DISSIMULATOR :"Artifice Dissolves"

 It makes sense these guys are as weird as they do metal. I reviewedtheir2023 album and liked it so much it earned a 9, putting them at the top of the heap when it comes to deathly thrash. The opening track feels more like death metal, though a  few moshy riffs come in. They are taking influence from two genres known for being fast, so you better wear your seat belts. "Hungry Ghosts" is more rooted in the deliberate riff worship of thrash, and is written with more nuance than the first song. I like the robotic vocals thrown in as accents. The fast parts that do arrive are balanced by riffs with more hooks.

The title track gets caught up in speed. This might make you wonder why I listen to so many extreme metal bands if I don't like fast playing.It is all about balance and not rushing the song. The title track seems to be about vampires, which goes against the normal sci-fi themes. "Alloyed" finds a more sci-fi feel back in place and a rock vibe in the verse riff."Proprioceptor" finds things getting weird and technical with an angular curvature to the riffs. This feels more like death metal. 

"Neon Metropolis" feels like old Megadeth from a guitar perspective. The robo-vocals return for this song. The last two songs focus more on the technical side of speed metal, with the only grooves surfacing on the last song. When I left this album just playing as  I went about my day, it did grow on me, so for that reason I will give it a 9. If you liked the previous album, things have not changed, though this one might be faster. 

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Exumer : "Death Mask Messiah"

These German thrashers hit it hard from the Exodus school of gritty thrashing. They are not slaves to speed, as there are even more deliberate moments on the opening track, though thetest will behow therestof the album holds up. It is their first album in seven years, so they clearly had a great deal of pent-up energy that needed to be vented.  "Blinding Skies' is punchy but not as hooky as the first song. The sheer velocity of what they do might be enough to overwhelm the ears of some. The locomotive-plam muted chugging and snarling vocals find a uniformity taking over. 

The riffs get catchier on "Eradication," and the vocals seem to have more purpose. If you are looking for great guitar tones, they have plenty of those on this one. The drumsand guitars lock in with heavier intent for the aggressive pound of "Ravishing Waste,"  though once it gets into the verse it becomes a speed fest that feels rushed til the more Slayer -like chorus. "Allocated Savagery" is more typical thrash as it relies heavily on the frantic drumming. The vocals are spit out in a fashion that brings Exodus to mind once again. "Serpent" is powered by a more mosh-inducing riff. 

They are always sharply playing their rapid-fire homage to thrash, but some moments are more compelling than others. The lyrics do not help in this regard as they are playing off expected tropes. Some mean riffs shine through in places. "Scorcher" has so many of these riffs that it works in their favor. When they pour on the speed, it works against them, though this could be said for most bands as it tends tomake phrashing feel rushed. They close things with a more Pantera-like groove on "Unchained Angel". The only problem is they are not Pantera. They are great at what they do, so if you want some late-stage 80s-feeling thrash, they have you covered. I will give it an 8.5,Being released on Metal Blade Records.  

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Flotsam & Jetsam : "Rats in the Temple"

 

This seems like it is the same line-up from the last album so we are in for a solid ride. They are not trying to recreate "No Place For Disgrace" but are moving forward. Ken Mary, who played drums on the heaviest Alice Cooper album "Raise Your Fist and Yell," really propels the opening track. "Damnation' does have more of a traditional thrash riff, which brings back fond memories without hampering them from engaging in 2026. His sung vocals are pretty catchy, and of course there is the noted lack of falsetto wailing, which he has left to King Diamond years ago. 

"Absolution" charges forward with an aggressive chug. The formual seems to lie in how they set up the chorus, and the verses are varied levels of thrashing heaviness, which works for me. There is some tight chugging that is top-tier thrash here."Blame the Knife' is the hookiest song so far, though we are only four songs into the album but this is going to be the bar they set for themselves here. The "breakdown" section before hte solo is pretty awesome. The title track indulges in some melodrama for the intro. There is some interesting production choices in how the vocals are layered here. 

"The Ghost Behind My Door" displays how modern metal production can fuse with timeless thrash. At 61 years old, Eric's voice sounds great. This carries over into "First on the Spike:  His vocals are more aggressive on this one. Prodiuction wise it seems like the layers of vocals are more plentiful on this album. It is hard to argue with results I have not seen these guys live since the 90s so who knows if he can pull it off. He does always put his voice in the right place on this album. They slow things down a little going into "The Edge of Nowhere"  but build it back up to hyper thrashing speed on the verse. 

