Sodom – Bombenhagel

Hutch checks out the new EP from the masters of Teutonic thrash… have the German masters still got what it takes to wreck our necks…

Did you really need a reminder that Sodom were still alive and kicking? After last year’s brutally brilliant ‘Genesis XIX’ there can surely have been little doubt that the Germans were firing on all cylinders and ready to roll. But time isn’t wasted in Sodom HQ. The band had initially planned this three track EP to coincide with summer festivals but best laid plans and all that.  With their gigs postponed Tom Angelripper and co decided to release the EP anyway, “as a signal to our fans: We’re still around! The story continues.” 

A recording of the classic Bombenhagel from 1987’s Persecution Mania kicks things off. For those familiar with the original, there may be a few surprises, including a blistering solo from Harris Johns, who as producer guested on the original. Angelripper’s scream of “Harris” signals the solo, whilst Angelripper’s fat bass drives the track. It’s extended by over a minute on the original, and the current line up (completed by Frank Blackfire – guitars, Yorck Segatz – guitars and Toni Merkel – drums) do the song total justice with a full-fat version.  

Two new songs follow. The first is Coup De Grace which Angelripper describes as “a true thrash sensation”. It certainly contains everything you want from Sodom with a no hold barred aural assault. The lyrics are about the death blow delivered by a hunter to his wounded prey but from the view of humanity administering the blow to itself. A reflection on the self-inflicted carnage man has brought about, Angelripper calls it Sodom’s “attempt to rouse people and urge them to act more thoughtfully”.  

The final track has a definite old school feel to it with a vicious hook and powerful driving riff. ‘Pestiferous Posse’ features low-tuned guitars, Angelripper’s demonic growling delivery and more headbanging opportunities than an entire Anthrax show. It’s a heavyweight beast, featuring the stories of one of the most famous gunfights in the American Wild West history at the O.K. Corral in Tombstone, Arizona in October 1881. The historic fight between the Wyatt brothers, Morgan and Virgil Earp and Doc Holliday, and the local cattle and horse rustlers and outlaws, known as the Cowboys. Drawing parallels between then and the current battle in American politics, Angelripper is once more using history to make comparisons with current situations. 

With the band celebrating their 40th anniversary next year, there are few signs of Sodom slowing down. The two new tracks may be typical Sodom, but there’s many bands who’d give their right nut to be as consistent and well respected as the Germans. With the promise of new music in 2022, this is a welcome stopgap and another reminder, if one was needed, that this band are still a vital cog in the global thrash wheel.  

Sodom release the new Bombenhagel EP on the 20th August via Steamhammer/SPV

Korrosive – Kaustic Hordes

Canadian Thrash, often the bridesmaid to its North American neighbour, but time after time our Maple syrup smoking’ cousins produce some killer new music that just makes us want to get upside down in a pit.. and the debut album from Toronto thrashers ‘Korrosive’ is one such release….

Now most people know I like my modern thrash towards the blackened death end of the spectrum, and ‘Kaustic Hordes’ delivers that deathly tone in spades, melting of the faces of passers by with breathtaking ease!

Opener ‘Slaughter The Preacher’ teases you for a few bars of acoustic chords, until the heavy, rains down as the first track on the album starts to punch you in the face with riff after riff of punishment and then the guys continue with riff after riff, drum beat after drum beat of thrash excellence.

Through ‘Burning Earth 2029’ into the chaos inducing ‘Terminal Violence’ through ‘Khaotic Evil’ and ‘Vitrolism’ the climbing guitars and guttural vocal raw keep the mini moshers in my head gritting their teeth and banging their heads and the pit is unleashed as ‘Hijo de Puta’ sends even this silly old fucker over the edge into a full on old school moshpit frenzy at least for the 3 and a half minutes that it lasts I die… whichever happens first!

‘Acidized’ completes the first 7 short sharp shocks of metal, and at 38 minutes for 8 tracks, there is no room for fucking about, with the final song ‘Septic Messiah’ being the only track to push over the 4 and a half minute barrier, with a 9 minute monster, that still delivers the blisteringly heavy and mosh pit inducing breakdowns

I usually like to spend a bit longer with an album before smashing out a review, but I have enjoyed this on repeat for most of the day and didn’t want to miss out on sharing what is a killer debut release…

Released on Friday the 13th August… BUY NOW on BANDCAMP or stream it in all the normal places, but don’t let this pass you by, as these guys deserve to be heard!

