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  • Watch: Bring Me The Horizon Gave “YOUtopia” Its Live Debut This Week

    A NeX GEn setlist.

    The post Watch: Bring Me The Horizon Gave “YOUtopia” Its Live Debut This Week appeared first on Theprp.com.

  • With A Vengeance (Ex-Bad Wolves, Etc.) Tease Their Debut Single “Shared Light”

    And they’ve got the support of Tim Lambesis.

    The post With A Vengeance (Ex-Bad Wolves, Etc.) Tease Their Debut Single “Shared Light” appeared first on Theprp.com.

  • KISS Non-Makeup Albums Ranked: All 7, Worst To Best, 1983 To 1997

    kiss-no-makeup-albums-ranked

    Every studio album KISS made between wiping off the greasepaint on MTV in September 1983 and putting it back on for the 1996 reunion, ranked, with the credits that explain each one and a video from every record. Last updated October 27, 2026.

    KISS non-makeup albums are the seven studio records the band made between September 18, 1983, when Paul Stanley and Gene Simmons appeared on MTV without makeup for the first time and released Lick It Up the same day, and the 1996 reunion that put the paint back on: Lick It Up, Animalize, Asylum, Crazy Nights, Hot In The Shade, Revenge and Carnival Of Souls. They span four lead guitarists, two drummers, a Bolton-assisted ballad that hit the top ten and a shelved grunge-era record that the band has never played a note of live. Ranked worst to best, No. 1 is from 1992.

    The rules: studio albums only, so Alive III (1993) and Unplugged (1996) sit in the table at the bottom rather than the ranking. Carnival Of Souls counts because it was recorded in 1995–96 as a non-makeup album even though Mercury didn’t release it until October 1997. Psycho Circus (1998) doesn’t, because the makeup was back. Albums are judged on songs first, then on whether the record sounds like a band or a brand, with credits and chart positions verified against the album sessions, not the liner notes.

    What Counts As A Non-Makeup KISS Album? (And Why Unmasked Isn’t One)

    A non-makeup KISS album is any of the seven studio records made between the September 1983 unmasking and the 1996 reunion; the 1980 album titled Unmasked is a makeup-era record, released three years before the band actually took it off, and is not part of this list.

    The confusion is understandable, since the band named an album Unmasked and then stayed masked for three more years and two more records (Music From “The Elder” and Creatures Of The Night). The real unmasking happened on MTV on September 18, 1983, with Lick It Up in stores the same day, and the era it opened ran until the Alive/Worldwide reunion tour in 1996.

    Three lead guitarists came and went in that stretch: Vinnie Vincent, who played on Lick It Up and never signed a contract; Mark St. John, who played on Animalize and was gone within a year; and Bruce Kulick, who joined in December 1984 and stayed for twelve years and five albums. Eric Carr drummed on the first five records and died in November 1991; Eric Singer took over for Revenge and Carnival Of Souls.

    What Is The Best Non-Makeup KISS Album?

    Revenge (1992) is the best non-makeup KISS album: produced by Bob Ezrin, debuting at No. 6 on the Billboard 200, the band’s first top-ten album since Dynasty in 1979, and the one record of the era that sounds heavier, darker and more serious than the makeup years that came before it.

    Lick It Up (1983) is second as the album that saved the band, and Animalize (1984) third as the one that proved the rescue stuck. The bottom of the list is not bad records so much as compromised ones: Crazy Nights sold Platinum and Hot In The Shade produced a top-ten single, but both sound like the late 1980s happening to KISS rather than KISS happening to the late 1980s. The full ranking is below; the full credits are in the table at the end.

    The 7 KISS Non-Makeup Albums, Ranked

    7. Hot in the Shade (1989)

    kiss-hot-in-the-shade

    Fifteen tracks and fifty-nine minutes, which is the first problem; the second is that it sounds like it was made on a budget, because it was, with drum machines on several songs and session drummer Kevin Valentine on two others. Produced by Simmons and Stanley, it reached No. 29 and went Gold, the only album of the era not to reach Platinum.