The bulk of the album, they have kept the double bass flowing so by the time we get to "Last Rites," I begin to wonder if they are going to shift the dynamics, and the answer is no. Things stay catchy enough to make it forgivable that they won't take their foot off the gas, and for thrash, I guess that is what some people want. The bass emerges to give "A Taste for War" a backbone and shift away from the more straightforward thrashing. This gives Eric more room to sing, as the drums drop the bass to a tribal pound on the verses. "Her Blood Your Pain" benefits from catchy vocals. The guitar harmonies are somewhat Iron Maiden-like. 

"Anthem For the Broken" has a more power metal-feeling chorus to contrast the grittier thrash of the verse. I would not call any of the songs filler but this one does not grab me as firmly as the others up to this point have. The last song might have the heaviest riff of the album driving it, which makes sense, though it is balanced with a more melodic passage for the verse. I will round this one up to a 10; it's as [perfect of an album as you could ask these guys for in 2026. It drops August 28th on NapalmRecords. 

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Harlott : "Exsequiis"

 This Australian follows the thrashing path laid down by Exodus back in the 80s but plays it while using a big modern guitar tone that delivers a great deal of crushing density. The vocals are more "Fabulous Disaster" than "Bonded By Blood". They weave a great deal of crunchy mosh riffage into the four minutes of the first actual song. Truth be told, Exodus doesn't even sound like this now, though these guys do speed things up into a blast beat at times as they are focused on the hyper-aggressive side of the genre, but still deliberate. With "Messiah Simplex," they push this in a more Slayer-like direction. Though the mean hooky riffs come through again for them. 

"Trial By Liar" leans into the punk influence of the genre, at tit lurs the line between what is hardcore and what is thrash. I like the way the vocals are produced on this song. Power Trip better not wait around too long to release their comeback album, or these guys might claim the vacant spot. Things get darker for "the God That Knows No Name". The chugged riff that is the backbone of this song is more deliberate. The vocals come closer to actual singing on the bridge. This is the album's best song so far. They pour on the speed for "Kleptogenesis," which is less enthralling. It reminds me of Slayer's more punk newer phases.

There is more groove to " A Still More Glorious Dawn Awaits". The guitar solos here are pretty tasteful and add melody to the song. "The Joyful Strain" marries Exodus-like grooving verses to an Accept-tinged chorus, though Accept was obviously an influence on Exodus to begin with. "Ending" finds more purpose in their chugs as the riff carries more of a hook, before they pour on the thrashing speed. In some ways it also makes me think of old Atrophy. There are a few passages that carry more of a groove heading into the verse, but a less defined chorus. The producer was aware of their vocal limitations, as the more sung vocal sections are layered or effected.

"Vice Borne" finds things running together at a high speed and working off a similar formula as the previous song. But it is still pretty effective. The title track closes the album and pulls off what they have shown works for them but given a more epic scope with a bigger refrain taking the song out.  I will give this one a 9, as the second half of the album tends to take on a more uniform feel as they give in to the need for speed, but it still works and they care about songwriting, which is better than just caring about trying to recapture the 80s feel for nostalgia, making forward-thinking thrash a commodity.Drops September 11th on Metal Blade.  

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Kill By Mouth : "Necessary Evil"

 

This British thrash band dropped this EP back in March, and I am just now catching up with them. They set themselves apart from thrash revival bands by blending some of the darker corners of the genre that it evolved into by the time the 90s rolled around. Pre-nu-metal leaning Prong can be heard in the thunderous syncopation they lock into. There is also ample hardcore influence they ride the line between in a very organic manner. The vocals howl in a baritone bark. They have a dark and commanding groove that moves them on the opening track. They do not forget to keep things at a head-banging tempo while not dumbing it down.

There is a very deliberate chug to "228". I appreciate the restraint they use as they never pour on the speed and forsake the purpose of the song, making this catchier. While I can hear the influence of both S.O.D and Sepultura here, there is never a sense of nostalgia like they are paying homage to an era. Instead of trying to capture a retro sound, their energy has been invested in focusing on songwriting. The guitar solo on this song is very melodic and provides depth rather than just spastic chaos. "Johnny Volcano" finds them getting even more melodic, as an eerie atmosphere precedes the more bludgeoning crunch that recalls post-"Seasons" Slayer. The vocals remind me a little more of Integrity here. In the closing moments of the song, the vocals are sung rather than bellowed.

They close this album out with the emphasis on groove. It reminds me of the mid-90s when the rising tide of bands like Korn caused the old guard to pivot in order to remain relevant. Clearly, it's an era of metal that was enduring. The riff shifts at the end to pound the point home memorably. These guys excelled at being true to the genre, while doing their own thing and crafting some catchy tunes that hold up against the thrash bands of both today and the golden years of the genre. I will give this a 9.5 and see how it grows on me, so highly recommended to fans of the genre looking for something new rather than jsut reheating leftovers like a band like Municipal Waste tends to do. Should appeal to fans of Sacred Reich and Power Trip in equal measure.

