the best possible way. There’s a weirdly epic vibe to the latter that belies the neanderthal brutishness of the music and it’s got a strange charm that’s tough to quantify. There’s a lot of Toxic Holocaust in its DNA, but it feels more volatile somehow; its blackened edges dangerous, the moldy death elements savage, and the traditional metal influences slick and sassy.

Track after track stuffs you in a filthy sack then beats you with rebar, and at no point do you get to come up for dirty Brooklyn air. Absolute bangers like “Close to the Presence of Suffering” and “Ancient Weakness” give no quarter while taking all your lunch money, and the bloodthirsty blackened thrash of “Jericho’s Trumpet” will have you stuck back in 1994 wondering how you’ll function with no interwebs. The central riff here is aces and will stick with you for a long, long time. It’s the little details that push the album from good to more so, like the eerie organ music that appears amid the slicing and dicing of “Ancient Weakness,” and the surprisingly beautiful and melodic soloing that erupts midway through “Rtitual Debt.” This thing has its share of happy surprises. While no song feels unnecessary, closer “Ministerial Road” lacks the same barbarian machismo and blunt force of its battle buddies. A few cuts also run longer than they should considering the nature and style. “Ancient Weakness” pushes the envelope at nearly 6 minutes and “Missionary Zeal” feels long in the yellow tooth at just over 5. At a very reasonable 39:47 however, Punished feels like a gleefully frantic ride and demands replays to get more of that tasty death rattle. The production is super retro, with tons of reverb on the vocals and a tawdry, unpolished aesthetic that works perfectly for the material.

Natur’s Manny Sores (this still makes me laugh) does a wonderfully dreadful job on vocals, with his manic shouts, growls, and screams drenched in reverb. He disinters every last bit of mold school death along the way and you’ll want to help him dig. His high-pitched screams/squeals are used infrequently but pay big dividends when they land. His drumming is rudimentary, bestial, and unforgiving. He almost sounds like a drum machine, but that works fine with this material and I enjoy the relentless hammering he dishes out. Nicolai Orifice brings his A-game with a fine collection of sharp, stabby riffs that span the genres. He provides stomping death grooves, high-octane blackened terms, and ponderous doom leads while functioning as a one-man metal riff emporium. His all-over-the-map performance is what makes the material so captivating and the man deserves a pat on the back and a warm, shitty beer for his troubles.

I was a fan of what Stress Angel was brewing on Bursting Church, but Punished by Nemesis brings a higher level of warfare to the masses. This is one of the most stupidly entertaining extreme metal albums I’ve heard in a while and I keep replaying it over and over. Get your hands on this hideousness and let the bugs fight over your rotting carcass. Welcome to Brooklyn, asshole!

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Dying Victims
Website: Too Brooklyn 4 the Nets (wait…)
Releases Worldwide: March 15th, 2024

#2024 #35 #AmericanMetal #Autopsy #BurstingChurch #DeathMetal #DyingVictimsProductions #Mar24 #Natur #PunishedByNemesis #Review #Reviews #StressAngel #ThrashMetal #ToxicHolocaust

The Infernal Sea – Hellfenlic Review

By Dear Hollow

Black metal is a finnicky beast. While it’s cohesively devoted to the barbed-wire sonic abuse of the darkest variety, and themes range from the occult, misanthropy, and our old pal Satan, The Infernal Sea dwells in history’s halls. While prior full-lengths Negotium Crucis and The Great Mortality respectively deal with themes such as the medieval church’s exploitation and the Black Death, 2024 finds the Brits exploring a distinct figure: the “Witchfinder General” Matthew Hopkins. Son of a Puritan minister, Hopkins’ three-year crusade against witches and other perceived heresies, through brutal confession extraction and torture in the name of God, would live on in infamy. The Infernal Sea embraces the viciousness of this theme, never neglecting a tangible weight through a riff-first assault, tinged by meditation and tragedy.

