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Words by: Belinda Quick Photos by: Missy Smiley ‘Everything is more beautiful because we’re doomed. You will never be lovelier than you are now. We will never be here again’ – Homer, The Iliad When living through dystopia, the tendency to wallow ever deeper in the world’s woes is appreciable. The fear, at times, overwhelming, […]

Becoming a fully-fledged metalhead is when you stop associating German metal with Rammstein and start with Teutonic thrash.¹ There’s something about Germany that just makes thrash metal meaner, dirtier, and nastier than anywhere else, and without Teutonic thrash, extreme metal would likely look very different from where it is today. Knowing and loving this heritage, Germany’s own Teutonic Slaughter throws their feather-capped hat into the ring with their third album, Cheap Food, brandishing both a ridiculous album cover and a conviction to maintain the glory of old school Teutonic thrash metal. But it can be a challenge staying firmly rooted in the past while sounding vital in the present. Can Teutonic Slaughter make the cut with Cheap Food, or will this record go down hard like dry currywurst?

A lot of bands aren’t good judges of their own sound, but Teutonic Slaughter deliver what’s on the tin with Cheap Food: no-nonsense German thrash built to bash your bratwurst in forthwith. Teutonic Slaughter riffs without restraint or mercy, drawing from the melodic but near-death metal aggressiveness of Kreator (“Redistribution,” “Hostage”) as vocalist Phillip Krisch rasps and growls with the volatility of Sodom’s Angelripper and the band tears through tracks in reckless, Tankardesque good-times-lovin’ fashion (“Witches Rock ‘n’ Roll,” “Give em Hell”). Krisch and Jan Heinen’s guitars are hefty and lacerated on Cheap Food, bolstered by drummer Christian Vollmer’s thunderous kicks and an even heftier bass presence from Fabian Kellermann. The power chord rules on Cheap Food, but Teutonic Slaughter mix it up whenever necessary, like on the twisty leads of “Cheap Food,” the arpeggios kicking off “Redistribution” or the harmonics-laden chorus of “Witches Rock ‘n’ Roll.” Teutonic Slaughter promised nothing but good, archetypal German thrash and Cheap Food has that in spades.

But more impressively, Cheap Food also delivers in hashing out good thrash to the masses by means of lean songwriting, blistering energy and vicious vocals. Though songs frequent the thrash iffy-zone of five-plus-minutes, Teutonic Slaughter serve riffs and ideas economically, letting nothing wear out and keeping energy squarely at eleven. Besides the back end of “Eviscerating Surgery” and the dead minute-and-a-half of “Intro,”² Cheap Food is spry at 36 minutes and flies by in a head-banging haze. Teutonic Slaughter sound one volt from exploding on Cheap Food, baring teeth on “Redistribution” and “Fight the Reaper” with crossover levels of hardcore intensity reminiscent of Municipal Waste.³ Personally, I think it’s Krisch’s animal-like mic job that gives Cheap Food its meanest bite, lathering songs with deathly howls (“Eviscerating Surgery”), blackened roars (“Witches Rock ‘n’ Roll”), hardcore gang shouts (“Hostage”), and just some of the gnarliest barks and shouts this side of Sodom. Gnarly vocals on top of fatless, relentlessly aggressive songs is foam crowning Cheap Food’s beer stein, and brother, it’s flowing over.

Teutonic Slaughter made a simply fun album. You’re not getting any radical surprises out of Cheap Food, and that’s by design. Instead, Teutonic Slaughter delight through expert performances of well-trodden thrash staples. Heinen provides the dive-happy, shredful soloing you expect and demand from the genre, leaving everything he has on closer “Give ’em Hell” in a no-holds-bar display of guitar belligerence. Thematically, when not dealing in societal or political issues (“Cheap Food,” “Redistribution”), Teutonic Slaughter revel in the schlocky macabre (“Witches Rock ‘n’ Roll,” “Eviscerating Surgery”) and fist-pumping motivation (“Fight the Reaper,” “Give em Hell”). It’s not meant to be complicated. Teutonic Slaughter aimed to pound your brain to spätzle with Cheap Food, and if you give it a spin, they’ll have succeeded handily.