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Devildriver : "Strike and Kill"

 

Dez is surprisingly back with Devildriver, making new music in the wake of the Coal Chamber shows, which really surprised me as they blew Mudvayne off the stage when I saw them a couple of summers ago. He seems to have brought more of a nu-metal groove over with him on the opening track. Then, a more blasting thrash onslaught for "Dead In the Water". It is more pummelling, but his vocals retain purpose. Though the song itself might not be as original as the opener. Sonically, Slipknot is a fair comparison to what they are bringing, which is highlighted on "Sanctified In Scars". There are hooks even in the collision of ugliness. When the breakdown sections come, it's a little predictable, but still fun. 

There is a creepy mood underlying the title track that I enjoy. They are excelling at blending more aspects of what worked in Coal Chamber with the heavier sound that sets them apart from that band. There also seems to be more guitar solos than before. There is enough of a stomp to cross them over into younger metalcore audiences. There is a pretty mean riff in the middle of the title track that I hoped they would revisit. "In the Moonlight" starts off more melodic than I remember these guys getting through, they counterpoint it with racing spped infused thrash. I like it when it switches to the more sung vocal.

The blazing fast speed begins to get tiresome by "Ride or Die". I need more dynamics like they employed in the previous song, or it will all begin to sound the same to me. There are some well-assembled sounds gathered here, thanks to top-notch production, which helps "Headed For the Fall" establish more of its own personality despite the drummer being intent on going balls to the wall at all times. With the guitar solo, the breakdown formula is in place. There is a little more nu-metal to the groove of "Shut the Silence on," it's just tempered with some thrash riffs. Not the album's hookiest chorus. 

"Never Coming Home" should have held onto the opening groove rather than letting the drummer continue to rush things. It's the first song that feels like they are rushing things. There are some more melodic guitars for a few measures in the middle of the song. While I want them to be more melodic, I am not sure "Summoning Shadows" is the best manifestation of that. "Just a Ghost " works a little better in this regard as it's darker. It also works with the hammering metal thing they love to do."Oath of Iron" is more along the lines of Pantera, which is more familiar to their older work. 

"All Bets are Off" finds the vocals using almost a more rapped cadance which works well here. When they moved from this, it's back to the breakdown feel that dominated this album. They do throw a creepy part in before the breakdown, so they switch it up a little. I will give this album a 9, it's a more solid, balanced effort from them. Out July 11th on Napalm Records. 

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Heavy Maytal - W.M.D : "Against All Warnings"

 

This Canadian thrash band offers a neck jerking take on technical thrash. They are not obsessed with capturing a retro sound , but incorporate many elements from that time, most notably the vocal, which are a higher pitched squawk on the first track. They locked into some of these riffs in a more breakdown like fashion, which bands like Sacred Reich did back in the day as well. The fleet fingered focus on riffing is what keeps them from being cross over despite the speed poured into the verses, they have twin guitar harmonies to break this but. its till feels kinda rushed.

"Kleptomania" finds more of a Vio-lence feel taking over the sound. There are enough accents and break downs to make it interesting. It's back to pouring on the speed for "Post-Human Predator".  The relentless thrashing maintains it's momentum with " the Black Expanse". There are some audiences who just want fast rowdy playing and these guys deliver that so if that is your thing it is going to appeal more to you than listeners who want more hook and groove in their thrash, which makes the songs more enduring when you think about bands like well... the Big Four, who earned that title for good reason. 

"March of Death' shows they can write those kinds of riffs but it's more of a two minute interlude than a working song, but "the Thin Red Line" takes from it and builds it's own identity  full of guitar solos. "Already Dead' is another racing blur of hyper-aggressive riffing. The vocals are more of a an accent not just on this song, but as a whole on this album, There are more melodic guitar parts but they guitar has to do all the heavy lifting to keep you hooked despite the drums and bass still contributing . The clean guitar in the middle helps to create the kind of dynamics this album needs more of . "Painful Vengeance" starts off with a more deliberate riff, so they are capable of creating them not so much knowing how to write with restraint. I will give this album an 8, because it works on many levels thanks to the dazzling chops these guys have na there is an audience for this kind of thing. 

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Heavy Maytal- Iron Slaught : "Metallic Torments"

This month has helped prove to me that old school metal has not gone anywhere it just went back to the undergrounds where it belongs. This is the second album from this French band. The first track just focuses on the galloping guitar harmonies. "Ghastly Obsession" finds them locking into a pretty effective chug. The drum are admittedly programmed, but sound pretty real. The vocals come in with a commanding snarl. 

