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Crowbar and Eyehategod Announce 2025 Co-Headlining Tour
History is in the making! Crowbar and Eyehategod Announce 2025 Co-Headlining Tour .

https://www.metalsucks.net/2025/05/30/crowbar-and-eyehategod-announce-2025-co-headlining-tour/

#Crowbar #Eyehategod #Tour #MetalSucks #Florida #Tampa #August2025 #CoHeadlining #SummerTour #Music

@ppdelft @johncarlosbaez @maggiejk@zeroes.ca @smallcircles @noybeu @edri @bitsoffreedom @eff @amnestynl personally, I go "full #crowbar" on #NSAbook and use @torproject / #TorBrowser as my default #Browser.

Simply because it's a hardened #Firefox with #Tor preconfigured and in highest security setting is giving #tracking code in #JavaScript the finger!

Vomitizer – Release the Rats Review

By Mark Z.

I’m this site’s resident “vomit” guy. I didn’t choose this life, it chose me. Nonetheless, I take my duties seriously, and when I see a band in the promo bin with “vomit” in the name, I know I have to review it (even if I’m a fucking week late in doing so). So it was with Vomitrot, so it was with the bands before them, and so it is with Vomitizer. Formed in 2023, this dirty Norwegian group bring with them experience in many other metal bands I’ve never heard of, including Chton, Corroder, Cleaver, and Ghetto Ghouls. Release the Rats is the band’s debut album and is described as “a concept album telling an apocalyptic story about how the world rots through fanatics, pestilence and the pure evil of mankind.” I question the need to even listen to this record given that this “story” seems to just be everyday life these days, but such are my solemn duties as this site’s designated vomit scholar. Fortunately, while Vomitizer deliver the nastiness you’d expect from their name, they also offer a few surprises that make for a decent little romp through the filth of the world.

At its core, Release the Rats is a death metal album, though Vomitizer often incorporate ideas that cause this putrid pile to ooze over stylistic borders. The ragged, chunky riffs that serve as the album’s building blocks remind me of a certain thrower of bolts, while the manic, phlegmy rasp of vocalist “PeTerror” likewise feels most firmly rooted in the death metal genre. Yet atop this foundation, you have more atypical moments, like the sharp clean picking that appears in the chorus of the opener, “A Wonderful World to Destroy,” and the verses of the second track, “Rat Religion.” Both “Rat Religion” and a later highlight, “Something Dark and Bloody Did Indeed Occur,” also venture even further from the metal of death, incorporating frostier progressions that evoke the blackened spirit of Immortal’s Sons of Northern Darkness.

Though the sound is raw and unkempt, Vomitizer’s ability to craft direct and memorable songs causes them to be successful regardless of exactly what style they’re playing. “The Church of Rats” slows things to a more shambling pace early in the runtime, yet the switchup feels entirely welcome at that point in the album, and the song’s big, dominant chords ultimately make for a solid tune. Later, “The Reek of Death” again slows things down but takes a sludgier approach in doing so, sounding like what would probably happen if Bolt Thrower drank Eyehategod’s bath water. Perhaps the oddest switchup comes in “Indulge into Chaos,” which features gruff, semi-clean vocals that sound something like Crowbar. Through it all, the band have a snotty, anything-goes attitude that’s hard not to find at least somewhat endearing.

Though nothing here is bad, the album is hampered a bit by a lack of consistency. After opening with three of its strongest songs, the record immediately gives us some of its weakest. Compared to the opening cuts, “Pestilence (the Sickness)” is much shorter and feels like it could have used more time in the incubator. “Rattus Rittualis” is also a misstep. The two-minute song is essentially an extended buildup, making it sound more like an album intro that was accidentally placed as the fourth track. Later, “Raw Meat” barrels forward with lots of energy but little impact. Through it all, the production gets the job done, with an unpolished sound that presents everything clearly without doing anything special. Fortunately, the closer, “Wicked Supremacy,” ends things in a strong fashion, with its groaning tremolos and catchy chugs coming the closest to evoking the trve glory of Bolt Thrower.

