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Nukem – The Grave Remains Review

Thrash—my first love. Before I worshipped at the altars of …
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https://www.newsbeep.com/uk/530853/

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Thrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?

Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.

The Grave Remains by Nukem

Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.

Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.

Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026

Thrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?

Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.

The Grave Remains by Nukem

Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.

Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.

Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026

Thrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?

Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.

The Grave Remains by Nukem

Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.

Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.

Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026

Thrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?

Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.

The Grave Remains by Nukem

Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.

Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.

Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026

Thrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?

Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.

The Grave Remains by Nukem

Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.

Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.

Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026

Erm okay... this would have been a serious AOTY contender.

🎵 Cage Of Air by Warbringer
💿 Wrath and Ruin, 2025
▶️ https://song.link/y/zVcDIYROWek

#TomsMusic #NowPlaying #Warbringer

I just had to wait 2 hours in a doctors office.
The outside temperature is -7°C.

I need some thrash metal to warm my heart. It is the year of #ThrashMetal after all.

Here's one I missed from last year 👇

🎵 The Sword And The Cross by Warbringer
💿 Wrath and Ruin, 2025
▶️ https://song.link/y/jTYcTECFiNY

#TomsMusic #NowPlaying #Warbringer

#NowPlaying the recent album "Wrath and Ruin" by the band #Warbringer from the #USA

#ThrashMetal #HeavyMetal #AlbumsOf2025

Personal Rating: 3 / 10

Recommended Tracks: "Through a Glass, darkly"

https://warbringer.bandcamp.com/album/wrath-and-ruin

https://www.europesays.com/uk/516392/ Ravager – From Us with Hate Review #2.5 #2025 #Entertainment #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #music #Ravager #Review #Reviews #RomUsWithHateReview #Sep25 #ThrashMetal #UK #UnitedKingdom #Warbringer

Ravager – From Us with Hate Review

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2025 #Entertainment #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #review #reviews #romUswithHateReview #Sep25 #ThrashMetal #Warbringer
https://www.newsbeep.com/us/239835/

Ravager – From Us with Hate Review

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2025 #Entertainment #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #review #reviews #romUswithHateReview #Sep25 #ThrashMetal #Warbringer
https://www.newsbeep.com/us/239835/

Ravager – From Us with Hate Review

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over…
#NewsBeep #News #Music #2.5 #2025 #CA #Canada #Entertainment #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #review #reviews #romUswithHateReview #Sep25 #ThrashMetal #Warbringer
https://www.newsbeep.com/ca/227865/

Ravager – From Us with Hate Review

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over…
#NewsBeep #News #Music #2.5 #2025 #Entertainment #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #review #Reviews #romUswithHateReview #Sep25 #ThrashMetal #UK #UnitedKingdom #Warbringer
https://www.newsbeep.com/uk/214063/

Ravager – From Us with Hate Review

By Lavender Larcenist

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over again about throwback thrash bands? In a genre that continues to pump out music for over forty years, breaking the mold is like chiseling out of your prison cell with a spoon. Doable? Maybe. But true escape is improbable. Germany’s Ravager peddles in the same stylistic trappings that you have seen a million times before from bands like Havok, Lich King, Warbringer, Gamma Bomb, and so, so many others before them. While many of these throwback acts ended up evolving their sounds and peeling themselves free of the mozzarella mosh of pizza thrash, will Ravager do the same on their fourth LP, From Us with Hate? Or, is it doomed to rest alongside the proverbial pineapple topping, as loathed as it is loved?

How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

#25 #2025 #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #Review #Reviews #romUsWithHateReview #Sep25 #ThrashMetal #Warbringer

Ravager – From Us with Hate Review

By Lavender Larcenist

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over again about throwback thrash bands? In a genre that continues to pump out music for over forty years, breaking the mold is like chiseling out of your prison cell with a spoon. Doable? Maybe. But true escape is improbable. Germany’s Ravager peddles in the same stylistic trappings that you have seen a million times before from bands like Havok, Lich King, Warbringer, Gamma Bomb, and so, so many others before them. While many of these throwback acts ended up evolving their sounds and peeling themselves free of the mozzarella mosh of pizza thrash, will Ravager do the same on their fourth LP, From Us with Hate? Or, is it doomed to rest alongside the proverbial pineapple topping, as loathed as it is loved?

