Five years ago, I highlighted Invictus’ 2020 debut LP Catacombs of Fear as part of our year-end death metal roundup feature. Since then, the Japanese death metal trio toiled under the ground with a brutal live schedule and steadily wrote what might very well be my most highly anticipated follow-up in the death metal realm. Hot on the heels of killer releases from personal favorites like Depravity, and jumping just ahead of another highly anticipated salvo from Eximperitus, Invictus’ upcoming Nocturnal Visions has big shoes to fill and stiff competition to combat. But if anybody has the chops and the balls to do it, it’s Invictus. Having only one previous album and a few scattered demos/singles to their name, Invictus haven’t messed with their formula very much since their inception. Boasting a killer combo of Demolition Hammer nastiness and Consuming Impulse-era Pestilence attack, Nocturnal Visions pushes 35 minutes of pure adrenaline. Nary a second faffs about with filler, fluffy atmosphere, or anything else that could be construed as something other than devout reverence to The Almighty Riff™. With each twist of phrase or shift in movement, guitarist/vocalist Takehitopsy Seki tears through an unrelenting assault of intense grooves, speedy thrashes, and writhing rhythms that don’t just open up pits, but rather rip open dimensional rifts straight to hell itself (“Altar of Devoted Slaughter,” “Wandering Ashdream”). Instead of relying on blasts for intensity, Haruki Tokutake’s percussive strategy focuses on machine-gun double-bass runs and thrashy skanks so brutally exacted upon my spine that I needed a back brace and headgear just to approach the second half—accommodations which in no way deterred my summary bodily encrushment (“Persecution Madness”). Bassist Toshihiro Seki clunks and clangs beneath the surface with a violent, hammering tone that, while not always as audible as it ought to be, nonetheless deepens the tonal quality of the record’s warm, slightly swampy production (“Nocturnal Visions”). Unlike many of those acts from whom Invictus draws inspiration, Seki’s vocals operate squarely inside the Incantation/Tomb Mold school of subterranean monstrosity. Counterintuitively, this sets the trio apart from their influences by hiding in plain sight with their contemporaries. Nocturnal Visions by Invictus Regardless of where you fall in the greater scope of metallic fandom, Nocturnal Visions is a magnificent showcase of energetic songwriting and devastating hookcraft. While the formula opener proper “Abyssal Earth Eradicates” utilizes feels and sounds familiar, Invictus executes it with a youthfulness, voracity, and dare I say exuberance that makes me forget for a moment the entirety of death metal’s history. As Nocturnal Visions progresses through its early movements, boasting killer tracks in “Altar of Devoted Slaughter,” “Lucid Dream Trauma,” and “Persecution Madness,” my ability to care about anything other than banging my head, grimacing like a gargoyle, and stomping my poor abused feet against the floor vanishes. What’s left is a mind-broken sponge reduced to primal instincts, with a vocabulary of one word, “Fuck!” exclaimed exclusively with each new swaggering groove or pummeling riff. Even after several dozen spins, pit monsters “Persecution Madness,” “Dragged Beneath the Grave,” and later highlight “Wandering Ashdream” received such frequent and aggressive verbal confirmation of their sheer awesomeness and perpetual energy that my coworker had to perform a wellness check. Even the daunting eight-minute closer “Nocturnal Visions” earns its keep here, switching up themes and reprising refrains just enough to keep my interest up and my engagement high. That doesn’t leave much room for negatives, and indeed, few found purchase in my evaluation. Obviously, Nocturnal Visions exhibits nothing new or innovative; it’s simply doing classic death metal far better than most. Consequently, Invictus left some creativity and novelty on the table. They could easily pick up bits and bobs from that stack of potential ideas and bring an extra dimension to future efforts without sacrificing their core sound. Additionally, pacing Nocturnal Visions at such a blistering rate of speed so consistently across 35 minutes leaves a little to be desired in the way of songwriting dynamics. Tokutake in particular makes the most of his arsenal of patterns, fills, and tumbles to alleviate this condition, but not quite enough to cure it—see the otherwise ripping “Frozen Tomb.” Seki’s somewhat one-note vocal approach doesn’t always help matters in that respect, but his performance is rock-solid and dependable enough not to hurt either. Of course, these critiques amount to mere nitpicks in the truest sense of the term. Nocturnal Visions is, simply put, a staggering monument to old-school death molded for the modern era. Invictus blasted my skull apart with their debut, but this sophomore effort is more than a worthy successor. Hear it! --- Rating: Great! DR: 5 | Format Reviewed: 320 kb/s mp3 Label: Me Saco Un Ojo Records Websites: invictus3.bandcamp.com | facebook.com/Invictus Releases Worldwide: January 26th, 2026 The post Invictus – Nocturnal Visions Review appeared first on Angry Metal Guy.

Lethargy's cult math metal classic, featuring members of Mastodon and Nuclear Assault enters or hallowed Hall on its 30th anniversary. The post Lethargy – It’s Hard to Write With a Little Hand appeared first on Decibel Magazine.

Final Dose's violent, confrontational and outright devastating new EP, Endless Woe, delivers all the black metal goods with punk rock abandon. The post Full EP Stream: Final Dose – Endless Woe appeared first on Decibel Magazine.

Hear Cave In Stephen Brodsky reimagine the Neurosis classic “Under the Surface” as part of his forthcoming Cut to the Core Vol. 2 covers album. The post Track Premiere: Stephen Brodsky – “Under the Surface” (Neurosis) appeared first on Decibel Magazine.

