Lmst

By Dr. A.N. Grier

Liminal Dread Productions has been on a roll with releases in the past year. Some really took it home (Vanessa Funke), while others (Weep) didn’t quite hit the mark. Now, they are back with the debut record from LA’s newest thrash band, Wisdom & Fools. As far as I can gather, this two-person outfit was a collaboration between vocalist/guitarist Philip Vargas and bassist John Ramirez, who fronts the one-person progressive death outfit Parasite. The only thing missing is a drummer. So, they bought a computer and did some shit. Prophecy is a brief record that tries to push the boundaries of thrash, technical thrash, and death. The result is a riff machine with harmonizing guitar leads and vocals in the vein of Pantera and Throwdown. It’s an odd combination of elements that could be an absolute hit or a thrash fire behind Albertson’s. Either way, its thirty-six-minute construction should at least get you through your morning coffee shits.

My favorite part about the band’s inception was their first release, a 2020 collab with Parasite called St. Angry (A Loving Tribute to Metallica’s St. Anger). Yep, you read that correctly. These four cover songs include “Dirty Window” and “Sweet Amber,” which absolutely no one asked for, especially considering that I prefer the unfiltered vocals of Papa Het to those of Vargas. After a couple of singles and an EP, Prophecy finally arrives as the band’s official debut LP. With eight original tracks that don’t include St. Anger covers, Wisdom & Fools set out with their programmed drums to leave a mark on the Bay Area thrash scene. But will that mark be a notch on the Big 4 bludgeoning club or that skid mark I had to wash out of my speedo?

The first thing you notice from the opening number, “Escaping Eden,” is its guitar chops and the bass that pops and rumbles like old-school Sadus. But after charging along with one of the better thrash licks on the album, the vocals kinda diminish the mood. The song becomes garbled with all the riff and mood changes, even if the death textures and stomping riff on the back end are nice touches. One of the best tracks on the album is “The Devil in a House of God.” The screaming vocals and heavy riffs deliver the goods, alternating between thrash mixtures and interesting, swirling guitar leads. The song also includes melodic elements, ’80s metal flourishes, and a headbangable interlude that—for some demented reason of my own—resembles the entrance song to WWE’s Hardy Boyz.

After the album comes out attacking, the back half introduces more melodic elements in back-to-back pieces, “Thorns” and “Perpetualis.” While “Thorns” is riddled with some interesting, old-school soloing and harmonizing guitar action, the song’s foundation is completely forgettable. And, once again, the vocals don’t help to bring this track up to the melodeath caliber it should be. Sadly, “Perpetualis” is an identical song to its predecessor. Repeating the verse, pre-chorus, and chorus sections for most of the track, the only interesting part is the harmonizing leads toward the end. Thankfully, the closer brings some semblance of justice to the previous tracks. “Husk” is a marching thrasher that dabbles in death-thrash territories before unveiling its own melodic tendencies. But the lush textures of the song’s outro are not enough to save the lackluster songwriting of the two previous tracks.

Prophecy is an enigma. While the performances are undoubtedly great—especially those harmonizing leads and the gigantic bass presence—the songwriting is lacking. Balancing between being a standard thrash band and a technical one, Prophecy achieves too much and too little at the same time. There are a lot of riffs on this platter, but they tend to blend rather than add memorable weight to the overall song. As stated before, the vocals also do little to contribute, and I find myself ignoring them to focus on the guitar and bass. All that to say, there is definitely something here that, with some restraint, could be great. Of all the songs, “The Devil in a House of God” seems to know what it wants to do, but most of the album becomes predictable, as if the riffs are used to promote the impressive leads and soloing sections. I’m not quite ready to write this band off, but this ain’t the album I wanted.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: WAV
Label: Liminal Dread Productions
Websites: wisdomfools.bandcamp.com | facebook.com/wisdomandfools
Releases Worldwide: April 25th, 2025

