Tag Archives: punk rock

Album Review – Barathrum / Überkill (2024)

Posted on by
Reply

Behold this beast of an album by one of Finland’s very first Black Metal bands that proves why they are eternal.

Formed in the distant year of 1991 in the land of ice and snow, Helsinki, Finland-based Black/Doom Metal horde Barathrum needs no introduction, remaining as one of Finland’s very first Black Metal bands and, more importantly, one of the longest-running. Now seven years after the release of their 2017 beast Fanatiko, the band comprised of Demonos Sova on vocals, Ruttokieli on lead guitars, Nuklear Tormentörr on bass, and Vendetta on drums returns in full force with their tenth studio album, the highly anticipated metal attack titled Überkill. A no shenanigans, in-your-face blast of extreme music, Überkill proves that the Finns are, above all, a very great Heavy Metal band, just one that’s jet-black, ass-kicking, and bass-driven as fuck. Simple-yet-sublime pleasures, now and forever. Again, Barathrum are eternal!

Death by Steel is absolutely dark and evil from the very first second, with the dirty riffs by Ruttokieli infesting the atmosphere before Demonos Sova attacks with his demonic gnarls; and blending the obscurity of Black Metal with Hardcore and Rock N’ Roll, the band offers the headbanging Mountain of Bones, led by the classic drumming by Vendetta, whereas a wicked intro gradually morphs into the harsh, metallic feast titled Spark Plugs of Purgatory, again with Demonos Sova crushing our damned souls with his goblin-like vociferations. More of their infernal Punk Rock-infused riffs will penetrate deep inside your dirty mind in Black Magick Rites, while Nuklear Tormentörr and Vendetta craft a rumbling base with their respective bass and drums, and investing in a much darker sound we have Ritual Murder, with Nuklear Tormentörr hammering his bass manically until the music evolves into an absolute chaotic vibe perfect for slamming into the pit.

White Red Black and Pale is another rock and metal extravaganza by those Finnish blasphemers led by the venomous gnarls by Demonos Sova, sounding slow, steady and evil from start to finish, followed by Denial of God, a beautiful name for another impious tune by Barathrum, offering our putrid ears an overdose of harsh sounds while Vendetta pounds his drums in the name of old school Black and Thrash Metal. It’s then time for seven minutes of sheer obscurity and blasphemy in the form of Dark Sorceress, where the cryptic, ritualistic vocals by Demonos Sova match flawlessly with the Doom Metal-inspired sounds blasted by his bandmates, and closing the album we’re treated to the venomous sounds of the title-track Überkill, oozing Barathrum from the very first second, with Ruttokieli stealing the spotlight armed with his wicked, scorching riffs.

Evil has many forms as people like to say, and after listening to Überkill you’ll quickly realize Barathrum are definitely one of the manifestations of everything that’s immoral, sinful and blasphemous. That means they more than nailed it with Überkill, and if you want to join one of the most important hordes in the history of Finnish Black Metal you can start following the band on Facebook, stream their hellish creations on Spotify or any other streaming service, and above all that, purchase their incendiary new spawn from their own BandCamp page or from the KVLT shop. Überkill is the perfect example as to why Barathrum are still alive and kicking (and therefore haunting our damned souls) after so many decades, and I bet those devilish creatures will keep on decimating us all with their undisputed extreme music for many years to come with amazing albums like their newborn beast.

Best moments of the album: Spark Plugs of Purgatory, Ritual Murder and Überkill.

Worst moments of the album: White Red Black and Pale.

Released in 2024 Hammer of Hate

Track listing
1. Death by Steel 4:32
2. Mountain of Bones 4:33
3. Spark Plugs of Purgatory 4:00
4. Black Magick Rites 3:22
5. Ritual Murder 3:44
6. White Red Black and Pale 4:24
7. Denial of God 3:45
8. Dark Sorceress 7:06
9. Überkill 4:59

Band members
Demonos Sova – vocals
Ruttokieli – lead guitars, backing vocals
Nuklear Tormentörr – bass
Vendetta – drums

Guest musicians
Grimharm – bass, backing vocals (live)
Naz – guitars (live)

Album Review – Solitary / Embrace The Darkness (2024)

Posted on by
Reply

One of the most important Thrash Metal bands to ever arise form the UK is back in action with a caustic new album, their hymn to a dying world, their soundtrack to the end of days.

We live in dark times; times of war, pandemics, grief and horror. These are the days of division, where we turn against each other in politically driven hatred and against ourselves, choking on a social media diet of self-loathing and isolation. Hailing from Preston, a city in Lancashire, northern England, UK’s resolute and relentless kings of Thrash Metal, Solitary, have tapped into the thick, black blood that pulses sluggishly through the fat and filth congested veins of society, culminating with the birth of their caustic new album titled Embrace The Darkness, the follow-up to their 2020 beast The Truth Behind the Lies. Recorded, mixed and mastered by Simon Efemey at Headline Music Studios, and embraced by a sick artwork by Koot (which would look amazing as a tattoo), the new beast by Richard Sherrington on vocals and rhythm guitar, Andy Mellor on lead guitar, Gareth Harrop on bass, and Roy Miller on drums is their hymn to a dying world, their soundtrack to the end of days.