Literal metals are always cooler when they come from space. A blade forged from meteoric iron is effectively the same as one made from iron you can find on Earth, but don’t tell me you wouldn’t want the space knife way more. Likewise, metal music always sounds cooler when it feels like it’s from another world. Enter ZU, the Italian jazz metal trio comprised of guitarist/bassist Massimo Pupillo, saxophonist/keyboardist Luca Mai, and drummer Paolo Mangardi. ZU forged their latest record, Ferrum Sidereum, Latin for “iron of (or from) the stars,” to sonically approach something otherworldly, drawing from the historical spiritual significance of meteoric iron as inspiration for their music. And forge ZU did, because Ferrum Sidereum is an 80-minute double album of progressive, industrial, punk-infused, and fully instrumental jazz metal. But is Ferrum Sidereum a gift from the stars, or should you look for your metal closer to home? Ferrum Sidereum is a record that revels in texture and rhythm more so than melody. Like ObZen-era Meshuggah, ZU play melodically bare but rhythmically exquisite riffs, with their prog and metal elements manifesting into bouncy, syncopated djent jabs prominent on tracks like “Golgotha” and “Kether.” Guitars are low (“Ferrum Sidereum”), bass is plucked with abandon (“Charagma”), and drums roll with jazz-practiced precision and metal aggression (“La Donna Vestita Di Sole”). Industrial elements and saxophone conspire to either inject a sense of progression to simple riffs (“Hymn of the Pearl”) or, more often than not, tear your ears a new one with punkish, dissonant whines and whistles (“Fuoco Saturnio”). ZU bounce between these loud, crunched moments with Tool-like passages of meditative, methodical calm and repetition with a hodgepodge of percussive additions to fill out space (“Pleroma”). You likely won’t be able to hum anything off Ferrum Sidereum by the end, but it’s undeniable that ZU are very particular about sounding a very particular way. Ferrum Sidereum by ZU ZU have the chops to carry the load of a double album, but Ferrum Sidereum unfortunately doesn’t have the substance to fill one. To achieve a sense of spiritual ritualism, ZU obviously had to rely on repetition within songs, but it quickly just gets excessive and bland. Differences between songs—like “AI Hive Mind” and its distinct, mathcore level of scronk in its guitar tone and saxophone or “Golgotha” and its use of ghostly choir to build unnerving atmospheres—get lost in the flood of crushed djenting that better defines Ferrum Sidereum. ZU stick to such a strict palette that following along to the album as a whole becomes tedious, and the lack of melodic leads or even just a singer make Ferrum Sidereum easy to drift away from mentally. Eighty minutes and no hook is a big ask for any listener. Ferrum Sidereum’s uniform construction does lend it a sense of unity, and ZU’s expert musicianship and occasional atmospheres do make the record a good background listen, but for the purpose of intentional, critical listening, it leaves much to be desired. This is deeply disappointing to me, because Ferrum Sidereum can at times be simply transcendent. When it comes to shaping otherworldly and religious atmospheres, when ZU get it right, they get it right. “La Donna Vestita Di Sole” feels like a festival from another planet with its twisty sax riff, while the conclusion to the closing title track uses the dichotomy of furious palm-muted riffing and complete silence to make an ending both meditative and succinct. The one-two punch of “The Celestial Bull and the White Lady” and “Hymn of the Pearl” sees ZU at their most sublime, awash with delayed clean guitars and tribal drumming derived from the same sacred geometry as Lateralus, both stirring and refreshing to the mind and soul. There’s great material on Ferrum Sidereum, songs so good I can see clearly the greatness that ZU see in it, but material buried under about as much runtime of bloat as well. I know there’s a world where Ferrum Sidereum clicks with me, but here and now it doesn’t. ZU are wildly talented musicians, and I know there are fans of instrumental metal who will gobble this up, but for me too much of what makes Ferrum Sidereum enthralling (its rich atmosphere and contemplative nature) is sidelined by what makes it boring (djent). “Hymn of the Pearl” may make a reappearance in December for SotY contention, but I think I’ve gotten enough of ZU’s latest as a whole. But I’ll keep an eye out for falling rocks, regardless. --- Rating: Disappointing DR: 5 | Format Reviewed: 320 kbps MP3 Label: House of Mythology Websites: zuhom.bandcamp.com | facebook.com/vajrazu | zuism.net Releases Worldwide: January 9th, 2026 The post ZU – Ferrum Sidereum Review appeared first on Angry Metal Guy.

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset. Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.” The Splintered Oar by Weft Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing. What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display. Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold. --- Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: Bindrune Recordings Websites: weftmusic.bandcamp.com | instagram.com/weft_music Releases Worldwide: December 19th, 2025 The post Weft – The Splintered Oar Review appeared first on Angry Metal Guy.