How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

#25 #2025 #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #Review #Reviews #romUsWithHateReview #Sep25 #ThrashMetal #Warbringer

Ravager – From Us with Hate Review

By Lavender Larcenist

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over again about throwback thrash bands? In a genre that continues to pump out music for over forty years, breaking the mold is like chiseling out of your prison cell with a spoon. Doable? Maybe. But true escape is improbable. Germany’s Ravager peddles in the same stylistic trappings that you have seen a million times before from bands like Havok, Lich King, Warbringer, Gamma Bomb, and so, so many others before them. While many of these throwback acts ended up evolving their sounds and peeling themselves free of the mozzarella mosh of pizza thrash, will Ravager do the same on their fourth LP, From Us with Hate? Or, is it doomed to rest alongside the proverbial pineapple topping, as loathed as it is loved?

How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

#25 #2025 #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #Review #Reviews #romUsWithHateReview #Sep25 #ThrashMetal #Warbringer

Ravager – From Us with Hate Review

By Lavender Larcenist

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over again about throwback thrash bands? In a genre that continues to pump out music for over forty years, breaking the mold is like chiseling out of your prison cell with a spoon. Doable? Maybe. But true escape is improbable. Germany’s Ravager peddles in the same stylistic trappings that you have seen a million times before from bands like Havok, Lich King, Warbringer, Gamma Bomb, and so, so many others before them. While many of these throwback acts ended up evolving their sounds and peeling themselves free of the mozzarella mosh of pizza thrash, will Ravager do the same on their fourth LP, From Us with Hate? Or, is it doomed to rest alongside the proverbial pineapple topping, as loathed as it is loved?

How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

#25 #2025 #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #Review #Reviews #romUsWithHateReview #Sep25 #ThrashMetal #Warbringer

Ravager – From Us with Hate Review

By Lavender Larcenist

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over again about throwback thrash bands? In a genre that continues to pump out music for over forty years, breaking the mold is like chiseling out of your prison cell with a spoon. Doable? Maybe. But true escape is improbable. Germany’s Ravager peddles in the same stylistic trappings that you have seen a million times before from bands like Havok, Lich King, Warbringer, Gamma Bomb, and so, so many others before them. While many of these throwback acts ended up evolving their sounds and peeling themselves free of the mozzarella mosh of pizza thrash, will Ravager do the same on their fourth LP, From Us with Hate? Or, is it doomed to rest alongside the proverbial pineapple topping, as loathed as it is loved?

How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

#25 #2025 #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #Review #Reviews #romUsWithHateReview #Sep25 #ThrashMetal #Warbringer

Testament – Para Bellum Review

By Steel Druhm

The greats of the original American thrash scene have fallen on hard times of late. Metallica dropped a predictably disappointing platter that critics still hailed as genius, Megadeth is Megadeth, Anthrax is MIA, and Slayer is in assisted living. These days, it seems like only Overkill still stands strong and defiant, defending the old guard. But let us not forget about Testament. I’ll always have a soft spot in my jaded metal heart for them. I fondly remember seeing them open for Slayer back in 87 when no one knew who they were and their debut was weeks from dropping. Despite a stereotypically unfriendly Slayer crowd, they won us over fast with macho thrash and Chuck Billy’s larger-than-life presence. Those early albums were stone-cold classics, and they’ve weathered the storms of time and trend without too many disasters. Still, thrash is a fickle mistress, and diminishing return stalks us all. That brings us to album 13, Para Bellum. Can these olden dawgs deliver something fresh and vital? They certainly bring some surprises to the party this time at the very least.

Things kick off intensely with “For the Love of Pain,” which is fast and furious thrash with a heaping helping of black metal influence. Some sections feel like epic second-wave blasting, and though Testament dabbled in this sound before, this is closer to Eric Petterson’s Dragonlord project than the band have drifted before. I don’t dislike it, and the blackened elements give their sound a kick in the arse for sure. They even cram in some djenty bits to further shake the stew. “Infanticide A.I.” keeps the blackened elements for a raging thrasher that borders on grind at times. Riffs fly every which way, Chuck sounds genuinely insane, and the drums blast you a new asshole for free. It’s not what I consider a Testament classic, but it shows these guys can still bring it hard when they want. From there, things wander around a bunch. You get a big, epic dose of emotional power balladry in “Meant to Be,” where Testament flexes their emo sadboi muscles and throw major pathos and beautiful playing your way. Then they digress into hard rock/metal light on “Nature of the Beast.” This sounds like Testament covering a Saxon song, and that idea sounds better on paper than on wax.