    The one thing it has that nothing else here has is “Forever,” co-written by Stanley and Michael Bolton, which hit No. 8 on the Hot 100 in April 1990, the band’s highest single placing since “Beth.” Tommy Thayer, a decade before he put on Ace’s makeup, co-wrote and played on two tracks. It was Eric Carr’s last full album; he died of heart cancer on November 24, 1991, at 41.

    We Also Recommend – The Loaded Radio Podcast: BRUCE KULICK Unplugged On Life After KISS

    6. Crazy Nights (1987)

    kiss-crazy-nights

    The highest-charting KISS album of the 1980s, at No. 18, and the one the hard-rock faithful liked least. Ron Nevison, fresh off Heart and Ozzy, produced it like a Heart record: keyboards on everything, Stanley’s vocals stacked to the ceiling, and a title track that went top five in Britain and stalled at No. 65 at home. It went Platinum in four months. The problem isn’t that it’s slick; it’s that the slickness buries Bruce Kulick, whose solos on “No, No, No” and “Bang Bang You” are the heaviest playing on the album and the reason to go back. The working title was Who Dares Wins. They didn’t.

    5. Carnival of Souls: The Final Sessions (1997)

    kiss-carnival-of-souls

    The album that got shelved. Recorded in late 1995 and early 1996 with Alice In Chains producer Toby Wright, Carnival Of Souls is KISS downtuned and miserable, chasing the sound of the bands that had made them irrelevant, and it’s better than that description sounds. When the original lineup reunited in 1996, Mercury sat on it; it leaked, got bootlegged, and finally came out in October 1997 as a contractual afterthought, reaching No. 27 with no certification and a single, “Jungle,” that never got a video.

    Kulick sings lead on “I Walk Alone,” the only KISS song he ever fronted. The band has never played any of it live. It’s the era’s strangest record and its most honest one, and it ranks here because a KISS album that doesn’t sound like KISS can only climb so far.

    4. Asylum (1985)

    kiss-asylum

    The first album with Kulick as an official member and the first time the non-makeup lineup sounds like it had rehearsed. Asylum reached No. 20 and went Gold in two months, and it is the most consistent record of the mid-80s run: “King Of The Mountain” and “Who Wants To Be Lonely” are as sharp as anything on Animalize, and “Tears Are Falling,” the only retail single, is the best Stanley ballad-with-a-riff of the decade. The spandex and the hair are a lot. The songs hold. Jean Beauvoir plays bass on two tracks, as he had on Animalize, which tells you how often Gene was in the building. The Gene Simmons facts list explains where he was instead.

    Check This Out – The Demon’s Dirty Secrets: 13 Gene Simmons Facts That Prove He’s Rock’s Ultimate Marketing Genius

    3. Animalize (1984)

    kiss-animalize

    The album that proved Lick It Up wasn’t a fluke, and the one with the most complicated credits in the catalog. Mark St. John is the credited lead guitarist and played most of it, but Bruce Kulick plays the solo on “Lonely Is The Hunter” and adds guitar to “Murder In High-Heels,” Jean Beauvoir plays bass on three tracks, and Simmons, busy in Hollywood, plays bass on only four. Stanley produced it essentially alone and has said he felt abandoned doing it.

    None of that shows. Animalize reached No. 19, went Platinum in three months, and gave the band “Heaven’s On Fire,” which has been in the set ever since. St. John was dismissed that December with reactive arthritis; Kulick was made permanent the same month. It’s the sound of a band outrunning its own chaos, and it belongs with the underrated 80s metal albums that get written off for their covers.

    2. Lick It Up (1983)

    Kiss_Lick-It-Up

    The bet. After Music From “The Elder” had flopped and Creatures Of The Night had been ignored, KISS took the makeup off on MTV on September 18, 1983 and released Lick It Up the same day, their first album for Mercury. It reached No. 24, went Gold by Christmas and Platinum eventually, and it’s the leanest, meanest record of the era: Vinnie Vincent’s playing on the title track and “Exciter” (where Rick Derringer takes the solo) is the most aggressive guitar on any KISS album, and “All Hell’s Breakin’ Loose” is Stanley at his most unhinged.

    Vincent is on the cover and was never legally a member; he was out by the end of the tour in March 1984 and has been in court with the band on and off ever since. The album didn’t need him to last. It needed him to exist, and it did the job.

