The Pit

Please add Wormquizitor. 

https://www.metal-archives.com/bands/Wormquizitor/3540501149

https://grimmdistribution.bandcamp.com/album/076gd-wormquizitor-sickness-define-society-2022

https://www.facebook.com/wormquizitor

Not on RYM. For some reason I can't add.

MA has them listed as Blackened Death, but it's really Blackened Thrash

June 2026

1. Nervosa – “Slave Machine” (from “Slave Machine”, 2026) [Submitted by Vinny]

2. Epidemic – “Territories” (from “Decameron”, 1992) [Submitted by Sonny]

3. Sacrilege – “Shadow from Mordor” (from “Behind the Realms of Madness”, 1985) [Submitted by Sonny]

4. Exodus – “3111” (from “Goliath”, 2026) [Submitted by Vinny]

5. Hellbutcher – “The Sword of Wrath” (from “Hellbutcher”, 2024)

6. Örk Bastards– “Warmongers of the Gloomy Lands” (from “Warmongers of the Gloomy Lands”, 2019)

7. Barbarian – “Crossburn” (from “Reek of God”, 2026)

8. Torturer – “Demonic Possession” (from “Oppressed by Force”, 1992) [Submitted by Sonny]

9. Torture – “Ignominous Slaughter” (from “Storm Alert”, 1989) [Submitted by Vinny]

10. Destruction – “Satan’s Vengeance” (from “Sentence of Death”, 1984) [Submitted by Sonny]

11. Coroner – “When Angels Die” (from “R.I.P.”, 1987) [Submitted by Andi]

12. Acid Age – “State Your Business” (from “Perilous Compulsion”, 2025)

13. Corroder – “Prosperous Death” (from “Pyres of Uncreation”, 2025)

14. Razor – “Escape the Fire” (from “Executioner's Song”, 1985) [Submitted by Sonny]

15. Exciter – “Scream in the Night” (from “Violence & Force”, 1984) [Submitted by Sonny]

16. Slayer – “Captor of Sin” (from “Haunting the Chapel”, 1984) [Submitted by Sonny]

17. Acid – “Satan” (from “Acid”, 1983) [Submitted by Sonny]

18. Aphrodite – “Children of Night” (from “Orgasmic Glory”, 2021) [Submitted by Vinny]

19. Karloff – “A Violent Winter” (from “The Appearing”, 2021) [Submitted by Vinny]

20. Voivod – “Live for Violence” (from “War & Pain”, 1984) [Submitted by Sonny]

21. Power Trip – “Murderers Row” (from “Manifest Decimation”, 2013)

22. Inhuman Nature – “Taste of Steel” (from “Inhuman Nature”, 2019)

23. Zerre – “No Alibi” (from “Rotting on a Golden Throne”, 2026) [Submitted by Vinny]

24. Ascending Burn – “Braindead Zombie”, 2026)

25. Aggressive Perfector – “Return of the Axe” (from “Come Creeping Friends”, 2026) [Submitted by Sonny]

26. Strigoi – “Cauldron of Venomous Potion” (from “Black Magic Fumes”, 2024)

27. Lamb of God – “Omens” (from “Omens”, 2022) [Submitted by Vinny]

28. The Haunted – “Bury Your Dead” (from “The Haunted Made Me Do It”, 2000)

29. Feed the Flames – “Firefight” (from “Kyk-over-Al”, 2017)

Death Yell - "Vengeance from Darkness Demo" (1989)

Death Yell formed in 1987 as Pestilence, changing name in 1988, presumably to avoid confusion with the Dutch masters. Their name may be familar from a 1991 split with Beherit or the 1992 "Triumph of Death" multi-band split that also involved the likes of Carcass, Samael and Beherit once more.

This 1989 demo is a great example of how the south american metal scene was throwing everything into the pot in search of extremity. Thrash, death and even semblances of early black metal, particularly in the rabid, screeching vocals of singer Galleta, are all incorporated in this mish-mash of extremity. When this is coupled with demented songwriting that features long-ish tracks containing multiple and rapid tempo and direction changes it all makes for a really compelling release that should at least pique the interest of the discerning extreme metal fanatic. There are six tracks on the demo, including a short ambient interval, which combine for a runtime of almost 32 minutes and a pretty substantial listening experience. The sound quality is fine for a typical 1980s demo, both muddy and tinny at the same time, lending the album a rawness that may be a little at odds with the overtly technical material on offer, yet which turns out to be surprisingly effective.

Death Yell don't just reach for extremity via playing uber-fast or by trying to sound more evil than anyone else, although they are perfectly capable of doing both at times, but the constant change in tempo and tone, lurching from killer riff to dissonant and manic guitar pyrotechnics all accompanied by a pummelling and punishing barrage from the very capable rhythm section of bassist Alejandro Allende and impressive drummer Patricio 'Pato' Diez alongside Galleta's manic screeches, howls and barks make for a release that feels ahead of the curve for 1989 in terms of extremity in metal. Ultimately, if you are in any way interested in the development of either the South American metal scene or extreme metal more generally then I think you would find this demo to be very interesting indeed.

4/5

Death and Mayhem (D.A.M. for short) hailed from the northwest England seaside town of Morecambe Bay, which is not far from where I live. I can remember seeing them in the various metal mags back in the day advertising their wares, with the mascot that reminded of an unmasked Dr Doom from the Marvel comics, but somehow, I never got around to hearing them at the time. With this being my month for a nomination in The Pit, I thought there was no better an opportunity to sample their debut album from 1989. Human Wreckage scrapes a 50% mark on Metal Archives, but we all know how bonkers people’s opinions can be, right?

Well, Human Wreckage starts off well enough. Opening track proper, ‘Death Warmed Up’ sounds a lot more alert than the title would suggest. Some rugged chops and a decent solo make it a finer opener indeed. The first criticism is hard to ignore as an issue though. The drums are way too far back in the mix, relegated to more of a supporting role as opposed to a central driving position in the mix. This certainly helps the guitars and vocals to shine. However, it adds a timidness to the edges of what I am listening to. Riffs and vocals can only go so far as to flesh out a song, and without the firm skeleton of the percussion department things soon start to sound a little wishy-washy.

Some of the song writing is also unfortunately questionable. When they slow down the pace on Prophets of Doom, the cracks do start to show. The track at times sounds like it is falling over itself and this a theme that recurs sadly over the course of the rest of the album. It is as if D.A.M. exhaust their song writing prowess after three tracks. When they go slower, it really is a mistake. ‘Infernal Torment’ would only work with a Dave Mustaine style sneer on it, and Jason McLoughlin ain’t no MegaDave unfortunately. It is only really the late Mark “Elly” Etherington’s lead work that saves Human Wreckage from being a complete car crash at times. This is their debut album, coming just a year after their demo, so some leniency is perhaps well entertained in reviewing this album. However, as feature releases go, I have picked better.

2.5/5

Mortal Sin - "Every Dog Has It's Day" (1991)

Sydney thrash metallers Mortal Sin hold a very strong place in my heart, despite never really quite living up to their reputation in my opinion. You see, they were the first local extreme metal band to cross my path when I first became obsessed with the scene in the late 1980's & they gave me the belief that I should try my hand at creating a band of my own. My attention was initially grabbed by their highly regarded "Mayhemic Destruction" debut album which led to me moving onto their 1989 sophomore record "Face of Despair". If I'm being completely honest though, neither of those full-lengths has ever left me convinced that Mortal Sin are worthy of being placed in the top tier of the global thrash heavyweights. In fact, I can't say that I'd even lump them in with the second tier either. To my ears, they're both serviceable & mildly entertaining but rarely get my blood pumping & it's for that reason that I've awarded both a middling 3.5-star rating here at the Academy. Their live shows where another story though & I had an absolute ball in many a Mortal Sin mosh pit over the years. However, I digress because the point I was trying to make is that Mortal Sin were well & truly on my radar when their third full-length "Every Dog Has It's Day" hit the shelves in 1991 which even led to me purchasing the "Every Dog Has It's Day" cassingle in the leadup to the album release. Now prepare yourselves for a hot take because you're about the receive one.

The story behind "Every Dog Has It's Day" (otherwise known as "Rebellious Youth" if you've picked up the Virgin Records release) is that a fair amount of internal turmoil occurred within Mortal Sin's ranks following the release of "Face of Despair" which eventually resulted in the band breaking up altogether. Bassist Andy Eftichiou wasn't satisfied to simply let old dogs lie though, going behind the backs of the other band members to create a completely new version of Mortal Sin. Once the other band members found out about it, they took legal action & it got really messy. The new lineup didn't hang around too long but it did last long enough to record this third full-length which would be the first to be released while I was keeping tabs on the band. Sadly, the majority of the global metal scene gave "Every Dog Has It's Day" a pretty harsh panning at the time & that hasn't improved since but I have to admit that I don't remember the album that way at all & I've recently wondered whether that's due to nostalgia or whether Mortal Sin's diehard fanbase had simply not given the record a chance. This week I decided to find out as it's been decades since I last heard the record in full.