The Infernal Sea would likely not raise heads with their style of second-wave. The quartet relies primarily on the unholy trinity of tremolo, blastbeats, and shrieks to carry their style, but attack it with a sour attitude and violent ruthlessness. Hellfenlic tells the tale of the Witchfinder General from zealotry to brutality to downfall through the dark lens of blackened barbarousness, a distinct album-long lyrical and sonic crescendo. With hints of thrash, black n’ roll, and atmosphere, The Infernal Sea composes their third full-length like a story, with tangible darkness and realized tragedy. Ultimately a wonky affair of intense proportions sidewinded by different genre influences and unhinged segments, while its reach exceeds its grasp periodically, Hellfenlic is an intriguing piece of storytelling whose vicious M.O. never questions the allegiance to “trve kvlt.”

If riffy black metal is your jam, The Infernal Sea has got you covered in the 1349 and Dark Funeral School of the Dark Arts. From the scathing Darkthrone tremolo of openers “Lord Abhorrent” and dancing raw melodies of “Shadow of the Beast,” to the head-bobbing heavy metal groove of “Witchfinder” and black ‘n roll riffs and punky rhythms of “Black Witchery,” Hellfenlic will not hesitate to beat you senseless with their uniquely scathingly raw yet hefty guitar tone. Tasty leads that behold a multitude of motifs are utilized throughout to convey the gravity of its source material. Bass is utilized beautifully, injecting a sinister contemplativeness into the abusive tracks “Witchfinder” and “Bastard of the East.” Proving they are not just a one-trick pony witchfinder, the closing tracks elevate Hellfenlic to a more evocative and human dimension. “Frozen Fen” incorporates sprawling and textured overlapping riffs that give a tangible meditation of Hopkins’ downfall, while closer “Messenger of God” utilizes mournful violin and emotive chord progressions alongside contemplative blastbeats to convey the tragedy and destruction wrought in the Witchfinder General’s wake, that indeed, his godly intentions led to the deepest cruelty.

The problems that plague The Infernal Sea are rooted in the adherence to the thrashing second-wave that can often derail creative compositions. Most notably, without several listens to dive into the first half in particular, the tracks can blur together: “Shadow of the Beast” and “The Hunter” have identical structure and lose memorability, starting with a frenetic tremolo/blastbeat assault, before succumbing to a punchy groove about two-thirds of the way in. “Bastard of the East” features a frail chord progression that derails the darker vibe that preceded, and its concluding kickass riff is its only saving grace; “Witchfinder” is likewise an album highlight but its kickass closing riff comes at the end of a tempo-wavering sloppy chug. Despite the nitpicks, the biggest qualm of Hellfenlic is that it is unabashed black metal. Schooled in both the cutthroat speed of Dark Funeral as well as the riff-centric blackened thrash of Absu or Toxic Holocaust, The Infernal Sea is loud and proud with little subtlety to spare.

At the end of the day, Hellfenlic is an album I can blast again and again in spite of its flaws. Tracks like “Black Witchery” and “Witchfinder” are vicious and venomous thrashers, while “Frozen Fen” and “Messenger of God” are thoughtful respites in the attack. The Infernal Sea neatly balances the riff, rooted in thrash and black ‘n roll, with its heavy-handed commentary on an infamous figure that somehow avoids the pitfalls of insensitivity or compositional neglect. While it’s unashamed black metal through and through, and that may not be for everyone, its intriguing theme and sonic blend of the thoughtful and vicious.

Rating: 3.0/5.0
DR: NA | Format Reviewed: Stream
Label: Candlelight Records
Websites: theinfernalsea.bandcamp.com | facebook.com/theinfernalsea
Releases Worldwide: January 26th, 2024

#1349 #2024 #30 #Absu #BlackMetal #BlackNRoll #BlackenedThrashMetal #BritishMetal #CandlelightRecords #DarkFuneral #Darkthrone #Hellfenlic #Jan24 #Review #Reviews #TheInfernalSea #ToxicHolocaust

The Infernal Sea – Hellfenlic Review

By Dear Hollow

Black metal is a finnicky beast. While it’s cohesively devoted to the barbed-wire sonic abuse of the darkest variety, and themes range from the occult, misanthropy, and our old pal Satan, The Infernal Sea dwells in history’s halls. While prior full-lengths Negotium Crucis and The Great Mortality respectively deal with themes such as the medieval church’s exploitation and the Black Death, 2024 finds the Brits exploring a distinct figure: the “Witchfinder General” Matthew Hopkins. Son of a Puritan minister, Hopkins’ three-year crusade against witches and other perceived heresies, through brutal confession extraction and torture in the name of God, would live on in infamy. The Infernal Sea embraces the viciousness of this theme, never neglecting a tangible weight through a riff-first assault, tinged by meditation and tragedy.