Oddly, most of my favorite tracks arrive late in the game. Starting with “Room 117,” Testament lock into a late-album groove with slick, memorable writing that sticks like a greased-up prison shank. It’s a slick blend of vintage Testament and classic metal, and they pull it off perfectly with scads of great vocal hooks and memorable guitar moments. The chorus is a winner, and it reminds me of the stuff off Practice What You Preach. “Havana Syndrome” is even better, finding that sweet spot between the classic Testament sound and 80s metal, with a distinct NWoBHM influence in the leads. The closing title track is overstuffed with ideas, but most of them are good, and the blend of thrash, classic metal, and blackened bits works well. Are there downers? Well, I don’t love the aforementioned “Nature of the Beast,” and “High Noon” with its Wild West gunslinger theme is cheesy as fook. That leaves Para Bellum a mixed bag of nuts and bolts, and the band’s genre-hopping makes the album feel incohesive at times, but there are more wins than losses on the scoreboard.

Given the musical talent that adorns a Testament album, you know you’ll get a cosmic fuckton of highly polished playing, and Para Bellum is full of impressive performances. Eric Peterson and Alex Skolnick are as good a guitar tandem as there is, and no matter what genre they dip into, they do it rich, creamy justice. The level of ferocity they lock into on tracks like “Infanticide A.I.” is shocking for greybeards like them, and the sheer emotional payout on “Meant to Be” is something else. Steve DiGiorgio is a bass legend, and he’s fairly audible on most tracks, his bubbling, rumbling basslines adding depth and weight to the material. New drummer Chris Dovas (ex-Seven Spires) is a top-level kitman, providing a large collection of beats, fills, rolls, and raw thunder. Do I wish Gene Hoglan were back there still? Of course. Can Dovas get the job done? Absolutely. And then there’s Big Chuck. He sounds youthful, large, and in charge, showing a lot more versatility than you might expect as he moves from thrash barks to blackened screams and clean singing. Talent is everywhere, and only a few songwriting kerfuffles dent the soup can.

So Testament lands on the right side of the thrash grave for another release. Para Bellum won’t replace the debut or The New Order in your hearts, but it’s a worthy addition to their oeuvre and shows them embracing diverse elements rather than just rehashing old ideas. Kudos to them for that! Keep on aging gracefully, gents.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: testamentlegions.com/site | facebook.com/testamentlegions | instagram.com/testamentofficial
Releases Worldwide: October 10th, 2025

#2025 #30 #AmericanMetal #NuclearBlastRecords #Oct25 #ParaBellum #Review #Reviews #Testament #ThrashMetal #Warbringer

Lions Metal Festival 2025

Samedi :
#Decapitated
#Cryptopsy
#Warbringer
#WitheringSurface
#SkeletonPit
#Carnation
#ThyLegion
#SansRoi
#Damager

Dimanche :
#Nile
#GamaBomb
#CoffinFeeder
#Merrimack
#GameOver
#ASecretRevealed
#Doomas
#Godark
#Deadlysins
#Aonaran

https://www.purgatoire.fr/concerts/festival-80-lions-metal-festival-2025

#LeTraitDUnion
#Montagny

#Decapitated
#Cryptopsy
#Warbringer
#WitheringSurface
#SkeletonPit
#Carnation
#ThyLegion
#SansRoi
#Damager
07/06/2025

Lions Metal Festival 2025

#LeTraitDUnion
#Montagny

https://www.purgatoire.fr/concerts/concert-546_2025-06-07_lions-metal-festival-2025

We're releasing videos this week featuring Bury Tomorrow, Warbringer, Cari Cari, Moody Joody, and Dreamfone! Which videos are you the most excited for?

Want to watch the videos before anyone else? Become a member (it's FREE) at https://digtb.us/signup

#burytomorrow #warbringer #caricari #moodyjoody #digitaltourbus

New post: Gig Review: Decapitated / Cryptopsy / Warbringer / Carnation – Slay, Glasgow (7th May 2025) https://www.moshville.co.uk/reviews/gig-review/2025/05/gig-review-decapitated-cryptopsy-warbringer-carnation-slay-glasgow-7th-may-2025/ #Carnation #Cryptopsy #Decapitated #Warbringer

New post: Gig Review: Decapitated / Cryptopsy / Warbringer / Carnation – Slay, Glasgow (7th May 2025) https://www.moshville.co.uk/reviews/gig-review/2025/05/gig-review-decapitated-cryptopsy-warbringer-carnation-slay-glasgow-7th-may-2025/ #Carnation #Cryptopsy #Decapitated #Warbringer

New post: Gig Review: Decapitated / Cryptopsy / Warbringer / Carnation – Slay, Glasgow (7th May 2025) https://www.moshville.co.uk/reviews/gig-review/2025/05/gig-review-decapitated-cryptopsy-warbringer-carnation-slay-glasgow-7th-may-2025/ #Carnation #Cryptopsy #Decapitated #Warbringer

Decapitated bring their beastly tour to the UK next month!