Rot Away – Nothing Is Good

Hardcore….what is it good for…. power chords and D beats of course!! Asa checks out the new release from Danish HC band Rot Away, here’s what he thinks of Nothing Is Good…

Rot Away are a Hardcore band from Copenhagen, Denmark. The line-up (Jonathan Albrechtsen on Vocals, Christian Mattesen on Guitars, Ole Schwartz on Bass and Andreas Albrechtsen on Drums) are essentially a Danish Hardcore supergroup, with the members being quite prolific in their scene. Rot Away may be a new name, but the members have plenty of prior experience within the scene. They released their first self-titled E.P in 2019, followed by a single (‘Time Bider’) and a short live E.P, both released in 2020. Since then, the band have been working on their debut album, appropriately titled ‘Nothing Is Good’, and it’s pretty evident from the moment it starts that these guys are pissed off.

Tats Oot!!

The album starts with squealing feedback and the building of drums as heavy, savage riffs fill your ears. These are the type of riffs that would get any Hardcore fan two-stepping in the pit. The song, ‘Rot Away’, is short, with a few gang shouts and Jonathan’s angry bellows occasionally exploding over the instrumentals. ‘Deadfriends’ kicks in out of nowhere, with a classic d-beat and open chords ringing out. The chord-based riff is fast, energetic and would get bodies flailing in an instant. It’s less than a minute long, charging headlong into sheer brute force before feedback greets us once more, leading into ‘Bad Way’, which has a slightly thrashier edge. Frantic riffing gets the blood pumping as the drums pound into your skull. The pace slows down as mammoth grooves get necks snapping before one final explosion of turbocharged riff work closes things out.

‘Hang Low’ is a slower affair, with a monstrous main riff that is infectious in all the right ways. The chorus is also equally catchy, with it’s easy to follow lyrics and simplistic phrasing making it a real earworm. The song gradually builds towards a disgustingly savage breakdown at the end that will no doubt cause utter carnage in a live environment. ‘No Apology’ goes straight for the jugular with a faster tempo during the verse and mid-paced grooves in between,  providing plenty of forward momentum for the album and contrasting perfectly with the slower songs. The halfway point is marked by ‘Atlas Fracture’ which has dissonant feedback, menacing open chords and pounding toms to slowly build us into the whiplash-inducing riffs that will surely cause lifelong neck issues if you aren’t careful. Things pick up a little towards the end before the earth-shattering breakdown deals a piledriver to the face.

‘Graves’ is the longest track on the album, clocking in at a little over 4 and a half minutes. There’s an unease to the overdriven chords during the intro that are slightly disturbing yet despairing. It’s wildly different from everything that you’ve come to expect by now, packing an emotional heft when everything fully kicks in. Jonathan’s performance sounds like that of a man in dire desperation. There’s a haunting quality that permeates throughout, with layers of guitar creating a dense, and often intense, listening experience. However, don’t worry if you think that there’s no more slabs of brutal Hardcore left as ‘Timebider’ grabs you by your throat and doesn’t let go. Dissonant notes ring out and are quickly vanquished by the skull-crushing grooves that make up the body of the track. There’s even some time for the bass to shine, with its gritty, crisp rumbling adding serious girth to the riffs. The slamming breakdown at the end has enough force to permanently contort the faces of anyone in a 10-mile radius.

The penultimate track, ‘Spitshine’ brings back some of the Thrash-infused vibes during the verse riff, something that wouldn’t feel all that out of place on a Power Trip or Enforced record. The song traverses its thrashy terrain with ease, leading to a ferocious two-stepper, monolithic in both size and sheer heaviness. The final track is ‘Prøv Igen’, a song that is no-holds-barred attack on the senses, with blistering d-beats and frenetic power-chord riff work claiming supremacy over your body. There’s a little more Thrash spice to add some additional flavour to this already-delicious slice of Hardcore savagery. All the trappings of classic HxC are on display, in all their delightfully menacing glee. One final show of dominant brute force erupts from the last two-step fueled breakdown and it’s over.