The Infernal Sea would likely not raise heads with their style of second-wave. The quartet relies primarily on the unholy trinity of tremolo, blastbeats, and shrieks to carry their style, but attack it with a sour attitude and violent ruthlessness. Hellfenlic tells the tale of the Witchfinder General from zealotry to brutality to downfall through the dark lens of blackened barbarousness, a distinct album-long lyrical and sonic crescendo. With hints of thrash, black n’ roll, and atmosphere, The Infernal Sea composes their third full-length like a story, with tangible darkness and realized tragedy. Ultimately a wonky affair of intense proportions sidewinded by different genre influences and unhinged segments, while its reach exceeds its grasp periodically, Hellfenlic is an intriguing piece of storytelling whose vicious M.O. never questions the allegiance to “trve kvlt.”

If riffy black metal is your jam, The Infernal Sea has got you covered in the 1349 and Dark Funeral School of the Dark Arts. From the scathing Darkthrone tremolo of openers “Lord Abhorrent” and dancing raw melodies of “Shadow of the Beast,” to the head-bobbing heavy metal groove of “Witchfinder” and black ‘n roll riffs and punky rhythms of “Black Witchery,” Hellfenlic will not hesitate to beat you senseless with their uniquely scathingly raw yet hefty guitar tone. Tasty leads that behold a multitude of motifs are utilized throughout to convey the gravity of its source material. Bass is utilized beautifully, injecting a sinister contemplativeness into the abusive tracks “Witchfinder” and “Bastard of the East.” Proving they are not just a one-trick pony witchfinder, the closing tracks elevate Hellfenlic to a more evocative and human dimension. “Frozen Fen” incorporates sprawling and textured overlapping riffs that give a tangible meditation of Hopkins’ downfall, while closer “Messenger of God” utilizes mournful violin and emotive chord progressions alongside contemplative blastbeats to convey the tragedy and destruction wrought in the Witchfinder General’s wake, that indeed, his godly intentions led to the deepest cruelty.

The problems that plague The Infernal Sea are rooted in the adherence to the thrashing second-wave that can often derail creative compositions. Most notably, without several listens to dive into the first half in particular, the tracks can blur together: “Shadow of the Beast” and “The Hunter” have identical structure and lose memorability, starting with a frenetic tremolo/blastbeat assault, before succumbing to a punchy groove about two-thirds of the way in. “Bastard of the East” features a frail chord progression that derails the darker vibe that preceded, and its concluding kickass riff is its only saving grace; “Witchfinder” is likewise an album highlight but its kickass closing riff comes at the end of a tempo-wavering sloppy chug. Despite the nitpicks, the biggest qualm of Hellfenlic is that it is unabashed black metal. Schooled in both the cutthroat speed of Dark Funeral as well as the riff-centric blackened thrash of Absu or Toxic Holocaust, The Infernal Sea is loud and proud with little subtlety to spare.

At the end of the day, Hellfenlic is an album I can blast again and again in spite of its flaws. Tracks like “Black Witchery” and “Witchfinder” are vicious and venomous thrashers, while “Frozen Fen” and “Messenger of God” are thoughtful respites in the attack. The Infernal Sea neatly balances the riff, rooted in thrash and black ‘n roll, with its heavy-handed commentary on an infamous figure that somehow avoids the pitfalls of insensitivity or compositional neglect. While it’s unashamed black metal through and through, and that may not be for everyone, its intriguing theme and sonic blend of the thoughtful and vicious.