    1. Revenge (1992)

    kiss-albums-ranked-revenge

    The definitive non-makeup KISS album and a top-five KISS album of any era. Bob Ezrin, who had produced Destroyer and The Elder, came back and made the band sound dangerous: “Unholy,” co-written with Vinnie Vincent, is the heaviest single they ever released; “Domino” is Gene’s best song in a decade; “God Gave Rock ‘N’ Roll To You II” carries the last vocal Eric Carr recorded.

    It debuted at No. 6 on the Billboard 200, the band’s first top-ten album since 1979, and went Gold in two months. Eric Singer’s first album, Kulick’s best, and the only record here that sounds like it was made by people with something to prove rather than something to sell. The album is dedicated to Carr. If you own one non-makeup KISS album, it’s this one; if you own two, the second is the next entry up, and the 2027 avatar residency will almost certainly not play either of them.

    The Full Ranking

    1. Revenge (1992)
    2. Lick It Up (1983)
    3. Animalize (1984)
    4. Asylum (1985)
    5. Carnival Of Souls: The Final Sessions (1997)
    6. Crazy Nights (1987)
    7. Hot In The Shade (1989)

    Every Non-Makeup KISS Release: Credits, Peaks And Certifications

    Across the seven studio albums, Paul Stanley and Gene Simmons are the constants, Eric Carr drums on the first five, Bruce Kulick plays on six (including uncredited work on Animalize), and the chart peaks run from No. 29 to No. 6, with Revenge the only top-ten entry.

    The Unplugged taping in August 1995 is where the reunion started: Ace Frehley and Peter Criss joined for four songs, the response settled the question, and the makeup went back on the following year. Kulick and Singer were out, Carnival Of Souls went in a drawer, and the non-makeup era ended the way it began, with a decision made for the cameras. For the context around these records, the underrated hair metal bands KISS were competing with and the videos of the era, some of them KISS’s own, are the next pages; the classic metal news hub has whatever the band does next. Tell us in the comments what’s ranked too low.

    TL;DR

    • The seven KISS non-makeup albums, ranked: Revenge (1992), Lick It Up (1983), Animalize (1984), Asylum (1985), Carnival Of Souls (1997), Crazy Nights (1987), Hot In The Shade (1989).
    • Revenge is the best of the era and the only top-ten album in it (No. 6), produced by Bob Ezrin with Eric Singer on drums and dedicated to Eric Carr.
    • The 1980 album Unmasked is a makeup-era record and is not part of this list; the real unmasking was on MTV on September 18, 1983, the day Lick It Up came out.
    • Bruce Kulick plays on six of the seven (including uncredited work on Animalize); Carnival Of Souls was shelved for the 1996 reunion and has never been played live.

    FAQ

    Which KISS albums were made without makeup?

    Seven studio albums: Lick It Up (1983), Animalize (1984), Asylum (1985), Crazy Nights (1987), Hot In The Shade (1989), Revenge (1992) and Carnival Of Souls: The Final Sessions (recorded 1995–96, released 1997). Two live albums, Alive III (1993) and Unplugged (1996), also come from the era. Psycho Circus (1998) was recorded after the makeup returned.

    What is the best KISS album without makeup?

    Revenge (1992). Produced by Bob Ezrin, it debuted at No. 6 on the Billboard 200, KISS’s first top-ten album since Dynasty in 1979, and features “Unholy,” “Domino” and “God Gave Rock ‘N’ Roll To You II.” It was Eric Singer’s first album with the band and is dedicated to Eric Carr, who died in November 1991.

    Is Unmasked a non-makeup KISS album?

    No. Unmasked was released in May 1980, while the band still wore makeup, and the title refers to the cover’s comic-strip concept rather than the band’s appearance. KISS did not appear without makeup until September 18, 1983, on MTV, the day Lick It Up was released.

    When did KISS take off their makeup?

    September 18, 1983, on MTV, coinciding with the release of Lick It Up. The band stayed unmasked for thirteen years, until the original lineup reunited and restored the makeup for the Alive/Worldwide tour in 1996.

    Who played guitar on KISS’s non-makeup albums?