The lineup that recorded "Every Dog Has It's Day" isn't exactly star-studded with a number of relatively unknown new members filling key rolls. In fact, guitarist Dave DeFrancesco was the only one that had anything of significance on their resume, having appeared on the pretty decent "Into Reality" demo tape from local speed/heavy metal outfit Enticer a couple of years earlier. The band perform their roles admirably nonetheless & show themselves to have some pretty reasonable chops in the process. The major talking point though is generally the vocal ability of new front man Steve Sly whose delivery is noticeably more melodic & clean than the James Hetfield-ish voice of Mat Maurer on the two 1980's records. A lot of people claim that Sly ruins "Every Dog Has It's Day" but I simply can't prescribe to that line of thinking as he can certainly sing & delivers a performance that isn't all that uncommon for thrash metal in my opinion. Sure, you may prefer Maurer over Sly but, if you treat the album on its own merits, I think you'll find that there's not anything technically wrong with Sly's voice. The other main talking point is the theory that the new version of Mortal Sin had watered down the intensity of the 1980's lineup with a more accessible & commercialized sound. Once again though, I never really thought of Mortal Sin as being anything all that extreme & the material we receive here is some more than serviceable mid-tempo thrash metal that wouldn't sound all that out of place on a Testament or Xentrix record from the time. The average tempos are a touch slower than previous efforts but so fucking what really. The misguided ballad "Wasted Days" is the exemption to the rule though & is the clear weak point of the album.

But is the songwriting as boring as it's made out to be then? Well, in a word "no", it's simply not. There are plenty of great riffs included with the rhythm section doing a great job at maximizing their weight. Perhaps the Studio 301/Powerhouse production isn't as warm & heavy as a record like "Mayhemic Destruction" but it's certainly not bad. I'm quite a fan of the lead guitar work which is more than capable & it works nicely to provide support for the hooks which, contrary to popular opinion, are memorable enough for me to remember most of this material several decades later. Opener "Inside Out" is a beauty & is my favourite cut on the record while being ably supported by "Side Effect" & single B-side "See No Evil". I honestly don't see the quality being all that different from that of "Mayhemic Destriction" or "Face of Despair" if I'm being perfectly honest & are even going to go so far as to say that I marginally prefer "Every Dog Has It's Day" to "Face of Despair" these days. So look, I'm not asking that you all take my word for it & immediately realign your opinions on this album to be in line with my own but I am going to suggest that you ignore the general perception that's voiced online when going into the record as you might be surprised by the outcome.

For fans of Metallica, Xentrix & Testament.

3.5/5

I feel similarly about "Mind Wars" to be honest Vinny. As with Holy Terror's 1987 debut album "Terror & Submission" (which I'd suggest is more of a speed metal record than this one), I come away from it with a middling feeling of mild enjoyment without ever having that the deal has truly been sealed. I do think that "Mind Wars" was a slight improvement on "Terror & Submission", although I've gone with a 3.5 rating for both of them.

https://open.spotify.com/playlist/083tGvGRuasSsmN8d3Nyww?si=93417bc07acb44dd

1. Nervosa – “Slave Machine” (from “Slave Machine”, 2026) [Submitted by Vinny]

2. Epidemic – “Territories” (from “Decameron”, 1992) [Submitted by Sonny]

3. Sacrilege – “Shadow from Mordor” (from “Behind the Realms of Madness”, 1985) [Submitted by Sonny]

4. Exodus – “3111” (from “Goliath”, 2026) [Submitted by Vinny]

5. Hellbutcher – “The Sword of Wrath” (from “Hellbutcher”, 2024)

6. Örk Bastards– “Warmongers of the Gloomy Lands” (from “Warmongers of the Gloomy Lands”, 2019)

7. Barbarian – “Crossburn” (from “Reek of God”, 2026)

8. Torturer – “Demonic Possession” (from “Oppressed by Force”, 1992) [Submitted by Sonny]

9. Torture – “Ignominous Slaughter” (from “Storm Alert”, 1989) [Submitted by Vinny]

10. Destruction – “Satan’s Vengeance” (from “Sentence of Death”, 1984) [Submitted by Sonny]

11. Coroner – “When Angels Die” (from “R.I.P.”, 1987) [Submitted by Andi]

12. Acid Age – “State Your Business” (from “Perilous Compulsion”, 2025)

13. Corroder – “Prosperous Death” (from “Pyres of Uncreation”, 2025)

14. Razor – “Escape the Fire” (from “Executioner's Song”, 1985) [Submitted by Sonny]

15. Exciter – “Scream in the Night” (from “Violence & Force”, 1984) [Submitted by Sonny]

16. Slayer – “Captor of Sin” (from “Haunting the Chapel”, 1984) [Submitted by Sonny]

17. Acid – “Satan” (from “Acid”, 1983) [Submitted by Sonny]

18. Aphrodite – “Children of Night” (from “Orgasmic Glory”, 2021) [Submitted by Vinny]

19. Karloff – “A Violent Winter” (from “The Appearing”, 2021) [Submitted by Vinny]

20. Voivod – “Live for Violence” (from “War & Pain”, 1984) [Submitted by Sonny]

21. Power Trip – “Murderers Row” (from “Manifest Decimation”, 2013)

22. Inhuman Nature – “Taste of Steel” (from “Inhuman Nature”, 2019)

23. Zerre – “No Alibi” (from “Rotting on a Golden Throne”, 2026) [Submitted by Vinny]

24. Ascending Burn – “Braindead Zombie”, 2026)

25. Aggressive Perfector – “Return of the Axe” (from “Come Creeping Friends”, 2026) [Submitted by Sonny]

26. Strigoi – “Cauldron of Venomous Potion” (from “Black Magic Fumes”, 2024)

27. Lamb of God – “Omens” (from “Omens”, 2022) [Submitted by Vinny]

28. The Haunted – “Bury Your Dead” (from “The Haunted Made Me Do It”, 2000)

29. Feed the Flames – “Firefight” (from “Kyk-over-Al”, 2017)

Anyway, all that drama aside, here is what really matters, the music:

I love thrash metal and I love punk rock but, in truth, I am not all that enthusiastic about crossover thrash. Maybe I haven't heard the right albums as a quick look at my ratings sees me amassing less than 20, so I can hardly call myself an expert. One of my problems with crossover thrash is that far too often it just doesn't seem serious and feels like more of a "party" sub-genre like glam metal. Even outside of fatally unfunny shit like SOD, bands like Gama Bomb, DRI and The Accüsed sound a bit frivolous to me. Before you all call me out on this, I know that this is probably an unreasonable stance to take and you may well be justified in calling me a miserable old fucker, but it is genuinely how I feel. All that said, I am more than happy to say that Zerre have blown that stance completely out of the water with "Rotting on a Golden Throne".

One thing is for sure, these guys are deadly serious about this shit. Having begun life as a hardcore punk outfit, they definitely have the grounding in the punk side of things, bringing a serious level of hardcore aggression and vitality to proceedings. Despite their punk origins, however, they don't come up short in the metal department either with some barnstorming riffs and quite thrilling soloing from dual guitarists Dominik and Rocco. Interestingly, vocalist Nico Ziska, who was previously bassist with black metallers Der Weg einer Freiheit, is not the singer from their punk rock days, yet he still has quite an aggrressive, bellowing vocal style that may lead you to assume he had a previous grounding in hardcore. The gang backing vocals are also expertly handled and don't ever come off as lame or naff, which can't always be said about a crossover album The speed and aggression never lets up and I can imagine a pit at a Zerre show is a hell of a place to be.

The tightness of this five-man outfit is certainly impressive and the guys are evidently skilled musicians, the two leads in particular impressing with their abilities, both technically and artistically. These are genuinely some of the best, high-octane thrash riffs I have heard from outside of Chile for quite some time. The drumming on final track "No Alibi" is also some of the most Animalistic (as in the Muppet drummer) craziness I have heard on a thrash track. There isn't really a weak track on the album, but the run of four tracks from "Deception of the Weak" through to the title track is just insanely good. It is still early days yet, but I am becoming increasingly convinced that this is my all-time favourite crossover album (unless "Among the Living" counts).

The best thing about monthly features is when a release pops up from a band you have never heard of that slams you in the gut and screams "Do you know me now, motherfucker" right into your face. For me "Rotting on a Golden Throne" is one such marvel. Thanks Vinny for renewing my waning faith in european thrash metal.

4.5/5 (at least)

I have managed to get across my suggestions this time around, so here you go Vinny:

Aggressive Perfector - "Return of the Axe" (from "Come Creeping Fiends", 2026)

Slayer - "Captor of Sin" (from "Haunting the Chapel EP", 1984)

Destruction -"Satan's Vengeance" (from "Sentence of Death EP", 1984)

Voivod - "Live for Violence" (from "War and Pain", 1984)

Exciter - "Scream in the Night" (from "Violence & Force", 1984)

Acid - "Satan" (from "Acid", 1983)

Epidemic - "Territories" (from "Decameron", 1992)

Razor - "Escape the Fire" (from "Executioner's Song", 1985)

Sacrilege - "Shadow From Mordor" (from "Behind the Realms of Madness", 1985)

Torturer - "Demoniac Possession" (from "Oppressed by the Force", 1992)

Sorry there is so much '84 / '85 stuff, but that is what I have been listening to!!

No need to apologise for being focused on the old school era Sonny.

It looks like my picks this month have missed the mark, Vinny!! 😉

I forgot to highlight it in my review, but I agree that the drums are pushed way too far down in the mix and the album suffers for it as a result.