Rating: 3.0/5.0
DR: NA | Format Reviewed: Stream
Label: Candlelight Records
Websites: theinfernalsea.bandcamp.com | facebook.com/theinfernalsea
Releases Worldwide: January 26th, 2024

#1349 #2024 #30 #Absu #BlackMetal #BlackNRoll #BlackenedThrashMetal #BritishMetal #CandlelightRecords #DarkFuneral #Darkthrone #Hellfenlic #Jan24 #Review #Reviews #TheInfernalSea #ToxicHolocaust

Kid slept until 6:45 today 🙂
I had the time for a spontanious run 🙂
The sun is shining 🙂

Later I'll head to Vienna to see #Hellripper #ToxicHolocaust and #Abbath 🤘

This is going to be MY day and nothing can stop me! I am stoked!

And once they play this song, all hell will break loose 🔥

🎵 The Nuckelavee by Hellripper

https://song.link/y/gOcD6XMvZ2k

Kid slept until 6:45 today 🙂
I had the time for a spontanious run 🙂
The sun is shining 🙂

Later I'll head to Vienna to see #Hellripper #ToxicHolocaust and #Abbath 🤘

This is going to be MY day and nothing can stop me! I am stoked!

And once they play this song, all hell will break loose 🔥

🎵 The Nuckelavee by Hellripper

https://song.link/y/gOcD6XMvZ2k

Kid slept until 6:45 today 🙂
I had the time for a spontanious run 🙂
The sun is shining 🙂

Later I'll head to Vienna to see #Hellripper #ToxicHolocaust and #Abbath 🤘

This is going to be MY day and nothing can stop me! I am stoked!

And once they play this song, all hell will break loose 🔥

🎵 The Nuckelavee by Hellripper

https://song.link/y/gOcD6XMvZ2k

Kid slept until 6:45 today 🙂
I had the time for a spontanious run 🙂
The sun is shining 🙂

Later I'll head to Vienna to see #Hellripper #ToxicHolocaust and #Abbath 🤘

This is going to be MY day and nothing can stop me! I am stoked!

And once they play this song, all hell will break loose 🔥

🎵 The Nuckelavee by Hellripper

https://song.link/y/gOcD6XMvZ2k

Even when I kind of censored the name of the band, I got a new warning + extra "info" from TikTok. The video got removed, so I tried re-uploading with the name "TK". What a bullshit.

(#toxicholocaust band)

Even when I kind of censored the name of the band, I got a new warning + extra "info" from TikTok. The video got removed, so I tried re-uploading with the name "TK". What a bullshit.

(#toxicholocaust band)

Even when I kind of censored the name of the band, I got a new warning + extra "info" from TikTok. The video got removed, so I tried re-uploading with the name "TK". What a bullshit.

(#toxicholocaust band)

New publication out!
#Abbath + #Hellripper + #ToxicHolocaust

> https://zwaremetalen.com/liveverslagen/concertverslagen/een-kerberos-van-black-thrash-en-speed-metal-in-tivolivredenburg-abbath-toxic-holocaust-hellripper

Check it out via:
All photography by me ; )
.
.
.
.
.
#sethpicturesmusic #sethabrikoos #metal #metalmusic #metalhead #metalconcert #concert #nederland #utrecht

🤘✌️

New publication out!
#Abbath + #Hellripper + #ToxicHolocaust

> https://zwaremetalen.com/liveverslagen/concertverslagen/een-kerberos-van-black-thrash-en-speed-metal-in-tivolivredenburg-abbath-toxic-holocaust-hellripper

Check it out via:
All photography by me ; )
.
.
.
.
.
#sethpicturesmusic #sethabrikoos #metal #metalmusic #metalhead #metalconcert #concert #nederland #utrecht

🤘✌️

New publication out!
#Abbath + #Hellripper + #ToxicHolocaust

> https://zwaremetalen.com/liveverslagen/concertverslagen/een-kerberos-van-black-thrash-en-speed-metal-in-tivolivredenburg-abbath-toxic-holocaust-hellripper

Check it out via:
All photography by me ; )
.
.
.
.
.
#sethpicturesmusic #sethabrikoos #metal #metalmusic #metalhead #metalconcert #concert #nederland #utrecht

