Shed the Skin – The Carnage Cast Shadows Review

By Mark Z.

I don’t know how some people can keep creating art for so long. Somehow fucking Clint Eastwood is still making movies, and that guy looked ancient when Gran Torino came out in 2008. Shed the Skin aren’t as old as Clint, but they’ve got a wealth of experience nonetheless. Formed in 2011 as a tribute to the long-defunct Ohio death metal group Blood of Christ, this sort-of-supergroup are comprised of several extreme metal veterans, including vocalist/guitarist Ash Thomas (Faithxtractor, Crucified Mortals), drummer Kyle Severn (Incantation), bassist Ed Stephens (Ringworm), and guitarist Matt Sorg (Ringworm, ex-Blood of Christ). On their previous four albums, the group offered up fun, no-nonsense death metal characterized by a sense of frenetic melody. While 2018’s We of Scorn was their high point to me, they’ve never released anything bad, though I agree with Akerblogger that 2020’s The Forbidden Arts was a bit too bloated. With The Carnage Cast Shadows, the group are back again, here to ostensibly show us that these olde dogs still got it.

And honestly, they kind of do. The Carnage Cast Shadows shows Shed the Skin still doing what they do best, all while sounding as inspired as a spritely young act just releasing their debut. As before, these songs largely barrel forward with a sense of belligerent glee, often carried by dexterous, melodic guitar lines that recall later Carcass. The opening title track highlights this energy right from the start, kicking open the gates with fast, pummeling drums and a quick, wriggly riff that’s sure to burrow its way into your brain. The next track, “Crook of the Sacred Skies,” keeps up the momentum with similarly swift tempos while avoiding redundancy via the harsher chords of its main riff. Through it all, Ash sounds as wild as ever, with his manic, garbled growls occasionally overlaid with higher, raspier vocals in a way that recalls Deicide.

Given Shed the Skin’s pedigree, it’s unsurprising that they know how to make an album work well, but The Carnage Cast Shadows is particularly successful due to its variety and tight track lengths. Songs like “Ice Hearted Herald” and “Henge Tomb” mix things up by slowing the tempo early, but it’s in the record’s back half where things get especially good. The opening moments of crossover thrash in “Formorian Hordes” initially make it seem like it’s going to be a repurposed Ringworm song before the track takes an awesome turn by incorporating jumpy couplets and a swirling, melodic solo that recalls modern Kreator. “Scion of Nyx” slings chunky chords at the listener and uses a dramatic pause to great effect, while the closing track, “Stolen from the Storm God,” uses a more measured main melody to end the album in fine form.

In all, there’s little to complain about. While songs like “Swarm and Talons” and “The Mind’s Vermin” don’t stand out as much as their brethren, there really isn’t a bad cut here, and the fact that many of these eleven songs are less than four minutes long means that nothing overstays its welcome. The biggest issue is the string of mid-tempo songs in the record’s first half, which subdues the energy a bit too much after the pit bull viciousness of the first two tracks. Fortunately, the production is great, with punchy drums, a beefy guitar tone, and a forceful overall sound. As always, the performances are also sizzling with inspiration, with each member sounding like they’re giving it their all and having an absolute blast while doing so. Matt and Ash deliver an endless onslaught of lively riffs and solos, Kyle delivers an aggressive drum performance, and seemingly every moment is crammed with Ash’s crazed vocals.

No one’s going to say this album is reinventing death metal, but that’s not the point of Shed the Skin. This project is about dudes who are good at death metal playing good death metal. On The Carnage Cast Shadows, they’ve succeeded by offering inspired performances, varied songs, and tight runtimes. Those who have been following Shed the Skin are sure to enjoy this as much as anything they’ve done, and in the book of Mark Z, it’s one of their best releases yet. Take the plunge and bang that fukkin head!

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers Records
Websites: shed-the-skin.bandcamp.com | facebook.com/shedtheskin
Releases Worldwide: May 16th, 2025

#2025 #35 #AmericanMetal #BloodOfChrist #Carcass #CrucifiedMortals #DeathMetal #Deicide #Faithxtractor #HellsHeadbangerRecords #Kreator #May25 #Review #Reviews #Ringworm #ShedTheSkin #TheCarnageCastShadows

Destruktor – Indomitable Review

By Mark Z.