Renowned death metal titans Decapitated are thrilled to be kicking off their "Infernal Bloodshed Over Europe Tour" next month. Featuring a potent lineup with heavyweights Cryptopsy, Warbringer, and Carnation, this high-octane tour promises to deliver an unmi

https://www.moshville.co.uk/news/tours/2025/04/decapitated-bring-their-beastly-tour-to-the-uk-next-month/

#ToursLiveDates #Carnation #Cryptopsy #Decapitated #Warbringer

Decapitated bring their beastly tour to the UK next month!

Renowned death metal titans Decapitated are thrilled to be kicking off their "Infernal Bloodshed Over Europe Tour" next month. Featuring a potent lineup with heavyweights Cryptopsy, Warbringer, and Carnation, this high-octane tour promises to deliver an unmi

https://www.moshville.co.uk/news/tours/2025/04/decapitated-bring-their-beastly-tour-to-the-uk-next-month/

#ToursLiveDates #Carnation #Cryptopsy #Decapitated #Warbringer

Decapitated bring their beastly tour to the UK next month!

Renowned death metal titans Decapitated are thrilled to be kicking off their "Infernal Bloodshed Over Europe Tour" next month. Featuring a potent lineup with heavyweights Cryptopsy, Warbringer, and Carnation, this high-octane tour promises to deliver an unmi

https://www.moshville.co.uk/news/tours/2025/04/decapitated-bring-their-beastly-tour-to-the-uk-next-month/

#ToursLiveDates #Carnation #Cryptopsy #Decapitated #Warbringer

WARBRINGER (Estats Units) presenta nou àlbum: "Wrath and Ruin" #Warbringer #ThrashMetal #Març2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

New Artist announced for Wacken Open Air 2025: 🔥 Warbringer 🔥

🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO

#Wacken_Open_Air_2025 #Warbringer #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement

New Artist announced for Alcatraz Metal Festival 2025

Warbringer

Added top 5 songs to the playlist Alcatraz Metal Festival 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0qyFD1W3X4B-JCokWBZdh0

#Alcatraz_Metal_Festival_2025 #Warbringer #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

New Artist announced for Rock The Lakes 2025

Warbringer

Added top 5 songs to the playlist Rock The Lakes 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr10ADiR9v1_pc-lXPdLI7r8

#Rock_The_Lakes_2025 #Warbringer #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

New Artist announced for Brutal Assault 2025

Warbringer

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Warbringer #fyre_festivals #ytmusic #youtube #music #party #musicfestival

New #Warbringer in March — groovy. #ThrashThursday https://warbringer.bandcamp.com/album/wrath-and-ruin

Bloodstock 2025 – lucky thirteen new bands added!

Off the back of Bloodstock’s first announcement of 19 bands for 2025, tickets have been flying out the door in record numbers. Adult standard weekend tickets

https://www.moshville.co.uk/news/tours/2024/10/bloodstock-2025-lucky-thirteen-new-bands-added/

#ToursLiveDates #Bloodstock #CageFight #FearFactory #FlotsamJetsam #Heriot #HighParasite #Ministry #Nailbomb #PalefaceSwiss #RiversOfNihil #SpiritAdrift #thrown #Undeath #Warbringer

Bloodstock 2025 – lucky thirteen new bands added!

Off the back of Bloodstock’s first announcement of 19 bands for 2025, tickets have been flying out the door in record numbers. Adult standard weekend tickets

https://www.moshville.co.uk/news/tours/2024/10/bloodstock-2025-lucky-thirteen-new-bands-added/

#ToursLiveDates #Bloodstock #CageFight #FearFactory #FlotsamJetsam #Heriot #HighParasite #Ministry #Nailbomb #PalefaceSwiss #RiversOfNihil #SpiritAdrift #thrown #Undeath #Warbringer

Bloodstock 2025 – lucky thirteen new bands added!

