Thrash—my first love. Before I worshipped at the altars of black and death, my masters cloaked themselves in denim and set my soul on fire with aggressive speed, snotty rebellion, and fist-pumping anthems. Like 2016, the godfathers of thrash have already made the last twelve months a resurgence of the old school, with varying degrees of success.1 Newer acts have also made a splash, with Cryptic Shift and Zerre wickedly pummeling our poor score counter into requesting early retirement.2 2026 at large betrays no signs of relenting, and thankfully, neither does thrash. Ten years after dropping their 2016 debut, The Unholy Trinity, California’s Nukem reemerges with sophomore effort The Grave Remains. After such a long incubation period, does Nukem prove that they have what it takes to claw out from the grave?

Despite forming in 2012, Nukem oozes classic thrash spunk by blurring Bay Area melody with East Coast attitude and gang vocals. Death Angel, Nuclear Assault, and Overkill3 influences punctuate The Grave Remains’ twelve tracks, although flashes of a dozen other bands course through Nukem’s veins. Guitarist/vocalist Steve Brogden’s snarls remind me of Warbringer’s John Kevill mixed with a more pissed-off Mark Osegueda, delivering serrated crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone,” cementing the Death Angel frame of reference. Exodus staples Gary Holt and Lee Altus also sling some riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. In total, Nukem blends a multitude of inspirations into a confluence of so many thrash wellsprings that they precipitate a voice at once familiar and distinct.

The Grave Remains by Nukem

Nukem plays infectiously fun thrash that overflows with shout-along choruses and a bass tone so plump and meaty that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flit, chug, and cajole throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight time and again. From the slinky rumble in “Unconditional Surrender” to the coquettish interplay in “Empress of Evil,” Lauder’s bass bounces and parades with low-end jubilance. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while showcasing Nukem’s six-string attack, with Xander Gambini augmenting Brogden’s core. Additionally, ex-Nukem axe-wielder (and current Dark Angel guitarist) Laura Christine joins her former bandmates and Gary Holt on “Empress of Evil,” while “Random Acts of Violence” includes an appearance from Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, ably pounding out rolls, fills, and tight rhythms in support of Nukem’s well-crafted performances.

Nukem executes thrash with the eager verve of a hungry up-and-comer, but a couple of missteps limit The Grave Remains’ ceiling. While the riffs are fine when experienced in isolation, as a whole, they often lack the hooks or memorability to distinguish themselves from one another. The Grave Remains shines brightest during bass performances and rousing choruses, but those two alone can’t support an entire thrash album. This issue wouldn’t be as glaring if the track lengths were shaved down, but as-is, only two songs (besides needless instrumentals) stay under the four-minute mark, and one of those is a cover. Repeat spins reinforce the opportunity to trim thirty to sixty seconds off several tracks, which would help punch up The Grave Remains and leave listeners craving MOAR. On a positive note, the production glows with a well-balanced mix that supplies ample room for each instrument, and Nukem’s earnest embrace of head-banging gusto guarantees I’m never having a bad time.

Ultimately, Nukem offers a classic thrash platter with a few blemishes I can see, yet easily look past. The Grave Remains won’t change the landscape of the genre, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manages to claim their spot within thrash’s wing of the metalsphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome earworms that have found homes in my playlists, and I look forward to the next time Nukem asks us to come get some.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 10th, 2026

Tombs – Feral Darkness Review

By Kenstrosity

This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness.

Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.

It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.

With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.

Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025

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Death Etiquette

https://blabbermouth.net/reviews/death-etiquette

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Faithxtractor – Loathing and the Noose Review

By Maddog

Faithxtractor’s second biggest musical contribution was the comment section from their last album. With a Farmers Only joke, a thread about metalcore album names, and a story that must be read to be believed, the birdbrain community’s mockery of Faithxtractor’s name has left me giggling for two years. Of course, the band’s biggest contribution was 2023’s Contempt for a Failed Dimension itself. Perhaps my favorite frill-free death metal record in recent memory, Faithxtractor’s fourth full-length dealt in riffs and also riffs. Unlike the other wannabes that litter the old-school death metal revival scene, Faithxtractor stood out through thoughtful songwriting. The album’s doom-tinged riffs were punchy, and its cohesive flow has withstood two years of wear. Ohio’s underground farmers are back with another slab of death metal. As I started spinning Loathing and the Noose, I knew what to expect.