What they are doing on "the Executioner " falls some where between classic Destruction and how Power Trip resurrected this sound. The vocals take on more of a growl for this one as well. The melodic guitar section giving them a more "Masters of Puppets" moment. They use a sung more power metal like vocal on "Soldier of Fortune" , which creates more sonic colors overall, though a brighter feel to the song. They balance it out with more feral speed metal attacks.  The sung vocals return for "Charme Funeste". Oh yeah it bears saying that these guys sing in their native tongue, so if that is a deal breaker for you then there you go.

"Primal Conquest" Finds the snarled vocals trading off with a hookier sung vocal on the chorus. The last song opens with melodic clean guitars. It goes into the predictable thrashing, with twin guitar harmonies, though sung vocals eventually  resurface. I will give this album a 9 not only did they nail a sound but they car about songwriting. It drops July 10th on Gates of Hell. 

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Heavy Maytal - Eradikated : "Wiring of Violence"

 

This Swedish thrash band leans pretty heavily onto the more punk side of thrash on the opening track, with the taunt Slayer like riffing anchoring them in metal. Their lyrics are often political, and spilt out in an angry fashion that is suited for that they are doing. Though everything races at you with such ferocity, I lost track of where I was by the third song and had to go back and give things a better listen. "Mortality" carries a more metallic chug. The vocals are accented more like Nuclear Assaults' though not screamed in the same manner. "Again I Rise' finds them wisely changing things up to gather a more deliberate purpose that pays off as it's the best of the first three songs. Gang vocals in the chorus help break things up. 

"Culling" find the drummer going more ballistic. It hammers in a more straight ahead fashion, though the vocals are pretty well articulated. It's not as catchy as the previous song. Seems like some very deliberate winks in the direction of Slayer riff-wise. "Tsar" is another rapid blitz, with the lyrics yelled at you wit ha caustic spit flying. They are all in on the Slayer tribute with "Precipice". But it works fairly well, as it's driven by a cool riff. There are a few places where he comes closer to singing. The title track charges at you head first with a more punk intensity. It's a bout a mass-shooting, and barrow a little from "War Ensemble". 

"Confession Obsession" might not be the most original thing I've heard but the guitar is pretty powerful and makes for one of the album's strongest moments. "Ashes" finds a hooky more melodic chorus tempering the rush of the punk thrashing that overtakes the verses balancing it out. I will give this one a 9 despite it's blatant Slayer influence as it's a great deal of fun. 

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Heavy Maytal - Metal Church : "Dead to Rights"

The 14th album from the legendary thrash project helmed by Kurt Vanderhoof, who is the sole original member, now features an all-new line-up, including former Flotsam & Jetsam drummer Ken Mary, who also played on Alice Cooper's "Raise Your Fist and Yell" album, along with Megadeth bassist Dave Ellefson. For what they are doing, you can't ask for a better backbone to drive these songs. The opening track is pretty impressive and delivers what you want from them. This is the 6th album that guitarist Rick Van Zandt has played alongside Kurt, so he knows the deal. 

This leaves vocalist Brian Allen from Vicious Rumors having to step into the path previously tread by some great singers like David Wayne and Mike Howe. He kind of splits the difference between the two, which on the second song causes them to sound more like Exodus, though he does give an impressive, well-rounded dynamic performance on the title track. So far, it does not feel as dark as the early years; it does feel like they move in a Megadeth direction at times, perhaps due to Ellefson's involvement. The first time this comes to mind is on "Deep Cover Shakedown".While Allen goes into his higher register on this one and it is driven by a headbanging chug, it does not feel as catchy as the previous song, and the lyrics are not the best. 

"Feet to the Fire" is a workable balance between heavy drive and melody. The vocals juggle a raspy snarl with soaring croon. The best lyrics so far are on the thrashing "The Show". It's a fitting commentary on the world today. "Heaven Knows" is on the more Megadeth side of the thrash gallops with an Accept-tinged power metal flying over it. 'No Memory' goes over onto the more power metal side of things, which is not as effective as when they lock into a more Megadeth-like groove on 'Wasted Years".  They are touching on things like Big Pharma that more bands need to be doing. "My Wrath" feels less like Metal Church and more like Exodus jamming with Megadeth, so a hybrid thrash. Wayne and Howe are dead, so this sounds as muh like Metal Church as we are going to get, so they excelled at keeping it going. I will give this album a 9.5. 

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Heavy Maytal : Acid Reign : "Daze of the Week"

This long-running British thrash band Acid Reign is back with a ripping speed fest that finds the opening song still having purpose rather than jsut slapping you upside the head and running off. In some ways, their approach makes me think of a less punk Vio-Lence with the higher pitched Exodus styled vocals. The title track keeps the momentum going, though the vocals have a more deliberate punch to their staccato accents, and Howard Smith actually sings rather than just shouting at you on the chorus. 