The intro III.XXIII.MMXX offers a modern-day, visceral and acid start that will darken the skies before Solitary come crushing our damned souls in the title-track Embrace the Darkness, with Richard already roaring manically from the bottom of his blackened heart supported by the hammering drums by Roy and an overdose of caustic riffs. It’s then pedal to the metal to the sound of the infuriated Settle Scores the Old Way, a sharp, ruthless Thrash Metal attack perfect for a good brawl at the pub, whereas Richard and Andy continue to extract total chaos and heaviness from their axes in Virtues, an old school thrashing hurricane that will put you to headbang like a beast. And the band once again speeds things up and delivers a demolishing sound in Bury It Now, another amazing display of their undisputed Thrash Metal where their scorching riffs and rumbling bass match perfectly with the venomous vocals by Richard.

The circle pit keeps moving fast and wildly in Beneath the Surface, with the hammering drums by Roy and the low-tuned, massive bass lines by Gareth building a solid foundation for the harsh vociferations by Richard; and the band shows absolutely no signs of slowing down, offering more of their violent and strident music in the form of The Disappeared, with Richard and Andy delivering an endless dosage of fury through their riffs. Then a Slayer-inspired riff will crush your damned skull to pieces in Section 21, where the band showcases their trademark sonority originally crafted back in the 90’s without sounding outdated or boring at all, followed by Filtering Hindsight, the last song of the digital version of the album which will inspire you to break your neck headbanging together with Solitary, although it lacks the same demented energy of the rest of the album. Furthermore, if you go for the vinyl edition of the album you’ll be treated to the bonus song Divided And Demented, absolutely worth every penny invested in the vinyl version as it’s pure British thrash spearheaded by the infernal growling by Richard; whereas if you buy the CD version you’ll get their cover version for The Exploited’s hit Beat the Bastards (check the official live video by The Exploited for the original song HERE), and as you can already imagine Solitary simply nailed it with their undisputed, electrifying thrashing twist.

The world as we know it is coming to its inevitable dark end, but of course at least we have amazing bands like Solitary among us to provide us with high quality music perfect for doomsday, like what they have to offer us all in Embrace The Darkness. Hence, don’t forget to give the band a shout on Facebook and on Instagram, stream their wicked creations on Spotify (or any other streaming platform), and grab a copy of their austere new album from their own website, from BandCamp, or by clicking HERE. It’s time to join Solitary in their quest for Thrash Metal, and of course, prepare to Embrace The Darkness!

Best moments of the album: Settle Scores the Old Way, Bury It Now and The Disappeared.

Worst moments of the album: Filtering Hindsight.

Released in 2024 Twisted into Form

Track listing
1. III.XXIII.MMXX 1:01
2. Embrace the Darkness 4:49
3. Settle Scores the Old Way 3:43
4. Virtues 4:42
5. Bury It Now 3:30
6. Beneath the Surface 3:34
7. The Disappeared 2:08
8. Section 21 3:49
9. Filtering Hindsight 3:33

Vinyl bonus track
10. Divided And Demented 3:20

CD bonus track
11. Beat the Bastards (The Exploited cover) 2:20

Band members
Richard Sherrington – vocals, rhythm guitar
Andy Mellor – lead guitar
Gareth Harrop – bass
Roy Miller – drums

Album Review – Evil Villain / Evil Villain EP (2024)

Posted on by
Reply

An evil villain armed with its debut EP and consumed by the violence of Death Metal is lurking in the shadows of Toronto waiting for its next victim.

A cruelly malicious person who is involved in or devoted to wickedness or crime, a scoundrel, or a new Death Metal entity hailing from the ruins of Toronto? That’s how Evil Villian like to label themselves, blending the aggressiveness of their music with the harsh reality of the big city. Earlier this year the band formed of Matt Patterson on vocals, Chris Lee and Tim Hardcastle on the guitars, Dustin Pepper on bass and Patrick Cairns on drums released their debut self-titled EP, offering us all four tracks bursting with Death Metal violence while also showing nuances of Hardcore, Groove and Thrash Metal.

Patrick wastes no time and begin hammering his drums in Tumer’d, accompanied by the neck-breaking riffs by Chris and Tim while Matt roars and gnarls like a rabid beast in a caustic fusion of Death Metal and Hardcore; and get ready for another six-minute attack by Evil Villian entitled The Cycle, where Dustin and Patrick make the earth tremble, providing Matt with exactly what he needs to vociferate nonstop in the name of extreme music. Then blending harsh roars with Hardcore clean vocals, Paste Eater is another pulverizing, dissonant creation by the quintet where Chris and Tim once again slash their axes in great fashion until the very last second, whereas Furuta, the last song of the EP, is an amalgamation of styles, sounding Death Metal but at the same time presenting elements from the music by Faith No More and several Hardcore and Punk Rock acts, with Matt screaming viciously for our total delight.

Evil Villain’s debut EP is available in full on YouTube and on Spotify, but you can show those hardworking metallers from Toronto your support by purchasing a copy of the album from their BandCamp page, of course. Don’t forget to also follow the band on Facebook, Instagram and YouTube, or click HERE for all things Evil Villain, including their live performances in the city and surroundings, inspiring the band to keep moving forward no matter what. Their debut EP sounds great and I can’t wait to see what’s next for them, because you know, there’s always an evil villain lurking in the shadows of Toronto waiting for its next victim.