Off the back of Bloodstock’s first announcement of 19 bands for 2025, tickets have been flying out the door in record numbers. Adult standard weekend tickets

https://www.moshville.co.uk/news/tours/2024/10/bloodstock-2025-lucky-thirteen-new-bands-added/

#ToursLiveDates #Bloodstock #CageFight #FearFactory #FlotsamJetsam #Heriot #HighParasite #Ministry #Nailbomb #PalefaceSwiss #RiversOfNihil #SpiritAdrift #thrown #Undeath #Warbringer

#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
#MetalInjection
METAL ALLEGIANCE To Reassemble For 10th Anniversary Show
Happening in January.

https://metalinjection.net/tour-dates/metal-allegiance-to-reassemble-for-10th-anniversary-show

#MetalAllegiance
#10thAnniversary
#Reassemble
#Overkill
#Testament
#DeathAngel
#FatesWarning
#Annihilator
#Warbringer
#WhiteWizzard
#PhilDemmel
#ChrisBroderick

#NowPlaying #TheMetalDogIsNowPlaying
#Warbringer
Worlds Torn Asunder
Living Weapon

YouTube Search:
https://youtube.com/results?search_query=Warbringer+Worlds+Torn+Asunder+Living+Weapon

Lyrics:
https://genius.com/Warbringer-living-weapon-lyrics

Song Link:
http://www.youtube.com/watch?v=Jiizfl9exHM

#thrashmetal #InYourFuckingFace #metal #Awesome #speedmetal

#NowPlaying #TheMetalDogIsNowPlaying
#Warbringer
Worlds Torn Asunder
Living Weapon

YouTube Search:
https://youtube.com/results?search_query=Warbringer+Worlds+Torn+Asunder+Living+Weapon

Lyrics:
https://genius.com/Warbringer-living-weapon-lyrics

Song Link:
http://www.youtube.com/watch?v=Jiizfl9exHM

#thrashmetal #InYourFuckingFace #metal #Awesome #speedmetal

#NowPlaying #TheMetalDogIsNowPlaying
#Warbringer
Worlds Torn Asunder
Living Weapon

YouTube Search:
https://youtube.com/results?search_query=Warbringer+Worlds+Torn+Asunder+Living+Weapon

Lyrics:
https://genius.com/Warbringer-living-weapon-lyrics

Song Link:
http://www.youtube.com/watch?v=Jiizfl9exHM

#thrashmetal #InYourFuckingFace #metal #Awesome #speedmetal

#TheMetalDogArticleList
#heavymetalnews
WARBRINGER Reveal "Unraveling" Music Video; European Tour Kicks Off Today
Just in time to celebrate today's launch of their European tour with Evil Invaders, Schizophrenia and Mason, SoCal modern thrash metal frontrunners, Warbringer, have revealed a brand new music video for the Weapons Of Tomorrow burner, "Unraveling". Bang your head to this...

https://bravewords.com/news/warbringer-reveal-unraveling-music-video-european-tour-kicks-off-today

#Warbringer #Unraveling #MusicVideo #EuropeanTour #KicksOff #Today #MetalNews

#NowPlaying #TheMetalDogIsNowPlaying
#Warbringer
Worlds Torn Asunder
Living Weapon
https://youtube.com/results?search_query=Warbringer+Worlds+Torn+Asunder+Living+Weapon
#thrashmetal #InYourFuckingFace #metal #Awesome #speedmetal

Almost Dead – Destruction Is All We Know Review

By Dr. A.N. Grier

I’ve never heard of Almost Dead, despite them releasing material since 2007. And, honestly, some of it is pretty fucking good. Albums like Internal Chaos and Mindfucked are pleasing bits of Pantera-esque thrash and groove. There are also interesting influences sprinkled in, like the cruising, old-school Lamb of God vibes of Mindfucked’s “Dead Enemies” and the Downy clean vocals of “Ignus Fatuus.” But, things began to change when Lay Them Down to Waste came along. The title track, for one, sounds so much like Nirvana’s “Something in the Way” that I see Batman in my peripheral vision. Since then, the band has tended to lean more heavily into their Panteraisms, producing fun little ditties that never quite capture the energy displayed on Internal Chaos. With that knowledge now cemented in your brain, let’s check out Destruction Is All We Know.