Ultimately, Release the Rats sounds like one of those fun little records that you randomly discover years after its release and are happy you did so, even if it doesn’t quite rise to the level of “hidden gem.” I appreciate the album’s memorability, diversity, and quality riffs, but the occasionally undercooked compositions hold it back a bit. Nonetheless, even if Vomitizer seem more obsessed with rodents than retching up last night’s dinner, they’re still more than worthy of the “vomit” name, and those looking for an eclectic and enjoyable batch of extreme metal tunes could find far worse ways to spend 34 minutes.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 128 kbps mp3
Label: Undercover Records
Websites: Facebook | instagram.com/vomitizerofficial
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #BlackMetal #BoltThrower #Chton #Cleaver #Corroder #Crowbar #DeathMetal #Eyehategod #GhettoGhouls #Immortal #NorwegianMetal #ReleaseTheRats #Review #Reviews #UndercoverRecords #Vomitizer #Vomitrot

April tunes

#crowbar #MachineHead #ToriAmos #Earth #Sunn

Tidal most listened artists for April 2025. In order: Crowbar, Machine Head, Tori Amos, Earth and Sunn o)))

Checking the Pier

Season 1 Episode 13 "Armored Car"

#RandomBaywatch #lvdlpx #Baywatch #worker #pier #HardHat #crowbar #ArmoredCar

Hätte ich fast vergessen: #crowbar am 14.02.2025 im #astrakulturhaus Knallhart,geil, #doom #metal #hardcore

Colorfully lighted stage, seen from dark auditory, four musicians (git, git/voc, b, dr) performing.

Gig Review: Napalm Death / Crowbar / Full of Hell / Brat – SWG3, Glasgow (5th March 2025)

Whether you worship at the altar of noise or if the power of the riff compels thee. Tonight is the night. Contrary to the tour title ‘Campaign of Musical Destruction’, tonight has four different flavours, eac

https://www.moshville.co.uk/reviews/gig-review/2025/03/gig-review-napalm-death-crowbar-full-of-hell-brat-swg3-glasgow-5th-march-2025/

#GigReviews #Brat #Crowbar #FullOfHell #NapalmDeath

#KirkWindstein of the band #crowbar and me 2017 at a gig in cologne somewhere ... #doommetal #StonerSludge #sludge #hardcore

Kirk Windstein of mighty Sludge Metal Band Crowbar.

#kirkwindstein #crowbar #metal #sludgemetal #music #portrait #guitar #live #livemusic #photography #blackandwhite

This is a black and white photograph of Kirk Windstein, from the band Crowbar, a heavily tattooed musician with a long, flowing beard, playing an electric guitar on stage. He is wearing a backward baseball cap and a dark T-shirt. His facial expression conveys deep focus and emotion as he sings into a microphone positioned in front of him. His left hand is pressing the frets on the guitar neck, while his right hand is strumming the strings. The guitar has an angular body shape, likely suited for rock or metal music. The background is dark, emphasizing the musician as the focal point of the image.

Buah quin concertàs #NapalmDeath. Energia infinita, bones piscines i pogo, nazis enviats a pastar nombrosos cops...

Portaven 3 teloners, una joia de concert, tot i que he arribat tard i només he vist #Crowbar , que també ho han fet molt bé.

June 2022: After the outside #barn #renovation I continued with the inner #stable. Red #crowbar hangs on a wooden post, and a #woodworker zapin rests nearby. A #wheelbarrow and scattered tools are on the floor.

#farm #work #diy #handcraft #demolition

This image shows an old, worn-down barn or stable with rough concrete walls and a small window. The floor is covered in dirt and debris, with a hole in the ground. A red crowbar leans against a wooden post, and a woodworker’s zapin rests nearby. A wheelbarrow and scattered tools add to the abandoned or heavily used look.

This image shows a dimly lit, rustic barn or stable with dirt-covered floors and aged, rough concrete walls. A shovel with a red blade leans against some rocks, and a wheelbarrow filled with soil is located nearby. Additional tools, including another shovel and a crowbar, are scattered around, indicating ongoing work and cleaning.

This image shows a rustic barn or stable with dirt-covered floors and aged, concrete walls. An emty wheelbarrow near a wooden support pillar is located in the middle of the image. Stones are scattered around, indicating ongoing work. Black iron bar and pick leaning against the back wall.

Scare – In the End, Was It Worth It? Review

By Dear Hollow

Hardcore is usually pretty one-note, a hard-and-fast genre for white young ‘uns to unleash their anti-establishment rage ~~against the machine~~, and it can be difficult to create anything that contains even a mere smidge of memorability. Scare embodies all the vigor of hardcore but attempts to fuse it with the bitter vinegar of sludge metal, making the sound of being beaten by police batons more like being showered by bricks. In the spirit of hardcore brevity and bleak nihilism, indeed: In the End, Was It Worth It?