Best moments of the album: The Cycle.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Tumer’d 6:10
2. The Cycle 6:36
3. Paste Eater 5:40
4. Furuta 5:27

Band members
Matt Patterson – vocals
Chris Lee – guitar
Tim Hardcastle – guitar
Dustin Pepper – bass
Patrick Cairns – drums

Concert Review – Crewfest 2024 (Lion’s Gate Park, Brantford, ON, 07/19/2024 & 07/20/2024)

Posted on by
1

***Review by Elizabeth “Liz Bathory” Anderson, with photos by Keith Ibbitson of Metal Paparazzi***

Day 1: July 19, 2024

Venue: Lion’s Gate Park, Brantford, Ontario, Canada

Performers: Sumo Cyco, Buckcherry, Big Wreck, and The Headstones

This was my first time at Crewfest, and let me tell you, driving through Toronto traffic was an adventure in itself. But as soon as I arrived, the vibrant sound of Sumo Cyco hit me. I got there a bit late but still caught “Move Mountains” and “Bystander.” Fans I spoke to were thrilled about hearing “Undefeated.” Their stage presence was electric, and their sound really stood out. The crowd was loving every minute of it.

During intermission, I wandered around and soaked in the Crewfest vibe. The air was filled with the smell of stone-baked pizza and weed. There was a Crewdama tent where people were playing with kendama toys, and a small drone flew overhead. The crowd was a mix of young and old, metalheads, country fans (probably for the side stage), boho ladies, and bikers. The organizers did a great job with the portable washrooms, including wheelchair-accessible ones and an accessible seating area. As the night went on, portable outdoor chairs started popping up near the shaded areas – a thoughtful touch by the organizers.

Next up was Buckcherry. Their stage energy was impressive. The frontman’s style was urban meets rock ‘n’ roll, and their guitarist Stevie D stood out with his funky riffs and Tokyo Drift-style jacket. They got the crowd going with “Crazy Bitch” and played some classic rock/bluesy metal tunes like Guns N’ Roses and AC/DC. They also did a cool cover of “Rollin’ on a River” by Proud Mary.

Big Wreck was the next big act. By then, the sun was setting, and the stage lights were becoming more impressive. Drummer Sekou Lumumba was highlighted on the big screen, and he looked amazing. Seeing him in action was a treat. One nostalgic moment was when one of the band members threw an Emoji beach ball into the crowd, reminding me of my first concert (The Rolling Stones in the early 90s at the CNE). Big Wreck’s set had some heavy-sounding songs paired with classic metal vocals, including their 90s hit “That Song” and a cover of Thornley’s “Come Again.”

During the next intermission, I explored the venue more. There was an area dedicated to local vendors selling rolling papers, bongs, candies, cannabis, and more. There were even shirts being sold to fundraise for mental health support. The food section near the VIP area was a delight, with trucks serving wood-fired pizza, decked-out perogies, BBQ sandwiches, poutine, and Greek food. The VIP area had lit-up tents and seats sponsored by local businesses, Vanessa Mortgage Broker and Lanca, offering drinks and charcuterie boards. I did get asked to leave the Lanca tent since they didn’t accept my media pass.

Finally, The Headstones took the stage. Their lighting was spectacular, lighting up the whole area to the point that it could be seen from blocks away. They had the biggest crowd of the day, and their sound mixed classic funk with punk elements. Frontman Hugh Dillion made a few jokes, including a funny pizza delivery joke aimed at someone by the stage.

Day 2: July 20, 2024

Venue: Lion’s Gate Park, Brantford, Ontario, Canada

Performers: Otherwives, Junkhouse, Sloan, The Trews, and Goo Goo Dolls

Day 2 started off mellow with a soft opening from the side stage, giving an old-school rock and roll vibe. The crowd was a mix of Tragically Hip and Red Hot Chili Peppers fans, many rocking cowboy hats and boots. The side stage featured local country artists playing covers like Kings of Leon’s “Use Somebody,” and they threw shirts into the crowd at the end of their set.

I tried Crewfest’s own branded lager by Farm League Brewing. As a beer lover, I had to give it a shot, and it was pretty good – a mild, crisp taste similar to a Belgian ale. As I enjoyed my beer, Otherwives, a local band from Welland, Ontario, hit the main stage. Their stage presence was great, and they reminded me a bit of Billy Talent. The crowd was really into their 00s-style punk pop riffs.

During the next intermission, 50 Mission played Tragically Hip covers on the side stage, and the audience grew. Then Junkhouse took the main stage, opening with “Jesus Sings the Blues.” Frontman Tom Wilson shared stories about their days in Hamilton and various shenanigans, making their set feel personal and engaging. The T-rex in the crowd really jammed out during “Be Someone.”

The side stage was closed for the next intermission, so I checked out more vendors, including AE3D Printing and Collectables. They had cool 3D-printed fidget toys, dice rollers, game controller holders, and more. Time flew by, and before I knew it, Sloan was on stage. The crowd, now even larger, went crazy for their 90s hits like “The Other Man,” “Money City Maniacs,” “The Rest of My Life,” and “The Good in Everyone.”

The Trews followed, opening with “Tired of Waiting.” The crowd sang along enthusiastically. As they performed “Fleeting Trust,” the sun set, and the stage lights became more vibrant. Their set ended with “Hold Me In Your Arms,” leaving the crowd buzzing.

Finally, the Goo Goo Dolls took the stage. Their lighting was the most impressive, with beams visible from a distance. They opened with “Dizzy” and played hits like “Long Way Down,” but the crowd went wild when they started “Iris.” It was the perfect ending to a fantastic festival.