#20 #2025 #AmericanMetal #Apr25 #LiminialDreadProductions #Metallica #Pantera #Parasite #Prophecy #Review #Reviews #Sadus #ThrashMetal #Throwdown #VanessaFunke #Weep #WisdomFools

I just posted this being silly but seeing #Throwdown live in 2002 (with #EighteenVisions supporting!) remains one of the best gigs I've seen in my entire life. Just ridiculously pummelling, liberating, ecstatic JOY.

https://youtu.be/b7qKvhKV7r4

#StraightEdge #Hardcore #StraightEdgeHardcore #HardcorePunk #Punk #MetalCore #SXE #TrueTilDeath

The Great Pottery Throw Down returns Sunday 5th January at 7.45pm on Channel 4.

Taing do Dhia! Tha feum agam air cosy T.bh. Na làithean seo.

#UKTV #ThrowDown #TGPTD

Today's jams brought to you by Throwdown.

#metal #music #throwdown #hardcore #grooves

Finally, #journalist #erupts at #media for #ignoring #Trump’s #deteriorating #mental #state.

#MikeBarnicle’s #throwdown Wednesday should open the #floodgates, #coverage of #DonaldTrump’s #mentalfitness for #office is not just #fairgame. It’s absolutely #necessary.

https://newrepublic.com/article/185622/finally-top-journo-erupts-media-ignoring-trumps-mental-state

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#BraveWords
Today In Metal History 🤘 August 7th, 2024🤘
BRUCE DICKINSON, PETE WAY, BLACK SABBATH, EXTREME, BEHEMOTH

https://bravewords.com/news/today-in-metal-history-august-7th-2024bruce-dickinson-pete-way-black-sabbath-extreme-behemoth

#BruceDickinson #PeteWay #BlackSabbath #Extreme #Behemoth #IronMaiden #Samson #Helloween #UFO #Waysted #IanGillan #TonyMacAlpine #AntagonistAD #ReverendBizarre #TheAbsence #DrowningPool #StillRemains #Throwdown #Behemoth #Memorain #CattleDecapitation #FearFactory #Krisiun #MissMayI #Avatar #Batushka #BlackCrownInitiate

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#BraveWords
Today In Metal History 🤘 June 28th, 2023🤘METAL CHURCH, SATYRICON, ROBERT PLANT, AC/DC, GRAVE, OZZY OSBOURNE

https://bravewords.com/news/today-in-metal-history-june-28th-2023metal-church-satyricon-robert-plant-ac-dc-grave-ozzy-osbourne

#MetalChurch #Satyricon #RobertPlant #ACDC #Grave #OzzyOsbourne #KISS #BillyIdol #Lordi #JonLord #KimMitchell #Stryper #Queensryche #OzzysOsbourne #Kyuss #Widowmaker #Throwdown #Sodom #SevereTorture #Agathodaimon #Darkane #Sirenai #Impiety #Manegarm #Beastwars #BloodyHammers #CroMags #GenerationAxe #HeIsLegend #Majesty

Dust Bolt – Sound & Fury Review

By Dr. A.N. Grier

For centuries, thrash metal outfits have attempted to surprise their fanbase by taking a completely unexpected direction. Sometimes, it’s with great success. Other times, not so much. Metallica and their notorious “black album” alienated many hardcore fans, but no one can argue that Metallica single-handedly brought money and fame to the band. On the other hand, Testament’s attempt at producing radio-friendly songs through Ritual did little to skyrocket sales or bring new fans to the fold. While there are others we can evaluate (in thrash and elsewhere), this introduction aims to set the tone for Dust Bolt’s new record, Sound & Fury. As we’ve discussed countless times, the dreaded pandemic affected many bands. In Dust Bolt’s case, the band decided to take that time away from record labels, concerts, and the noise of the business to rediscover themselves. The result is a reinvigoration, bringing back the excitement the band had when they first broke out on the scene. Brace yourselves.