‘Nothing Is Good’ isn’t a completely accurate name as I know one thing for certain that is good, and it’s this album. Yeah sure, it’s not reinventing the Hardcore wheel, but Hardcore doesn’t need reinvention. What it needs are d-beats, tom builds, power-chord slammers, breakdowns, two-steps, a pissed off vocalist and a hearty dose of energy. ‘Nothing Is Good’ has all of this in spades. It’s 25 minutes of unrelenting, visceral mayhem with riffs that tear your skin clean off your face, leaving a bloodied, unidentifiable mess of mass behind. That isn’t to say there isn’t a little something extra here, as ‘Graves’ proves. The band can do a little more with the Hardcore formula if they please and they can execute that just as well as the usual suspects. The performances are all top notch, with everything being tight as hell. The guitars have plenty of crunch to add the appropriate level of devastation to the riffs, the bass is dirty and helps to beef up the guitars and lock in with the drums, the drums are crisp and provide the artillery bombardment to add to the destruction and the vocals are as angry and shouty as you could hope for from an album like this. The mix is also impressive, with everything sitting just right, allowing everything room to breathe if needed but locking in tight to keep things cohesive. Theirs’s no clashing of frequencies or drowning other things out, all the elements can be heard in all their glory.

In conclusion, Rot Away have provided a stellar debut album that provides all the thrills that makes Hardcore so fun to listen to. Put they do occasionally throw something new into the mix and that willingness to experiment takes them a slight notch above most of their peers. If you’re not a fan of HxC then this album won’t really do much to change your mind. However, if you’re like me and love d-beats, two-steps and gargantuan grooves then Rot Away have the perfect album for you. I’m looking forward to seeing what else these guys have in store for us, and so should you. Check out this album right now, you won’t be disappointed.

Rot Away – Nothing Is Good is Out Today – 13th August on Last Mile Records

ukthrashers – Orange Goblin

In this weeks episode we catch up with Ben from Orange Goblin & Route One Booking and talk about being a man mountain, the re-issue of Healing Through Fire, the new line up, gigs in ‘The Yard’ touring post Brexit and loads more

We have music from – Elimination – Victims By Design

Invator – Deathtrap For An Execution

Orange Goblin – Vagrant Stomp

Maze Of Terror – Priest Of The Ancient Ones

Trapped In Purgatory – Spit It Out

Killing – Don’t Get Mad..Get Evil

Checkout the episode below or subscribe in Spotify or Apple Podcasts

Elimination – Victims By Design

Our pals in Elimination have broken cover early with the first new track and video from their upcoming album ‘Echos Of The Abyss’ check out the single ‘Victims By Design’ on Youtube Below

Pre-Order the album from their Big Cartel Shop as you will NEED this album.. its already spinning on the review decks in the Thrash Dungeon!!

Directed and Produced by Eric Revill-Dews FX: Elle Bryden and Alice Nichols

The Cultist- Leigh Pettit

The Crucified- Mick Jackson

With thanks to: Chris Williams, Jo Jackson, Joe McNeice, Jarrad Lee, Lauren Hilary and Steve and Elaine Hill

Music by David Hill and Leigh Rumsby

Lyrics By Neil Stevens

Mixed and Mastered by Jack Helliwell

Filmed on location in Norwich, UK.

Killing –Face the Madness

Our review machine Hutch, reviews an album that has been getting loads of plays in the Thrash Dungeon… Lets see what he says about Danish Thrashers ‘Killing’….

For a band who formed in 2013, Face the Madness has probably been a long time coming and a realisation of ambitions that were ignited many years ago.

Their debut EP Toxic Asylum arrived in 2018 followed by a single, Raise Your Anger in 2019. Although they had to take a pause due to the pandemic, that hasn’t done them any harm as Face the Madness is a delicious 40-minute rollercoaster of old school thrash.

The Danish quartet of drummer Jesper Skousen, guitarists Snade and Rasmus Holm Sørensen and vocalist and bassist Rasmus Soelberg clearly worship at the altar which was erected in 1985 because this is a vicious, feral and savage beast that takes no prisoners. 

There is nothing remotely modern about this record, but if it doesn’t make you want to bang your head and bounce of the walls then there must be something wrong. For like all old school styles, Killing have captured the essence of Exodus, Death Angel, Slayer and Kreator and curled it up into one leather studded glove that slams repeatedly and relentlessly. 

Except for the meaty final track Killed in Action, everything is powerful, aggressive and clocking in at five minutes or under. There’s the stomping mosher Don’t Get Mad, Get Evil, all out thrashing of opener Kill Everyone and the Vikings themed Straight out of Kattegat. All demand the neck snaps hard; all ignite the thrash fires and all are nicely executed.

The production is spot on, giving a crisp edge without losing that essential older feel. Stuffed full of razor sharp riffage, pummelling drums and blood curdling roars, Killing have released an album that hits the mark.