Thanks Sonny.  The playlist is much easier to accomodate on a quarterly basis I find and I do still relish the challenge when I do it. 

I am not sure what Massacre were thinking when they made "Promise" but it is a fucking terrible record, so I tried to park that track as far into the list as I could.

I have aleady reviewed this one:

The French have a penchant for popping up at unexpected points in my music library. I mean thrash metal (or more death/thrash in this case) doesn't automatically take one's mind to France when we talk about a European scene, with Germany firmly at the forefront of the genre here. But when I stumbled across Agressor recently I was more than pleasantly surprised.

The mention of Teutonic thrash just now draws some reference to Agressor's sound as they do border on some of the rabid paced thrash of Kreator (for example) during the forty minutes of Neverending Destiny. The album feels like a late eighties thrash album, notwithstanding the big and clunky drawing that adorns the album cover that reminds of the kind of stuff I used to draw on my school books, it oozes that style of the period with the band having been around since 1986. By the time they got aorund to a debut full length they had numerous demos under their belts. They honed their sound to give plenty of weight to the thraashy side of things but as mentioned above there is a massive amount of death metal influence here also which serves to feed that rabid nature that I also have pointed too already.

Reminiscent of the ferocity of Massacra or Merciless who also released great records in the same year, Agressor channeled their efforts into a similar wall of razor sharp riffs and frenzied tempos that rivalled their fellow French and Swedish artists. They could pull a neat solo out the bag too and maintain that rampant pace at the same time. All the while the military sounding drums of Thierry Pinck brought up the levels of intensity to even higher proportions. Alex Colin-Tocquaine's vocals were a raspy and gruff affair full of threat and menace that sat perfectly in the mix here, not drowned by the raging inferno of guitars and drums around them nor at any point stealing the show.

As with most death/thrash records the levels of intensity are as much a gift as they are a curse. The thing that keeps this rating under four stars is the fact that there is very little variation in the album which over eleven tracks becomes a bit of a slog in the long term. That having been said there's enough entertainment here to still make this is a riot to listen through.

3.5/5

I have actually fallen behind a bit with the chilean thrash scene over the last twelve months as I have moved focus away from new releases, so this is a new one on me. I will definitely have to check it out soon though.

Kreator - Krushers of the World (Released 13/01/26)

Since the turn of the century Kreator have taken to releasing a new album every four or five years and here we are at the beginning of 2026, with the world turning to shit, and the Teutonic Titans delivering full-length number 16. With Mille and Ventor both turning 60 this year, it would be overly optimistic to expect that they will ever reproduce the bile and venom that they unleashed with their classic period which spanned from "Pleasure to Kill" to "Coma of Souls". Indeed, they haven't really issued anything essential since 2005's "Enemy of God". This does not, however, mean that a new Kreator album deserves to be ignored. No, far from it because, although "Krushers of the World" is inconsistent and patchy, occasionally a brief glimpse of former brilliance does shine through.

There are riffs a-plenty and there is a decent energy to the album, but on the whole this latest is a little too groove-laden for my particular taste with choruses that often seem to have been written with optimum catchiness in mind and, as such, it lacks the biting venom of the band's best work. Some of the best moments come from the guitar solos which are deployed more sparingly than I would like, but when they are used, such as during "Barbarian and "Combatants"," they elevate the tracks with a level of intensity that the riffs and vocals don't quite encapsulate. For my money, the clear highlight of the album is "Psychotic Imperator". It sounds the closest to classic-era Kreator with an added choral section and a searing guitar solo that elevate it to head and shoulders above the rest of the album.

I guess that "Krushers of the World" delivers pretty much what you would expect from a Kreator album at this stage of their career, being cast into shadow by the monumental magnificence of their best and trying a little too hard to capture listeners with sometimes overtly catchy choruses. I am sure there are many who couldn't wait to tear this apart and I have no wish to join them as nothing here is actually poor but, apart from the aforementioned "Psychotic Imperator" I can't hear too much that will keep me returning to this either.

3.5/5

I am pleasantly surprised by this album if I am honest.  I was so pissed off by their last studio album that I gave it a 2.5 rating, and it fucking deserved it.  This one is a different beast to my ears, the melodeath elements combine with the thrashing intensity we have come to expect of Teutonic thrash almost perfectly.  I cannot say the record is absent of filler and I am not a fan of the track with the singer from Hiraes on it either, but album number sixteen is a solid affair, well played, memorable and carrying some thankfully familiar levels of intensity.

I am unaware as to why Asgard lasted for only one album. The ability was there on the debut, albeit not terribly well showcased overall and I sense if the talent could have been grown over subsequent albums then we might have heard the name Asgard more over the years.

3.5/5

From what I can gather they were signed by Noise records, who were a big deal in Europe in the mid 80s, being the home of Celtic Frost, Kreator, Running Wild, Helloween et al, who released this record, but poor sales saw them get quickly dropped by the label. They put out a self-released demo the following year, but it looks like they couldn't garner any interest and failed to get signed by another label so called it a day.

The record industry was set up very differently in those days and I guess without decent label backing it was almost impossible to break out.

Cancer - "Black Faith" (1995)

I picked up a CD copy of this much-maligned stylistic diversion at the time of release & felt considerable shock to find the English death metallers' signature sound had been completely dropped. "Black Faith" has generally been absolutely slammed ever since but those criticisms are totally unfounded in my opinion. Sure, the third-tier, meat-&-potatoes death metal of the band's early days is nowhere to be found here, having been replaced with a groove metal sound that incorporates thrash metal, alternative metal, industrial metal, progressive metal & even metalcore influences. But if you can separate yourself from your expectations for a few listens, you'll soon find that the quality of the metal on offer here isn't any weaker than records like "Death Shall Rise" or "The Sins of Mankind". In fact, I'd probably take "Black Faith" over the latter if I'm being completely honest. Don't expect anything terribly essential but this is certainly worth a listen, despite the inclusion of a dodgy cover version of Deep Purple's "Space Truckin'".

For fans of Pantera, Prong & post- "Arise" Sepultura.

3.5/5

Here's my updated Top Ten Groove Metal Releases of All Time list:

01. Coroner – “Grin” (1993)

02. Grip Inc. – “Nemesis” (1997)

03. Nevermore - "Dead Heart in a Dead World" (2000)

04. Gojira - "Magma" (2016)

05. Pantera – “Vulgar Display Of Power” (1992)

06. Pantera – “Cowboys From Hell” (1990)

07. Mnemic - "Mechanical Spin Phenomena" (2003)

08. Sepultura – “Chaos A.D.” (1993)

09. Pantera – “The Great Southern Trendkill” (1996)

10. Anthrax - "The Sound of White Noise" (1993)

https://metal.academy/lists/single/175

Another impressive highlight, sounding fresh out of the Imprint sessions:

Italian speed metallers Bulldozer have never featured very highly in my listening within the realms of The Pit clan. Whilst I would not put their limited airplay down to any problem they present to me, at the same time, I cannot pretend to have ever been overwhelmingly entertained by any of the stuff I have listened to from them. The Final Separation doesn’t put a foot wrong as such, yet nor does it tread anywhere particularly new or even influential either. At times reminiscent of Venom (‘The Cave’) whilst on other occasion being just as close to Motörhead, the album lacks any of the rhythmic riffs that would steer it in the direction of thrash metal and as a result I would suggest the thrash metal tag is irrelevant for this album.

If you a connoisseur of eighties speed metal, then The Final Separation probably holds more sway for you than it does with me after over three decades of listening to metal; I left this sound behind a long while ago I feel. Whilst I am not alien to humour in my metal music, tracks like ‘Don Andras’ are just juvenile to my ears these days. Serving only to break up the otherwise very similar tempos of tracks to this point, this song has little value and stinks of filler.

With, ‘Never Relax’ at least offering some hope of variety for the second half of the album, I could have been forgiven for thinking I was being a little too harsh on the first few tracks. It is cumbersome though and feels pieced together as opposed to a free-flowing track. ‘Don’t Trust the Saint’ is the nearest to thrash metal we get to on the album, but it bounces more than it chops and my interest soon wanes. Final track ‘The Death of Gods’ grumbles some promise of an epic closure to the album, however this is soon lost in an overly grandiose soundscape that pushes my interest onto other things in the room.