Megadeth is the obstinate offspring of a legendarily difficult and divisive individual who rarely worked well with others or even himself. You can expend buckets of printer ink applauding Dave Mustaine’s skills as a musician and songwriter and pour out just as much on his shortcomings, mistakes, and disappointments. One thing is indisputable: the man left a sizeable impact on metal over multiple decades while helping to define a whole new genre. But we didn’t come here to praise Dave or Megadeth, we came to bury them (the latter anyway). Megadeth is allegedly the last album we’ll get from Dave’s passion project, and after 16 albums and a career of loud public living rife with infamously endless beefs, this finale will be both mourned and welcomed depending on where you sit on the spectrum of Megaopinions. Personally, I loved all the early days material, but I’ve run warm and cold on much of what came after Youthanasia. Even though I haven’t spent much time with Megadeth’s post-2000 output, I admit to feeling bittersweet emotions as their career arc finally comes to a close. I’ve even found myself going back through their discography and reminding myself what I loved, what I didn’t, and discovering several of their albums are better than remembered. I suspect I won’t be alone in doing so these next few weeks either. Though I had planned to cover Megadeth myself, it began to feel like too big a moment in metal history to hoard for myself, so I reluctantly opened things up to a rowdy Rodeö of unwashed opinions from the filthy AMG staffers. Dave deserves his special day, and now it will be spent ringside at this cock and bully show. Brace for the full Mustaine experience: hot takes, bad taste, and tiny kernels of wisdom. Rodeös sell, but who’s buying? –Steel Druhm     --- AMG Himself: It just seems so fitting that Dave Mustaine would want to get in the last word before retiring. My impression of the man has always been that of a cantankerous, moody, and ultimately difficult guy blessed with golden picking discipline and riffs coming out the wazoo. The mythology of Megadeth is, in a sense, told by the joke Steel Druhm has been making behind the scenes by referring to the band as Megadave. Yet, my jaundiced eye sees in Megadeth a story made up of the personnel Mustaine has worked with. It’s no surprise that when the band reached its initial peak of global acclaim, Dave was working with a genuine guitar virtuoso. Again, when Endgame exploded unexpectedly onto the scene—resulting in my youthful 4.5 rating—it was Chris Broderick who really made the record shine. Yes, of course, Dave has always had riffs, but Broderick executed with a flex and a grin. So, too, does Megadeth draw its real strength from Teemu Mäntysaari, whose genuine chops have carved him a niche as a professional second fiddle to crabby, unpredictable frontmen. Between Dave’s riffs and Teemu’s execution, Megadeth lands on its feet. With only one song I dislike (“I Don’t Care,” which is truly a stinker), the tone throughout Mustaine’s last dance is mid-paced, strongly melodic, surprisingly hooky, and has just enough swagger to remind you who you’re dealing with. Still, plodders like “Hey God!” and “Another Bad Day” are saved by great solos and interesting countermelodies. And when tracks do peak into thrashy Megadeth fare (“Made to Kill,” or the delightful “Let There Be Shred”), Hevisaurus’ shining light adds brilliance and creativity, raising the level across the board. That may seem like a backhanded compliment, but I think, rather, that it’s just fitting.1 Dave gets one last go-round on his own terms—a thing he may well have thought would never happen—and we get to talk about the legacy of this legendary thrash pioneer. That’s a good outcome. – 3.0/5.0 Steel Druhm: Megadeth have been a semi-loyal companion since 1985. Over the decades, I loved, hated, and forgave them more than once. Now, after 41 years and 16 albums, Dave’s winding down his flying circus with the eponymously titled Megadeth. So where does the road end for the band that helped define thrash and gave metal its most mercurial leading man? Megadeth is an entertaining tour through the various eras of the band, with Dave being MegaDave. He’s older and wiser now, though, and smartly sticks to what he does well here. Opener “Tipping Point” is the best Megadeth song in years, with the band rediscovering the beefy thrash sound that’s been missing since Peace Sells. From there, Megadeth takes you through the many faces of Deth, from the annoyingly catchy cheeseball anthems like “I Don’t Care” and “Hey, God,” to the solo-heavy speed bombing of “Let There Be Shred.” There are some really good songs here, with only a few that don’t completely work. The album hits a stride late from “Made to Kill” onward. “Made” approaches vintage thrash levels, evoking a badass, nostalgic energy. “I Am the War” is blunt, burly shit, and closer “The Last Note” delivers Dave’s sneering signoff in grand form. It’s an appropriate exit for a pioneer and legend. Dave’s renewed focus on what he does best pays dividends as he crafts an album’s worth of decent to very good songs with moments that remind me, oddly enough, of classic Metallica. Speaking of which, I even like the bonus cover of “Ride the Lightning” more than expected. The fretboard pyrotechnics between Dave and Wintersun‘s Teemu Mäntysaari are hot and noodly, with scads of smoking riffs and solos in every nook and cranny. As his killing business is shuttered for good, Dave leaves behind a legitimately good album, and it’s nice to see him go out on a high note. Goodbye to Vic Rattlehead and company. Thanks for the memories and the music. I can’t wait for the project with Jason Newsted called Fuck You, Lars!2 3.0/5.0 Saunders: I’m saddling up for this high-profile rodeo special as a rank Megadeth novice. Due to cutting my teeth as a metalhead on other influential old school thrash bands of the era, Megadeth’s blockbuster career largely slipped by me. I gradually developed a strong appreciation of their selected early albums, largely overlooking much of MegaDave’s tumultuous career path of the past couple of decades. Megadeth’s seventeenth and final album, a fittingly self-titled effort, finds Mustaine rallying his troops for one last go-around. Mustaine and his accomplished brigade of hired guns get back to basics, peeling off a warts-and-all, weathered, yet undeniably energetic swansong. Minus the bonus track, Megadeth clocks a refreshingly lean 41 minutes and comes packed with a decent grab bag of catchy anthems, crunchy riffs and often inspired shredding from Mustaine and co-axeman Teemu Mäntysaari. However, expectations should be tempered; this is not exactly a callback to their classic era, but rather a fun romp as feisty geezer thrash and anthemic hard rock collide. Featuring punchy, high-octane thrashers (“Tipping Point,” “Made to Kill”), big dumb fretboard frying jams (“Let there Be Shred,” “Obey the Call”), hooky mid-paced rockers (“Puppet Parade,” “I Am War”), and an unsubtle sentimental farewell (‘The Last Note”), enough fuel burns in the tank to offset the album’s weaker moments and missteps. Dave’s trademark punkish snarl sounds in good form, albeit crippled by simplistic and often hamfisted lyrics, including the worst offenders, “I Don’t Care” and “Another Bad Day.” Regardless, Megadeth could have wound up an overcooked, indulgent mess, rife with questionable ideas and ill-advised risk. Although lyrically, it’s often clunky, leave your brain at the door fare, Mustaine and co. sign off with a respectable collection of infectious, no-frills tunes, providing reasonably satisfying closure for longtime fans. 3.0/5.0. Holdeneye: As long as I’ve liked metal, I’ve had a soft spot for Dave Mustaine and Megadeth. I mean, can you have a more comic-book-villain-origin-story beginning than this band? Yeah, Dave has routinely proven himself to be a megadick, but maybe it’s his unabashed commitment to being nothing other than himself that brings a smile to my face whenever I see him (it was fun to see him play the role of Max Mayfield in Stranger Things). Megadeth was one of my first deep discography dives when I’d officially sworn my vow of un-silence to metal, and the punky swagger into which Dave dipped his thrash has always hit the spot for me. I consider Endgame to be one of the band’s finest moments, but I’ve been rather disappointed with much of Megadeth’s most recent output. In fact, I don’t think I ever even listened to 2022’s The Sick, The Dying… and the Dead!. So imagine my surprise upon hearing the band’s self-titled swan song for the first time. As soon as the first real thrash riff hit on opener “Tipping Point,” I was sold. There’s not a bad song on Megadeth, and there are even a couple of great ones. I don’t even mind Dave’s version of “Ride the Lightning,” but I wish he’d recorded it 40 years ago—I can only imagine how the piss and vinegar would have flowed! Overall, Megadeth is a worthy sendoff for Megadeth. I didn’t realize how hard it would be to say goodbye to one of metal’s favorite heels, but here I am. Thanks, Dave, for giving us some killer records and for meting out the punishment we’ve all been due. 3.0/5.0 Dolphin Whisperer: I don’t care about Dave writing rock licks. I don’t care about a new guitarist. I don’t care about Megadeth playing old tricks. I don’t care—I just want some thrash hits! That’s been my mantra for a new Megadeth album since I can remember, as I didn’t come of age in the glory days of thrash. Post the release of Endgame, I’ve been wondering, with caution, whether each successive album would bookend in lacking the style of the Megadeth catalog. For better or worse, Megadeth gives about as fitting a farewell as Mustaine can manage at this juncture. Between flaccid-mic spats of straight-to-VHS quality camp (“I Don’t Care,” “Let There Be Shred”), Honest Dave emerges in both an aching humility (“Hey God!”) and tattered bravado (“Puppet Parade,” “The Last Note”). Over forty years, seventeen albums, and an undeniable mark on metal history, it can be hard to view Mustaine as the working-class underdog that he continues to wear across character pieces (“Puppet Parade,” “Another Bad Day”). But at least Megadeth doesn’t hammer heavy any ham-fisted conspiracies or stay in any one place too long. Yet, for every moment that Hevisaurus wunderkind Teemu Mäntysaari saves with an interjecting, slippery neoclassical lead, Mustaine sputters in—no nuance, all withered-face exasperation—about how upset he is, how much he doesn’t care, or how life has worn him down. Much of the riff-base, in similar slogging fashion, feels caught in middling churn of not-quite-thrash but heavier-than-rock pomp of Youthanasia or Cryptic Writings-era works, though an aged punkiness presents itself in refreshing ways, if not always enjoyable (“Tipping Point,” “I Don’t Care,” “Obey the Call”). In his determination to disappear from the limelight, Mustaine’s cobbled comfort sells Megadeth as Megadeth in a manner that will leave fans not upset, not enthralled, but at an expected ease with the curtain drawn to a close. 