    Vinnie Vincent on Lick It Up; Mark St. John on Animalize, with Bruce Kulick and Jean Beauvoir contributing to several tracks; and Bruce Kulick on Asylum, Crazy Nights, Hot In The Shade, Revenge and Carnival Of Souls. Kulick was an official member from December 1984 until the 1996 reunion.

    The post KISS Non-Makeup Albums Ranked: All 7, Worst To Best, 1983 To 1997 appeared first on Loaded Radio.

  • Headline Act: Headswitcher

    For our latest Headline Act, we’re heading down to Northampton to catch up with Headswitcher, a four-piece who’ve been busy making a name for themselves on the local circuit over the last couple of years, and who recently released their EP Out of Reach (review here). Channelling the raw energy of the likes of Soundgarden … Continue reading Headline Act: Headswitcher

  • System Of A Down’s Daron Malakian Sets The Record Straight On “Toxicity” Bonus Track “Arto”

    Arto isn’t the actual proper title per se.

    The post System Of A Down’s Daron Malakian Sets The Record Straight On “Toxicity” Bonus Track “Arto” appeared first on Theprp.com.

  • EP Review: Sepultura- The Cloud of Unknowing

    Words by Anselm Anderson

      Sepultura is getting ready to close the chapter on their remarkable forty-year career with the release of their final four-track EP, The Cloud of Unknowing, arriving this Friday, April 24th, via Nuclear Blast Records.
    The Brazilian Quartet wraps things up on a high note with their most heartfelt and inventive work yet. Each track explores a different side of the band’s emotions, blending thunderous drums, sweeping orchestral arrangements, and their signature fierce vocals and riffs. The band brought in American drummer Greyson Nekrutman for their latest tour across North America, Europe, and Latin America. His prodigious talent adds a fresh layer to the band’s often wild and chaotic brand of tribal metal. Nekrutman’s precise yet powerful hits blend seamlessly as the rest of the band pour their energy into this final chapter of their career.
     
    The band chose the legendary Criteria Studios as the place to record The Cloud of Unknowing, produced by longtime friend and collaborator, Stanley Soares, who brings the journey full circle on this release. The band recorded the album in ten days with no prior planning but a list of old demos by guitarist Andreas Kisser.
    The album kicks off with the fierce “All Souls Rising,” inspired by Madison Smartt Bell’s book about the slave rebellion in 1780s Haiti. Its blistering, high-speed metal merges seamlessly with anthemic chants and a powerful orchestral arrangement. Next up is the power ballad “Beyond the Dream,” a melancholic track featuring clean vocals.
     
     
    Photo Courtesy of Nuclear Blast Records  
    “”Sacred Books” kicks off with Sepultura’s signature hostility, featuring harsh vocals, melodic guitar parts infused with jazz instrumentals, and thunderous basslines. The track bears similarities to modern metal bands like Lamb of God.
     
    And finally, the dark grooves of “The Place” bring this farewell to a close. Sepultura mixes eerie melodic vocals and instrumentals with angry vocals, massive thumping drums, and a roaring guitar line.
    Sepultura bids farewell with something short but sweet—a release packed with their most compelling songwriting, sharp political insights, and powerful guitar riffs, serving as a heartfelt tribute to the boys from Brazil.
     
    “The Cloud of Unknowing” arrives on April 24th via Nuclear Blast Records via all major streaming platforms and retail outlets. Enjoyed this post? Never miss out on future posts by following https://follow.it/anselm-s-rambling-man-s-reviews?pub Copyright: Anselm Anderson ©  
    [youtube https://www.youtube.com/watch?v=o7anH4l8Ipc?si=30AmPn2DJlNM9g4c&w=560&h=315]

  • Album Review: DA-Self-Titled

     