3/5

https://open.spotify.com/playlist/083tGvGRuasSsmN8d3Nyww?si=26418bf5b65a4b3f

1. Palantyr – “Graveyard” (from “The Ascent & The Hunger”, 2025)

2. Vulture – “Oathbreaker” (from “Sentinels”, 2024) [Submitted by Vinny]

3. Coroner – “Son of Lilith” (from “Mental Vortex”,1991)

4. Testament – “False Prophet” (from “Titans of Creation”, 2020) [Submitted by Vinny]

5. Orbit Culture – “Saw” (from “Redfog”, 2018) [Submitted by Shadowdoom9 Andi]

6. Satanika – “The Black Death” (from “Total Inferno”, 2015) [Submitted by Vinny]

7. Rigor Mortis – “Shroud of Gloom” (from “Rigor Mortis”, 1988) [Submitted by Karl]

8. Decadence – “Killing Perseverance” (from “The Creature”, 2005) [Submitted by Vinny]

9. Sylosis – “No Saviours” (from “The Path”, 2024) [Submitted by Vinny]

10. Massacrator – “Sadistic Reality” (from “Everlasting Nightmare”, 2016)

11. Strident – “Today is on Display” (from “Paranoia of the Tyrant”, 2023)

12. Shrapnel – “No Saviours” (from “Decade of Decimation”, 2019)

13. World Decay – “Blackened Soil” (from “Blackened Soil”, 2022)

14. Hatriot – “Delete” (from “From Days unto Darkness”, 2019)

15. Morphetik – “No Justice” (from “Omens of War”, 2020)

16. Anerwoxia – “World Killers” (from “World Killers”, 2025)

17. Thrasherwolf – “Shameless Loser” (from “Inside the Sickened Mind”, 2024)

18. Cruvior – “Unit 731” (from “Unit 731”, 2025)

19. Biowarfare – “Screaming in Silence” (from “Wiping Out Human Race”, 2020)

20. Blacklist – “Cannibal” (from “With Murderous Intent”, 2024)

21. DRAIN – “Loudest in the Room” (from “…IS YOUR FRIEND”, 2025)

22. Dead Heat – “Perpetual Punishment” (from “Process of Elimination”, 2025)

23. Poison the Preacher – “Dying Every Day (feat Sanguisugabogg)” (from “Vs the World”, 2025)

24. Corporal Shred – “Status Quo” (from “Dressed in Blood”, 2016)

25. Forgiveness C.T. – “Pandemic Infection” (from “Revelation 20”, 2021)

26. Struck A Nerve – “Nocturnal Terror” (from “Struck A Nerve”, 2025)

27. Belligerator – “Blood Soaked Tomahawk” (from “Death by Fire and Ice”, 2025)

28. Duskwalker- “Posing Corpses” (from “Underground Forever”, 2024)

 https://metal.academy/forum/13/thread/483?page=9#topic_24578 a whole thread dedicated to this very topic.

This one is definitely on my list as I religiously check out every successive Testament release. The last couple weren't too bad, without really digging their teeth in, but "Para bellum" seems to be getting more hype than they've received for quite a while so who knows.

Here's my review:

I think it was possibly Knife’s debut album from 2021 which would mark the last time a speed/thrash metal record showed enough vigour and intensity to make me stop and take notice. For all the talk of regurgitation of old ideas, themes, styles and genres in modern metal, it is the likes of Vulture who give me the assurance that, if done well enough, the old-school can be worshipped and not come off as simple plagiarism. Whereas their fellow countrymen in Knife deploy a blackened edge to proceedings, Vulture are all about the shrieking, banshee wailing style of speed metal that you would associate with the likes of Razor or Exciter. Perhaps bordering on the power metal elements of Agent Steel also along the way, these Dortmund residents certainly know how to wear their influences on their sleeves.

Above all else, Sentinels is fun. It’s 80’s horror flick style album cover perhaps denotes a band with serious intent and I am not intimating for one minute that Vulture are a goofy band, more that they approach their art with a genuine enthusiasm, a passion that bleeds into their music. Leads soar over galloping riffs, vocals pierce the ears of anyone within a mile radius, yelled from lungs that swell with pride as they sing each lyric, and all the while the drums “thunk” along in the background. Never coming across as having much in the way of venom or bite, the drums are the most understated instrument on the record, to my ears at least. However, this is not necessarily a criticism as I think the production job does the sound real justice overall. Clean without being overproduced, the album has an atmosphere of a band playing live almost.

This is not my first venture into Vulture. I gave their 2019 album, Ghastly Waves & Battered Graves a four-star rating back in August of that same year, and I find Sentinels to be in the same ballpark of the ratings, albeit that I sense a step up in quality of musicianship, certainly in the leads department at least. I am not a massive fan of the hi-pitched vocals that are used here, although my tolerance of them during my listen through of this record was surprisingly good. It is the fiery riffs and blinding leads that reign supreme over the record for me though. The inclusion of an instrumental at track seven seems a bit of an odd choice if I am honest, and I struggle to fight the feeling that it is little more than filler, despite its best efforts.

Leave me with tracks such as the rampant ‘Death Row’ and I am much happier though. In fact, the section of the album that follows ‘Der Tod trägt schwarzes Leder’ is probably the stronger part for me. There certainly feels like an uptick in the quality for me over this backend of the record at least. Keep flying the flag for the old school fellas, it is appreciated.

3.5/5

Hermética - "Ácido argentino" (1991)

I was a fan of both of this Argentinian act's other two albums back in the day but had never heard their highly regarded sophomore record until this week. It's pretty decent too although I wouldn't say that it's had the same impact on me as 1994's "Víctimas del vaciamiento" release did during the 1990's. I'd place it slightly ahead of their 1989 self-titled debut though. "Ácido argentino" sees Hermética's sound sitting between speed metal & heavy metal with the odd thrashier moment here & there. There aren't enough genuine highlight tracks for me to think about my higher scores but there's certainly an energy to this material which is only enhanced by the primitive production values. The guitar solos aren't anything to write home about but that doesn't stop "Ácido argentino" from having the desired impact, even if I don't think it'll be a release that I'll return to very often.

For fans of Malón, V8 & Almafuerte.

3.5/5

These Teutonic thrashers just don’t want to quit, do they? As we push into the middle of the 2020’s Sodom, Tankard, Kreator and Destruction continue to work on new material long into their careers, all of which now span beyond forty years. Whilst I am sure we could very easily dig out many turkeys from the backlog of records over the past four decades, it is hard not to admire the tenacity and resilience of any band that still sounds as committed to their artform as Sodom still do. Look, it would be remiss of me to suggest that The Arsonist is another Agent Orange. It is not of the same calibre and peak albums in a bands career are usually moments in time, specific to circumstance, influences and a good old lavishing of fate too.

The Arsonist is however probably the best Sodom record I have heard since Decision Day in 2016. It possesses a vigour that most other releases in the thrash world have lacked, based on my limited and often quickly tired listening experiences in 2025 anyways. There is a sense of great fortitude to this record, sounding like a record made by a band from their sheer dogged determination to just keep pushing on regardless of what the clock or calendar may say. Whilst it may lack any truly remarkable moments, The Arsonist burns with an intensity that belies the age of the participants. Scathing thrash attacks like ‘Trigger Discipline’ are what Sodom have based their career on, and it is good to see that fire in their bellies still. Tom sounds as pissed off as ever and the rest of the band miss no beat whatsoever.

At nearly fifty-minutes, it is a bit on the long side. When I am sat listening to some of the less well-arranged tracks like ‘Gun Without Groom’ this lengthiness seems to grate a little more during those minutes that so easily could have been left in the studio for a future compilation of B-sides and rarities. As I said earlier on in the review, my interest in thrash metal has been limited to but a few records this year and so The Arsonist is hardly jostling for position in a packed field of quality participants. However, it stands out for just being true to the style we know and love from Sodom and it further cements an already solid legacy. Whilst it may not be flawless, the same roots are showing in 2025 that were visible in 1982.

3.5/5

This old Razor hoodie packed it in last month.

https://open.spotify.com/playlist/2Y7j9qdlDYwZRevyTECAnE?si=d223f13a10884328

1. Onslaught – “Power from Hell (2025 re-recording)” (from “Origins of Aggression”, 2025)

2. Sodom – “Trigger Discipline” (from “The Arsonist”, 2025) [Submitted by Vinny]

3. Kreator – “Coma of Souls” (from “Coma of Souls”, 1990) [Submitted by Sonny]

4. Death Angel – “Truce” (from “Relentless Retribution”, 2010) [Submitted by Sonny]

5. Heathen – “Undone” (from “The Evolution of Chaos”, 2010) [Submitted by Sonny]

6. Sacrifice – “Underneath Millennia” (from “Volume Six”, 2025) [Submitted by Vinny]

7. Coroner – “Renewal” (from “Dissonance Theory”, 2025)

8. Sacrilege – “Lifeline” (from “Behind the Realms of Madness”, 1985) [Submitted by Sonny]

9. Necrodeath – “Graveyard of the Innocents” (from “Into the Macabre”, 1987) [Submitted by Sonny]

10. The Haunted – “Warhead” (from “Songs of Last Resort”, 2025) [Submitted by Shadowdoom]

11. Invicta – “The Morning’s Light” (from “Triumph and Torment, 2023) [Submitted by Saxy]

12. Sijjin – “Horrific Distortions” (from “Helijjin Combat”, 2025) [Submitted by Vinny]

13. Parkcrest – “Impossible to Hide” (from “And That Blue Will Turn to Red”, 2019) [Submitted by Sonny]

14. Drain – “Stealing Happiness from Tomorrow” (from “…Is Your Friend”,2025)

15. Necromaniac – “Daemonomantia” (from “Sciomancy, Malediction & Rites Abominable”, 2025)

16. Aggressive Perfector – “Devil’s Bastard” (from “Havoc at the Midnight Hour”, 2019) [Submitted by Sonny]

17. Hellcrash – “Inferno Crematörio” (from “Inferno Crematörio”, 2025) [Submitted by Vinny]

18. Gallower – “Bubonic Breath” (from “Vengeance and Wrath”, 2025) [Submitted by Vinny]

19. Byzantine – “The Clockmaker's Intention” (from “Harbringers”, 2025)

20. Alien Weaponry – “Mau Moko” (from “Te Rā”, 2025)

21. Inhuman Nature – “Possessed to Die” (from “Greater Than Death”, 2025)

22. Heaven’s Gate – “Hail Mary” (from “Tales from a Blistering Paradise”, 2025)

23. Warfield – “Appetitive Aggression” (from “With the Old Breed”, 2025) [Submitted by Vinny]

24. Sexmag – “Smród palonych dusz” (from “Sexorcyzm”, 2025)

25. Phantom G.D.L. – “Dark Wings of Death” (from “Tyrants of Wrath”, 2025)

26. Tyrannosatan – “Astronomicon” (from “Babylons Skräck”, 2025)

27. Torturer – “Intro (Arachnophobia)” (from “Oppressed by the Force”, 1992) [Submitted by Sonny]

Destruction - Eternal Devastation (1986)