These guys date all the way back to the 80s, so they obviously know what they are doing and come from a time when songwriting mattered more than just being heavy. "Not Truth" jsut kind of races past you while "King of Coniption" is catchier and has more purposeful songwriting. The emphasis on songwriting should always be at the forefront of critical thinking when it comes to music, no matter the genre. The solos are all pretty ripping if that is what you are into. With a song like "Alonely," they clearly understand this concept. 

Midway into "Blind Lies' things get more melodic, which helps create a stronger dynamic sense for the album. At just over six minutes, it's the album's longest song. "Sorrowsworn" finds them stepping on the gas, the drums keeping pace even as the chorus gets more melodic. "Young Old Man" has a more Megadeth-like rock swagger. The vocals bark out in a more hardcore fashion. "Fantastic Passion" kinda blew past me on this first listen to had to give it another try and pay more attention. It's pretty average thrash. The last song, however, might be the album's best as it's the most vocally melodic nad dyanmic. These guys came back and brought it right I will give this album an 8.5, as it is sure to be one of the better thrash releases this year.

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Heavy Maytal - Chariots Overdrive : "The End Of Antiquity"

Some Asian kids based in Atlanta are trying to crank out metla that is rooted in the 80s. The vocals make me concerned about how easy it is going to be for me to make it through this album. They are this band's weak link. The guitar harmonies are their strength, though I like the raw Combat Records feel to the sound captured here that strikes me as being legit. There is a more Judas Priest-like sound for the guitars on "Marching Maniacs". Lyrically, it's terrible, and the guitars are really the only thing keeping me invested. The vocals are even grittier than the previous song, though it is clear this guy can't actually sing, as it is more spoken with a mock attitude. 

The drums could stand to come up in the mix and add some heft to their sound. There is a more thrash feel to the taunt riff that keeps " A Talkonautic Alchemist' moving. The vocals go up higher and sound not only strained but also very pitchy. When the vocals attempt to harmonize, it makes it even more apparent just how out of key they are. It almsot sounds like Elmer Fudd doing Iron Maiden karaoke. The guitar solos are the best part, but not something you can hang a whole song from. The only similarity to Iron Maiden is the fact that they, too, have an eponymous song. The vocals are more snarled here as they move in a thrashing direction. The melodious section of the song would have worked better with real vocals. 

"Nomadic Warfare" brings a more aggressive hug to life. I am cautious to get excited for anything, as it can anticipate the vocals coming in to ruin things. They wait for a minute and a half to do that, but they are pretty god-awful. There is a more melodic tension to the title track. The taunt palm muted riffs work well. If these guys were smart, they would have leaned more into the harsher vocal sound, as nothing is saving this singer. Midway through this song, there is a cool riff that feels like it belongs on a Dio album. They close the album with the twelve-minute-long."Bizarre Pilgrimage to the Cubik Mansion" Three and a half minutes into it, they go in a weirder, darker direction. It reminds me of Celtic Frost, which should also give you a glimpse into how the vocals on this album work, because often they sound like Tom Warrior trying to cover Judas Priest. They have potential as a band; they just need to get an actual singer and find a producer willing to work with them and help dial these sounds in.  I will give this one a 7.

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CARNIVORE AD : "Transmutation"

 

I am not sure what is going on here. To be an original member of Carnivore, you have to have been in the band before 2010, when Peter Steele died.  That is even being generous to me, the band was Steele, Piovanetti, and Beato since they played on "Retaliation," which was my favorite album. Even then, I am not counting Keith Alexander. These guys played in bands like Sheer Terror, Crumbsuckers and Whiplash, though at one point in time Beato was connected to this project. These guys captured the feel, and even included some of the goth elements that Steele would later fully embrace in the band we know him for. 

The title track that opens this EP shows these guys understood the assignment. They blends hardcore punk with thrashing. Baron nails the vocals for what Peter was doing during this time, though his bass playing does not match Peter's, yet they get the point across enough for me. While I am not as invested in Carnivore as I am Type O-Negative. I did like Carnivore back in the day, but they just did not age as well. Baron also captures the low spoken vocal feel in his best Peter impersonation. There is more of the melodic side coming out in the guitar on "I Stand Alone" with Baron continuing to pull off the sung vocals well, though that was not as big of a thing as it is being implied here.  In the more hardcore punk blitz of "Social Decomposition," there was a more dominant side of what the band did. 