Worthy of their countrymates’ thrash legacies, Teutonic Slaughter produced an incredibly enjoyable album in Cheap Food. Riffing heavy, fast, and without stop, it’s a record that’s here for good times and for making good times. Perhaps it gets a bit played out by the end, repeating a short list of moves for half-an-hour, but Cheap Food proved to be a surprisingly compelling listen that only further endeared itself to me with every listen. Obviously, if you like thrash, I’m going to recommend you give Cheap Food a spin. If not, don’t let the door hit your lederhosen on the way out. Mahlzeit!

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Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Iron Shield Records
Websites: facebook.com/teutonicslaughter | teutonicslaughter.bigcartel.com
Available Worldwide: January 30th, 2026

The post Teutonic Slaughter – Cheap Food Review appeared first on Angry Metal Guy.

Blues Rock Weekly highlights a big announcement from Buddy Guy, plus new releases from The Sheepdogs, Freddie King, and Luke Winslow-King.

The post Blues Rock Weekly – 2/13/26 appeared first on Blues Rock Review.

Modern metal hard hitters Heriot released the deluxe version of their debut album Devoured by the Mouth of Hell and now they’ve released a killer single in the form of “Master of Deceit”.

Dark, heavy, brooding, this track hits like a sledgehammer. Speaking of the track itself, the band describes “Master of Deceit” as such:

“‘Master of Deceit’ is centered around the idea of the human experience being diminished through pressures of conformity and fear. It touches on how individualism is being lessened as we’re being pushed to disregard our own experiences, emotions and beliefs. The song poses the question of ‘how far are we willing to go before there’s no turning back?’”

This track is just one of two extra additions to their debut album in this deluxe version. The other song, “Commander Of Pain” was released late last year.

Heriot have a buncha tour dates lined up throughout the U.K. and E.U. for later this year, so if you’re going to be in the area, be sure to check those out.

Heriot tour dates

25-Feb Swindon, The Victoria (headline)
26-Feb Manchester, UK Academy 2 (w/ SikTh)
28-Feb London, UK O2 Forum Kentish Town (w/ SikTh)
26-Mar Bristol, Electric Bristol (w/ Nails)
23-May Hatfield, Slam Dunk Festival
24-May Leeds, Slam Dunk Festival
15-Jun Dublin, Opium (w/ Kublai Khan TX)
16-Jun Belfast, Limelight (w/ Kublai Khan TX)
26-Jun Ysselsteyn, Netherlands, Jera On Air
28-Jun Antwerpen, Zappa, Belgium (w/ Converge)
29-Jun Köln, Essigfabrik, Germany (w/ Converge)
30-Jun Berlin, SO36, Germany (w/ Converge)
02-Jul Wien, Arena Vienna, Austria (w/ Converge)
03-Jul Segrate, Circolo Magnolia, Italy (w/ Converge)

The post Heriot Release New Single “Master of Deceit” appeared first on MetalSucks.

Anna Wilson and Monty Powell — the powerhouse Nashville songwriting duo who perform as Troubadour 77 — are on a tear.

The post Troubadour 77’s Anna Wilson and Monty Powell Unbox New Music and Cinematic Plans appeared first on Rockmommy.com.

What do you get when you mix a cyberpunk sci-fi world, high stakes death races, and enough visual storytelling that you don’t need a lick of dialogue? You get the supremely badass music video for Carpenter Brut‘s latest single “Speed Or Perish”. This clip directed by Seth Ickerman is so great that I honestly wish they would make this into a full-length feature film, but I know the cowards in Hollywood won’t.

This is the third single off of Carpenter Brut’s new album Leather Temple, coming out in just a couple weeks. It’s also the third and final album in the ‘Leather’ trilogy, with this entry dealing with the Leather Temple, which stands at the center of Midwichpolis, a post-apocalyptic city risen from nuclear fallout and the focal point of the new record.

“Speed Or Perish” deals with Midwichpolis Arena, in which several war machines race against and destroy one another in a death race. The track, appropriately, is high octane badassery with driving synths, heavy riffs, and sweeping electronics. Honestly, it might be my favorite of the three singles released so far.

Leather Temple will be released on February 27 via No Quarter Productions/Virgin Records, but you can preorder your copy today.

The post Carpenter Brut’s “Speed Or Perish” Video Should Be Made Into a Full-Length Movie appeared first on MetalSucks.

Cinzia & The Eclipse will release The Wax EP on March 20, 2026. The Montreal singer-songwriter has also shared a new single, Thread, ahead of a Quebec run that opens March 6 at Petit Campus.

