Ok, this has been one of the releases I’ve been tracking this year, a homage to one of the most influential acts ever to grace the extreme metal stage.
If you haven’t heard of Death, or Chuck Schuldiner then I suggest you have a dive online and then come back in a bit. I need to also preface the review by pointing out that the band comprise those who were involved during the very early moments of the Florida death metal scene, and so it has a certain flavour to it.
The songs here are early Death and Mantas tracks that have previously only been available as demo material, as far as I can see (happy to be proved wrong though!). The band themselves have some heavy weight metal credentials with Rick Rozz and Terry Butler onboard and have approached this with a serious intent. I know that there are those who might be looking at this as some form of cash grab, or worse using a legendary band as a leg-up. I think its dependent on how you approach it and if those involved have got something valid to say.
So rather than take you through each track which I think is largely irrelevant here. The music is built from a different time, when death metal was still finding its feet and trying to move beyond the thrash/speed style prevalent in the mid-80s. This isn’t the surgically precise material that would be released later in that decade, rather it takes the form of sonic bludgeoning, of riffs and arrangements that were densely packed and solid in effect.
So rather than take you through each track which I think is largely irrelevant here. The music is built from a different time, when death metal was still finding its feet and trying to move beyond the thrash/speed style prevalent in the mid-80s. This isn’t the surgically precise material that would be released later in that decade, rather it takes the form of sonic bludgeoning, of riffs and arrangements that were densely packed and solid in effect.
The songs can be traced to the first two releases by Death, again where those involved were finding their feet musically and if you are fans of that period then this is for you. It sounds pretty good too, its brutal in the right moments and is like stepping back in time to when things were simple – your metal was heavy or it wasn’t. And if wasn’t, leave the hall.
Fans of ‘modern’ death metal might find this almost pedestrian in comparison, but I defy you not to be grabbed by Archangel (with a chilling vocal from Matt Harvey). Its material of its time, for sure but it’s a release that gets those early tracks out there in a legitimate way. It’s unknown if there are more albums planned from them, what that would look like.
Fans of ‘modern’ death metal might find this almost pedestrian in comparison, but I defy you not to be grabbed by Archangel (with a chilling vocal from Matt Harvey). Its material of its time, for sure but it’s a release that gets those early tracks out there in a legitimate way. It’s unknown if there are more albums planned from them, what that would look like.
I guess it is dependent on where that material comes from, if its original or re-recorded. In any event, I think this is something that is worth checking out, not just for the die-hards but for those who want to hear how death metal sounded back then. 8/10
Parker Barrow – Hold The Mash (Self Released) [Matt Bladen]
If you’re getting a feeling of Deja-Vu then you aren’t as Nashville Southern Blues rockers have already released half of this record as the Hold The Mash EP back in 2025 before heading out on tour, however they’ve now released a full length with the same name as their sophomore full length.
Now all that’s is cleared up we can get down to the nitty gritty of this band named for Bonnie and Clyde, which features it’s own husband wife team of Megan Kane (vocals) and Dylan Turner (drums), however these two, along with their partner in music guitarist and musical Alex Bender, are less concerned with robbing banks, but prefer to steal the show with some big blues rock rhythms.
Build around the powerhouse percussion of Turner and the deep grooves driven by Kyle Priber’s bass. Parker Barrow bring a lot to the table musically with blues, rock, southern, soul and gospel, the guitars of Bender and Will Tipton cranking out the Zep-like riffs on The Healer, and slinky solos on Novocaine or My Morning Song which borrows from The Allman Brothers.
Eric Safka adding the organs on tracks such as Nothing Left To Save, keys to the acoustic Olivia Lane and generally adding those sweet layers of honey over the main riffs. The vocals of Kane are soulful, sultry with a roughness that comes through on the strutting Make It (cowbell alert) and the spiritual feel of Glass Eyes which is very Black Crowes due to the organ and slide guitar.
Nashville rocking that just oozes with the musical history of that town, Hold The Mash sees Parker Barrow defining the band they want to be with this second record of honest southern blues rock. 8/10
Stormhammer – Wrath Of The Hammer (ROAR) [Cherie Curtis]
German metal band Stormhammer presents us with 10 tracks of pure power metal that’s fierce and burning with melodrama. Their newest album Wrath Of The Hammer, is their ninth full length album following a brief hiatus and a few lineup changes over the 30 odd years of their career and it’s another great one.
This album and their current line-up bring a fresher, sharper and much cleaner sound but remains true to their roots, though this album is less raw and gritty, Wrath Of The Hammer is still powerful, thumping and anthemic like lots of power metal pioneers. Stormhammer’s sound is very similar to power metal bands like Sabaton with an Iron Maiden spin.
Parker Barrow – Hold The Mash (Self Released) [Matt Bladen]
If you’re getting a feeling of Deja-Vu then you aren’t as Nashville Southern Blues rockers have already released half of this record as the Hold The Mash EP back in 2025 before heading out on tour, however they’ve now released a full length with the same name as their sophomore full length.
