Perhaps the noticeable increase in crossover thrash coming out this year is intended to fill the void left by bands like Power Trip and Slayer. Rather than jump on this bandwagon, British thrashers Evile are slowing things down on The Unknown (Napalm Records) to focus on songwriting.
It isn’t often that a band can make a legitimate claim at making a cultural impact on, or even before, their debut album is released, however, it is one that Voice Of Baceprot (or VOB) can certainly make. Hailing from a largely conservative Muslim province and nation in Singajaya, outside of Garut, West Java, Indonesia, the fact the band consists of three young, hijab-wearing women has generated plenty of ire.
Beltfed Weapon has often felt like a fun but sort of long-running vanity (but nonetheless valid) project for Seattle’s talented Frank Hetzel, many years between quite short releases featuring a who’s who of underground metal players guesting in support of a slightly odd discography. It is strange to me that there aren’t a series of full-lengths after so much time spent between releases, but every shorter thing Frank has released still has moments to enjoy for the casual thrash, death, and (at times) power metal fan.
Within the ferocious realm of UK underground scene, the all-around relentlessly fiery thrash/death unit The Bleeding have been hitting the ground since 2010, (technically) kickstarted by the release of first full-length entitled Rites of Absolution (2017) after several years of releasing EPs and demos, followed by second-full length Morbid Prophecy (2019). Having been noticeably compared to the likes of Exodus, Kreator, Death, and Demolition Hammer, they never cease to present the best of reaping thrash-death metal eclectic rawness.
When an album opens with nothing but high hat and then adds the guitars, you know you have a banger. Trespass’ Wolf At The Door (From the Vaults) is quintessential NWOBHM. Even in this digital age, Wolf At The Door still has the tonality of analog seventies metal albums. There is a grounding, brownness to the sound. The pacing and mixing give it a throwback, classic feel. The songs come complete with velvety guitar solos over hard-driving drums. ‘Wolf At The Door’ would sound awesome on vinyl as it has the tones and feeling that support analog listening.
Seems like we’re going to have to score another one for the bad guys. And by bad guys, I am referring to some of Thrash Metal’s pioneers who refuse to acknowledge the passage of time and are still melting amp heads like it was 1986.
I’m a Thrash junkie. My addiction started as a teen when I started dabbling in Megadeth. From there I had to go harder adding more extreme bands to my growing addiction. Several years later and now a full-blown addict, it’s become increasingly more difficult to scratch that itch. When Raider showed up in my inbox, I knew I found what I was looking for.
It’s been five years since Rhythm of Fear released their last album, Maze of Confusion. The crossover thrash band is back with more pummeling riffs and plenty of attitude with Fatal Horizons (MNRK Heavy) Just like any good thrash band, Rhythm of Fear targets the government, aliens and the occult in their sonic assault.
Openly born from adverse circumstances, Seattle’s Opponent is the brainchild of guitarist and vocalist Andy Maier. Following the news of Maier’s father’s cancer diagnosis, Maier set the precedent to make Opponent a full-time endeavour and set work on their sophomore full-length Sentinel (Solid State Records), a title which knowing the circumstances offers arguably two contrasting meanings. Whichever is meant, the album itself is one that is meant to deliver a positive, uplifting message.Continue reading
Patterns Of Decay have been peddling their full-throttle brand of Metal since 2014, gigging in and around their native New York and having previously released their debut EP Malicious Intent in that year, and their follow-up LP Suicide Note In Comic Sans in 2018. Continue reading