Founded by childhood friends Lenny, Flo, and Nico, the pandemic found Dust Bolt completely independent of a label and in full control of their schedules and musical direction. During these last few years, they re-evaluated everything the band stood for in hopes of toppling their four previous albums and developing a new era. But this new era was led by the desire to develop one unique skill that the band never possessed: someone who could sing. That’s not an insult but an actual desire by vocalist/guitarist Lenny B. The outcome is something that reminds me of the move that The Haunted made with The Dead Eye. Sound & Fury is constructed with cleaner vocals, influences far removed from the thrash genre, and catchier choruses. That said, there are still crushing moments in many of the songs, and, for a guy who really didn’t know how to sing, it’s a rather solid performance.

“Leave Nothing Behind” is completely outside the realm of what thrash enthusiasts would expect. The opener shows a more accessible side to the band’s songwriting, focusing on a melodic, radio-friendly chorus. But, just when you think that’s all it is, the final riff of the album breaks down into a killer, Throwdown-esque outro. “I Witness” follows the opener in a similar fashion. But the modernization is even greater as the song focuses on a modern-day Metallica sound. It also contains one of the most addictive choruses on the record (outside of “I Am the One”) and builds up to a headbangable finish, sparked by sporadic screaming that reminds me of Slipknot’s Vol. 3: (The Subliminal Verses). While the thrash remains, especially in the Anthraxy “New Flame” and its Pantera-esque solo work, Dust Bolt is (so far) completely unrecognizable.

But the weirdness only intensifies as the album continues. “I Am the One,” for example, hosts a slew of Foo Fighters vibes and a repetitive chorus that sounds like the vocalist is saying, “I gam du one” For what it is, it’s a very addictive song. But I can almost feel you thrash enthusiasts shot-gunning a beer. For those who can’t stomach where I’m going with this review, it gets worse. The bass intro in “Love & Reality” sounds so much like Red Hot Chili Peppers that you’ll abandon your beer in favor of tequila shots. But that’s only the beginning of this happy-go-lucky song. Next, comes the distracting low vocals and backing oomphs and aaahs in the chorus that completely separates it from the rest of the tracks. But the song that had me checking my phone to confirm I was still listening to the same album was “Little Stone.” With its gentle vocals and instrumentation, the closer sounds like a local lounge act forcing me to drink myself to death with sorrow. Plus, I think Amy Winehouse is sitting at the table with me, which is weird.

All things considered, I’ve been having a blast with this album. It definitely won’t be for everyone, but I can feel the spontaneity and energy in the songs. They actually sound like they are having fun recording this album. Which, in my opinion, is far more exciting of a listening experience than 2019’s Trapped in Chaos. Though I can live without the hopelessly pointless instrumental, “Bluedeep,” the rest of the tracks are a great time. The vocal performance is solid, the choruses are addictive as hell, and the energy suggests a band that doesn’t give a shit what you think because they are having too much fun playing. Hell, you can even see it in their not-so-thrash album cover and band photo. Not to mention, we all know I am a fan of bands that have the balls to completely reinvent themselves and give zero fucks about it. When Sound & Fury goes hard, it goes hard. When it’s soft and ballady, it works. Both cases are specifically true in the title track. Sounds & Fury will exist as the band’s greatest achievement or their worst. Only time will tell.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: AFM Records
Websites: dustbolt.bandcamp.com 1 | dustbolt.com | facebook.com/dustbolt
Releases Worldwide: February 23rd, 2024

#2024 #30 #AFMRecords #Anthrax #DustBolt #Feb24 #FooFighters #GermanMetal #GrooveMetal #HardRock #Metallica #Pantera #RedHotChiliPeppers #Review #Reviews #SoundFury #Testament #TheHaunted #ThrashMetal #Throwdown

Almost Dead – Destruction Is All We Know Review

By Dr. A.N. Grier

I’ve never heard of Almost Dead, despite them releasing material since 2007. And, honestly, some of it is pretty fucking good. Albums like Internal Chaos and Mindfucked are pleasing bits of Pantera-esque thrash and groove. There are also interesting influences sprinkled in, like the cruising, old-school Lamb of God vibes of Mindfucked’s “Dead Enemies” and the Downy clean vocals of “Ignus Fatuus.” But, things began to change when Lay Them Down to Waste came along. The title track, for one, sounds so much like Nirvana’s “Something in the Way” that I see Batman in my peripheral vision. Since then, the band has tended to lean more heavily into their Panteraisms, producing fun little ditties that never quite capture the energy displayed on Internal Chaos. With that knowledge now cemented in your brain, let’s check out Destruction Is All We Know.