Deep in the dark chasm of extreme metal lies a hidden gem: Destruktor. Led by vocalist and guitarist “Glenn Destruktor,” these filthy Australian miscreants have been spewing their raw and blasphemous compositions since 1997, crafting a sound that lies somewhere between the blasting blackened death of Abominator and the blistering blackened thrash of Nocturnal Graves. What sets them apart from the rest of the horde, however, is their excellent songwriting. More so than similar groups, Destruktor know how to make things memorable, with many of their tracks containing clear hooks, distinct riffs, and accessible verse-chorus structures. These traits helped make their 2009 debut Nailed and its 2015 follow-up Opprobrium two of my favorite extreme metal albums ever (and their 2004 EP Nuclear Storm was no slouch, either). Crafting such strong compositions apparently takes time, however, as it’s now been nine long years since we’ve last heard from Glenn and his demonic cohorts. When their third album Indomitable was finally announced, it immediately became my most anticipated record of 2024. But does it reach the high bar set by its predecessors?

If nothing else, Indomitable shows that the band have not grown soft in their time away from the studio. After ostensibly referencing Hell Awaits with faint whispers of “join us,” the opener “Speaking with the Dead” blasts forward on ragged, belligerent riffs that soon give way to squirming tremolo lines and roars of the track title. Everything sounds just as bestial and aggressive as before, including Glenn himself. Somehow the man’s vocals have only gotten better with age, as his guttural approach is as powerful as ever while sounding even more intelligible. The title track further hammers home that the band are just as extreme as they’ve always been, with churning chords and infernal progressions that aren’t too far removed from Blasphemy.

The group haven’t gone flaccid in the songwriting department, either. Take the aforementioned “Speaking with the Dead,” which supports its chorus with a clever, sinister riff that alternately ascends and descends before it reinvents itself in the song’s final minute. Later tracks like “Better Off Aborted” and “Beyond the Bleakness” use hooks that are equally sharp, while “Holy Orgy” is especially captivating and perverse with its bouts of raspier vocals and quick, devilish riffing. Amidst the throttling blast beats that propel much of the album, Destruktor add variety with slower moments that make things feel even more unholy. The bridge of “Holy Orgy” employs wailing notes and sluggish tempos to conjure a particularly menacing aura, while the slower section in the middle of the title track sounds tortured and harrowing. If there’s any downside to such passages, it’s that they make the relentless hammering of “Writhe in Pain” seem almost uneventful in comparison.

The biggest drawback to Indomitable is that, as a whole, it feels less adventurous and dynamic than the band’s prior albums. While the fiery core of Destruktor’s sound is still here, this record lacks the occasional acoustic flourishes, extended buildups, and grander moments that helped make Nailed and Opprobrium such outstanding releases. The closing track, “The Path to Lucifer,” makes this especially apparent, as the song forgoes any real attempt at an epic ending and instead fades out on a slow riff that’s outclassed by much of the material that preceded it. Fortunately, the track itself is still a success, as the fast and violent riffing earlier in its runtime is some of the most vicious and inspired on the album. Ripping through its eight songs in just 33 minutes, Indomitable is also both tightly composed and consistently engaging, with Glenn constantly firing off great riffs that blend the malevolence of black metal, the heaviness of death metal, and the energy of thrash. When things are less wild, bassist Chris McEwin steps up, unveiling moist bass lines that deviate from the riffs and bubble like molten metal just below them. The production emphasizes the sharp guitars while ensuring everything sounds harsh, clear, and natural. In particular, the performance of longtime drummer Jahred Mawdsley hits all the harder because it isn’t overly processed.

Following up Nailed and Opprobrium was always going to be an uphill battle, but Destruktor manage to succeed by once again skillfully balancing their signature catchiness and fiery fury. While I hope the band spread their black wings a bit more widely on future releases, Indomitable nonetheless shows them continuing their infernal crusade in fine form, delivering a record that should undoubtedly please both curious newcomers and longtime fans alike.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers Records
Websites: destruktor.bandcamp.com | facebook.com/destruktorofficial
Releases Worldwide: October 18th, 2024

#2024 #35 #Abominator #AustralianMetal #BlackMetal #Blasphemy #DeathMetal #Destruktor #HellsHeadbangerRecords #Indomitable #NocturnalGraves #Oct24 #Review #Reviews #Slayer #ThrashMetal

Blood Feast – Infinite Evolution Review

By Mark Z.