Crewfest 2024 was an unforgettable experience filled with diverse music, vibrant energy, and thoughtful organization. From the lively performances and nostalgic moments to the well-planned amenities and variety of vendors, Crewfest had something for everyone. It was a celebration of music and community that brought people together for two days of pure enjoyment. If you haven’t been to Crewfest yet, mark your calendars for next year – it’s an event you won’t want to miss!

Note: Unfortunately, due to the high temperatures that hit the festival area on Saturday, our buddy Keith Ibbitson of Metal Paparazzi wasn’t able to stay at Crewfest during that day, which is why there are no photos from day 2 of the festival.

This slideshow requires JavaScript.

Album Review – Unborn Generation / …and All We Forget (2024)

Posted on by
Reply

These Finnish veterans strike again with a post-apocalyptic album comprised of ten songs of brutally frost-bound Grindcore and Crust.

Describing a world long after an apocalypse where rebuilding has begun, but where yet the post-apocalypse generations have learnt nothing and remain ignorant as the sins of the fathers are repeated all over again, …and All We Forget is the brand new opus by Jyväskylä, Finland-based act Unborn Generation, offering ten songs of brutally frost-bound Grindcore and Crust for admirers of the genre. Recorded, produced, mixed and mastered by the band’s own vocalist and guitarist Herkko Huttunen, with drums recorded by Tuomas Kokko at Electric Fox Studios, the seventh studio album by the aforementioned Herkko Huttunen alongside bassist Arto Kettunen and drummer Eetu Huttunen brings to our avid ears the band’s trademark intense sound, a fight-or-flight response inducing, yet at the same time tingling the backsides of melancholics with northern melodies.

And the band wastes no time and begin their furious feast of Grindcore and Death Metal with Kivun kuilu, or “abyss of pain” from Finnish, with Herkko sounding absolutely demented on vocals, whereas Eetu continues to smash his drums like a beast in Rattus (or “bike”), another pulverizing creation by the trio that will leave you completely disoriented after its three minutes of insanity are over. Herkko roars and slashes his axe nonstop in Kruunu, which means “crown”, supported by the always rumbling kitchen by Arto and Eetu, followed by Puppets, another blast of pure Grindcore perfect for slamming into the pit, with Herkko screaming manically until the very last second. And Burst sounds even more demented, sharp and visceral than its predecessors, with Eetu dictating the song’s infernal pace supported by the massive bass lines by Arto.

Then blending the speed and rebelliousness of Punk Rock with their core fusion of Death Metal and Grindcore we have Heritage, and the final result is another beast of a song led by the hammering drums by Eetu. Swamp is a more cadenced tune, yet still extremely caustic and grim, with Herkko once again bursting his lungs barking nonstop, and I’m not sure how those three Finnish metallers can generate so much noise and insanity all by themselves like in Consunation, where after a sinister start all explodes into bestial Grindcore for our total delight; whereas Juuret, or “roots”, is a stunning display of sheer violence by the trio, sounding and feeling demented from start to finish with Eetu stealing the show with his unstoppable beats and fills. There’s still time for one last Grindcore attack by the band, titled Cycle, with Arto’s bass bringing tons of heaviness to their sound while Herkko extracts electricity, adrenaline and rage from his guitar.

You can enjoy the album in full on YouTube and on Spotify, but of course in order to show them your support and passion for the extreme you can grab a copy of the album from the band’s own BandCamp page, from the Inverse Records webstore, or from Apple Music. Also, don’t forget to start following the band on Facebook and on Instagram, joining the band on their post-apocalyptic world full of violence and evil, but at the same time to the sound of the band’s demented Grindcore to make things a lot more fun and enjoyable, therefore fueling the band to keep hammering our cranial skulls with several more albums in the upcoming years.

Best moments of the album: Rattus, Burst and Juuret.

Worst moments of the album: Swamp.

Released in 2024 Inverse Records

Track listing
1. Kivun kuilu 1:53
2. Rattus 3:11
3. Kruunu 2:51
4. Puppets 3:44
5. Burst 2:22
6. Heritage 3:21
7. Swamp 3:46
8. Consunation 3:50
9. Juuret 2:29
10. Cycle 4:20

Band members
Herkko Huttunen – vocals, guitars
Arto Kettunen – bass
Eetu Huttunen – drums

Album Review – Odiosa / Selva de Pedra (2024)

Posted on by
Reply

Enjoy 18 minutes of first-class Crossover Thrash made in Brazil, courtesy of an amazing band in their fight against social inequality, physical and psychological violence, fascism and other social struggles.

Formed in 2017 in the Brazilian city of Recife, in the state of Pernambuco, the vicious Crossover Hardcore four-piece outfit Odiosa, the feminine Portuguese word for “hateful”, has been conquering audiences of the most diverse age groups with the proposal of provoking reflections on social issues in their homeland. Formed of the venomous Luísa Cunha on vocals, Rafa Farias on the guitars, Thalys Rossi on bass, and  Vitor Lima on drums, the quartet has just released their new album titled Selva de Pedra, or “concrete jungle”, the follow-up to their 2021 EP Mil Motivos Para Te Odiar. Produced, mixed and mastered by the band’s own guitarist Rafa Farias, the album offers thirteen ass-kicking original tracks portraying all the social inequality, physical and psychological violence, fascism and other social struggles from their homeland Brazil, bringing to our avid ears elements from Groove Metal, Crust, and Grindcore to make things as caustic and heavy as possible.