Scare embodies what you love or hate about hardcore and nihilism of more extreme styles. Embodying the grindcore brevity in thirty-three minutes in thirteen tracks, Quebecois collective Scare brings the hard-and-fast attack with chuggy riffs, hardcore barks, and wailing solos, recalling a more sludge-inclined version of province-mates Apes. However, while density is certainly there, the sludge influence is less about the swampy soup-bubbling tone-abusers and more about the classic bluesy riff-and-solo approach of Crowbar or Down. While In the End, Was It Worth It? features the hallmarks of an enjoyable hardcore record with a misanthropic tone reminiscent of The Hope Conspiracy, it’s “inconsistent when it matters and consistent when it’s boring” quality makes Scare more of a yawn.

To their credit, Scare manages to fashion an effective blend of riff and solo. When the songwriting is fluid and the track identity secure, it achieves two approaches within this framework: a metallic hardcore darkness that feels as dark and foreboding as its artwork, and a kickass stew of groovy riffs that doesn’t let up. The fusion of chuggy riffs and diminished tremolo picking offers its trademark nihilism alongside creative drumming and blastbeats (“The Black Painting,” “Crowned in Yellow”), while a more sprawling and layered creepy placidity adds punch where it matters most (“Doomynation” 1 and 2, “Jeanne Dark”). Full-throttle riffs that don’t let up are the feature of the second approach, chunky and blazing leads with hardcore progressions giving way to wild solos and throat-shredding vocals (“Thrash Melrose,” “Midnight Ride,” “Reality of Death in the Maze of Hope”). To Scare’s credit, the decision to make In the End, Was It Worth It? less sludge-fucked tonally allows it a fluidity that allows both approaches to work – on paper.

The main problem with In the End, Was It Worth It? is Scare’s awkward songwriting. In spite of song lengths being capped at a very reasonable three-and-a-half minutes, they each nonetheless feel far too long for their own good. Heartfelt ascending major chord progressions shoehorned amid diminished tremolo passages (“Drifted Away,” “Harakiri Ton Industrie”), grindy intensity leading to awkward transitions within brief songs (“Nevermind If It All Explodes, I’ll Die Anyway,” “PMA – Pessimistic Mental Attitude”), excessive repetition (“Harakiri Ton Industrie,” “Jeanne Dark”), and shrieking vocal monotony throughout (variety only appears as growls in the identical two parts of “Doomynation”) are all killjoys in this reckless album. Tracks are also grouped thematically, leading to massive inconsistency: for instance, while “The Black Painting” and “Crowned in Yellow” offer a tastefully dark vibe (that is never addressed again), the hardcore-focused three-song marathon of “Jeanne Dark” to “Turbograine” wears thin way too fast. What’s ultimately frustrating about Scare is that even the best tracks aboard In the End, Was It Worth It? feel only partially formed, with neat riffs vanishing too soon and nothing sticking as a defining moment for that band.

Scare has a lot of good ideas but few solid executions. In the End, Was It Worth It? poses a yearning question and the answers are surprisingly disappointing, with hardcore intensity vanishing abruptly, bluesy sludge feeling halfhearted, and bleak nihilism being communicated only in sporadic moments. Even though the album is brief and track lengths reasonable, it feels far longer and I feel wearier having gone through it. In the End, Was It Worth It? Not really.

Rating: 1.5/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Self-Release
Websites: scareqc.bandcamp.com | facebook.com/scareqc
Releases Worldwide: February 21st, 2025

#15 #2025 #Apes #CanadianMetal #Crowbar #Down #Feb25 #Grindcore #HardcorePunk #InTheEnd #Review #Reviews #Scare #SelfRelease #SludgeMetal #TheHopeConspiracy #WasItWorthIt_

Neu im Blog: Campaign For Musical Destruction Tour 2025

https://der-wenz.de/blog/2025-02-19-campaign-for-musical-destruction-tour-2025.html

#konzertfotografie #nuernberg #loewensaal #napalmdeath #crowbar #fullofhell #brat

Napalm Death najpiękniejszy, Crowbar bardzo spoko, gościnny wjazd Embury'ego na basie był miłym zaskoczeniem, Full of Hell - co za wariaty!

#napalmdeath #crowbar #fullofhell #nazipunksfuckoff