Genres: Teutonic Thrash Metal

Big three of Teutonic thrash?  I was starting to question such a decision made by 80's society with Destruction's debut EP and debut studio album failing to meet my standards for greatness.  I was really hoping for something more artistic this time.  judging from the way Curse the Gods put up a couple more tricks, making six minutes feel like four at the same time, I thought to myself I might finally get that are I was lookin6 for.  I mean, sure, they fall in the same tempo and stylistic tropes for the most part, but it seemed like they were really trying to get something historical out there.  Or so I thought at first.  Unfortunately, there are still times where things feel too drawn out yet again.  It's obvious that the five-to-six minute edge doesn't generally work for them.What really bothers me about this album is the way the percussion sounds.  It's not heavy enough, being almost entirely drowned out by the lead and rhythm guitars.  Now the unpredictable sense of art comes back for the shorter songs on Side B, making things interesting again.  The drums can even be heard properly.  The last track is even a much better example of the aggression and technique that the band's been largely relying on, being much heavier and more powerful than ever.  So while this managed to be a slight improvement in writing, it also fixed its production problem in the first half.

71

I'll be posting other Destruction reviews on their album pages.  I don't want to flood this forum.

Yeah, genre fatigue can be a very real thing sometimes. I have had a similar crisis of faith with traditional doom metal, where every album begins to sound the same after a while with all the newer acts just trying to rip-off the classics in the hope that some of the magic rubs off on them, but it rarely does. I am not one of those people who constantly needs bands to push the boundaries, but sometimes you can have too much of a good thing. One of the reasons I am so enthused about Darkthrone's recent doomy efforts is that they are producing something I am eminently familiar with, but in an uncompromised and genuine way that sets them apart from the crowd who are climbing over the legacy of better acts and each other in an attempt to get noticed. 

Here's my review from many years ago:

After a string of four subpar albums in succession I was happy to hear a noticeable improvement on Megadeth’s 2007 release “United Abominations”. Not only was it a bit more consistent than the previous records but it was also a little heavier. There were still a few flat songs here & there but the highlights were enough to pull me through & I was left with some optimism with regard to future releases. Yet more cause for optimism could be found in various reports that 2009’s follow-up album “Endgame” was the long sought-after return to form that fans had been waiting on. I often find that my opinions don't always match up with the common concensus so I reserved my judgement & sat down to my first listen with an open mind.

My first impression was that ”Endgame” is not drastically different from the last record. In fact Megadeth haven’t made any huge changes to their sound since they bombed out completely with 1999’s appropriately named “Risk” album. Instead Dave Mustaine has chosen to make more subtle changes with each album so as to slowly improve on the weaknesses of the last. If you listen to each successive release from 2001’s “The World Needs A Hero” onwards you can hear the band getting slightly less commercial, a little bit heavier & a touch more consistent each time without ever losing focus on hooks & song-writing. It hasn’t always worked but that seems to have been the goal. Subsequently we’ve ended up with a faster & thrashier Megadeth than we’ve heard since 1990’s “Rust In Peace” but not one that sounds like they’ve made enormous alterations or taken substantial risks. The illustrious “thrash metal” label is not out place when describing “Endgame”. There are certainly a lot of thrashing riffs on offer but Mr Mustaine hasn’t let go of his commercial aspirations altogether just yet. You’ll still hear some fairly radio-friendly choruses on occasion but with a little more subtlety than we’ve seen in recent times.

I was very impressed with new lead guitarist Glen Drover’s performance on “United Abominations” so I was a little annoyed to find that he had then left the band before the recording of “Endgame”. However I needn’t have worried too much because Dave then recruited former Jag Panzer guitarist Chris Broderick & he shows that he really has some amazing chops. I’m not sure I enjoy his solos as much as Drover’s (or other Megadeth guitarists of the past like Marty Friedman & Chris Poland for that matter) as he can sound a little over-clinical & mechanical but that’s not a big complaint as I still find plenty to enjoy in Chris’ display of virtuosity. Dave’s riffs have rarely been as aggressive in recent years & the production is very solid as expected. So really all of the ingredients are there for a classic Megadeth album. The only question is in the quality of the songs.

As far as overall consistency goes “Endgame” is probably as solid an album as Megadeth have recorded since “Countdown To Extinction”. There aren’t any real clangers amongst this lot. But having said that there probably aren’t any bona fide Megadeth classics included either. The title track is my personal favourite & it’s unquestionably some high quality metal. The other songs are generally entertaining but seem to fall a touch short of the top shelf without really having too much wrong with them. I quite enjoy instrumental opener "Dialectic Chaos", thrashier numbers like "This Day We Fight!", "1,320'" &"Bite The Hand", the catchy hooks of "Bodies" & the very power ballad-ish "The Hardest Part Of Letting Go... Sealed With A Kiss" but they're also unlikely to change my life. The last three songs in particular feel a bit flat to me. So does “44 Minutes” which sounds quite a bit like a subpar track from the band's mid-90's period.

Overall, I’m not sure “Endgame” is quite the muscle-flexing return to form that Megadeth’s fan base were crying out for but it’s definitely another step in the right direction. If Dave could keep this sound together & do a bit more work on the hooks & song-writing then something more special may be just around the corner. There’s not much in it but I think I probably prefer the underrated “United Abominations” just slightly over this one. It had a couple of tracks that were weaker than anything on “Endgame” but it also had more highlights to draw me in. Regardless, it’s nice to feel like Megadeth are worth listening to again.

3.5/5

Ripper are yet another of the superb thrash acts hailing from the Santiago / Valpairiso area of Chile, forming in 2007 and still going strong. That said, the lineup that recorded 2016's Experiment of Existence is very different to today's with only band founder, guitarist and vocalist, Patricio Spalinger, remaining. The entire album was written by bassist Pablo Cortés who departed in 2019 and is now to be found in death metal acts, Suppression and Ancient Crypts. As is fairly typical for the chilean thrash scene, Experiment of Existence is very tightly performed and especially aggressive deaththrash that captures the essence of something like Seven Churches, but with more ambitious songwriting and a greater emphasis on technical skill.

One thing you may have come to expect when you spin a chilean thrash album is that you are gonna get some killer thrash riffs along with electrifying soloing thrills and Experiment of Existence certainly doesn't disappoint with Ripper delivering in spades. One particular area where the chileans excel though is in the rhythm department and, again, Ripper tick that box too. Drummer Nicolás Villanueva, who was also sticksman for another favourite of mine, Parkcrest, is an excellent thrash drummer with a powerful and busy style that never misses a beat and his timekeeping drives the tracks at considerable velocity throughout. As I mentioned earlier, bassist Pablo Cortés wrote the album and this may be one of the reasons for the prominence of his driving and fairly complex basslines although, in truth, a prominent bass presence in the mix is yet another telltale sign of the modern chilean thrash scene. Patricio Spalinger's vocals are are of a vemomously ascerbic style that sounds like it takes a lot from Chuck Schuldiner's influence.

So, basically, Ripper have reached back to one of the most interesting times in metal's development as thrash was inexorably metamorphosing into death metal and given it a modern makeover with generally better production values and technical competence whilst never losing sight of what made those times so exciting in the first place. The tightness of the performance is a testament to the four guys' ability and you will be hard-pressed to find a metaphorical musical hair out of place here. Experiment of Existence is a triumph of high velocity, aggressive and muscular thrash metal that proves that thrash didn't die in the 90's - it just moved south!