This is an album well worth getting your listening gear well and truly directed toward.

Killing – Face The Madness is out on the 13th August via Mighty Music

Grave Altar –Hell’s Necromancer

Hutch explores the latest release from Grave Altar.. here’s what he thinks to the Bristol Speed Mongers latest offering…

Short, sharp and filthy –probably the best way to describe this four track EP from Bristol blackened thrashers Grave Altar. 

Hell’s Necromancer follows up on their debut full length Morbid Spell, released in 2019. The power trio, who lurk under the pseudonyms of Fiend, Maniac and Krow play pacy, black thrash with little regard for their or others safety. The two original numbers here, Angel’s Crypt and the title track are nasty little fuckers, guaranteed to get the dirt forming under your pristine fingernails. Thundering riffs, roaring vocals and a production straight out of 1982. It’s all there and with occultism themes thrown in for good measure. It’s raw, savage and spikey. 

The additional tracks here are cover versions. Sepultura’s Troops of Doom and Slayer’s Black Magic. Both are given a decent workout, albeit in a faithful way. It’s always enjoyable to hear a fresh take on such classic tracks and Grave Altar give both tracks a good bashing. What’s not to like?

Nothing at all is the answer, so head over to BandCamp to grab your copy

Amnessia Eterna – Malditos

Frank head to South America to check out the new album by Amnessia Eterna, here’s his thoughts of this Spanish language Thrash…

I am entering into this review completely blind. Now I like thrash metal from South America, In fact, I find so much of it to listen to on Spotify or Amazon music that it’s easy for it to blend into a blur without really finding out too much about the band I’m listening to.

Enter a new band to me. The Santiago-based quartet “Amnessia Eterna”. Formed in 2017 where they spent the next couple of years touring relentlessly on the live scene across Chile and beyond. Gaining a decent fan base with well-received shows. March 2020 saw them enter the studio to record their debut full-length release “Malditos”. An eleven-track album featuring a hand full of songs from 2020’s digital download self-titled offering, along with new material. The recording process took a marathon nine months due to covid restrictions, but the result was well worth the effort.

It is not what I was expecting, to say the least. The furious all-out attack that seems to be a South American trademark is replaced with a more subtle approach, with lots of melody in the structure of each song. It leans towards a more Spanish approach to things ala Angelus Apatrida with a sprinkling of the bay area with a nod towards Testament. This mature approach has set them above a few of their contemporaries and pushed them to the forefront of the South American scene. Having said that there is enough lightning-fast riffing with a dirty groove to keep the purists happy.

Opening up with the title track “Maltidos” you immediately get the impression of a well-produced record with some very good musicianship. The drumming of Jairo Sepulveda immediately comes to the fore as being very clean and precise. Then the curveball hits you. The lyrics are in their native Spanish. This for me was very surprising but also a breath of fresh air.

Once past the initial shock, you can settle down and get absorbed into the music. Each track eases into the next seamlessly and the eleven songs go by before you know it. There is no straightforward blueprint here, the first four tracks set a fast tempo but each has enough variation to keep it interesting. Track five “Initium” takes things to a more mid-paced and almost traditional metal instrumental where the band show off a varied array of technics before setting off at high speed on the very European thrash-sounding ”Infeirno” .Then they slow thingsdown with ”TanSolo” an Unforgiven style track.

“Falso Predicador” and “Todo Cae” are both mid-paced and possibly could have benefitted froma faster section within the structure of the songs at some point. These two songs are separated by a two-minute classical guitar interlude “Desvanecidos” akin to the beginning of Battery or Ride the Lightning only longer. The closing track “Caminos” is back to the thrash and probably my favorite track on the album.

On vocal duties is Camilo Sanchez who does a fantastic job throughout while doubling up on guitar duties, alongside Rudy Pereira. They together form a tight dual guitar attack with solid riffs and screaming solos. Accompanied on bass guitar by Fernando Martinez, who while not being outstanding he does a solid job in keeping the rhythm section tight and precise. Taking on all the production duties including recording, engineering and mixing is Fernando Guerra, of Darkshape studios Santiago. He has made a very good job in delivering a full-sounding album where all the musicians are clear and on an equal footing.

Overall this is a very good debut album but perhaps loses its way ever so slightly in the final third. I enjoyed the fact it is in Spanish even though my knowledge of the language is limited, I would have liked to have understood what was being sung but that is a minor point.

“Malditos” is due to be released on 30th July through Brutal Records and can be purchased via