2.5/5.0. Thyme: Megadeth has been an integral part of my metal upbringing, so to say it was easy gathering my thoughts on their eponymous last album, let alone the band itself, would be a lie. At times insufferable, yet ever unapologetic, Dave Mustaine has always seemed like the Frank Sinatra of heavy metal to me. Why? Because he has always done shit his way. And, as the man prepares to shutter a chapter of his life over four decades in the making, I’m happy to report Megadeth is going out on a high note. Megadeth has a little bit of everything: the straight-up thrashers (“Tipping Point,” “Let There Be Shred,” “Made to Kill”), the bruisers (“Obey the Call”), the melodious (“Puppet Parade”), the introspective (“Hey God!), and the reflective (“The Last Note”), which I’d be lying again if I said that last track didn’t have me a little misty-eyed. Even “Ride the Lightning,” though no “Mechanix,” works well as a bonus track. Further illustrating Dave’s knack for great guitarist collabs, Teemu Mäntysaari (Wintersun) is a breath of fresh air, masterfully shredding and noodling his way across Megadeth’s very digestible forty-seven minutes. I’m a little sad we won’t get more Teemu-deth, to be honest. Verbeuren’s skinwork shines again, while a trio of bassists (LoMenzo, DiGiorgio, and Rakestraw) capably fill the low end of this Mustaine/Rakestraw production, which sounds great, landing sonically between Countdown and Youthanasia. It’s no Peace Sells, but it doesn’t have to be. For a man who’s survived addiction, a potential career-ending injury, and cancer(!), I think Dave’s earned the right to lay down his guitar. Time, as we know, waits for no man. While it will be weird living in a world without Megadeth, I’ll cherish the music and memories. Thanks, Dave. I can’t wait to catch you on the road one… last… time… 3.0/5.0 ClarkKent: After 43 years in the biz, Megadeth is sadly calling it quits, but at least they’re going out with a bang. Megadeth is fresh, energetic, and disciplined in ways the big four haven’t sounded in some time. The thrash cuts “Tipping Point” and “Let There Be Shred” don’t sound like a decades-old band trying to stay relevant. They sound like a vigorous young band carrying a swagger and a chip on their shoulder. Megadeth provides equal measures of pure thrash and melodic heavy metal, but keeps everything to a tight 3-4 minutes (at least until the final two tracks). Dave Mustaine proves a capable storyteller, with lyrics that feel personal and autobiographical. There’s the confessional “Hey God!” turning to his relationship with religion; “Puppet Parade,” my personal favorite, looking back at his struggles with alcoholism; the tongue-in-cheek “Let There Be Shred” building up a heavy metal mythos around Dave; and finally “The Last Note” giving fans a fond farewell. The latter also provides a rather poignant summary of his career: “I came, I saw, now I disappear.” It’s true that not all songs land, such as “I Don’t Care,” with lyrics that sound like a defiant adolescent wrote them, and the middling “Obey the Call,” which lacks any memorable hooks. “Ride the Lightning” also sounds too similar to its source, but at least it provides Dave with closure over his feud with Metallica. As sad as I am to see Dave hang it up, thankfully, he provides one final thrill in the Megadeth discography. 3.5/5.0 Owlswald: As Dave Mustaine closes the book on his legendary career, Megadeth’s swan song makes it clear that Mustaine intends to leave the same way he entered: loud and unmistakably himself. The self-titled record starts hot with “Tipping Point,” a fast, grinding riff assault that recalls Megadeth’s classic openers. “Let There Be Shred” leans into old-school speed metal while “I Don’t Care” delivers its punk-ish energy despite terrible lyrics. New guitarist Teemu Mäntysaari steps seamlessly into the void left by Kiko Loureiro, immediately asserting himself with playful solos, sweeping leads, and fretboard fireworks that stretch his guitar to the limit. Dirk Verbeuren remains rock‑solid, delivering galloping rhythms with sharp tom rolls and double-bass that echo Nick Menza’s punishing style. “Puppet Parade” nods to both Cryptic Writings and Countdown to Extinction, evoking “Almost Honest” in its opening and “Foreclosure of a Dream” in its clean bridge. Mustaine’s gruff, sneering delivery is classic Megadeth here—very “Sweating Bullets”—even though the chorus doesn’t land. The record stumbles temporarily with “Another Bad Day,” a forgettable rocker dragged down by weak songwriting and more bad lyrics, and “I Am War,” which feels generic and overly reliant on thin vocal hooks. But “Obey the Call” and “Made to Kill” fare better, with Mustaine returning to his lower register that fits more naturally within the outstanding instrumental performances. The finale turns somber. “The Last Note” finds Mustaine confronting his legacy and the approaching end of his career, followed by an unnecessary cover of “Ride the Lightning”—a final smirk3at his long history with Metallica. Flawed but unexpectedly solid, Megadeth’s final album plays like an autobiographical reflection from a metal legend. It’s hard to ask for much more at this point and is a worthy send-off. Good. Grin Reaper: Going out on your own terms is not a decision every band gets to make, and when the news broke that Megadeth would hang up the ol’ guitar strap, the news struck bittersweet. Dave Mustaine and his revolving cast of support have been steady companions through my major milestones, providing a symphony for construction as I assembled my adult life. But what can you expect from Megadeth’s last words? Megadeth is, most of all, a celebration. Seventeen albums over forty years deserve a bit of revelry, especially considering the heights of Megadeth’s career. Though Megadeth doesn’t threaten to dethrone their best material, it’s a major success for latter-day Deth and boasts concise track lengths and carefree fun. Most importantly, the mantra of “Let There Be Shred” isn’t limited to just that song as Dave and Teemu Mäntysaari (Wintersun) trade fiery leads throughout (“Tipping Point,” “Made to Kill”). Dirk Verbeuren once again avails himself behind the kit, effortlessly pummeling with mechanized precision (“Tipping Point”) and snappy punk rolls (“I Don’t Care”). Though I would prefer another technical smorgasbord à la Rust in Peace, there’s a fair offering of mid-paced tracks more in line with the Youthanasia and Cryptic Writings school of radio-friendly jams (“Hey God!,” “Another Bad Day,” “Obey the Call”). Songs like these are among my least favorite on Megadeth, but credit to Dave—they’re short and feel genuine. The honesty of Megadeth’s curtain call is a final triumph, a fist raised in the air signifying that after a career of proving to listeners and himself that he earned his place in the pantheon of metal, Dave Mustaine gets to end his game his way. May he retire in peace—now go rattle your goddamn head! So Far, So Good! Baguette of Bodom: After the massive disappointment that was The Sick… and the embarrassing hilarity of “I Don’t Care” earning meme status, I was prepared for a real stinker. But it was not meant to be, for Megadeth’s self-titled swan song surprised shockingly. Do not expect a fast-paced thrasher, though; this last hurrah harkens back to various eras of the band, mostly the better ones even! While there’s a bit of Killing… and Rust in Peace in “Made to Kill,” many songs here resemble the simpler but effective ethos of Countdown. Tasty, melodic ’90s lead guitar hooks (“Another Bad Day,” “I Am War”) result in Mustaine occasionally sounding the best he has since Thirteen, and Dirk Verbeuren’s drums deliver plenty of fun fills throughout (“Made to Kill,” “Hey God!”). Teemu Mäntysaari is clearly the star of the show. He complements Dave’s playing with classic ‘Deth tones, and I’m glad his tasteful riff and shred craft have a place to truly shine front and center (“Puppet Parade,” “Let There Be Shred”). Despite a rough opening duo, the record recovers quickly, with the back half being particularly impressive for a band I had largely given up on. Overall, Megadeth is a solid Dystopia-tier album in a tight 41-minute package. It won’t make any respectable year-end lists, but I’m glad this long and mightily uneven career ends on a positive note, except for the tacked-on “Ride the Lightning” bonus. It’s a decent enough rendition of a decent enough song,4 but why hold a grudge over young and stupid egos for 40 years? It’s not even faster or angrier, which used to be the selling point. “Mechanix” made “The Four Horsemen” better; this one makes a great opening riff worse. Take relationship counseling notes from Helloween. – 3.0/5.0 Double Bonus Megaopinions from Infamous Former Staffers: Doc Fisting: In an era where no band ever truly stops, I approach Megadeth’s impending retirement with an apprehensive sense of closure. If Dave Mustaine feels that this album is his last, he’ll get no argument from me whatsoever. The songwriting is weak throughout Megadeth, often feeling like mismatched parts forced together on some producer’s laptop. The lyrics aren’t much better, ranging from good ideas executed poorly (“Puppet Parade”) to steaming hot garbage (“I Don’t Care,” ”Let There Be Shred”). A few tracks approach classic Megadeth’s speed, if not its quality, but much of the record goes by at a Cryptic Writings-esque midtempo pace. Even compared to Megadeth’s last couple of albums, this one feels especially low-effort and low-energy. Mustaine’s ability to craft memorable guitar parts seems to have departed, as nothing here shows a trace of the creativity or technical skill he was once known for. Time has sandblasted his vocal range down to almost nothing, and he relies heavily on his “hello me, it’s me again” shtick as a result. Closing track “The Last Note” crosses the line into self-parody, closing the band’s career on a low note.* New guitarist Teemu Mäntysaari attempts to patch the holes, delivering ripping solos where riffs or vocal hooks belong. Drummer Dirk Verbueren similarly tries to inject some Gar Samuelson-style energy. Unfortunately, the material here doesn’t give them much to work with. Make no mistake — Dave Mustaine is one of the architects of thrash metal, and deserves credit for it (just ask him). His contributions to the genre from 1983 through 1991 are essential, and nothing can take that away. But Megadeth feels less like a triumphant farewell and more like a necessary one.5 1.5/5.0 Ferrous Beuller: The end is nigh. Time to Ragnarockoutwithyour”Glock”out for that final full stop in the Apocellipsis. After 40-plus years, Megadeth have bowed out with a final self-titled trip down the riff river. What does this mean? It means another release that is indistinguishable from every post-Youthanasia Megadeth album. For decades, Mustaine has released self-derivative records whose highlights might occasionally tickle a playlist. Megadeth does not deviate from this formula. If you’re hoping for a grab bag of sanitised thrash riffs and intangible mid-pacers, then you’re in luck. But make no mistake, this is not Risk. Those particularly fond of albums like Cryptic Warnings or even Th1rt3en will find something to like here. Dave can surely write this kind of material with his eyes closed by now, and it shows. It feels rote because, by this point, that’s exactly what Mustaine’s creativity has become. As just another Megadeth album, this is as redundant as the irrelevant marketing strategy Metallica cover. As a goodbye, Mustaine has always done things his way, so I guess this, too, is by design. Decades of treading tepid water can never change the fact that Megadeth embodies a foundation of metal. This swan song won’t sully that reputation. But, given the finality of it all, I can’t help but wonder what might have been. Well, Megadeth, thanks for the memories. Someday, other bands will know your pain, but few will smile that once-black-toothed grin. May you rust in peace disgracefully. If anyone needs me, I’ll be busy pretending they split after 1994. 2.0/5.0 ---  The post The Graying of Dave the Red: Taking Megadeth’s Last Stand to the Rodeö appeared first on Angry Metal Guy.

