Category: news

Philadelphia-based melodic punk trio FILM announce their debut album Permanence, due May 22 via Lauren Records. Featuring members of Algernon Cadwallader, The Starting Line, and Halfway to

Posted on April 2nd 2026, 12:20p.m.

The organizers behind Damnation Festival aren’t messing about this year. They’ve just pulled the curtain back on a massive wave of bands for the 2026 edition, and it’s looking like a proper essential weekend for anyone with a taste for the heavier side of life. Swedish post-metal titans Cult of Luna are set to headline … Continue reading Cult of Luna and Satyricon to headline “strongest” Damnation Festival line-up yet

Triple Lutz is Portland, Oregon’s one and only Tonya Harding-core band. Half queer, half femme, and half bald.

Yes’s planned Fragile tour would have been the band’s first English and Scottish tour dates for two years.

Posted on April 2nd 2026, 12:00p.m.

The post Damnation Festival Reveals 2026 Headliners appeared first on The Razor's Edge.

Converge have taken this mysterious real-world phenomenon and reimagined it as a physical manifestation of human suffering. Then an

This year has already kicked off in thrash-tastic fashion. We’ve seen new releases from the likes of Megadeth, Exodus, and Kreator, with Anthrax and more on the way. A quick check of my thrash bingo card shows that, by the end of the year, at least half of the “Big 4”¹ will have dropped new records, with many of the honorable-mention heavyweights joining the fray. While we wait for the next boot to drop, we turn our attention to Würzburg, Germany’s Zerre, one of modern thrash’s promising upstarts. Their debut, Scorched Souls, was a Metallica-meets-Municipal Waste slab of old-school aggression loaded with crossover, beer-chugging grooves. Taking the foundations of their debut, Rotting on a Golden Throne finds Zerre tearing through nine tracks with a sharpened sense of purpose—more aggressive, more political, and more sadistic than its predecessor. And let me tell you, it delivers in spades. I hope you’re thirsty for some tallboys, because thrash is still on the menu.

Forging their songwriting into material that’s meaner, tighter, and far more assured, Rotting on a Golden Throne shines with the violently tempered alloy of classic thrash and modern crossover’s street-level grit that never lets its energy wane. Heavily steeped in Municipal Waste’s party chaos and …And Justice for All’s rapid, surgical picking, Zerre also imbues the album with Power Trip’s coarseness, Anthrax’s stomping swagger (“Killing Taste”) and the frantic wails of Slayer (“No Alibi,” “Deception of the Weak”). Riffs hit in relentless waves, with raw aggression spilling over into massive, replay-ready grooves, while strategically placed interludes are woven directly into the album’s 40-minute runtime rather than sliced off as filler (“Mental Vacation,” “Rotting on a Golden Throne”). This smart choice gives Rotting on a Golden Throne a more cohesive flow and breaks up the record’s accelerated attack just enough to keep things elastic. Zerre delivers it all seamlessly, with a dialed‑up piss‑and‑vinegar attitude that hits you right between the eyes.

Neck-snapping riffs abound on Rotting on a Golden Throne, driven by Zerre’s full-throttle dual axe attack of Dominik Bertelt and Rocco Lepore. The two throw their weight around effortlessly with hyperspeed picking mixed with trilling, power cord syncopations, whammy dives, and a metric ton of technical solos. After the “Battery”-inspired acoustic intro, “Pigs will be Pigs” fires the first shot with blistering runs that give way to a soaring melodic solo, while “Deception of the Weak” counters with sharp twin harmonies and nimble hammer‑ons and pull‑offs. Even the slower approach of “Concrete Hell” packs a punch and “Tin God” seals the deal with a squealing, tapping frenzy that illustrates how purposefully Zerre uses solos—coupled with keen songwriting—to drive the record’s peaks. The Nordic folk lick stretching out into intertwining leads in “Mental Vacation” is also a pleasant surprise, as is the power metal riff in the self-titled track, proving that when these guys branch out of their comfort zone, they do so tastefully and with restraint rather than veering off into left field.

Vocalist Nick Ziska² brings a feral edge to Zerre’s sound. His performance swings between Tom Araya‑styled screams (“No Alibi”) and a Riley Gale-esque snarling mid‑range, anchoring Rotting on a Golden Throne’s songs with a serrated bark that sounds abrasive and weathered, yet still clear enough to slice through the chaos. Zerre’s songwriting leans heavily on gang vocals, and while they’re a clear fallback move, they inject a sense of rowdy fun that magnifies Ziska’s lyrics and makes the choruses instantly hooky. Ziska takes the lead, and the rest of the crew pile in behind him, creating shout-along moments that demand listener participation. Lyrically, Rotting on a Golden Throne sticks to thrash’s customary grievances—anti-police sentiment, prison system disdain and broad political ire—but these tropes feel less like a crutch and more like part of the total package, reinforcing the album’s scrappy, kinetic energy.

Talking about this album in the staff lounge, our resident Reaper categorized Rotting on a Golden Throne as one of the best straight-up thrash records of the year so far, and I couldn’t agree more. Detractors may point to Zerre’s stylistic touchstones as a mere recombination of established genre language, and while they wouldn’t be wrong, I don’t care. Zerre has dropped an album that embodies everything I want my thrash to be. Rotting on a Golden Throne is bursting with energy, aggression, groove, and a sense of unfiltered fun. It’s a combination that’s hard to find in today’s thrash metal landscape, and it’s one that’s worth raising a beer for.

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Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: dyingvictimsproductions.bandcamp.com/album/rotting-on-a-golden-throne | facebook.com/zerre.thrash
Releases Worldwide: March 27th, 2026

The post Zerre – Rotting on a Golden Throne Review appeared first on Angry Metal Guy.

By the late ‘60s, The Guess Who, led by Randy Bachman and Burton Cummings, were riding high. They had a few hits and were making their way over to the U.K. to bring their brand of hot-blooded, Les Paul-driven rock to the masses. Of course, the British Invasion had already taken place, meaning American groups like The Guess Who were, more or less, bringing up the rear, not that they cared. “We were very unaware at the time,” Bachman tells ClassicRockHistory.com. “I mean, I spent my money reading about The Beatles, The Stones, and The Shadows from England, but I

The post Randy Bachman Interview On The Guess Who vs The Who appeared first on ClassicRockHistory.com.