In the intro Caos, absolute chaos, disorder and the always threatening sound of cop sirens warm us up for the pulverizing Sistema Imundo, or “filthy system”, with the band blasting a Ratos de Porão-style Punk Rock sonority led by the crushing beats by Vitor, kicking off the album on a visceral mode. Then enhancing their animosity to a whole new level we have Povo Desolado (“desolate people”), with Luísa barking like a beast during the song’s intense 22 seconds, followed by Alienados (“alienated”), a song about the current political situation in Brazil, with Luísa once again vociferating the song’s acid lyrics while Rafa pierces our minds with his sick riffs. Slowing things down but sounding beyond caustic and aggressive, Traje do Fascismo (“fascism costume”) offers two minutes of top-notch Hardcore where Luísa’s raspy vocals add an extra touch of obscurity to the song’s already grim vibe, whereas it’s time for a quick break to the calm and melancholic Viver Sem Medo, or “to live without fear”, working as an interlude with Luísa this time declaiming the song’s lyrics in a pensive way, flowing into the breathtaking Repúdio, or “repudiation”, putting the pedal to the metal and offering us a circle pit feast where Thalys blasts his bass in the name of old school Punk Rock.

They only need a minute to kick us hard in the ass in Sucateando Nossa História, or “scrapping our history”, where their riffs, bass and drums match perfectly with Luísa’s rebellious vocals, while Absurdo (“absurd”) brings to our ears more of their fusion of Brazilian Hardcore, Punk Rock and Thrash Metal, and the final result is fantastic, turning it into one of the most exciting moments of the album. The quartet shows no signs of slowing down or softening their music; quite the contrary, their infuriated Hardcore extravaganza goes on in Nossa Voz, or “our voice”, led by the hammering beats by Vitor, and there’s still more fuel to burn in Selva de Pedra, starting with Oprimido, Opressor!, or “oppressed, oppressor!”, where Rafa’s riffage will pierce our minds as usual. In the second to last explosion of Hardcore made in Brazil, titled Fracasso, or “failure”, Luísa sounds absolutely demented on vocals while her bandmates don’t let the energy go down not even a tiny bit. And how about one last minute of pure savagery? That’s exactly what the quartet offers us in the title-track Selva de Pedra, ending the album in great fashion.

If you’re eager to slam into a mosh pit while listening to first-class Hardcore, you can stream the album in full on YouTube and on Spotify, and start following the band on Facebook, Instagram and YouTube to enjoy more of their music and stay updated with their live concerts. And of course, go grab a copy of Selva de Pedra from the band’s own BandCamp page or by clicking HERE, putting a huge smile on the faces of those talented Brazilian musicians. Living in a concrete jungle is never easy, but fortunately we have bands like Odiosa to keep our eyes and ears open to all issues faced by the people who live in those urban areas, a relationship of love and hate that translates perfectly to the band’s acid Hardcore.

Best moments of the album: Sistema Imundo, Traje do Fascismo and Absurdo.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Caos 0:30
2. Sistema Imundo 1:34
3. Povo Desolado 0:22
4. Alienados 0:56
5. Traje do Fascismo 2:06
6. Viver Sem Medo 1:04
7. Repúdio 2:08
8. Sucateando Nossa História 0:57
9. Absurdo 1:34
10. Nossa Voz 1:23
11. Oprimido, Opressor! 2:21
12. Fracasso 2:20
13. Selva de Pedra 1:06

Band members
Luísa Cunha – voclas
Rafa Farias – guitars
Thalys Rossi – bass
Vitor Lima – drums

Album Review – Exhorder / Defectum Omnium (2024)

Posted on by
Reply

Putting a foot back into the roots of the band’s inception, these American veterans return to the battlefield with their striking fourth full-length opus, turning the failure of all into first-class Thrash and Groove Metal.

Putting a foot back into the roots of the band’s inception, New Orleans, Louisiana’s own Thrash Metal veterans Exhorder return to the battlefield with their striking fourth full-length opus, titled Defectum Omnium, the Latin phrase for “the failure of all”. Produced by the band itself, mixed by Jens Bogren at Fascination Street Studios, and displaying a sinister artwork by Travis Smith of Seempieces Design Studio, the album is highly recommended for fans of Dark Angel, Nuclear Assault, Exodus, Death Angel, Testament, Machine Head, and Pantera, among others, with the band currently formed of Kyle Thomas on vocals and guitars, Jason Viebrooks on bass, and Sasha Horn on drums now being joined by former Cannibal Corpse heavyweight guitarist Pat O’Brien, just to give their sound an even edgier and more austere taste.

Let’s slam into the pit like true metalmaniacs to the sound of Wrath of Prophecies, a Pantera-infused onrush of thrashing sounds led by the piercing riffs by Kyle and Pat, kicking things off in an amazing way, followed by Under the Gaslight, a more cadenced, Groove Metal-ish tune by Exhorder recommend for some vigorous headbanging to the massive beats by Sasha and the always visceral roars by Kyle. Forever and Beyond Despair offers us then absolutely acid lyrics (“Designs of murder ending all  / Last call, then curfew comes / Take your meds and go / The gods bring on the wars / Send the troops, let ’em burn / The girls will work butter churns, all pregnant with babes”) amidst a fusion of Thrash Metal, Hardcore and Punk Rock, whereas letting their Southern Metal vein pulse harder than ever we face The Tale of Unsound Minds, with Jason and Sasha delivering sheer heaviness and groove through their devilish kitchen. After that we have Divide and Conquer, another Thrash and Groove Metal feast by the quartet where their riffs and solos sound striking, meaning it should work really well if played live; and an eerie intro quickly explodes into the venomous Year of the Goat, a slamming tune that will invite us all into the circle pit to the rumbling bass by Jason.