I’d be a fool for not giving Almost Dead some credit for not giving two fucks what anyone thinks of their straightforward and sometimes strange style. That said, Destruction Is All We Know is the oddest album of them all—no doubt with some help from dial and toggle man Zac “Friend o’ the Blog” Orhen. One moment, the album cruises along with Warbringer-like thrashings, the obvious stop-start motions of Pantera and Throwdown, and the unlikely inclusion of Mors Principium Est-like melodeath. But, the oddest influence gives one track, in particular, a Dimmu Borgir edge. Destruction Is All We Know is like nothing the band has ever done before, and, boy, am I praying for them.

“Warheads in the Sky” kicks off the back-to-back-to-back collection of the strongest tracks on the album. Incorporating some of their key atmospheres, this song slings a Warbringer chorus at Throwdown licks, building and growing before failing to keep its momentum with its lackluster, backend breakdown. But, follow-up track, “Commandments of Coercion,” does its damndest to keep things on track with its slick introduction and fitting, melodic cleans. At the midpoint, it transitions to a knuckle-dragging riff that powers its way to yet another riff—this time, set up beautifully by the drums. As the vocals throw wads of spittle at each other with Crisix-like energy, the song settles into a pleasing groove before concluding. The third member of this trio, “Eight Eyes of Black” adjusts the pace with those classic stop-start chugs made famous by Pantera. It even leans hard into the angry choruses Phil Anselmo used to be so good at. And, for the first time, the bass surfaces and sets up a back-half transition that grows into a Vulgar Display of Power frenzy.

It’s the flip side of the album that gets weird. Leading that charge is the record’s black sheep, “Within the Ashes.” It takes those key atmospheres from the opener to a whole ‘nother level. But, it’s not apparent at first because the song goes absolutely nowhere for two minutes. Then, it morphs from a thrasher to a straight-up Dimmu Borgir-style symphoblack piece. It’s one of those songs where you look at your music device to figure out if you are still listening to the same album. It’s not bad per se, but I just can’t get behind it. “Brutal Devotion” and “Where Sinners Cry” both have winding-down conclusions that remind me of Machine Head’s “A Thousand Lies,” growing slower and slower until they fade away. The first starts with some heavy Metallica vibes, but ultimately goes nowhere. The most notable part of the song is the chorus where, I swear to Satan, the lyrics are “I need to change my fucking lobster.” The other delves into melodeath territories, but is far too long and meanders too much.

In the end, Destruction Is All We Know adds another record to the band’s thrashy, groove-oriented career. Though, as stated, there are a lot of weird decisions made here. Some work but most don’t. While unique, to say the least, they completely disrupt the flow of the album—adding little to the overall experience. After exploring the band’s catalog, their older stuff is definitely the direction I’d rather they take, but I understand that there’s always evolution. However, the combination of these new influences and styles doesn’t work for Destruction Is All We Know. Would they work if the album was designed in such a way that you expected them? Maybe. Destruction Is All We Know is a perfect example of a mixed record. Still, I’m interested enough to see where they go from here.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Innerstrength Records | Bandcamp
Websites: facebook.com/bayareahardcoremetal
Releases Worldwide: January 26th, 2024

#25 #2024 #AlmostDead #AmericanMetal #DestructionIsAllWeKnow #DimmuBorgir #Down #GrooveMetal #InnerstrengthRecords #Jan24 #LambOfGod #MachineHead #Metallica #MorsPrincipiumEst #Nirvana #Pantera #Review #Reviews #ThrashMetal #Throwdown #Warbringer