4.5/5

[Apologies as it appears that this isn't on Spotify. I caught up with it on Bandcamp and have ordered a CD from Discogs so I don't have to bend over backwards next time I want to give it a spin.]

https://open.spotify.com/playlist/0Ol69xpg6H4DzZrQLYsdT6?si=04f1166fce804f2a

1. Warbringer – “The Sword and the Cross” (from “Wrath and Ruin”, 2025) [Submitted by Shadowdoom]

2. Anthrax – “Now It’s Dark” (from “State pf Euphoria, 1988) [Submitted by Sonny]

3. Metallica – “No Remorse” (from “Kill ‘Em All”, 1983) [Submitted by Sonny]

4. Skeletonwitch – “Sacrifice for the Slaughtergod” (from “Beyond the Permafrost”, 2007) [Submitted by Saxy]

5. Sacred Reich – “Crimes Against Humanity” (from “The American Way”, 1990) [Submitted by Sonny]

6. Confess, George Kollias – “Slaughterhouse” (from “Destination Addiction”, 2025) [Submitted by Vinny]

7. Machine Head – “Atomic Revelations” (from “Atonement”, 2025) [Submitted by Vinny]

8. Grave Digger – “The Rich the Poor the Dying” (from “Bone Collector”, 2025)

9. Artillery – “Death Is an Illusion” (from “My Blood”, 2010 [Submitted by Sonny]

10. Parkcrest – “Dwelling of the Moonlights”, 2019) [Submitted by Sonny]

11. Vektor – “Tetrastructural Minds” (from “Outer Isolation”, 2011) [Submitted by Sonny]

12. Venus – “Sons of Grus” (from “Obscured Until Observed”, 2023)

13. Smiqra – “I Am the Broken Generation” (from “Rɡyaɡ̇dźé!”, 2025)

14. Antichrist – “Death Rays” (from “Forbidden World”, 211) [Submitted by Sonny]

15. Whipstriker – “Heartrippers” (from “Cry of Extinction”,2025) [Submitted by Vinny]

16. Black Mass – “A.S.H.E.S.” (from “Feast at the Forbidden Tree”, 201)

17. Satan’s Wrath – “At the Strike of Twelve” (from “Die Evil”, 2015)

18. All Hell – “Suffer for Me” (from “All Hail the Night”, 2023)

19. Frightful – “Into the Phantom Hearts” (from “What Lies Ahead”, 2025) [Submitted by Vinny]

20. Oxygen Destroyer – “Awaking the Malevolent Destroyer of Heavens and Earth”, 2024)

21. Extorted – “Deception” (from “Cognitive Dissonance”, 2024)

22. Combust, Terror – “Paid with Pain” (from “Belly of the Beast”, 2025) [Submitted by Vinny]

23. Doomsday – “Holy Justice” (from “Never Known Peace”, 2025) [Submitted by Vinny]

24. Stress Test – “Suffer” (from “Stress Test”, 2025) [Submitted by Vinny]

25. New World Man – “Murderworld Pt. 2 (Murder Is What's on My Mind)” (from “Peeling Through the Skin”, 2025) [Submitted by Vinny]

26. Crimson Storm – “Outrageous” (from “Livin' on the Bad Side”, 2025)

27. Refore – “Illusion of Existence” (from “Illusion of Existence”, 2024)

28. Korrosive – “In the Name of Destruction” (from “Katastrophic Creation”,2024)

I really loved Cryptosis debut, Bionic Swarm, it being one of my top albums of 2021. Since then, however, they seem to have dropped off my radar and I am behind on both 2023's The Silent Call EP and this, their full-length follow-up to Bionic Swarm. First impressions are that this is a much less fevered and more progressive album. The debut, despite the science fiction premise, turned in some pretty brutal riffs and blistering tempos for the most part, where this feels to be a more sophisticated affair in the main. Don't get me wrong, this still delivers some great riffing and has some breakneck pacing too, which is obvious as early as the first track proper, "Faceless Matter", but the increasing emphasis on atmospherics such as synths and jangling tremolo embellishments lends it a more expansive aura, rather than the tight, jet-fuelled blowtorch attack of the debut. With vocalist Laurens Houvast favouring a more black metal style of delivery this time around, alongside the atmospherics, it leads me to ponder whether the band were aiming for a kind of thrash metal Emperor sound, a question worthy of consideration I think.

Subsequent listens, when the atmospherics had had time to sit with me and so not stand out so much, it was more than evident that the tightly focussed core of the band's sound is still present and correct, delivering supercharged riffs and blistering drumming that drives the tracks forward at a hyperkinetic tempo. This time round, though, Cryptosis are unafraid to slow down and allow the listener time to catch up, take stock and appreciate exactly what is going on around them. Static Horizon, for example, kicks off at a fair old lick, with absolutely loads going on: a melodic and memorable main riff, a prominent bassline doing all sorts of interesting things and jangling leads, keyboards and choral effects providing a thick atmosphere. Then for the last minute the pacing slows and the keys provide a serene calm eye in which the listener can process the previous four minutes.

Assuredly this is still a technical / progressive thrash metal release, but the vocals and jangling tremolo leads give it a decidedly frosty atmosphere that more than dips its toes into black metal waters. I am undecided at the moment whether this difference in atmospherics makes this a better album than Bionic Swarm or not. Or it could be that they are equally great, just... different. Everything I loved about the debut is still here, but it has been refined by an increase in atmospherics and a slight shift in songwriting aspirations. I haven't yet decided if that has blunted its effect or enhanced it, so for now I must sit on the fence with this one, although it is still pretty good, no matter what - I'm just not sure how good.

4/5

S.I.C. = Screaming in Churches AND Spastics Inflicting Carnage.

So just like that we find that a new month is upon us which of course means that we’ll be nominating a brand new monthly feature release for each clan. This essentially means that we’re asking you to rate, review & discuss our chosen features for no other reason than because we enjoy the process & banter. We’re really looking forward to hearing your thoughts on our chosen releases so don’t be shy.

As it is my turn to nominate this month's feature for The Pit I have gone with an album I enjoyed a fair bit at the time, but which I haven't listened to in a while. That is Minneapolis thrashers Antiverse's 2018 album "Under the Regolith". Let us know what you think of it below.

Here we are, another month gone by and another feature release needed.  For The Pit this month I have selected Atrophy's sophomore album, Vioelnt by Nature. After a strong debut in Socialized Hate from two years earlier, the band had the job of trying to follow that up in a strong year overall for metal in 1990.

As usual, feel free to give us a review or simply get a conversation going in this thread about your thoughts on this record.

https://metal.academy/releases/14481

https://open.spotify.com/playlist/6h9mnrM4K34WHNhXNFlVqi?si=d856459ef24247e4

Apologies this is late.

1. Metallica – “Welcome Home (Sanitarium)” (from “Master of puppets”, 1986) [Submitted by Sonny]

2. Prong – “One Outnumbered” (from “Cleansing”, 1994) [Submitted by Vinny]

3. Power Trip – “Crossbreaker” (from ”Manifest Decimation”, 2013)

4. Onslaught - “Bow Down to the Clowns” (from “Generation Antichrist”, 2020)

5. Sepultura – “Last Time” (from “Quadra”, 2020) [Submitted by Daniel]

6. Hobbs Angel of Death – “The Journey” (from “Hobbs’ Satan’s Crusade”, 2003) [Submitted by Daniel]

7. Rampage – “Terrortaphobia” (from “Veil of Mourn”, 1988) [Submitted by Daniel]

8. Agressa - “Tunks” (from “Nuclear Death”, 1988) [Submitted by Daniel]

9. Mass Confusion – “Die by the Ward” (from “The Demos 88-92”, 1992) [Submitted by Daniel]

10. Celtic Frost - “Fainted Eyes” (from “To Mega Therion”,1985) [Submitted by Sonny]

11. Kingdom of Hate- “Prayer” (from “The Search”, 2009) [Submitted by Sonny]

12. Massakre – “Red September” (from “Crematorium”, 2005) [Submitted by Sonny]

13. Mayhemic – “Triumph Portrait” (from “Toba”, 2024) [Submitted by Sonny]

14. Nimrod - “Mortality of the Sea” (from “Legacy of the Dead”, 2023) [Submitted by Sonny]

15. Possessed – “Burning in Hell” (from “Seven Churches”, 1985) [Submitted by Sonny]

16. Razor – “Edge of the Razor” (from “Violent Restitution”, 1988) [ Submitted by Sonny]

17. Fallen Angel - “Ice” (from “Faith Fails”, 1992)

18. Grinder – “Hymn for the Isolated” (from “Nothing is Sacred”, 1991)

19. Impaler – “Vicious Dreams” (from “Wake Up Screaming”, 1990)

20. Ulysses Siren – “Leviathan” (from “Above the Ashes”, 2003)

21. Pest Control – “P.M.C.” (from “Year of the Pest”, 2024)

22. Despair – “Decay of Humanity” (from “Decay of Humanity”, 1990)

23. Witchtrap – “Lemmy” (from “Trap the Witch”, 2015)

24. Violent Sin – “Malicious Stirring” (from “Serpent’s Call”, 2023)

25. Warbringer – “A Better World” (from “Wrath and Ruin”, 2025) [Submitted by Vinny]

26. Sadus – “it’s the Sickness” (from “The Shadow Inside”, 2023)

27. Heathen – “Dead and Gone” (from “Empire of the Blind”, 2020)

28. Battlecreek – “King of Rats” (from “Maze of the Mind”, 2024)

29. Take Offense – Assassination” (from “T.o.tality”,2024)

30. Refore – “Illusion of Existence” (from “Illusion of Existence”, 2024)

31. Megadeth – “Lucretia” (from “Rust in Peace”, 1990) [Submitted by SaxyS)

Well, this was a neat little find as I went through the feature releases this month. My usual excuse of not having the time to listen to much of the releases was left to one side by virtue of this being an EP. That twenty-one minute run time was perfect for me to perform a few smash and grab raids on Contra iglesia y estado on breaks between work calls and it even accompanied a few workouts this past week also. What kept it on such frequent rotation was the obvious passion for their art that Dekapited clearly have. As thrash metal continues to be viewed with that regurgitated/retro lensed glasses on, it is clear that this band are just out for the fun of it. High energy levels with a consistent and scathing attack make for a very entertaining experience indeed for me.