After a slower yet still heavy-as-hell start, the band will will hammer your heads mercilessly in Taken by Flames, offering modern-day Thrash Metal overflowing rage and insanity, all led by the boisterous beats by Sasha; and get ready for over seven minutes of darkness in the form of Defectum Omnium / Stolen Hope, starting in a hypnotic way before the band comes ripping with a venomous mid-tempo attack, with the riffage by Kyle and Pat penetrating deep inside our damned souls. It’s then time for some pure American hatred flowing from all instruments in Three Stages of Truth / Lacing the Well, with their riffs, bass jabs and blast beats generating the perfect ambience for some wild circle pits and crowd surfing; followed by Sedition, bringing forward three minutes of savagery and brutality blasted by the quartet, once again offering our avid ears an overdose of dirty riffs, raspy vocals and demolishing drums, and they keep destroying our cranial skulls with their visceral Thrash Metal in Desensitized, where the enraged growls by Kyle walk hand I hand with the unstoppable beats by Sasha. Last but not least, they present another shot of their hybrid of Southern Rock with Thrash and Groove Metal in Your Six, feeling sluggish, dirty and inebriate until the very last second.

Exhorder are not in a good mood throughout the entire Defectum Omnium, and of course that’s an amazing thing when it comes to violent and frantic Thrash Metal. Hence, don’t forget to start following those American thrashers on Facebook and on Instagram for news, tour dates and so on, to stream more of their wicked music on YouTube and on Spotify, and above all that, to purchase a copy of the incendiary Defectum Omnium by clinking HERE or HERE. The entire world as we know it has failed miserably, and that’s exactly what Exhorder needed as fuel for their fulminating new album, keeping the fires of heavy music burning bright while our rotten society comes to its inevitable end.

Best moments of the album: Wrath of Prophecies, Year of the Goat and Three Stages of Truth / Lacing the Well.

Worst moments of the album: Under the Gaslight.

Released in 2024 Nuclear Blast

Track listing
1. Wrath of Prophecies 4:14
2. Under the Gaslight 4:21
3. Forever and Beyond Despair 3:03
4. The Tale of Unsound Minds 5:01
5. Divide and Conquer 2:38
6. Year of the Goat 3:27
7. Taken by Flames 5:19
8. Defectum Omnium / Stolen Hope 7:13
9. Three Stages of Truth / Lacing the Well 6:46
10. Sedition 2:56
11. Desensitized 4:59
12. Your Six 4:28

Band members
Kyle Thomas – vocals, guitars
Pat O’Brien – guitars
Jason Viebrooks – bass
Sasha Horn – drums

Guest musicians
Rick Wartell – guitars
Bruce Franklin – guitars

Album Review – Midnight / Hellish Expectations (2024)

Posted on by
1

Filthy, belligerent and obnoxious, the new opus by this american lone wolf offers the listener 25 minutes of blasphemy and depravity that live up to the legacy of Black, Thrash and Speed Metal.

Slaying the metal and punk underground with its own highly addictive brand of lust, filth and sleaze dating back to the band’s inception in 2003, Cleveland, Ohio-based Black/Speed Metal one-man cult Midnight, the brainchild of vocalist and multi-instrumentalist Athenar (aka Jamie Walters), is back with its sixth full-length offering, titled Hellish Expectations, following up on the critically acclaimed album Let There Be Witchery, released in 2022. Filthy, belligerent and obnoxious, Hellish Expectations offers the listener 25 minutes of blasphemy and depravity split into ten infuriated, austere compositions that live up to the legacy of Black, Thrash and Speed Metal, setting fire to the underground scene while Athenar continues to worship Satan armed with his always irreligious and impure sounds.

Get ready to be crushed like an insect by the Punk Rock-infused Speed Metal by Midnight in Expect Total Hell, with Athenar delivering classic 80’s raspy vocals and electrifying riffs nonstop, followed by Gash Scrape, another harsh and visceral creation by Midnight that will surely ignite some fun mosh pits, with Athenar kicking some ass on drums while he keeps roaring and vociferating like a maniac for our total delight. Masked and Deadly keeps the album at a high level of animosity, although not as dynamic as the previous songs; whereas in Slave to the Blade we face a Motörhead-inspired sound that will drag us all into the pit while Athenar sounds ruthless on the guitars and bass, delivering striking riffs and rumbling bass lines throughout the entire song. And let’s keep banging our heads and raising our horns to that sweet trademark depravity from the 80’s in Dungeon Lust, with Athenar once again taking us back in time with his dirty guitars and inebriate vocals.

It’s pedal to the metal as Athenar and his Midnight will attack our senses in Nuclear Savior, again showcasing an amazing fusion of Hardcore and Punk Rock with Blackened Speed Metal, all spiced up by a thrilling guitar solo, and he continues his descent into the pits of hell with the blasphemous and frantic Deliver Us to Devil, with his Speed Metal riffage adding an extra touch of dementia to the overall result, resulting in what’s undoubtedly one of the best songs of the album. Then investing in a heavier headbanging sound, let’s break our necks to the raging Mercyless Slaughtor, where his Black Metal vein pulses stronger than ever; and once again inspired by the dirty Rock N’ Roll blasted by the iconic Lemmy and his crew we have Doom Death Desire, excellent for some beer drinking while Athenar hammers his drums in the name of evil, while F.O.A.L. offers one last explosion of raw, rebellious sounds by our multi-talented lone wolf, with its Speed Metal riffs walking hand in hand with the massive Punk Rock drums.