For every Metallica or Slayer, there are thousands of good bands that never made it nearly as big. Blood Feast are one of those bands. Formed in the thrash metal heyday of the mid-1980s, these New Jersey natives came out swinging with their 1987 debut, Kill for Pleasure. Showcasing a dirty and unrefined take on thrash, that album earned some underground acclaim with its manic vocals, primitive riffing, and pugnacious attitude. But greater success was not to be. After guitarist Adam Tranquilli departed in 1988, the remaining members released Chopping Block Blues, a stranger and altogether less compelling affair, before calling it quits in 1991. The group would reunite and play some shows over the years, but nothing really lasted until Adam returned and formed the current iteration of the band, ultimately resulting in 2017’s The Future State of Wicked. While I liked that album, I agree with Eldritch Elitist that the crazed vocals got a bit tiring. Yet the times have changed. Having parted ways with the previous vocalist and overcome some pandemic-related delays, Adam and his crew of Garden State miscreants are finally back with the band’s fourth album, Infinite Evolution.

One of things I’ve always liked about Blood Feast is how their unassuming and workingman approach to thrash manages to stay firmly entrenched in the genre without sounding like any one band in particular. That remains the case on Infinite Evolution. As with their last album, this record features all the crunchy riffing and headstrong drumming you’d expect from a group like this, with plenty of twisted tremolos for good measure. “Of Hell” is a scorching assault that shows just how well it all works, with frantic riffs that are sure to get your head nodding and gang shouts that are sure to get your fist pumping.

True to its name, however, this record is a bit of an evolution for Blood Feast. With the vocalist position vacant, Adam himself has stepped up to the mic, performing the vocals whilst keeping guitar in hand. Yet while the previous vocalist had a wild and unhinged style, Adam hollers in a more understated way that reminds me of Jeff Becerra’s performance on the last Possessed album. He’s less intense than his predecessors, but his approach benefits the album by letting the music breathe. This turns out to be particularly important here given the more complex compositions that appear after the first few songs. “Eye of Glass,” for instance, is practically progressive thrash metal, complete with oodles of stringy riffing, a nearly eight-minute runtime, and even some robotic vocals that sound like something from Cynic’s Focus. Similarly, “Outbreak” features plump basslines that play call-and-response with the vocals during the song’s chorus, while “The Preacher” finds success in building up from wonky melodies to more intense ideas.

The biggest downside to Infinite Evolution is that songs of this caliber aren’t spread evenly throughout. This record is sequenced strangely, with the songs getting progressively better as the album goes. First proper track “Ravaging the Loins of Mary” features a couple mean riffs and plenty of ripping solos, but the song never seems to find its footing. The following track, “Never Will I Die,” pounds forward with more conviction but still isn’t as good as later songs. Meanwhile, the closing track, “The Chosen,” might be my favorite song here, with wild ideas that remind me of Atheist and a slick little melodic riff that propels everything forward. Throughout the record, Adam and fellow guitarist CJ Scioscia are the highlight of the show. Plenty of slick and shredding leads are crammed into these tracks, and the riffs offer more than enough variety to keep things engaging throughout these forty-one minutes. The production is modern but not overly polished and gives the bass guitar room to shine.

You have to hand it to a band like Blood Feast. Though they started decades ago and have never made it big, they still keep grinding and, as this album shows, are more than willing to try new things. Even with a few minor issues, Infinite Evolution is a fun and lively listen that I think will please new and old fans alike.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Hells Headbangers Records
Websites: blood-feast.bandcamp.com | bloodfeastlegions.com | facebook.com/bloodfeastlegions
Releases Worldwide: July 12th, 2024

#2024 #35 #AmericanMetal #Atheist #BloodFeast #Cynic #HellsHeadbangerRecords #InfiniteEvolution #Jul24 #Metallica #Possessed #Review #Reviews #Slayer #ThrashMetal