🤘✌️

New publication out!
#Abbath + #Hellripper + #ToxicHolocaust

> https://zwaremetalen.com/liveverslagen/concertverslagen/een-kerberos-van-black-thrash-en-speed-metal-in-tivolivredenburg-abbath-toxic-holocaust-hellripper

Check it out via:
All photography by me ; )
.
.
.
.
.
#sethpicturesmusic #sethabrikoos #metal #metalmusic #metalhead #metalconcert #concert #nederland #utrecht

🤘✌️

All Hail the Goat 🤘🐐

T-4 until Hellripper, #Abbath and #ToxicHolocaust @ #SzeneWien

🎵 All Hail the Goat by #Hellripper
https://song.link/y/fzSEAvVZUwY

#MetalheadConcerts

All Hail the Goat 🤘🐐

T-4 until Hellripper, #Abbath and #ToxicHolocaust @ #SzeneWien

🎵 All Hail the Goat by #Hellripper
https://song.link/y/fzSEAvVZUwY

#MetalheadConcerts

All Hail the Goat 🤘🐐

T-4 until Hellripper, #Abbath and #ToxicHolocaust @ #SzeneWien

🎵 All Hail the Goat by #Hellripper
https://song.link/y/fzSEAvVZUwY

#MetalheadConcerts

Only 5 days to go, then we'll rip open hell! 🔥

Are any other metalheads going to see #Hellripper #Abbath and #ToxicHolocaust next monday @ Szene Wien?

🎵 From Hell by #Hellripper

https://song.link/y/DGN4h_9InhM

#MetalheadConcerts #SzeneWien

Only 5 days to go, then we'll rip open hell! 🔥

Are any other metalheads going to see #Hellripper #Abbath and #ToxicHolocaust next monday @ Szene Wien?

🎵 From Hell by #Hellripper

https://song.link/y/DGN4h_9InhM

#MetalheadConcerts #SzeneWien

Only 5 days to go, then we'll rip open hell! 🔥

Are any other metalheads going to see #Hellripper #Abbath and #ToxicHolocaust next monday @ Szene Wien?

🎵 From Hell by #Hellripper

https://song.link/y/DGN4h_9InhM

#MetalheadConcerts #SzeneWien

📍#TivoliVredenburg
🎶 #toxicholocaust
🗓️ 25-1-2024
📷: #sethpicturesmusic #sethabrikoos
.
.
.
Sneak peek. Full photo report online soon via Zware Metalen!
#concert #photography #photographer #metalband #blackmetal #metalmusic #metalconcert #concert #festival #sonyalpha #fotograaf #nederland #thrashmetal #thrashmetalmusic #mnrkheavy
#mnrkheavyrecords #ibanez #ibanezguitars #ibanezbass #ibanezbasses

🤘✌️

📍#TivoliVredenburg
🎶 #toxicholocaust
🗓️ 25-1-2024
📷: #sethpicturesmusic #sethabrikoos
.
.
.
Sneak peek. Full photo report online soon via Zware Metalen!
#concert #photography #photographer #metalband #blackmetal #metalmusic #metalconcert #concert #festival #sonyalpha #fotograaf #nederland #thrashmetal #thrashmetalmusic #mnrkheavy
#mnrkheavyrecords #ibanez #ibanezguitars #ibanezbass #ibanezbasses

🤘✌️

📍#TivoliVredenburg
🎶 #toxicholocaust
🗓️ 25-1-2024
📷: #sethpicturesmusic #sethabrikoos
.
.
.
Sneak peek. Full photo report online soon via Zware Metalen!
#concert #photography #photographer #metalband #blackmetal #metalmusic #metalconcert #concert #festival #sonyalpha #fotograaf #nederland #thrashmetal #thrashmetalmusic #mnrkheavy
#mnrkheavyrecords #ibanez #ibanezguitars #ibanezbass #ibanezbasses

🤘✌️

Fancy seeing what the #DreadReaver tour is about? Check this playlist out, featuring #Hellripper (also filmed last year at #WelcomeToHell 2023) and full sets of #ToxicHolocaust and #Abbath https://www.youtube.com/watch?v=nCJFPQL-2qM&list=PLmn2ED1LqEvAKZyIrorMJCv37zVHTpy4d