Above: Sound of the Damned (IG) ROOTS of Greenlandic Metal | on SiriusXM Week of January 24, 2026 Sat 1/24, 6PM ET Sun 1/25, 1PM ET Mon 1/26, 9AM ET Tues 1/27, 4PM ET Thurs 1/29, 9PM ET + On Command: SiriusXM App This week we visit the sparsely-populated but fiercely metallic northern island Greenland. Check out the unique hybrid of Inuit and Scandinavian traditions in the spectacular… Source

Buy here: http://www.metalblade.com/iotunn Under the starry skies of Copenhell 2023, Danish/Faroese progressive metal outfit IOTUNN took the stage by storm with a performance already etched into the festival’s history. A sea of specially designed laser beams cut through the night, as the band delivered some of their most majestic and emotional compositions – a concert experience that elevated both the audience and the music to cosmic heights. Now, IOTUNN releases this unforgettable moment as a live album. The album captures the intensity, the magic, and the unique atmosphere that can only arise when music meets the night sky and thousands of devoted souls gather before the stage. With this release, IOTUNN invites fans and new listeners alike into the heart of a concert where time and space dissolved, and where the energy of metal was transformed into a radiant ritual under the open sky. This is more than a live album – it is a monument to a band in their true element: raw, majestic, and unforgettable. Jesper Ladekær Gräs: Guitar Jens Nicolai Ladekær Gräs: Guitar Jón Aldaré: Vocals Bjørn Wind Andersen: Drums Eskil Rask: Bass "Access All Worlds" recorded live at Copenhell, Denmark, June 14th 2023 Mixed and mastered by Bjørn Wind Andersen Engineered by Casper Hersø Jensen Film Recording by Symphor Film Video editing by Bjørn Wind Andersen Follow IOTUNN: https://www.facebook.com/iotunn https://www.instagram.com/iotunn x: iotunnband