Laden with Sepultura and Sodom vibes, Contra iglesia y estado does little to reinvent the wheel, and it is stronger as a result of this in my book. I cannot point to any weak tracks on here, even though the overall rating still sitting below a five star mark does mean that I equally cannot flag this EP as being truly remarkable overall. However, what is here is powerful sounding stuff. The blows hit with a consistent level of force and are certainly not pulling any punches as they rain down on the listener. The ferocious form of Chilean thrash that we have come to know and love (well me at least) from the likes of Critical Defiance and Ripper is certainly coursing through the veins of Dekapited as well.

The appeal of this EP for me is its earthiness. It sounds like a true reflection of the band. Never tryingto be something that they are not, Dekapited here simply play the music they love and provide a fine celebration of thrash metal at its best. Short, sharp and succinct whilst being delivered with a hell of a level of grit this leaves me full of promise for further exploration of their discography. My only reservation is how they make this style of balls to the wall intense thrash metal interesting across a full length release, but I guess I will have to wait and see.

4/5

01. Reign In Blood

02. South Of Heaven

03. Seasons In The Abyss

04. Decade Of Aggression: Live

05. Live Undead E.P.

06. Haunting The Chapel E.P.

07. Show No Mercy

08. Divine Intervention

09. Hell Awaits

10. God Hates Us All

11. Repentless

12. Christ Illusion

13. Diabolus in musica

14. World Painted Blood

15. Undisputed Attitude

Excursion Demise is one of those albums that wants to put its fingers in both of the cooler styles of thrash's pies while not really committing to either. In this case, brutal thrash on one and tech thrash on the other. In theory this could be very nice, but this is dragged down by a few factors.
To start with, the production job is on the softer side, which wouldn't hurt a tech band, but when it goes more brutal it doesn't really work to the strengths of such an assault but keeps the weaknesses. On occasion, I found myself annoyed by the spots of brutality, since it can and does degenerate into noise. It's not that this part is bad, it's competent but not very notable in of itself.
The technical half, meanwhile, feels half-hearted. I can tell it is supposed to be there and it isn't people on the internet making something up. They're too spotty, just sort of there because they liked it, but not with enough confidence to fill it out more. There are even distinct shifts between the two modes, which shows the stronger side of what they were trying to do. But it just doesn't shift enough to make that worthwhile.
It has some nice ideas, and it's pleasant, but it's not interesting enough to really recommend.

3.5/5

1. Exumer "Possessed by Fire"

2. Anthrax "Caught in a Mosh"

3. Metallica "Whiplash"

4. Tyrus - "Bubonic Plague"

5. Megadeth "Holy Wars... The Punishment Due"

6. Exodus "Deathamphetamine"

7. Slayer "Raining Blood"

8. Destruction "Curse the Gods"

I love me some Voivod, but that track is just speedy heavy metal at best, and its original album is from the band's dive into classic heavy metal in the 2000s. I replaced it with this Destruction track that I listened to a couple years ago and still think it's a classic from a well-known thrash band. The aggressive riffing and drumming can easily cause listeners to headbang and air-guitar to this tune. The riffing will stay in your head due to all of its catchy fun. If you ever wanna play some of those impressive mind-blowing riffs on guitar for your friends to hear...why not? "Curse...the GODS!!!!"

Just finished reviewing Mayhemic's Toba and yes, that is the thrash metal album of the year for me. I have given the Hemotoxin a couple of listens but I don't yet think of it as highly as even the Critical Defiance album. Maybe that will change, but so far I'm not that impressed.

So with the start of a new year it's once again time to have a look at the covers for all the releases for each clan. I personally like to rate a whole stack of covers all at once, rather than doing them one at a time throughout the year, as it allows me to get a better feel for where each cover sits in comparison to others. With that in mind, I've just rated every cover for releases in The Pit for 2024.

Below are some of the releases that are currently competing for the prestigious 2024 The Pit Cover of the Year Award. The winner will be announced on the 1st of February, so there's still time to get your ratings in.

The following link will take you to the Gallery, displaying the top Pit releases that you have not rated yet: CLICK HERE

Thanks all.

I've never really listened to much Sepultura. I've listened to most of the albums from the classic period, and while I've liked some, I've never really revisited them. They're certainly one of the oddest groups, going from near death metal to nu metal sellouts is one heck of a career trejectory. I haven't heard anything since Roots or so, but people love these guys again, so clearly they did something right.
What surprised me when I first listened to this album was how much it sounded like modern Testament, which forced me to ask the question, who did it first? I mean, Testament did start off like Metallica before getting heavier, so I took a moment to check. The answer's complex, since I think Testament hit on the exact package first, but vocally they only thing they really stole, as such, was the way the vocals here sounded. It's very clearly an influence, since both are gruff, deep guys who frequently do near growls.
As an album, it's pretty good, feeling like a mix of their best moments. Songs tend to blend more sell-outy parts with harsher bits. Normally, that's not really a combination that I think works, usually the style differences seem awkwardly sewn together. But these guys make it work, which I find amusing since I gave up on them because they were getting crappy because of some elements. Here they blend the two pretty well, sometimes even in the same song. It comes off as unique, like if it weren't them you'd get something incredibly mediocre.
What I was surprised at was the occasional bits of prog leanings that sneak in. Never an entire song or anything, but a strong undercurrent. Even some of the requisite tribal music is thrown in. That said, a lot of times it feels less like a genuine attempt at expanding and more like someone got really into listening to Joe Satriani during the recording of this album. Sometimes it seems like passages are copied note for note.
I ultimately enjoyed this, as the negatives generally seem minor. I daresay this might even end up being my favorite Sepultura album.

4/5

Checked out the playlist whilst working in the garage earlier today. Another nice list, Vinny, thanks a lot. 

Some "new to me" bangers on this one - the new Destruction, Acid Force, Enforced, Lich King and two of the best were left for last with Urn and Ragehammer both killing it. I had originally nominated Altar of Sacrifice for next month, so that's obviously a real winner for me, along with Indians (it's always good to hear tracks from Among the Living) and Sodom. I love the Antiverse album, so their's was a winner. The Sepultura track was pretty good as well - I've never listened to them post-Max, so maybe it's time for that to change. Extol was the only track that did nothing for me, so all-in-all a very successful list that has turned up some new discoveries for me to check out.

Thanks Sonny, that Sepultura album is the Feature for The Pit this month.

Oh, right. A good opportunity to check it out then.

Apostasy - Fraud in the Name of God (Demo) 1989

Apostasy formed in Valparaíso in 1987 as Damn Soul, but changed their name in 1988 before releasing anything. "Fraud in the Name of God" is actually their second demo after a rehearsal tape containing two tracks, "Deceased in Funeral" and "The Night", both of which appear on this later cassette. In all "Fraud in the Name of God" contains four tracks, well actually three, with a short instrumental titled "The Sullen", serving as an intro to "Deceased in Funeral" and the title track being the other 'new' track. Apostasy were one of the fortunate early chilean thrash bands that managed to get a deal to release a full-length (1991's "Sunset of the End") and all four of these tracks eventually made it onto the album.

The three 'proper' tracks are all fairly lengthy affairs, clocking in at over seven minutes each and display an impressive level of songwriting nous for such a fledgling outfit. The vocals have a roughened, death metal-derived edge, which ups the tracks' savagery and aggression levels another knotch. The high-quality riffing exudes a visceral energy that will have you yearning for the fevered fury of a heaving moshpit, driven along by a furious rhythm section, Julio Jerez's drumming in particular sounding especially manic, yet also controlled, thus avoiding any tendency for the whole to descend into a chaotic mess. The solos are firey, explosive affairs, but mostly remain quite brief with Apostasy seeming to understand that the key to thrash metal is held in the riffs, which totally dominate this demo - and desevedly so, because they are great. The throbbing main riff of "Deceased in Funeral" is of particular note, pulsing with threat and menace it lays the foundation for the tape's best track.

Of course, this being a demo, the production is thinner than the material deserves, but it is good enough to impart a sense of the guys' quality and is by no means terrible. Listening to "Fraud in the Name of God" it is easy to hear why Apostasy managed to gain a record deal where so many of their compatriots failed, because this is seriously great thrash metal and it is a total injustice that these guys weren't bigger than they proved to be, ultimately splitting in 1996, having only released the one full-length. Obviously they reformed, in their case in 2013, and are still going to this day, having put out new albums in 2018 and 2021 which I am definitely going to have to check out. Overall, if you appreciate aggressive thrash metal with great riffs and quality songwriting then you really need to check out "Fraud in the Name of God" for a snapshot of what makes the South American metal scene so lauded.

4.5/5

Got into this month's playlist whilst out braving the first snows of the winter with Koko this morning and I've got to say that, in the main, this it was a real killer. Real nice job, Vinny. I must admit that, because I was out walking, I couldn't keep up with which track was which and who by, but the overall impression was fantastic with a lot of energy and quality thrashing all round. Just goes to show that there was still some top-tier thrash metal around, even after the genre's heyday was in the rearview mirror.