“It’s a knuckle dragger with a fat cutoff. Pure testosterone meat. Probably the most concise and straight to the point Midnight album to date, and all written in a weekend.  The album was written on pure reaction upon leaving the studio after listening to raw tracks from the previous album Let There Be Witchery.  The final mix of that album was good, but at the time of laying it down in the studio, I didn’t like what I was hearing and demanded a new leviathan of an album to be written that weekend,” commented the unstoppable Athenar about Hellish Expectations, which is by the way available from Midnight’s own BandCamp page or from the Metal Blade Records webstore, and don’t forget to also start following the band on Facebook and on Instagram (because Midnight might be a one-man band in the studio, but Athenar surely summons some wicked musicians to join him on stage for some depraved concerts), and to stream his sick creations on Spotify and on all other streaming services. It’s always midnight in the land of Black and Speed Metal, and I’m sure you’re more than ready to raise your horns nonstop in the name of sheer blasphemy to the sound of this precious gem of the underground.

Best moments of the album: Slave to the Blade, Nuclear Savior and Deliver Us to Devil.

Worst moments of the album: Masked and Deadly.

Released in 2024 Metal Blade Records

Track listing
1. Expect Total Hell 3:29
2. Gash Scrape 2:18
3. Masked and Deadly 2:50
4. Slave to the Blade 1:51
5. Dungeon Lust 2:13
6. Nuclear Savior 2:38
7. Deliver Us to Devil 2:23
8. Mercyless Slaughtor 2:45
9. Doom Death Desire 2:16
10. F.O.A.L. 2:48

Band members
Athenar – vocals, all instruments

Album Review – Violent Life Violent Death / Break. Burn. End. (2023)

Posted on by
Reply

The demonic new album by these North Carolina-based Metalcore and Deathcore heavyweights takes the band’s sound to a whole new level of intensity, resulting in their most assaultive effort yet.

Sometimes violence is the answer. That’s exactly what you’ll get in Break. Burn. End., the incendiary first full-length opus by Charlotte, North Carolina-based Metalcore/Deathcore heavyweights Violent Life Violent Death, following up on their critically acclaimed EPs The Color of Bone (2020), Sadness Rains (2019), Come, Heavy Breath (2018), and V-EP (2016). Mixed and mastered by Kyle Dameron at Rareform Recordings, and featuring a Stygian artwork by Mark De Gruchy, the new album by vocalist Scott Cowan, guitarists Joseph Benham and Daniel Knight, bassist Justin Campbell, and drummer David Holquin takes the band’s sound to a whole new level of intensity, resulting in their most assaultive release since their inception in 2016 and, therefore, placing the album as a must-listen for fans of the more metallic form of Hardcore blasted by Hatebreed, Every Time I Die, Zao, A Life Once Lost and Ringworm, among others.

A dark and cryptic intro ignites the visceral metal feast titled Weapon of Pain, with Scott already delivering his demonic gnarls while David crushes his drums in the name of old school Hardcore, not to mention how austere the riffs by Joseph and Daniel sound; and more of the band’s acid fusion of Metalcore with Hardcore and Death Metal is offered to us all in The Snapping of Teeth, a neck-breaking extravaganza by VLVD that will keep your blood boiling while Scott sounds utterly demonic on vocals. Then grim, devilish guitar sounds kick off the also obscure Deceit Welcomed by Blind Grace, exploding into the band’s trademark heavy music spearheaded by the unstoppable drums by David, supported by the always groovy bass by Justin; whereas the band shows no mercy for our damned souls in Devastation on the Tip of the Tongue, a pulverizing Metalcore and Deathcore onrush perfect for slamming like a beast inside the circle pit, with Scott once again delivering an inhumane performance on vocals. After such infernal tune, they keep the adrenaline flowing in The Light Behind, offering two minutes of pure savagery where Joseph and Daniel alternate between scorching riffs and more melodious lines.

The title-track Break. Burn. End. brings to our avid ears one minute of eerie noises and a wicked narration, working as a demonic interlude to the bestial Saying Your Name is to Choke on Ash, another circle pit feast that will explode your ears to the infernal growls by Scott and the classic blast beats by David, with Justin once again sounding thunderous armed with his bass. There’s no sign of slowing down for those ruthless metallers, with Maintain the Quiet being the perfect depiction of how technical yet brutal and vile their music can be, sounding absolutely pulverizing and thrilling from start to finish; followed by Heaven so Far Away, the second to last breath of evil by VLVD, starting in a more somber, phantasmagorical way before evolving into a rumbling feast of harsh roars, slashing riffs and pounding drums (albeit not as electrifying as its predecessors); and there’s time for one final dive into the mosh pit together with VLVD in Come Armageddon, with the Punk Rock and Hardcore-fueled beats by David speeding things up considerably, offering Scott all he needs to burst his lungs screaming before the song ends in a truly visceral note.