🤘✌️ https://bere.al/sethabrikoos

#Abbath + #Hellripper + #ToxicHolocaust

🤘✌️ https://bere.al/sethabrikoos

#Abbath + #Hellripper + #ToxicHolocaust

🤘✌️ https://bere.al/sethabrikoos

#Abbath + #Hellripper + #ToxicHolocaust

We have seen #Abbath several times over the years, as well as #Immortal before that, when fire breathing was a given. Tonight’s gig in Utrecht has to be the most visceral, most direct and in your face performance we have witnessed. And what a great sound. #ToxicHolocaust and #Hellripper were relentless and caused massive mosh pits. This was an amazing first gig for 2024. It’s a good time to be alive!

We have seen #Abbath several times over the years, as well as #Immortal before that, when fire breathing was a given. Tonight’s gig in Utrecht has to be the most visceral, most direct and in your face performance we have witnessed. And what a great sound. #ToxicHolocaust and #Hellripper were relentless and caused massive mosh pits. This was an amazing first gig for 2024. It’s a good time to be alive!

We have seen #Abbath several times over the years, as well as #Immortal before that, when fire breathing was a given. Tonight’s gig in Utrecht has to be the most visceral, most direct and in your face performance we have witnessed. And what a great sound. #ToxicHolocaust and #Hellripper were relentless and caused massive mosh pits. This was an amazing first gig for 2024. It’s a good time to be alive!

First metal gig of the year: the #DreadReaver tour in Utrecht, starting in 10 minutes. Looking forward to see metal heroes #Hellripper #ToxicHolocaust and #Abbath once again!

… und @dottorelove war in Heidelberg bei #Abbath, #ToxicHolocaust und #Hellripper.

https://www.gig-blog.net/2024/01/22/abbath-toxic-holocaust-hellripper-20-01-2024-halle02heidelberg/
#Konzertbericht #Konzert #Konzertfotografie #Concert #ConcertReview #ConcertPhotography #LiveMusic #LiveMusik #Metal #BlackMetal #Heidelberg #Halle02

Goodnight 🌉

This Thursday I will photograph #Hellripper + #Abbath + #ToxicHolocaust at Tivoli Vredenburg📷

Hyped!
.
.
.
.
.
.
#asian #altgirl #metalgirl #petitegirl #metal #metalband #nederland #rotterdam

🤘✌️

Goodnight 🌉

This Thursday I will photograph #Hellripper + #Abbath + #ToxicHolocaust at Tivoli Vredenburg📷

Hyped!
.
.
.
.
.
.
#asian #altgirl #metalgirl #petitegirl #metal #metalband #nederland #rotterdam

🤘✌️

Goodnight 🌉

This Thursday I will photograph #Hellripper + #Abbath + #ToxicHolocaust at Tivoli Vredenburg📷

Hyped!
.
.
.
.
.
.
#asian #altgirl #metalgirl #petitegirl #metal #metalband #nederland #rotterdam

🤘✌️

My upcoming #MetalheadConcerts

👉 2024-02-05, Vienna: #Abbath #ToxicHolocaust and freakin' #Hellripper

👉 2024-04-01, Vienna: #JudasPriest (with #Saxon & #UriahHeep)

My upcoming #MetalheadConcerts

👉 2024-02-05, Vienna: #Abbath #ToxicHolocaust and freakin' #Hellripper

👉 2024-04-01, Vienna: #JudasPriest (with #Saxon & #UriahHeep)

My upcoming #MetalheadConcerts

👉 2024-02-05, Vienna: #Abbath #ToxicHolocaust and freakin' #Hellripper

👉 2024-04-01, Vienna: #JudasPriest (with #Saxon & #UriahHeep)

My upcoming #MetalheadConcerts

👉 2024-02-05, Vienna: #Abbath #ToxicHolocaust and freakin' #Hellripper

👉 2024-04-01, Vienna: #JudasPriest (with #Saxon & #UriahHeep)