At least, I thought I did. While Contempt for a Failed Dimension reveled in riffy simplicity, Loathing and the Noose is much more adventurous. Faithxtractor’s signature remains, with extra chunky riffs that alternate between furious death metal and Asphyxiating death-doom. However, while Contempt turned everything up to eleven, Loathing shatters the knob altogether. The most intense sections veer into blackened death-thrash, landing in between Morbid Saint and Panzer Division Marduk (“Fever Dream Litanies”). Even early Suffocation rears its head in Faithxtractor’s most bludgeoning brutal riffwork (“Flooded Tombs”). Spastic flailing guitar solos complement this unhinged assault on the senses. However, Faithxtractor ventures in the opposite direction as well. Loathing’s soaring leads and its melodeath-inflected riffs make it feel more melodic than Contempt. Meanwhile, the album’s starkest change lies in its bluer shade of doom. Faithxtractor’s melodic death-doom passages recall Swallow the Sun, displaying a newfound emotive side rather than merely adding heft. While Loathing and the Noose is far from an avant-garde record, it marks a sea change for Faithxtractor.

Miraculously, Faithxtractor’s experiments pay off. Even the most unexpected pieces are bafflingly powerful. Despite my knee-jerk skepticism, the melodic death-doom escapades are as evocative as the genre’s best (“Cerecloth Vision Veil”). Conversely, Loathing and the Noose’s speediest blackened cuts hijack my brain using frantic melodies and Marduk riffs (“Ethos Moribund”). These varied elements fit together with uncanny grace. The mid-section of opener “Noose of Being” mutates from blackened riffs to melodeath to sadboi death-doom to knuckle-dragging Autopsy worship, with fluid transitions that make each long jump feel like a natural step. Similarly, “Caveats” shines through its dynamic back-and-forth between an elegiac key melody and an enormous doom riff. While Faithxtractor’s round-trip transitions are sometimes abrupt, like the funeral-doom-and-back of “Flooded Tombs,” these are rare exceptions. Indeed, because it’s so well-crafted, Loathing and the Noose is an immediate hit despite its evolution; even the doomy seven-minute closer flies by, lodging into my memory by my second listen. Over-experimentation can be a turn-off, but Faithxtractor makes it work by whole-assing their every move.

Of course, it helps that the caveman segments slay. Even on its more adventurous tracks, Loathing’s overpowering death metal riffs are grin-inducing (“Cerecloth Vision Veil”). I have a soft spot for guitar solos paired with a dominant rhythm guitar, and Faithxtractor delivers on this with reckless abandon (“The Loathing”). If anything, Loathing and the Noose’s explosive tendencies make it a more visceral and infectious listen than its predecessor. And because the album’s climactic fury is sprinkled across each track rather than being sequestered, its 37 minutes are consistently lovable. While Loathing’s loud in-your-face master blunts its teeth, it remains a delight to revisit.

This is not the death metal album I was looking for. I showed up expecting a single-minded half-hour curbstomp. While Loathing and the Noose retains these simple roots, it does so much more. With influences ranging from blackened thrash to weepy death-doom, Faithxtractor’s newest record marks a transformation that initially left me worried. But its gargantuan death metal riffs, its smooth songwriting, and its excellence across its genre romps won me over. Contempt for a Failed Dimension was not just one of the greatest albums of 2023; it shocked me, revitalizing a subgenre that rarely rises above a 3.0. Loathing and the Noose sounds worlds apart, but checks the same elusive box. Mastermind Ash Thomas continues to understand my taste better than I do, releasing fantastic records in styles that often let me down. Keep an open mind and give this a shot.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: faithxtractor.bandcamp.com | facebook.com/Faithxtractor
Releases Worldwide: January 10th, 2025

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Label Spotlight: Redefining Darkness Records
There's so many outlets releasing extreme music today, but it takes a keen ear to seek out the ones emitting the most worthwhile noise. Redefining Darkness Records is one of those labels. The post Label Spotlight:..

https://www.decibelmagazine.com/2023/02/10/label-spotlight-redefining-darkness-records/

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