In a nutshell, the guys from VLVD did it again, bringing forward in Break. Burn. End. their undisputed amalgamation of Hardcore with more traditional metal styles in great fashion. Hence, you can get in touch with the band directly on Facebook and on Instagram for news, tour dates and so on, subscribe to their YouTube channel for more of their caustic music and videos, stream their venomous creations on Spotify, and of course grab a copy of Break. Burn. End. From the Innerstrength Records’ BandCamp page, from Apple Music, or from Amazon. This world is broken, burning, and soon coming to its inevitable end, and there’s nothing better than the music offered by VLVD in their newborn opus to guide us through our violent lives into our (most probably) violent deaths.

Best moments of the album: The Snapping of Teeth, Devastation on the Tip of the Tongue and Maintain the Quiet.

Worst moments of the album: Heaven so Far Away.

Released in 2023 Innerstrength Records

Track listing
1. Weapon of Pain 3:24
2. The Snapping of Teeth 2:58
3. Deceit Welcomed by Blind Grace 1:58
4. Devastation on the Tip of the Tongue 2:09
5. The Light Behind 2:25
6. Break. Burn. End. 1:07
7. Saying Your Name is to Choke on Ash 2:18
8. Maintain the Quiet 2:14
9. Heaven so Far Away 3:04
10. Come Armageddon 3:07

Band members
Scott Cowan – vocals
Joseph Benham – guitar
Daniel Knight – guitar
Justin Campbell – bass
David Holquin – drums

Album Review – GraveRipper / Seasons Dreaming Death (2023)

Posted on by
Reply

The dead will rise and chaos will take over the entire world to the sound of the first full-length album by this venomous American Blackened Thrash Metal horde.

The dead will rise and chaos will take over the entire world to the sound of Seasons Dreaming Death, the newborn beast by Indianapolis, Indiana-based Blackened Thrash Metal horde GraveRipper. The first full-length album in their career, following up on their 2020 debut EP Complete Blinding Darkness and on their 2021 EP Radiated Remains, Seasons Dreaming Death showcases all the dexterity and passion for extreme music by Corey Parks on vocals and rhythm guitars, Keegan Hrybyk on lead guitars, Chris Pilotte on bass and Jacob Lett on drums, all spiced up by the top-notch engineering, mixing and mastering by Wesley Heaton at Postal Recording, and the sick artwork by one of the best illustrators of the current scene, Adam Burke of Nightjar Illustration, offering fans of bands like Skeletonwitch, Toxic Holocaust and Wraith everything they crave in heavy music and more.

Corey and Keegan begin their ruthless stringed attack in Into the Grave, a frantic fusion of Black, Thrash and Death Metal that will certainly inspire you to slam into the pit like a headbanging bastard, followed by Ripped and Torn Apart, a hard-hitting, no-shenanigans creation by the quartet where Jacob is relentless on drums adding his share of violence and heaviness to the overall result. Let’s keep hammering our skulls inside the circle pit to the sound of Divine Incantations, with Corey barking rabidly while his riffs together with the sounds generated by his bandmates will pierce your damned soul mercilessly; whereas Chris’ bass and Jacob’s drums will make the earth tremble in the Thrash Metal feast Seasons Dreaming Death, once again presenting the band’s animosity infused with intricate and dark sounds. And it’s nonstop action in the high-octane tune Premeditated, again blending the rebelliousness of Thrash Metal with the aggressiveness of Death Metal, spearheaded by the venomous roars by Corey.

The quartet adds hints of Hardcore, Grindcore and even Melodic Death Metal to their core sonority in An Influx of Fear, bringing forward the always caustic riffage by Corey and Keegan, and the complex but demented drumming by Jacob, and it’s then time to speed things up and generate a hurricane of thrashing sounds in Resist Against the Light, by far one of the most breathtaking songs of the album with the low-tuned bass by Chris brutally smashing your cranial skull. As you might have notice, it’s one demented tune after another, and the band keeps crushing our frail bodies in Red Skies, where their riffage sounds utterly acid and incendiary inspired by our good old Punk Rock. Back to a more traditional Thrash and Death Metal mode, Jacob takes the lead with his intricate beats in And I Curse Reality, simply perfect for some vigorous headbanging; and closing such pulverizing album we have Only Coldness, offering more of their gripping hybrid of extreme styles, with Jacob’s Black Metal drums matching perfectly with the riffage by the band’s guitar duo.

“The album title is my take on Halloween/Samhain,” commented Corey, “the day of the year where the veil between the world of the living and the world of the dead is the thinnest.” Well, let’s say the band truly captured the essence of such mysterious and adored day in Seasons Dreaming Death, which is already available for pre-order from their own BandCamp page and will be unleashed upon us before we can say “death”. Hence, don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and all things GraveRipper, and to stream their sick creations on Spotify. As mentioned, the dead are about to rise when the excellent Seasons Dreaming Death is officially released, and you better be armed with GraveRipper’s demented new album in your hands if you want to join such deadly party.

Best moments of the album: Ripped and Torn Apart, Premeditated and Resist Against the Light.

Worst moments of the album: None.

Released in 2023 Wise Blood Records

Track listing
1. Into the Grave 4:11
2. Ripped and Torn Apart 3:58
3. Divine Incantations 2:19
4. Seasons Dreaming Death 3:05
5. Premeditated 4:08
6. An Influx of Fear 1:53
7. Resist Against the Light 3:43
8. Red Skies 3:28
9. And I Curse Reality 3:31
10. Only Coldness 3:31

Band members
Corey Parks – vocals, rhythm guitars
Keegan Hrybyk – lead guitars
Chris Pilotte – bass
Jacob Lett – drums