I’d be a fool for not giving Almost Dead some credit for not giving two fucks what anyone thinks of their straightforward and sometimes strange style. That said, Destruction Is All We Know is the oddest album of them all—no doubt with some help from dial and toggle man Zac “Friend o’ the Blog” Orhen. One moment, the album cruises along with Warbringer-like thrashings, the obvious stop-start motions of Pantera and Throwdown, and the unlikely inclusion of Mors Principium Est-like melodeath. But, the oddest influence gives one track, in particular, a Dimmu Borgir edge. Destruction Is All We Know is like nothing the band has ever done before, and, boy, am I praying for them.

“Warheads in the Sky” kicks off the back-to-back-to-back collection of the strongest tracks on the album. Incorporating some of their key atmospheres, this song slings a Warbringer chorus at Throwdown licks, building and growing before failing to keep its momentum with its lackluster, backend breakdown. But, follow-up track, “Commandments of Coercion,” does its damndest to keep things on track with its slick introduction and fitting, melodic cleans. At the midpoint, it transitions to a knuckle-dragging riff that powers its way to yet another riff—this time, set up beautifully by the drums. As the vocals throw wads of spittle at each other with Crisix-like energy, the song settles into a pleasing groove before concluding. The third member of this trio, “Eight Eyes of Black” adjusts the pace with those classic stop-start chugs made famous by Pantera. It even leans hard into the angry choruses Phil Anselmo used to be so good at. And, for the first time, the bass surfaces and sets up a back-half transition that grows into a Vulgar Display of Power frenzy.

It’s the flip side of the album that gets weird. Leading that charge is the record’s black sheep, “Within the Ashes.” It takes those key atmospheres from the opener to a whole ‘nother level. But, it’s not apparent at first because the song goes absolutely nowhere for two minutes. Then, it morphs from a thrasher to a straight-up Dimmu Borgir-style symphoblack piece. It’s one of those songs where you look at your music device to figure out if you are still listening to the same album. It’s not bad per se, but I just can’t get behind it. “Brutal Devotion” and “Where Sinners Cry” both have winding-down conclusions that remind me of Machine Head’s “A Thousand Lies,” growing slower and slower until they fade away. The first starts with some heavy Metallica vibes, but ultimately goes nowhere. The most notable part of the song is the chorus where, I swear to Satan, the lyrics are “I need to change my fucking lobster.” The other delves into melodeath territories, but is far too long and meanders too much.

In the end, Destruction Is All We Know adds another record to the band’s thrashy, groove-oriented career. Though, as stated, there are a lot of weird decisions made here. Some work but most don’t. While unique, to say the least, they completely disrupt the flow of the album—adding little to the overall experience. After exploring the band’s catalog, their older stuff is definitely the direction I’d rather they take, but I understand that there’s always evolution. However, the combination of these new influences and styles doesn’t work for Destruction Is All We Know. Would they work if the album was designed in such a way that you expected them? Maybe. Destruction Is All We Know is a perfect example of a mixed record. Still, I’m interested enough to see where they go from here.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Innerstrength Records | Bandcamp
Websites: facebook.com/bayareahardcoremetal
Releases Worldwide: January 26th, 2024

#25 #2024 #AlmostDead #AmericanMetal #DestructionIsAllWeKnow #DimmuBorgir #Down #GrooveMetal #InnerstrengthRecords #Jan24 #LambOfGod #MachineHead #Metallica #MorsPrincipiumEst #Nirvana #Pantera #Review #Reviews #ThrashMetal #Throwdown #Warbringer

Almost Dead – Destruction Is All We Know Review

By Dr. A.N. Grier

I’ve never heard of Almost Dead, despite them releasing material since 2007. And, honestly, some of it is pretty fucking good. Albums like Internal Chaos and Mindfucked are pleasing bits of Pantera-esque thrash and groove. There are also interesting influences sprinkled in, like the cruising, old-school Lamb of God vibes of Mindfucked’s “Dead Enemies” and the Downy clean vocals of “Ignus Fatuus.” But, things began to change when Lay Them Down to Waste came along. The title track, for one, sounds so much like Nirvana’s “Something in the Way” that I see Batman in my peripheral vision. Since then, the band has tended to lean more heavily into their Panteraisms, producing fun little ditties that never quite capture the energy displayed on Internal Chaos. With that knowledge now cemented in your brain, let’s check out Destruction Is All We Know.