Now all that’s is cleared up we can get down to the nitty gritty of this band named for Bonnie and Clyde, which features it’s own husband wife team of Megan Kane (vocals) and Dylan Turner (drums), however these two, along with their partner in music guitarist and musical Alex Bender, are less concerned with robbing banks, but prefer to steal the show with some big blues rock rhythms.
Build around the powerhouse percussion of Turner and the deep grooves driven by Kyle Priber’s bass. Parker Barrow bring a lot to the table musically with blues, rock, southern, soul and gospel, the guitars of Bender and Will Tipton cranking out the Zep-like riffs on The Healer, and slinky solos on Novocaine or My Morning Song which borrows from The Allman Brothers.
Eric Safka adding the organs on tracks such as Nothing Left To Save, keys to the acoustic Olivia Lane and generally adding those sweet layers of honey over the main riffs. The vocals of Kane are soulful, sultry with a roughness that comes through on the strutting Make It (cowbell alert) and the spiritual feel of Glass Eyes which is very Black Crowes due to the organ and slide guitar.
Nashville rocking that just oozes with the musical history of that town, Hold The Mash sees Parker Barrow defining the band they want to be with this second record of honest southern blues rock. 8/10
Stormhammer – Wrath Of The Hammer (ROAR) [Cherie Curtis]
German metal band Stormhammer presents us with 10 tracks of pure power metal that’s fierce and burning with melodrama. Their newest album Wrath Of The Hammer, is their ninth full length album following a brief hiatus and a few lineup changes over the 30 odd years of their career and it’s another great one.
This album and their current line-up bring a fresher, sharper and much cleaner sound but remains true to their roots, though this album is less raw and gritty, Wrath Of The Hammer is still powerful, thumping and anthemic like lots of power metal pioneers. Stormhammer’s sound is very similar to power metal bands like Sabaton with an Iron Maiden spin.
This album is very stylized and the word cinematic rings true to them as their lyrics are visual and the instrumentals are atmospheric and all together, they project the image that is Stormhammer. They could be excellent sci-fi fantasy film scorers in another life, the album itself comes together like a composition, and each track has a different feel but paint the same picture and maps out their narrative perfectly.
What’s good about this album is that they managed to showcase a fair amount of range, tracks like my personal favourite- Guardians Of The Night, balances balmy, breathless and sort of romantically powerful vocals with the slow thundering hammer of drums and bass which slowly builds tension with the added contrast fast springy riffs, there’s not really a sickening breakdown, but the energy does build and crest like a wave would in a storm. Whereas Ashes Of The Throne comes in all guns blazing and stays burning hot throughout so there are tracks to get your blood pumping and tracks for when you’d like to reminisce.
The only nit picky criticism I do have, and it feels especially harsh considering that Stormhammer brings a new vocalist for this album is that the vocals itself does fall flat, it’s not bad at all and it does glide along powerfully but it does so within one range and without textured layers we’re used to when it comes to power metal, it doesn’t have the kick or a gut punching feel other bands within this genre have.
What’s good about this album is that they managed to showcase a fair amount of range, tracks like my personal favourite- Guardians Of The Night, balances balmy, breathless and sort of romantically powerful vocals with the slow thundering hammer of drums and bass which slowly builds tension with the added contrast fast springy riffs, there’s not really a sickening breakdown, but the energy does build and crest like a wave would in a storm. Whereas Ashes Of The Throne comes in all guns blazing and stays burning hot throughout so there are tracks to get your blood pumping and tracks for when you’d like to reminisce.
The only nit picky criticism I do have, and it feels especially harsh considering that Stormhammer brings a new vocalist for this album is that the vocals itself does fall flat, it’s not bad at all and it does glide along powerfully but it does so within one range and without textured layers we’re used to when it comes to power metal, it doesn’t have the kick or a gut punching feel other bands within this genre have.
I do however feel like a lot of power metal lovers will get a good kick out of this album anyway and it’s something everyone can enjoy to a certain degree, but it’s a hard one to love. Stormhammer doesn’t bring anything unique and I feel like it’s an album I’ve heard many times over the years. They are talented and they know their instruments as well as the genre and they have produced some great work, but it doesn’t really give you anything to write home about.
Overall, it’s a decent album. It’s well made, it’s not a chore to listen to and it’s well mixed and fun. If you feel like it’s something you can enjoy, check it out but I feel like there’s something missing. 5/10
Tomb Slab – Tomb Slab (Road To Masochist) [Joe Guatieri]
Tomb Slab are a Blackened Sludge Metal out of Nottingham, only forming last year. They’ve seen a very quick turn around, after only being around for a few months, they’ve already played quite a few shows and recorded their debut self-titled EP which I’m talking about today.
Tomb Slab are not a complete unknown as they have a legend in their band, that being Kez Whelan as their drummer, someone who’s spread their wings across UK extreme music, playing in great bands such as Thumbsucker, FILTHxCOLLINS and Shrykull. This lends the band a whole lot of credibility with a talented person like this being present and also being released by one of England’s premier indie metal labels, Road To Masochist.
The album opens up with Kingdom Of Tyranny, presenting the beautiful sounds of screeching feedback within its opening seconds, something that I will never grow tired of. The main riff that takes up the bulk of this song is evil and heavy, moving like a snake.