Now that Megadeth's self-titled final album is out, here's how fans are reacting to the band's new version of Metallica's "Ride the Lightning." Continue reading…

Ex-Scorpions bassist Francis Buchholz has died at the age of 71 after a private battle with cancer. Continue reading…

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years. Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker. Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love. Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo. Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.  --- Rating: 2.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: Dying Victims Productions Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal Releases Worldwide: January 23rd, 2026 The post Barbarian – Reek of God Review appeared first on Angry Metal Guy.

The best things in life often happen organically. Temptress1 began in 2019 in Dallas, Texas, as three friends casually jamming together, and they had enough natural chemistry to decide to take their alluring stoner doom to the studio. Like someone who is well-versed in the art of seduction, they appear to be working their way through each of the five senses. Their debut full-length, see, was born in 2023, but now the time has come to close your eyes and hear what Temptress has conjured up for their sophomore record. hear is both more immediate and less straightforward than its predecessor. Temptress has livened up the laid-back stoner rock of see with copious amounts of grunge. Kelsey Wilson’s guitar lines are equally likely to slip into a hypnotic, looping groove as they are to burst into peppy riffs. The passages occasionally slow to a doomy plod or bear a passing resemblance to the psychedelic side of Messa. Regardless of style, much of the repetitive songwriting has been tightened across the board, making hear’s average track length and total runtime noticeably shorter. hear by Temptress hear is a concerted group effort that respects each member’s individuality. All three members share mic duty, which affords variety rather than synergy because most songs have only one vocalist (with the exception of some backing vocals during the chorus of “Narrows”). The ethereal female croons2 in “Edge” and “Downfall” tend to fit the music best; however, the singing elsewhere can sound a bit flat (“Now or Never,” “Narrows”), not quite matching the passion with which they play their respective instruments. Andi Cuba’s drumming has an endearing, quirky character—I like that intro track “Into” uses only tom and bass drums, although there are small annoyances such as the overuse of syncopation (“Edge”) or snare drum fills (“Downfall”). Christian Wright takes the lead with bass guitar in outro track “Out of,” which I hope to hear more of in the future. Temptress is becoming adept at writing a cohesive record that keeps a live setting in mind. The first half is much more energetic, giving hear the initial impression of being front-loaded, but the back half contains additional nuance upon closer listening. “Be Still” and “Downfall” experiment with tempo shifts to overall success, save for the 30 seconds or so of dead time at the end of each track. The bookends tie hear together well as a package, with a crisp transition from “Into” to “Narrows” and “Out of” complementing the introduction neatly. The one song that I struggle with as a whole is “Now or Never” due to the deadpan vocals and repetitive lyrics, but the instruments are spirited enough that I can imagine that this would work better when performed live. Temptress comes across as a tight-knit group that retains a refreshing “no expectations” attitude from their early jamming days. The stoner doom and grunge work very well together to produce plenty of enjoyable licks and riffs, although the vocals are something of a mixed bag. Temptress’ growth between see and hear is impressive. I’d like to see them continue to refine their more subtle, contemplative songwriting approach in addition to their more straightforward, bouncy side. All in all, what I’ve heard so far makes me eager to touch Temptress’ next album. --- Rating: 3.0/5.0 DR: 3 | Format Reviewed: 320 kbps mp3 Label: Blues Funeral Recordings Websites: temptressofficial.bandcamp.com | temptressofficial.com | facebook.com/temptressdfw Releases Worldwide: January 23rd, 2026 The post Temptress – hear Review appeared first on Angry Metal Guy.