Thread is a slow-build, acoustic-led track that traces how early curiosity in a relationship can tip into something more fragile. “If you’re not careful you begin to lose yourself and your flexibility starts to turn into begging,” Cinzia said, describing the shift the song captures. The arrangement stays measured and uncluttered, giving the lyrics space to land.

The five-track EP pulls together songs she has been previewing over the past year, including Home and When I Think About Us. Written during what she describes as two difficult years, the project marks a change in how she approaches her own stories. Looking back at her earlier material, she realized she often framed songs around other people’s choices. “This body of work is a way to own up to choices I’ve made, as opposed to blaming other people for situations we found ourselves in,” she said.

The sessions took shape with LucaTheProducer and Markybeats, along with a writing night that included Emma Lamontagne and Vanessa Roque, known as Exa. The sound stays rooted in folk-pop, built on acoustic textures and light atmospheric touches that nod to the eclipse imagery she has woven into her project from the start.

Cinzia has grown her audience steadily through festival appearances at Festivoix, Ottawa Bluesfest, Festival sur le Canal, and St. Roch XP, and through a consistent run of singles. She has also timed recent releases around lunar cycles, a detail that longtime followers will recognize.

The Quebec dates begin March 6 at Petit Campus in Montreal, followed by March 19 at Source de la Martinière in Quebec City. Stops in London, Hamilton, and Toronto round out the spring run.

The Wax EP includes When I Think About Us, Runner, Thread, I’ll Be There, and Home.

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The post Cinzia & The Eclipse Announce The Wax EP appeared first on Montreal Rocks.

Nameless Grave Records is proud to announce the signing of LIVIDUS, a project that stands at the crossroads of progressive black, death, and avant-garde metal. Anchored by the incredible vocal presence of Uta Plotkin (ex-Witch Mountain), the band will release their debut full-length, Scarabaeus, on April 17, 2026.

The album marks a significant return for Plotkin, showcasing her trademark seamless interplay between clean, emotive singing and punishing screams. Joining her in the current iteration of the band is an elite lineup of the Portland underground featuring Christy Cather (Ludicra), Rob Shaffer (Uada, Dark Castle), and Michael Thompson (ex-Silver Talon).

Produced, mixed, and mastered by Keith Merrow at Merrowsound Studios, Scarabaeus eschews modern trends for a weird approach reminiscent of the adventurous spirit found in Voivod, Hammers of Misfortune, and the progressive peaks of Death, Nevermore, and Emperor.

“LIVIDUS is the exploration of the unexpected,” the band states. “We wanted to bridge the gap between the melodic and the dissonant, using the viola and Uta’s vocal range to tell a story of endurance and the aftermath of trauma. This is heavy metal at its most eccentric.”

Listen to “Amphisbaena” Now Here: https://lividus.bandcamp.com/album/scarabaeus-2

In 10 years of reviewing shows for Montreal Rocks, tonight’s is a first; I can literally walk to the show from my house. And I live in Dorval, in the suburbs of the West Island. The novelty is not lost on me as I head to tonight’s show at the local library, turning left on the way in to drop off some books, then turning right to head into the Peter B. Yeomans Cultural Centre for tonight’s show, part of a winter “Cabaret Night” series. And if that wasn’t great enough, free popcorn is provided!

Tonight’s headliner, Brittany Kennell, will always hold a special place in the heart of Montreal Rocks. Back in the hellish days of COVID in August 2020, when live music was nowhere to be seen, Brittany invited us to attend a live show, socially distanced of course, that was being broadcast online. Of course, I was more than happy to go, and it was a truly memorable evening that I still remember fondly.

If Country music was popular then, it has truly exploded in the years since. The 2-day Lasso festival that finally started in 2022 is a huge part of the Montreal calendar, of course, but even in the alternative world, the nu-Country sub-genre has been exploding of late too; just look at the rise of Wednesday and MJ Lenderman! Brittany has certainly been in the thick of things, appearing at Lasso, of course, but also gracing the stages of festivals such as Ottawa Bluesfest, Calgary Stampede, and many more. In August 2021, she became the first female Quebec artist to perform at the Grand Ole Opry in Nashville. And she even sings the anthem at Habs games from time to time! An impressive CV for sure, so it’s a real blessing to have her performing so close to home!