"Mine is the Hand" shows a pretty accurate blend of the sonic colors the band once employed. It kind of fills the gap from where Peter left off with Carnivore and where he went on "Slow Deep and Hard" though production-wise it is more polished. There seem to be more guitar solos than needed, but it is not a deal breaker. I will give this a 9 and see how it grows on. Baron has to have put himself on the map for the reunion shows Kenny Hickey was talking about. If you are a fan of Carnivore, it will convincingly stratch the itch. 

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Intoxicated : "the Dome"

Florida thrashers Intoxicated, despite being from Orlando, were influenced by the Tampa scene and about an hour and a half south of them, which of course leaned towards the more death metal side of the genre, and that can be heard even in 2026. They have been around since the mid-90s, but this is only the band's third full-length. They still retain their knack for writing hooky riffs. The vocals are in a raspy, almost spoken style, making them more articulated, which reminds me a little of Coroner. The title track has less groove than the previous song, as the double bass keeps it more in your face. 

These guys are certainly on the heavier side of thrash. "War Club" is a little more mosh-inducing until it reaches a more death metal speed. Guitar solos fire out from the corners of the song, though not handled as gracefully as the last Coroner album. But more purpose to them than Slayer's guitar chaos. The songs are tight three-minute bursts of old school aggression. There is more ominous intent behind "Tighten Your Eyes". I like the effects they use on the vocals , which gives some kind of variance. alomng with the slower pacing. They do throw in a pretty mean riff to give it more dynamics, making it one of the album's best songs. 

"Unescaped" is more hammering. It's also a little straightforward in terms of dynamics and sonic colors. The same could be said for "It's Dead," which glides on a tauntly picked riff. You can hear a touch of death in the verses. Some riffs have a hookier punch than others. "Shifted Cross" finds the guitar twisting and turning over the double bass's flow, continuing to pour on the death metal influence. "Rake the Grate" has a more Slayer-esque riff, with its pummelling groove. The last song has more groove but feels like it is riding the momentum of the previous song. 

The Verdict

Since I listen to hundreds of new metal albums every year and have been listening to thrash like this since the 80s, it is clear they are good at what they do, but if feels like they are just maintaining their vigor, which is impressive considering how far they go back but not experimenting with the formula enough to break new ground. I will give thi album a 9, meaning it's at the top of the game when it comes to bringing what you want from thrash, but offers nothing new to put it in the top tier of all new metal coming out, but thrash fans will find this worth their time.

 It drops March 27th on Redefining Darkness

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Exodus : "Goliath"

I liked the band's 2021 album, but I have not given Rob Dukes much of a chance, despite having worn out the band's first three albums during high school. On the opening track, he is going for the higher snarl that is what helps defines this band's sound then on the second song, he begins to do his own thing a little more, and the song it self is not as inspired as the first track which was such ripping thrash that it caught be by surprised while raising the bar for this album. This is recaptured on "The Changing Me," which chugs along in a more compelling manner. 

Between the sometimes harsher vocals and the nature of the guitar harmonies, they have managed to gracefully update their sound for 2026. This is a little less carried over into "Promise You This," which has a more rock n roll feel. The title track works, but is not what I expect from these guys. It slows down to a doomier pace and has cascades of guitar arpeggios flowing over it. As a contrast, "Beyond the Event Horizon" is a more rapid fire thrashing, in fat it's the fastest song so far. Which I prefer more of a groove, but understand why some fans might seek this out. 

 Dukes sings more than screams on "2 Minutes Hate". This adds to the overall dynamics and makes it the album's second-best song, with the opener still holding the lead for that title. They start "Violence Works" off with more groove. The one thing Gary Holty has brought over from Slayer is the need for a killer guitar tone. Given the Slayer connection, I am surprised they are not bigger than they are, even for a thrash band that was not big on compromise. The first album, they have refined their sound in a more accessible direction with each album until "Fabulous Diseaster".

"Summon of the God Unknown"  opens with the album's most Slayer-like track, resembling the early years very little. In fact, it reminds me more of Pantera, who are playing stadiums, so they obviously have an effective formula. But this is an Exodus album, so  I want things to sound like Exodus, which they have already shown me on this album that they are capable of doing. That is not to say the song is not full of killer riffs, but I listen to Exodus to hear killer Exodus riffs.It is impressive that Tom Hunting is bringing it like this after all these years. Dukes is a pretty good metal vocalist who gets the job done, I jsut wish he retained a more Exodus-like style. The last song finds them locked into a more rapid fire thrashing. Maybe what I am looking for is balance, as they do sound more like Exodus here. I will give this album a 9, as they are bringing it in a way that works in 2026, if you asked me if I thought I was going to get more mileage out of this album or the new Megadeth, the answer would be Megadeth, but if yo uare an Exodus fan this is going to bring you what you want even with the curve balls includes which at least prove it's not a total nostalgia fest. Dropping on Napalm Records. 