Want to hear the latest in heavy? We've got you covered this weekend with the latest from Megadeth, Pelican, Karloff and more! The post Five For Friday: January 23, 2026 appeared first on Decibel Magazine.

Slipknot voluntarily dismissed the suit for now, but have retained the right to refile later. Continue reading…

Maynard James Keenan told Steve-O he thinks Tool's '4°' is a stupid song because he was trying to make a dumb joke with the lyrics. Continue reading…

Drop the needle on any of these albums and strap in for a wild ride. Continue reading…

Buy here: http://www.metalblade.com/web W.E.B.’s music has earned high praise for its “drama, extremity and bloodthirst in equal parts… energetic and unhinged.” The formidable symphonic extreme metal lineup is best experienced at one of their many crushing live gigs. Enter Darkness Alive, their first-ever live album, recorded in the quartet’s hometown of Athens on September 22nd, 2024. “We shared the stage that night with Dark Funeral, and since we were making changes within the band, that had us excited. We made the decision to mark this day with a special release, hence our first official live album,"says vocalist/guitarist Sakis Prekas. Choosing the nine songs for Darkness Alive was simple. “We can tell almost immediately which songs work for a concert and we always keep the audience in mind,” Prekas explains. “We want the people who come to see W.E.B. perform to have a good time, to get our message, to grasp them and make a damn memorable metal show, as it should be.” Darkness Alive truly captures the band at the top of their game. Standout tracks include “Dragona,” blasting black metal with an epic finale that forever will be a staple in W.E.B.’s live setlist, “Into Hell Fire We Burn,” which Prekas describes as a, “thunderous marriage of black and heavy metal with a chorus that literally orders you to sing along,” and today’s single, “Dark Web,” an intense melodic death and modern metal onslaught off their 2021 Colosseum LP. “Dark Web” spits out the way people with power and money treat others: in the most brutal manner. Darkness Alive Track Listing: 1. Crimson Dawn (Live) 2. Pentalpha (Live) 3. Dark Web (Live) 4. Into Hell Fire We Burn (Live) 5. Murder Of Crows (Live) 6. Necrology (Live) 7. Morphine for Saints (Live) 8. Dragona (Live) 9. Eligos (Live) W.E.B. is currently composing material for their next full-length album that will see them hitting the road once again. “It is by far the best material we;ve ever had on a record. I intend to keep the promise to myself regarding W.E.B. that all new material must be better material, otherwise there is no reason to release it,” Prekas concludes. “Stay Dark.” W.E.B.: Sakis Prekas – vocals, guitar Hel Pyre – vocals, bass, keys Alex Despotidis – guitar Babis Kapageridis – bass Vasilis Nanos – drums https://webmetalband.com https://www.facebook.com/webdarkness https://www.instagram.com/webdarkmetal https://www.youtube.com/@WEBbandOfficial https://x.com/webdarkmetal https://www.metalblade.com https://www.facebook.com/metalbladerecords https://www.instagram.com/metalbladerecords https://x.com/MetalBlade https://www.metalblade.com/museum

Greece's very own W.E.B. to release their first-ever live album, 'Darkness Alive'; recorded in the quartet’s hometown of Athens on September 22nd, 2024! Check out the second video for "Dragona" and pre-save digitally HERE: https://www.metalblade.com/web/ Out February 20th

Symphonic black metal artist Daidalos has shared his latest single “Euphobia.” The track appears on his forthcoming full‑length, Dante, out February 20 via Rockshots Records. ​ Founded in 2020 by multi‑instrumentalist and composer Tobias Püschner, Daidalos released The Expedition in 2022. As the name suggests, the follow-up, Dante, is a personal work about psychological hell. ... The post Track Premiere: Daidalos – “Euphobia” appeared first on Decibel Magazine.

The first review of the year always brings a strange sensation. After a long year of reviewing great, good, meh, and fucking terrible records, it gets even longer come November/December with list season. The amount of work increases more than ever as you write your blurbs, edit others, and constantly monitor comments by those who wrongfully disagree with you. After list season comes to an end, there’s an involuntary sigh of relief that all the work got done, and while a lot of the lists were shit, stylistically and format-wise, they looked good. But the first review of the year is a different kind of sigh. Not one of relief but one of “here we go again.” So, with my knuckles cracked and promo downloaded, I dive into Spanish thrashers, Furi Helium, and their sophomore outing, No Altar Stands Eternal. I’m not gonna lie, I absolutely picked this promo because of the band name. Ignoring spelling and pronunciation, the thought of “furry helium” is fucking hilarious to me. As I rolled around on the floor, with kids and cats alike watching in bewildered horror, it was brought to my attention that “furi helium” can be translated to “black sun” in Latin. Fine. Take all the fun out of my life. But, after my initial spins, I came to appreciate this little gem because Furi Helium is much in the vein of Spanish brethren (and one of my favorite thrashers), Crisix.1 So, instead of imagining furry gases that give you a high-pitched voice and furballs, I’m pummeled with crushing riffs, punchy gangshouts, memorable choruses, and a bass presence deserving of better production. Which, I suppose, I can accept. No Altar Stands Eternal by Furi Helium Like many of the other neothrash outfits these days, the opening track, “Bloodspiller,” launches into a simplistic approach that sets the tone for the album. But it isn’t until a couple of songs later that No Altar Stands Eternal really takes off. “Criminals” introduces some nifty guitar work and a charging attitude. From there, it alternates between a galloping riff and one of the more memorable choruses on the album. At the album’s midpoint, the back-to-back “Tidal Disruption” and “Fall in Disgrace” rule the roost. While both have killer riffs throughout, what makes these songs so special is the massive bass presence. While it’s been there up to this point, it’s dialed up to eleven, and the performance is stellar. “Tidal Disruption,” in particular, is a banger. It features punchy vocals that perfectly match each drum hit, plenty of melodic At the Gates vibes, and the standout chorus on the record. Others worth mentioning are “12 Mirrors” and the closer, “The Chronophage.” The first is up there with songs like “Tidal Disruption,” laying to waste anything in its way with a kickass thrash groove and gnarly fucking vocals. It’s a monster mash of Crisix attitude and riffs that get better as they go. The closer is the black sheep of the record, loaded with a thick layer of melodic laquer and dark, swirling atmospheres. It also gives off a lot of The Haunted vibes—growing and falling along a path of thick riffs and soothing movements—producing a near-perfect ending to this sophomore effort. The main issues I have with No Altar Stands Eternal are that it takes a bit to get going, and the production is not worthy of the skill. While the first handful of songs are worth a listen, by the time you get to “Criminals” (the fourth track on the album), the album really begins to blossom into something special. From there, it’s nonstop satisfaction. I only bring this up because some might bail before the good stuff emerges, and that would be a terrible mistake. While the production isn’t bad, it only bothers me because the nooks and crannies are what I’m most interested in. Whenever the bass controls a song’s flow, it feels dialed up to accommodate it. Otherwise, it sits comfortably in the background. With a dynamic master that can breathe and throb with all the intricacies throughout, we might experience the bass and other subtleties as intended. So, someone sign these sons of bitches and give them money for a higher-quality product. All that to say, I really enjoy this record and shall be jamming to it for months to come. --- Rating: 3.5/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: Self-Released Websites: furihelium.bandcamp.com | facebook.com/furihelium Releases Worldwide: January 22nd, 2026 The post Furi Helium – No Altar Stands Eternal Review appeared first on Angry Metal Guy.