Her usual 4-piece backing band is shrunk down to just 2 tonight, consisting of guitarist Antoine, with Mario on the cajón, that kind of box drum you sit on and slap with bare hands, so it’s a much more stripped-down, acoustic vibe. It works well across the whole of Brittany’s catalog, especially on songs like Eat Drink Remarry and Bought the T-Shirt, which originally carried a lot more production. Antoine provides note-perfect harmonies on Neither Did I and new song Country Club, and also switches to a mandolin on songs like Wait on You, Wallow, and Life’s Waiting on Me, which adds even more variety to the sound at regular intervals. Mario only gets 1 song off during the set too; how he avoids chronic back pain from hunching over that cajón all night, I will never know!

The crowd is more senior than your average, so a number of covers are peppered across the 20-song set, including Dolly Parton, Chris Stapleton, Zach Top, Sheryl Crow, Dixie Chicks, and The Band, the latter of which gets a couple of old guys singing along at the top of their voices! The show really does have a cozy community feel to it, with so many friends, family, and neighbours in attendance; even Brittany remarks, “it feels like a living room show!”

It’s a great 90 minutes from start to finish, and as I enjoy my leisurely stroll home, I know I’ll be looking out for more of these Cabaret Nights in future!

Setlist

• Eat Drink Remarry
• Neither Did I
• Wrong Horse
• 9 to 5
• Country Club
• House & a Dog
• Parachute
• Bad Luck
• Daylight
• Bought the T-Shirt
• Wait on You
• Soak Up the Sun
• Give Up Girl
• Wallow
• You Don’t Get Me Stoned
• Cowboy Take Me Away
• Life’s Waiting on Me
• The Weight
• Together We’re Rich
• Grand Marquis

Review & photos – Simon Williams

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The post Brittany Kennell @ Peter B. Yeomans Cultural Centre appeared first on Montreal Rocks.

Something you may have noticed when Lamb Of God announced their forthcoming album Into Oblivion was the sudden change in the band’s logo. Having used the same look for years and years, the sudden switch to a more modern, stark looking logo might have stood out to long-time fans. And according to frontman Randy Blythe, the change was a deliberate one.

During his recent appearance on the Hardlore podcast, Blythe said the decision to change the logo after nearly three decades was a long time coming.

“Our logo, to be perfectly honest, needed changing. It’s the papyrus font. Had we known 20-whatever years ago that we would wind up looking like a falafel restaurant menu, we wouldn’t have used that.”

Now that he mentions it, I never noticed that you could write the logos from the Avatar movie series. Ryan Gosling probably hated the shit out of that logo. This new logo sort of reflects the new direction the band’s going with Into Oblivion, that’s for sure.

In addition, Blythe said the writing process for the new record saw the band’s members set aside their egos after years of trying to do so and work toward making all effort spent benefitting the band as a whole.

“When you’re a younger band… writing was very contentious. Somehow in our old age, as we wander off into Alzheimer’s-riddled legacy territory, we’ve learned to get along better than we ever did.”

To that end, guitarist Mark Morton said this new album benefits immensely from that shared creative freedom.

“For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation. Let’s just make music that we think is cool — which is really where it all started.”

Into Oblivion will be released on March 13 via Epic Records, but you can preorder your copy today. Lamb of God are also going to be headlining a killer tour with Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg in the not too distant future. You can check out the full list of tour dates below.

Lamb of God tour dates:

March 17 — National Harbor, MD @ The Theater at MGM Nation al

* Not a Live Nation show

2026 Festival Performances

May 14–17 — Columbus, OH @ Sonic Temple Art & Music Festival
July 24–27 — Plovdiv, BG @ Hills of Rock
July 27–31 — Râşnov, RO @ Rockstadt Extreme Fest
August 1 — Wacken, DE @ Wacken Open Air
August 5–9 — Lisbon, PT @ Vagos Open Air
August 6–9 — Kortrijk, BE @ Alcatraz Open Air
August 7 — Walton-on-Trent, UK @ Bloodstock Open Air
August 12–16 — Dinkelsbühl, DE @ Summer Breeze
August 13–15 — Sulingen, DE @ Reload Festival
August 14–16 — Eindhoven, NL @ Dynamo Metalfest
October 30–November 3 — Miami, FL @ Headbangers Boat

The post Lamb Of God Changed Their Logo Because It Looked “Like a Falafel Restaurant Menu” appeared first on MetalSucks.