    Words written by Anselm Anderson

    This upcoming Friday, English Heavy Metal band DA are set to unleash their much-anticipated self titled- debut album. This ten-track album blends modern rock vibes with classic rock influences, clearly drawing inspiration from bands like Black Sabbath and Judas Priest. It has a strong throwback feel to the NWOBHM era, mixing  fast riffs with a dark, moody atmosphere and powerful, soaring vocals.
    DA emerged from the NWOBHM band Desolation Angels, when former guitarist Robin Brancher formed the group in 2021 with vocalist Matt Oakman. They were soon joined by bassist Neil Craddock and drummer Dan Smith.
    Photo courtesy of San PR
    The album’s use of atmospherics adds depth and sincerity to the storytelling in the music. The opening track, “Daisy Chains,” kicks off with ominous cracks of thunder, gradually building in a slow, rhythmic patterns before erupting into Oakman’s towering vocals, which play a significant role throughout the release. Another highlight of the release is the use of multi-layered vocals in the chorus, adding rich harmonies to the music. As exemplified here, and in the beautiful, tear-jerking ballads “Angels” and the latest single “Forever Enslaved”
    “Snake” and “Rock It” are fist-clenching rock anthems, while “Pillars of Death (Desolation)” delivers dark, distorted riffs reminiscent of early Black Sabbath, paired with slick, menacingly constructed guitar lines. The album closes with unforgettable hard rock anthems like “Spiralling Nowhere” and “The Devil’s On My Side,” before finishing with the epic twelve-minute progressive track “You Gotta Believe It.”
    Overall, DA aim to bring something old into the modern rock world. The songs are well-crafted, while the music is fresh and heavy, with plenty of headbanging to enjoy.
    DA are set to release their self-titled debut album on Friday, 10th April.
    Album tracklisting: 1. Daisy Chains; 2. Higher; 3. Snake; 4. Pillars of Death; 5. Rock 6. Angels; 7. Forever Enslaved; 8. Spiralling Nowhere; 9. The Devils on My Side; 10. You Gotta Believe It. SOCIAL MEDIA LINKS https://www.dametal.co.uk/ https://www.youtube.com/@dafilm666 https://www.facebook.com/DAMetalUK/ https://www.instagram.com/da_metal_uk/ DA are: Matt Oakman — Vocals; Robin Brancher — Guitar; Neil Craddock — Bass; Dan Smith — Drums. [youtube https://www.youtube.com/watch?v=yxnL-LSrP0Q?si=5LC8fL86WDoyu3mQ]
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    Copyright: Anselm Anderson ©

  • Album Review: Tyketto-Closer to the Sun

     

    Words written by Anselm Anderson

    It’s refreshing to receive an album full of cheer and good vibes in a world of doom and gloom, where many bands focus on expressing their anger over social and political issues. Tyketto offers something fresh with their new album “Closer to the Sun.”

    The ten track release is full of anthemic tracks and stories of wisdom about loss, loves and pleasures. The album, freshly released by the renowned Silver Lining Music, was recorded in various studios across the UK and Europe, including Flip Flop Studios and the legendary Rockfield Studios in Wales. The band’s blend of radio-friendly tunes with a bluesy edge is reminiscent of early Aerosmith, with every track crafted for pure enjoyment.

    As a young rock fan, I first discovered Tyketto through their 1991 debut album Don’t Come Easy, after a friend made me a tape of it. The band had more of a glam metal vibe back then, but the charismatic Danny Vaughan still led them with warmth and passion. He’s still the only remaining member from the original lineup, which was formed in 1987 in New Jersey, USA. Vaughan is joined by  Harry Scott Elliott on guitar, Ged Rylands on keyboards, Chris Childs (Thunder) on bass and Johnny Dee (Doro) on drums. This combination adds warmth and clarity to the music, as the band beam from on all angles on the music video releases. They look like a band at peace and enjoying themselves.


    Let’s start with the review!

    The album starts with arguably the standout track “Higher than High”, a bluesy track full of charm and swagger. This is where the album takes a turn with more anthemic and powerful ballads, such as “Start a Feeling”, “Bad For Good” and “”Closer to the Sun” slows the momentum of the releases, padding it with slower tracks that make it feel like it has run out of steam. Tracks like “We Rise” and “Donnowhuddis” are rockier, packed with rock ‘n’ roll and blues vibes reminiscent of bands like Thunder. These songs bring an extra spark to the release.

    The second half of the album really takes off with “Harleys and Indians (Riders in the Sky),” filled with gospel, soul, and harmonica. It’s a fantastic Americana track that lifts the listener’s spirits. The album wraps up with nostalgic tunes like “Hit Me Where It Hurts,” before settling into the heartfelt ballads of “The Picture,” “Far Away,” and “The Brave.”

