“Since Steel‘s clammy, hairy hand forced me to write for this illustrious establishment, I’ve noticed a trend. The trend is the inconsistency of thrash releases. It’s like the entire genre gets together as one unit of foul-mouthed dinosaurs, balding dads, and pizza-hungry horror enthusiasts to decide when to release albums. They sit around chugging Mylanta, Steel Reserve, and Truly, talking their trade and comparing solos. After evaluating the recorded material at this annual meeting, they’ll make a decision. The decision this year? No releases. Who made the decision? No one really knows. At this point, everyone’s puking from overdoing it on alcohol and stomach acid. At next year’s meeting, the verdict will flip. Or, so everyone hopes.” Thrash rebels.
"warbringer"
Bloodletter – Funeral Hymns Review
“This is year two of Covid and we’re still discovering new ways in which the pandemic is altering the way we live. For instance, we’ve received multiple 2021 promos for Funeral Hymns, the sophomore release from Chicago thrash metal band Bloodletter, but Metal Archives and Bandcamp say it was released in September of 2020. I’m sure we will have more situations like this in the next couple of months. In fact, my review for next week is in the exact same boat. Not knowing who to trust, I’ve decided to trust the only person that I can trust: yours truly.” Blood can’t be dated.
Dr. A.N. Grier’s Top Ten(ish) of 2020
Doc Grier has a Top Ten(ish) of 2020 worthy of fear. Grab a beer and peer into the unknown.
El Cuervo’s and Diabolus in Muzaka’s Top Ten(ish) of 2020
El Cuervo and Diabolus in Muzaka want in on this whole Top Ten(ish) thing that’s going around. Let them have a turn.
L. Saunders’ and Mark Z.’s Top Ten(ish) of 2020
L. Saunders and Mark Z. unveil the kvlt, savage, and unusual. They also give us their Top Ten(ish) of 2020.
Harlott – Detritus of the Final Age Review
“As I mentioned when I wrote 2017’s Extinction review, Harlott isn’t afraid to show love to their influences. Some might say Harlott isn’t afraid of reaching into that box of thrash classics and taking what they like, as well. At any given time, the riffs transition from Exodus to Slayer to Testament, and the vocals mimic Araya, Petrozza, and Dukes/Souza. The guitars can be acoustic at times but prefer to be heavy. The drums blast and fill with no regard for concrete floors, and the bass rattles hardware off the garage door. Harlott may not have a whole lot in the way of originality, but that doesn’t make their fourth album, Detritus of the Final Age, any less solid and nothing short of nostalgic.” Ramming speed.
Psychosomatic – The Invisible Prison Review
“It feels like only yesterday when you all hated me for giving such high praise to Crisix’s 2018 release, Against the Odds. I understand that everyone thinks Power Trip is god and everyone is getting tired of the Havok/Warbringer sound, so thrash is getting more and more difficult to get into these days. Thrash, with a modern touch, is even harder as it all seems to sound rehashed and repetitive. I’m not sorry I love the fun and upbeat character of Crisix. I’m not sorry ‘Perseverance’ and ‘Xenomorph Blood’ make me lose my shit. I’m not sorry Against the Odds made my list that year. I’m not sorry for my love of thrash. I’m not sorry for having such an exquisite taste. I’m not sorry for anything. OK… I am sorry you’re so dead inside that you can’t enjoy fun things. I’m also sorry for this: thrash veterans Psychosomatic and their newest release, The Invisible Prison.” No regrats.
Record(s) o’ the Month – May 2020?
No, YOU’RE a farce!
Havok – V Review
“Earlier in Havok’s career, I would have guided the tour bus past all the sights worth seeing on V. On the left, the Leaning Toutwer of le Monde, on the right, the (wait for it) And Justice for All Department, dead ahead, the famous Roots 66. However, those elements would be noteworthy only because they spiced up a paint-drying-by-the-numbers take on thrash.” Cry Havok.
Bones – Diseased Review
“Everybody knows a local band like Chicago’s Bones. If you attend small scale metal shows in your vicinity with any sort of regularity, you know them well: a groove oriented death metal band, often fresh off work, that seems to open every show regardless of whether they fit the bill. This results in often hilarious pairings, including my recent bewilderment at Kansas City’s death/doomsters Pulchra Morte opening for Gloryhammer of all bands. Bones is the very embodiment of that same working class energy, but as they fall under the eclectic umbrella of Transcending Obscurity, curveballs are to be expected.” Boning it in.