I’d be a fool for not giving Almost Dead some credit for not giving two fucks what anyone thinks of their straightforward and sometimes strange style. That said, Destruction Is All We Know is the oddest album of them all—no doubt with some help from dial and toggle man Zac “Friend o’ the Blog” Orhen. One moment, the album cruises along with Warbringer-like thrashings, the obvious stop-start motions of Pantera and Throwdown, and the unlikely inclusion of Mors Principium Est-like melodeath. But, the oddest influence gives one track, in particular, a Dimmu Borgir edge. Destruction Is All We Know is like nothing the band has ever done before, and, boy, am I praying for them.

“Warheads in the Sky” kicks off the back-to-back-to-back collection of the strongest tracks on the album. Incorporating some of their key atmospheres, this song slings a Warbringer chorus at Throwdown licks, building and growing before failing to keep its momentum with its lackluster, backend breakdown. But, follow-up track, “Commandments of Coercion,” does its damndest to keep things on track with its slick introduction and fitting, melodic cleans. At the midpoint, it transitions to a knuckle-dragging riff that powers its way to yet another riff—this time, set up beautifully by the drums. As the vocals throw wads of spittle at each other with Crisix-like energy, the song settles into a pleasing groove before concluding. The third member of this trio, “Eight Eyes of Black” adjusts the pace with those classic stop-start chugs made famous by Pantera. It even leans hard into the angry choruses Phil Anselmo used to be so good at. And, for the first time, the bass surfaces and sets up a back-half transition that grows into a Vulgar Display of Power frenzy.

It’s the flip side of the album that gets weird. Leading that charge is the record’s black sheep, “Within the Ashes.” It takes those key atmospheres from the opener to a whole ‘nother level. But, it’s not apparent at first because the song goes absolutely nowhere for two minutes. Then, it morphs from a thrasher to a straight-up Dimmu Borgir-style symphoblack piece. It’s one of those songs where you look at your music device to figure out if you are still listening to the same album. It’s not bad per se, but I just can’t get behind it. “Brutal Devotion” and “Where Sinners Cry” both have winding-down conclusions that remind me of Machine Head’s “A Thousand Lies,” growing slower and slower until they fade away. The first starts with some heavy Metallica vibes, but ultimately goes nowhere. The most notable part of the song is the chorus where, I swear to Satan, the lyrics are “I need to change my fucking lobster.” The other delves into melodeath territories, but is far too long and meanders too much.

In the end, Destruction Is All We Know adds another record to the band’s thrashy, groove-oriented career. Though, as stated, there are a lot of weird decisions made here. Some work but most don’t. While unique, to say the least, they completely disrupt the flow of the album—adding little to the overall experience. After exploring the band’s catalog, their older stuff is definitely the direction I’d rather they take, but I understand that there’s always evolution. However, the combination of these new influences and styles doesn’t work for Destruction Is All We Know. Would they work if the album was designed in such a way that you expected them? Maybe. Destruction Is All We Know is a perfect example of a mixed record. Still, I’m interested enough to see where they go from here.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Innerstrength Records | Bandcamp
Websites: facebook.com/bayareahardcoremetal
Releases Worldwide: January 26th, 2024

#25 #2024 #AlmostDead #AmericanMetal #DestructionIsAllWeKnow #DimmuBorgir #Down #GrooveMetal #InnerstrengthRecords #Jan24 #LambOfGod #MachineHead #Metallica #MorsPrincipiumEst #Nirvana #Pantera #Review #Reviews #ThrashMetal #Throwdown #Warbringer

#TheMetalDogArticleList
#MetalInjection
METAL ALLEGIANCE To Reassemble For 10th Anniversary Show
Happening in January.

https://metalinjection.net/tour-dates/metal-allegiance-to-reassemble-for-10th-anniversary-show

#MetalAllegiance
#10thAnniversary
#Reassemble
#Overkill
#Testament
#DeathAngel
#FatesWarning
#Annihilator
#Warbringer
#WhiteWizzard
#PhilDemmel
#ChrisBroderick

#TheMetalDogArticleList
#MetalInjection
METAL ALLEGIANCE To Reassemble For 10th Anniversary Show
Happening in January.

https://metalinjection.net/tour-dates/metal-allegiance-to-reassemble-for-10th-anniversary-show

#MetalAllegiance
#10thAnniversary
#Reassemble
#Overkill
#Testament
#DeathAngel
#FatesWarning
#Annihilator
#Warbringer
#WhiteWizzard
#PhilDemmel
#ChrisBroderick