    Overall, Tyketto delivers a collection of heartwarming, nostalgic feel-good tracks sure to please the average rock fan. At times, the slower songs outnumber the rockier ones, which can feel a bit tiring. Still, this is a solid rock album for anyone seeking a refreshing break from the doom and gloom of today’s music scene. [youtube https://www.youtube.com/watch?v=xN9V8M0GDgU?si=pWo_OUVeHGfqVWOQ&w=560&h=315]

    Social Media Links





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    Copyright: Anselm Anderson ©

  • Album Review: Nervosa-Slave Machine

     

    Words by Anselm Anderson

    Brazilian thrash metal band Nervosa returns with another batch of raw, brutal, and honest songs, centred around politics, war, and religion. The band’s sixth album, titled “Slave Machine,” will be released on Friday, April 3rd via Napalm Records. The album picks up right where 2023’s Jailbreak left off, with singer Prika Amaral still in top form after making her debut on that record. Her fierce, abrasive vocals rival those of any male singer with guttural growls, as she howls like a wolf on the hunt. The quintet are helped by the strong production skills of Martin Furia, best known for his work with German destroyers, Destruction. His attentive ear to detail brings out the menacing and hellacious feelings of the band as a whole.

    I have been an admirer of the band ever since i saw them open for fellow Female Metal act, Burning Witches on tour a few years back. Their sound is crisp and emotional, layered over sharp, frenetic guitars, ferocious drumming and  the combination between speed and thrash. Slave Machine makes no exception, as the band roar over twelve intense tracks over some of the things that have impacted us all over the past few years. As the world anchors on the brink of destruction, Nervosa articulate these thoughts in the only way they know how: Fast, Hard and ruthless!


    That’s enough of the build, let’s get onto the review.

    Slave Machine kicks off with the rhythmic patterns of tribal drums on “Impending Doom,” which flow into bone-crushing riffs, pounding beats, and eerie guitar melodies that  connect the verses.

    Photo Credit: Akis Zeralis

    The title track “Slave Machine” barely gives the listener a moment to breathe before hitting like a sledgehammer to the temples The drumming matches the vocals and guitars in intensity, while the choruses are catchier than on their previous release. As is often the case here, Amaral sounds like a woman possessed, howling over riffs that slice through you with precision. “Ghost Notes” builds the music through haunting passages, unsettling choruses, and an equally impressive guitar solo. The intensity gradually builds into a cascade of thick, bone-chilling riffs, searing solos, and unadulterated anger, as heard on tracks like “Beast of Burden”, “You Are Not A Hero” and “Hate”. The ladies brings an old-school thrash mentality with a modern edge, as they rip through this album. This album is 100% thrash metal without any ballads or instrumentals to break it up. The band comes across as serious and angry, with Slave Machine serving as an attempt at catharsis for them to release all their pent-up frustration. “Crawl for Pride” includes some thunderous dual guitar battles between Amaral and fellow guitarist Helena Kotina. The quintet brings some groove-orientated riffs on “Learn or Repeat” and “The Call”, before wrapping things up with the sinister “Speak in Fire”.

    Overall, Nervosa have produced one of the most intense, personal and political metal albums of the year thus far. The women have improved on their songwriting, while writing tracks with more riffs, the  musicianship  continues to grow , like the chemistry between the five piece. 2026 is proving to be a good year for thrash metal albums, following the impressive showings of Exodus and Kreator.



    NERVOSA are:

    Prika Amaral – Vocals, Guitars
    Helena Kotina – Guitars
    Hel Pyre – Bass
    Emmelie Herwegh – Bass
    Michaela Naydenova – Drums

    NERVOSA online:
    [youtube https://www.youtube.com/watch?v=H3vgFPNHFcI?si=Wi16qLfVV4vnGgEn]



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    Copyright: Anselm Anderson ©

  • Album Review: Exodus-Goliath

     


    Words by Anselm Anderson


    Rob Dukes returns for this twelfth outing for Exodus. The shaven headed vocalist returns following a ten year hiatus from the band. ‘Goliath marks his first appearance since 2010’s Exhibit B:The Human Condition. Dukes returned to the fold last year, following the departure of vocalist Steve Souza, and this release also marks the first on Napalm Records for the band.