The track is boosted with its raw production, especially noticeable in the drums and bass, seemingly pinging of the walls. By 3:15 the track goes from dwelling in the darkness into a three day bender, increasing the energy in a punk style. It’s giving Electric Wizard, Grief and Eyehategod. Kingdom Of Tyranny is a a good introduction and it is my favourite song on this EP!
Next we go into The Butcher which presents a more upbeat sound compared to the previous number. Whilst it has a great groove and is fun to listen to, the only thing that’s really Black Metal here at all here is found in the vocalist Dean Lettice’s screaming performance.
Overall, it’s a decent album. It’s well made, it’s not a chore to listen to and it’s well mixed and fun. If you feel like it’s something you can enjoy, check it out but I feel like there’s something missing. 5/10
Tomb Slab – Tomb Slab (Road To Masochist) [Joe Guatieri]
Tomb Slab are a Blackened Sludge Metal out of Nottingham, only forming last year. They’ve seen a very quick turn around, after only being around for a few months, they’ve already played quite a few shows and recorded their debut self-titled EP which I’m talking about today.
Tomb Slab are not a complete unknown as they have a legend in their band, that being Kez Whelan as their drummer, someone who’s spread their wings across UK extreme music, playing in great bands such as Thumbsucker, FILTHxCOLLINS and Shrykull. This lends the band a whole lot of credibility with a talented person like this being present and also being released by one of England’s premier indie metal labels, Road To Masochist.
The album opens up with Kingdom Of Tyranny, presenting the beautiful sounds of screeching feedback within its opening seconds, something that I will never grow tired of. The main riff that takes up the bulk of this song is evil and heavy, moving like a snake.
The track is boosted with its raw production, especially noticeable in the drums and bass, seemingly pinging of the walls. By 3:15 the track goes from dwelling in the darkness into a three day bender, increasing the energy in a punk style. It’s giving Electric Wizard, Grief and Eyehategod. Kingdom Of Tyranny is a a good introduction and it is my favourite song on this EP!
Next we go into The Butcher which presents a more upbeat sound compared to the previous number. Whilst it has a great groove and is fun to listen to, the only thing that’s really Black Metal here at all here is found in the vocalist Dean Lettice’s screaming performance.
I do enjoy his stylings a lot, he’s like a cross between Nocturno Culto of Darkthrone and Mike Williams of the aforementioned Eyehategod, also sounding similar to Russ Barr of the Bristol band Gnash. Maybe pulling out of a well of the same influences.
Track three is Rawhead. It brings out a more Black Sabbath flavour in Tomb Slab, you can imagine the singer clapping his hands wildly to the song as the melodic guitar phrases bring life out of old amplifiers.
Both this and the previous effort have established a pattern for me which continues throughout the entire listen.
This idea that though these pieces have rough edges and contain themes of the occult, catchiness is prioritised above all else, evidently the band wants people to have a good time with scenes coming to my mind of an audience drinking and enjoying themselves. This is where I think that Tomb Slab are coming across to me as a Party Sludge band. They don’t want to be put under this label, though they are very comparable to bands like Gurt and Battalions. Guys it’s nothing to be ashamed of and you don’t need to be dark and mysterious all the time!
Later on we get track five with Tomb Of Flesh. Again, I’m starting to sound like a broken record now but it’s very much in the vein of what we’ve heard before. It makes the listener want to headbang and it’s at a slower pace, it’s engaging enough but it finds itself hitting its head against the ceiling, refusing to bring anything new to the table.
Overall Tomb Slab’s first EP just barely gets over the first hurdle. It’s got great musicians, playing well and having fun together but it doesn’t have the staying power. It’s like arriving at a six band gig, late to the second band and you’re four drinks deep. Sure you’re having a good time but you’ll struggle to remember in the future what they’re name is. 5/10
Track three is Rawhead. It brings out a more Black Sabbath flavour in Tomb Slab, you can imagine the singer clapping his hands wildly to the song as the melodic guitar phrases bring life out of old amplifiers.
Both this and the previous effort have established a pattern for me which continues throughout the entire listen.
This idea that though these pieces have rough edges and contain themes of the occult, catchiness is prioritised above all else, evidently the band wants people to have a good time with scenes coming to my mind of an audience drinking and enjoying themselves. This is where I think that Tomb Slab are coming across to me as a Party Sludge band. They don’t want to be put under this label, though they are very comparable to bands like Gurt and Battalions. Guys it’s nothing to be ashamed of and you don’t need to be dark and mysterious all the time!
Later on we get track five with Tomb Of Flesh. Again, I’m starting to sound like a broken record now but it’s very much in the vein of what we’ve heard before. It makes the listener want to headbang and it’s at a slower pace, it’s engaging enough but it finds itself hitting its head against the ceiling, refusing to bring anything new to the table.
Overall Tomb Slab’s first EP just barely gets over the first hurdle. It’s got great musicians, playing well and having fun together but it doesn’t have the staying power. It’s like arriving at a six band gig, late to the second band and you’re four drinks deep. Sure you’re having a good time but you’ll struggle to remember in the future what they’re name is. 5/10