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Lamb Of God : "Into Oblivion"

 Lamb of God is one of the biggest bands in metal today. Yet they have never scored higher than an 8.5 here. What does that even mean, you ask? They get the job done without being original enough to make me give their albums more than a few spins while I am reviewing them. If I am in the mood for this type of thing, I either listen to Pantera or Slayer. I did like their "Sacrament" album, which I listened to quite a bit, but after that, everything started sounding the same. Production-wise, they follow the trends. Previous albums have taken notes from Slipknot; this one finds their producer taking cues from how Gojira and Behemoth dial in their sound. 

Randy Blythe has a bigger personality off stage than on. He is rail thin so it's hard to take a scrawy dude barking at you like bad ass. "Parasoial Crisis" is better than the title that opens the album, as it sounds overproduced and generic. "Sepsis" is even better, in fact, the most memorable of the first three songs. The first has a more spoken thing going on that complements the groove. "The Killing Floor" is more of a thrashing groove, which is what works best for them. There are some pretty mean riffs on it. 

"El Vacio" is more melodic and shows that despite his miserable performance at the Ozzy farewell show, Randy's singing voice has improved, though it does prove my point regarding how they have taken notes from Slipknot. "St Catherine's Wheel" is pretty much on point for them as it is well done for what it is, but what it is does not resonate with me as it sounds like everything else.  I prefer the groove of "Blunt Force Blues" which goes to show I might as well jsut listen to Pantera. 

"Bully" is a generic modern metal battery to your ear drums where "A Thousand Years" has more of a hook to it, making it more memorable. "Devise/ Destroy" might as well be a Slipknot cover. Much like their other albums, this one gets an 8.5, it sounds great and is well done, made for the dull masses who do not care if music is original or not. I blame alcohol intake for this numbing of musical sensibilities. 

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Acidosis : "Arrival"

 

Acidosis is another entry in the thrash revival, which picks up where bands like Toxic Holocaust left off. They seem like they split the difference between punk and thrash, with more in common with DRI than with Testament. The first song blasted by you, in a manner that did not grab me, but had racing riffs in the background. "They Live" has more songwriting invested in it and made me pay more attention. Despite their Megadeth-influenced bass lines of "Hostile Negoiations ", they do not hit the depth of metal that a band like Power Trip tapped into. But it works for me as a song. 

Given the manic cadence of the vocals that are still capable of locking into a shout hook, the songs hang in the balance of the guitar's riff. The more melodious investments, the better, but they are here for apocalyptic party anthems as displayed on "Tied to the Tracks". Fellow Floridians, Heaven's Gate is also a fair reference point where these guys are coming from. Perhaps they both share a love for Vio-Lence. The vocal phrashing would certainly lead me to believe this is the case. 

Started playing a video game, and the next thing I knew, the stream was back on the first song again, so most of these songs begin to sound the same. When I went back to give another lsiten there was a more distinct riff to "Mankind: that is mosh inducing. "Deadly Fits'  with the last song just kind of falling within the bounds of your average generic thrasher, so I will give this album an 8, it is a well done homage to and era that I enjoyed, but since I prefer the original versions of these sounds it might be more for younger listenrs jsut trying to find an entry point beyong the big 4. 

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Megadeth : "s/t"

 Here we are at the last Megadeth album. Better to hang it up than besmirch their legacy.  I used to love these guys, but "Youthanasia" was the last album I got into. The opening track feels like they are pretty focused on the kind of thrash that works best for them. I think they are the epitome of a band who struggle to find themselves when the creative head of the band got sober. Let's face it, these guys are pretty much just the Dave Mustaine show.  "I Don't Care" goes back to the more hook-focused accessible writing that defined "Countdown to Extinction." It works well enough here. Then things begin to take a turn.

"Hey, God' works as a song, but lyrically it's kind of dumb, but it seems brilliant compared to "Let There Be Shred," which is a display of stupidity so profound that it is the sort of thing that makes metal hard to be taken seriously when presented in this context. Even if you just like jerking off to shredding, it is done more tastefully at other points on this album.  None of the songs on this album comes across as being dark, which is part of the problem, but at least "Puppet Parade" can be taken more seriously. His voice sounds better than some of the previous albums from the past 10 years here. There is still plenty of the 80s flowing through the veins of these songs, so much so that "Another Bad Day" could almsot be a Dokken song. But it works well enough for what the band does, and it feels like they are touching upon previous corners of their legacy. 