    Produced by Exodus,  and mixed and mastered by Mark Lewis, known for his work with Whitechapel, Nile and Undeath, this ten track release feels like a return to form for the Bay Area Thrashers. The music is intense and authentic, with  each riff cutting though  precision like a butcher’s knife. Dukes sounds like an insane man, whose making up for lost time. The album features guest appearances by Peter Tägtgren (Hypocrisy, Pain) and violinist Katie Jacoby. 


    Photo Credit: Jim Lovau

    The album begins with the dissonant chords on “3111“, a track that sets the tone with the chaotic and fiery intensity for the rest of the record. The album has the vibe of something Lamb of God would produce, with Dukes fiercely tackling politics, social issues and mental health. Dukes is complemented by a strong supporting cast with rummer Tom Hunting hitting the bass drums with ferocity.

    Guitarists Lee Altus and Gary Holt are at the top of their game, delivering groove-oriented riffs and blistering solos reminiscent of their classic work. Each track packs raw emotion and searing anger. The intros are long and meaningful, while Dukes blends punk attitude with thrash metal that sends goosebumps down your arms. Tracks like “Hostis Humani Generis,” “Violence Works,” and “2 Minutes Hate” bring the volatility and fast-paced riffage fans have come to expect from the band. The anthemic “The Changing Me” features the haunting screams of Peter Tägtgren, and “Promise You This guaranteed to spark wild mosh pit chaos.


    Other highlights include the doom -laden “Goliath”, featuring violinist Katy Jacoby, and the full-throttle “Beyond the Horizon”, which is bound to be a fave on their upcoming European tour.

    “Goliath” is ten tracks of blood pumping, smash face metal with plenty of razor sharp riffs to get those necks sore. The vocals have a nostalgic feel, backed by powerful production. There’s no shortage of anthemic tracks, and it’s clear the band has drawn heavy influence from Slayer and Megadeth. This release feels like a bold statement ahead of their upcoming tour, and they’ve absolutely delivered. Goliath is a monstrous offering, standing alongside tour mates Kreator’s Krushers of the World as an early contender for album of the year.

    For further reading , please click on the link below to read the review for “Krushers of the World” by Kreator.


    The bands are set to embark on the Krushers of the World UK/European tour this week. You can find the dates listed below.

    EU/UK Tour
    w/ Kreator, Carcass, Nails

    24.03.26 FR – Paris / Zenith Paris
    25.03.26 BE – Brussels / Ancienne Belgique
    27.03.26 UK – London / O2 Academy Brixton
    28.03.26 UK – Manchester / O2 Apollo Manchester
    29.03.26 UK – Glasgow / O2 Academy Glasgow
    31.03.26 LU – Esch-sur-Alzette / Rockhal
    01.04.26 CH – Zurich / Halle 622
    03.04.26 NL – ’s-Hertogenbosch (Den Bosch) / Brabanthallen
    04.04.26 DE – Essen / Grugahalle
    05.04.26 DE – Frankfurt / Jahrhunderthalle
    07.04.26 IT – Milan / Alcatraz
    08.04.26 SI – Ljubljana / Media Center
    09.04.26 AT – Vienna / Gasometer
    10.04.26 DE – Ludwigsburg / MHP Arena
    11.04.26 DE – Munich / Zenith
    12.04.26 CZ – Prague / Forum Karlín
    13.04.26 HU – Budapest / Barba Negra
    15.04.26 PL – Warsaw / COS Torwar
    17.04.26 DE – Hamburg / Inselparkhalle
    18.04.26 DE – Berlin / Uber Eats Music Hall
    20.04.26 LV – Riga / Palladium
    21.04.26 FI – Helsinki / Black Box Finland OY
    23.04.26 SE – Stockholm / Annexet
    24.04.26 NO – Oslo / Sentrum Scene
    25.04.26 DK – Copenhagen / Poolen


    Social Media Links
    EXODUS online:
    FACEBOOK
    INSTAGRAM
    X
    TIKTOK
    WEBSITE



    [youtube https://www.youtube.com/watch?v=kmZXGb6MtF8?si=dFuqL38jzmhVQDUa]

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