Check out a stream of the new album by Danish thrashers, Hellmaze! The post Full Album Stream: Thrashing it Up with Hellmaze’s Dead Flesh Rising appeared first on Decibel Magazine.

Swedish black/death metal veterans In Aeternum are closing the chapter on their long-awaited return with ‘The Vile God of Slime,’ the second and final single to be revealed from their upcoming album …Of Death and Fire, due February 6 via Soulseller Records. Founded in the early ’90s, In Aeternum built their name on a volatile hybrid... The post Track & Video Premiere: In Aeternum – ‘The Vile God of Slime’ appeared first on Decibel Magazine.

For over 30 years, Casket has been a reliable—if slow and not terribly well-known—source of classic death metal. Originally forming as a four-piece in Reutlingen, Germany in 1990, they released a slew of demos between 1992 and 1996 before releasing their debut, Under the Surface, in 1998. They’ve released something (demo, EP, or LP) every five years or so since then, and aside from paring down to a trio in 2007, not much has changed since the early days. Although they experimented with gothic/symphonic elements on 2017’s Unearthed, their fifth full-length sees Casket returning to form. In the Long Run We Are All Dead promises raw, basic death metal, diluted by neither time nor inferior metals. Is their barebones style still virile, or is it a relic best left in its bygone age? Casket’s death metal may be barebones, but they’re damn good at it. With nary a note of warning, Casket hits the ground running on opener “The Will to Comply.” Vocalist/guitarist Schorsch launches beefy, retro riffs and vicious, descending tremolos while vomiting up chasm-deep vocals like slabs of cement grinding against each other. Casket’s skill and experience are painfully obvious as they rip through track after track of dumb, violent death metal. The low-end heft from Susi Z’s bass makes In the Long Run We Are All Dead feel more like blunt force trauma than a stabbing or a slashing, and drummer Marinko consistently provides just the right tools for his bandmates to inflict maximum damage. This is old school death metal played the way only the old guard knows how. Hammer, Knife, Spade by CASKET When I first saw that In the Long Run We Are All Dead boasted a whopping 11 tracks, I was worried it would overstay its welcome. Luckily, that’s not the case. Casket constantly shifts between various iterations of the old school formula. Incantation is the biggest touchstone here, but not the only one. The specter of Bolt Thrower lends its inexorable, crushing riffcraft to “Highest Thrones” and “Fundamental Rot,” and there’s a dash of punk woven throughout, largely driven by Marinko’s drumming (“Highest Thrones,” “Seeds of Desolation”). While Cannibal Corpse’s freneticism shows in tracks like “Hammer, Knife, Spade” and “Mainstream Mutilation,” much of In the Long Run We Are All Dead stalks along at a middle pace, trading speed for power and complementing Schorsch’s demonically low roars. Even when my attention does start to wander by album enders “Strangulation Culture” and “Graveyard Stomper,” Schorsch’s guitar ventures for the first time into higher registers, adding a novel brightness in a final push to the dead wax. There’s not much to complain about on Casket’s latest. Missteps on In the Long Run We Are All Dead are few and minor, while mid-to-highlights—like the strong conclusions of “Seeds of Desolation” and “Graveyard Stomper,” the instrumental pause in “Fundamental Rot” when Schorsch roars over the gap, or the punky shifts that peak in and out on “Highest Thrones”—are fairly common. I did find the occasional kinetic plucking noise on the bass a little distracting, and I wish the kick drum sounded a little less anemic next to an otherwise robust kit. The opening and recurring riff of “Skull Bunker” fails in repetition and would have served better as a hook. Two tracks are dubiously cut interludes (“Mirrors,” “Necrowaves”), and “Fundamental Rot” takes its time leaving the stage, but at a combined two and a half minutes, none of it is bothersome enough to hit skip, or even properly be called bloat. In an era of always searching for the next big thing, Casket brutally reminds me of a core life lesson: if it ain’t broke, don’t fix it. Casket has been around since the beginning, and they know the basics never go out of style. Sure, there’s a weird riff here, a bad bridge there, but even 36 years in, In the Long Run We Are All Dead is no exception to Casket’s consistent quality and timeless, nuts-and-bolts style. Casket doesn’t do hype or trends; they don’t care about exploring boundaries or subverting expectations. They’re just here to break your skull open with a hammer. Or a knife. Or a spade. --- Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: Neckbreaker Records Websites: Official | Bandcamp | Facebook | Instagram Releases Worldwide: January 23rd, 2026 The post Casket – In the Long Run We Are All Dead appeared first on Angry Metal Guy.

Portland post-metal sludge trio Belonging 's bark is worse than its bite on new track "The Dog." The post Video Premiere: Belonging – “The Dog” appeared first on Decibel Magazine.