The drummer gets to shine on "Made to Kill," which feels like it could have come from "So Far, So Good, So What' which is my favorite album by the band. This shows that everything can still click into place for the band when they stop fucking around. "Obey the Call" finds them continuing to fire off another banger at optimum function. I am ok with the 80s dripping from the riff that leads into "I am War" as the rest of the song is killer and what you want from this band. "The Last Note' also works well at upholding their legacy. Things come full circle with their take on "Ride the Lightning." I was expecting 'Fight Fire With Fire." The difference being Mustaine should have tracked these vocals in 1988, and it might have held up better against what James did, but I would not have been opposed to him releasing an album of all the Metallica songs he helped write jsut to hear the differences. "Let There Be Shred' is really the only sour moment on the album, and it is balanced out by the moments where they really knock it out of the park so I will round it up to a 9.5 and see how it grows on me. 

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Kreator : "Krushers of the World"

 Before checking back in on the band for 2017's  "Gods and Monsters,"  the last album I liked by these guys was "Coma of Souls." In its day, this was a change for the band after "Extreme Aggression" had hooked me in. This time around, they are locked into a more rapid, furious form of modern thrash that works better than what they did on their last album. It sztill takes some getting used to when it comes to how Mille Petrozza approaches his vocal delivery that borders more on singing than his once scathing snarl. He also uses more anthem accents on the choruses. It is funny to me lyrically that he declares they are Krushers of the world when he has lamented to the press that disturbing the concept of war is to him. 

Ventor is still pounding the hell out of the drums, having hung tight with Mille over the years. They are joined by the bass player from Dragonforce and the guitarist from Barren Earth. They have refined the art of grooving riffage that carries into "Tranenpalast." The melodic nature of the choruses does its job and is hard to deny even if I want a more aggressive apporach from the band. What they do is more accessible than their earlier work, which keeps them in motion over the years. "Barbarian" has almost a power metal feel.

You can hear how their thrashing attack influenced black with "Blood of Our Blood," where the chorus reminds me more of Accept, who were obviously an influence on this band from the beginning, and do not get enough credit for their impact on thrash. The lyrics to "Combatants' are awkward at best, though the riff makes it palatable. It feels like they are trying too hard to be relevant rather than just being themselves. They do a better job of hitting the mark in this regard on "Psychotic Imperator." There is a Slayer-like intensity they race into the song with. The lyrics are political but in broader strokes. 

"Deathscream" has better lyrics, but kind of races along like methed out Judas Priest. It feels like they set out to write their own version of "Painkiller." They end the album with a bigger gallop for the more power-metal tinged riff that marches the song into a more anthemic nature, but it still works in a very Accept-like manner. I will give this album a 9.5 as it's an improvement over the previous two albums and pretty flawless, though the lyrics are what kept it from being a perfect album, as well as the moments where it feels like they are trying too hard, but some of the riffs, and overall writing and is obviously a sucess when it comes to the band's intentions of ccreating this album. Nuclear Blast releases this January 16th.

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Wargasm : "What Are You Afraid of ?"

 

This Boston-based thrash band released one of the best thrash albums ever in 1988, titled "Why Play Around?" In some ways, they felt like a cross between Sodom and Coroner, while bringing more groove to the occasion. They were trying to reissue their 4th and final album, "Suicide Notes," but their record label sabotaged this in some way, so here we are with a secret self-release of it. There is less thrash and more groove, as they adapted to the 90s. The vocals are pushed forward in the mix, and the staccato chug of guitar is more mid tempo, though they still resolve things with intersting chords that ring out more sonically. 

"Engine" is even more melodic than the opening track, and it takes a few listens for the change in direction they took here to grow on me. They give things a taunt, thrash, and chug to accent certain passages and lean into it more on "Underground". They seem to be pondering what they do lyrically on this song. The guitar solos are pretty impressive if you are into that kind of thing; they are true to the era of music they are making. The drumming stands out as being very solid and one of their strengths. More naunce than flash. "Meat" feels more like a Pantera song, but it works well for what it is. They throw in some ofthe punk speed that crossover into thrash with "Not Forgiven, Not Forgotten." This gives is more of an old school Metallica mood. 

"Jigsaw Man" carries more weight in the chugged tension that propels it; when they pour on the speed, perhaps it does not carry the same weight. The riffing of the title tracks locks in tighter as things click in the songwriting here. The drummer is really popping off on it.  "Grey Matter" is a short instrumental that feels more like an interlude. It is a clearer picture of where Thrash went in the 90s on "Fire Away."More deliberate, less speed metal momentum. Many of the songs feel like latter-day Metallica as they are recapturing the thrash spirit after reprioritizing their approach to the genre's aggressive attack. I will give it a 9. 

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