Here's my review:

Until recently, my exposure to Melbourne hardcore punk/crossover thrash outfit Depression was limited to their 1988 sophomore album "Thrash Till Death: Studio Tapes" which I picked up on while still a just a young chap that was finding my way in the Sydney extreme metal scene of the early-to-mid 1990's. I tended to associate with members of older bands at the time, often through my girlfriend who was fairly well connected & knew everyone that was everyone in the local scene. We used to frequent metal shows & goth night clubs on weekends, events that often ended up continuing on at someone's house so that the debauchery that was going on at the club had the opportunity to play out more fully behind closed doors. It was at these after-parties that I'd discover a lot of the more underground Australian metal releases with them being played at loud volumes by older & more experienced metalheads while everyone partook in whatever ungodly shenanigans they were into at the time. It was in that environment that I'd first hear Depression who I was led to believe had transitioned from their early days as a hardcore punk act for that particular release. I knew pretty much fuck-all about hardcore back in those days so I assumed that Depression's second album would be the only one of their releases that might interest me but my experiences over the last few weeks have proven otherwise & have also shown me that this Melbourne act played a far more significant role in the early Australian thrash story than they're generally given credit for, being largely absent from the conversation on documentaries such as "Thrash or Fuck Off!" which details the early players who contributed to the birth of the thrash metal movement in this country.

By late 1985, Depression had put out a fair bit of material from the time they first formed in 1982. There are a couple of early demos floating around with 1983's "Body Dump" tape being a relentless, high-speed hardcore assault that struggled to contend with a rubbish production job. 1984's "Money Chain" single saw the band starting to add more variety of tempo & incorporating chuggy, palm-muted riffs that were more commonly found in metal, a concept would be further expanded on their self-titled debut album that would be released in March of 1985. In fact, "Depression" would actually include four or five genuine crossover thrash tracks amongst the twenty-six short bursts of energy it contained & some of that material would likely have represented the most extreme music to come out Australia to the time as far as I can see. The "Australia, Australia" E.P. would appear eight months later in November 1985 &, unlike most local metal historians, I believe that it's here that the Aussie thrash (& subsequently extreme metal) story first begun.

"Australia, Australia" contains nine short tracks that fly by in quick succession but there's enough variation in their approaches to allow the individual tracks the chance to differentiate themselves from one another. The E.P. still sounds very much like a hardcore release from a production point of view with a layer of dirt & grime having been allowed to protect the song-writing from ever becoming too accessible & this is further accentuated by the snotty punk vocal delivery of Spike whose journey with Depression would end after this release. Original drummer Danny had been replaced with Nothing Sacred & future Hobbs Angel of Death skinsman Sham Littleman who delivers a high energy & very capable performance here but would move on to other things before Depression's next studio effort. The most noticeable difference between the "Depression" album & "Australia, Australia" though is the significantly increased ratio of punk to metal in the guitar work of band leader Smeer whose riffs now appear to unapologetically showcase the influence of bands like Slayer, Anthrax & Exodus which made for a much more appealing prospect for this ol' thrasher. In fact, the role that this component plays in the sound & feel of "Australia, Australia" is so important in its aesthetic that I find it impossible to understand how the E.P. hasn't been claimed as a crossover thrash record previously with no sign of any such connections being found online outside of the band themselves claiming that their sound combined punk & metal in interviews. When you listen to the releases of the other supposed early thrash bands of the local scene from the same period (see Nothing Sacred, Renegade, Prowler, Armoured Angel, etc.), you'll discover that Depression were really the only ones who had any right to claim that they were a genuine thrash metal act too which makes their omission from the discussion even more perplexing.

Of the nine songs on offer, I'd suggest that seven of them have a strong enough metal component to be tagged as crossover thrash while the short & violent "TV Lies" & "Dirty Fucken USA" stay predominantly in hardcore territory & "The Plan" takes kind of an each-way bet. This is all good shit though with Depression continuing to prove themselves to be capable song-writers by not delivering a single dud track. The energy levels are infectious & I honestly struggle to keep still during this record which can only be a good sign given the importance of the physical reaction in music of this intensity. Regardless of which genre they should rightfully belong to, it's hard to deny that the title track, "TV Lies", "The Box", "Eternal Genocide", Copper Chopper" & closer "The Side Up" are all really solid & enjoyable anthems for a misspent youth &, while I'm not usually all that big on crossover thrash, I'd have to suggest that this leaves "Australia, Australia" sitting up in elite territory when it comes to my more favoured crossover releases which is really saying something.

It's honestly baffling that a release like this one has managed to not only go unrecognised by the Australian metal scene for so long but has also failed to gain the sort of attention it deserves from the hardcore market too from what I can see online. While I may not be the most knowledgeable reviewer on the topic of hardcore history, I definitely know good music when I hear it & this is it ladies & gentlemen. It's also worth noting that 1985 would be the year that the earliest crossover thrash releases of any note would first see the light of day on a more global scale (S.O.D.'s "Crab Society North" demo & "Speak English or Die" album, D.R.I.'s "Dealing With It!" album, Slaughter's "Surrender or Die" demo, Concrete Sox's "Your Turn Next" album, Corrosion of Conformity's "Animosity" album, etc.) so that makes "Australia, Australia" a little more significant from an international & historical perspective as well, particularly given that I regard it as a stronger record than a good chunk of those releases. Now, if that sort of statement doesn't encourage the old skate-punk in you to explore this criminally undiscovered Aussie gem then I'm not sure what will. Get stuck in guys!

For fans of D.R.I., Suicidal Tendencies & S.O.D.

4/5

Here's my review:

I came to Norway's Extol fairly late in the game to be honest. By the time they first hit the underground in the late 1990's I was already heading for the exit door as far as metal music went & I wouldn't find myself returning to the scene until around 2009 which is when I first heard their 2000 sophomore album "Undeceived". It left quite an impression on me & received a lot of replays over the coming years & that experience would lead me to head back & explore Extol's 1998 debut album "Burial" & 1999 "Mesmerized" E.P., as well as to look forward to their 2003 "Synergy" third album which is the topic of discussion today. I don't recall revisiting "Synergy" over the many years since as it's generally been "Undeceived" that I reach for when I've looked for an Extol fix but Ben's introduction of the band's 2005 fourth album "The Blueprint Dives" to me a couple of years ago revitalized my interest in the band. I hadn't checked out that album before & it really hit the spot for me, despite it seeing Extol finally breaking free of the chains that tied them to their early extreme metal roots. It's been quite a while since I crossed paths with "Synergy" now, around fifteen years to be exact, but I held vague memories of it being a pretty decent release so this month's The Pit feature release nomination was most welcome.

Wow! "Synergy" jumps straight out of the gates with amazing complexity. It's one SERIOUSLY technical record performed by some incredibly ambitious & undeniably talented musicians. Extol's death metal roots had been completely cast aside by this stage in their evolution with the general consensus being that "Synergy" is a progressive tech thrash record. Look, there are certainly some thrash influences on display (i.e. Coroner, Believer, etc.) with three or four of the songs containing enough of a thrash component to justify the tag but the record is much better suited to a lone progressive metal tag when taken holistically as its scope is far more wide-reaching than the thrash metal genre allows for. The vocals of front man Peter Espevoll are quite raspy & a touch blackened, sitting somewhere between Meshuggah's Jens Kidman & a black metal shriek most of the time which is well suited to the occasional forays into tremolo-picked black metal territory. The links to Christianity are unfortunate but, in truth, they play very little role in the way the album plays out if you don't actively seek out the lyrics. The guitar solos of Christer Espevoll (Azusa/Benea Reach) & Ole Børud (Fleshkiller/Schaliach) are a real highlight & show both of them to be well on top of their chosen craft with a high level of sophistication displayed in the way they construct their leads. I can only imagine it must have taken drummer David Husvik (Azusa) a very long time to learn this material as it's heavily weighted towards unusual time signatures & polyrhythms. He does a splendid job of it though if you ask me.

The tracklisting on "Synergy" is very consistent with no weak songs being included to tarnish the overall impression left by the album. The high level of complexity does make it challenging for any of the numbers to really stand out from the rest as genuine classics but the struggle to balance out technical wizardry with ear-catching hooks is not isolated to Extol. It's been a perennial issue for ultra-progressive bands like this one over the years & if there's one area that Extol probably needed to improve a touch then that's it. Thankfully, we'd see them do a better job at it with 2005's "The Blueprint Dives" album which did contain a couple of true gems. If I had to pick favourites amongst this lot then I'd have to go with opener "Grace for Succession", "26 Miles From Marathon" &, my pick of the bunch, the thrashy "Paradigms". The quality does dip just a touch towards the end of the album with both the folk pop piece "Aperture" & thrashy closer "Nihilism 2002" being more acceptable than they are impressive but it's hard to complain as neither are exactly filler either. You get the feeling that Extol were likely beyond producing filler at this point in their careers given the strong grip that each member has on their chops & musical vision. Peter Espevoll's vocals can sound a touch one-dimensional at times & one gets the feeling that a more interesting clean singer may have been able to take the album to the next level.

I'm pleased to advise that "Synergy" is another high-quality & quite challenging release from an excellent metal band that sits very comfortably just behind "The Blueprint Dives" as an holistic package. It's actually surprised me a bit as I hadn't given it quite as much credit when I first encountered it back in the day. Perhaps it's not the most appropriate selection for a The Pit feature release given that it seems to be more closely affiliated with The Infinite but it's certainly exciting enough to encourage the thrashers out there when it hits on some of its higher tempos.

For fans of Believer, Azusa & Lengsel.

4/5