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Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind of an unmedicated, hyperactive toddler whose special interests are cyborg dinosaurs and laser-wielding ninjas that promises the sort of maximalist, power cheese pungent enough to stink up any room. Luckily for us, German fromagers Victorius have been honing their brand of hook-forward, Saturday-morning-cartoon power metal for years. Their 7th album, World War Dinosaur, is a continuation of the band’s deeply unserious “space ninjas vs. holy dinosaurs” storyline showcased on records like Dinosaur Warfare – Legend of the Power Saurus, Space Ninjas From Hell,and Dinosaur Warfare Pt. 2 – The Great Ninja War. I’m all for ridiculous imagery and album concepts, as long as they don’t overshadow the compositions themselves. Can Victorius manage to avoid being crushed under the weight of their own cheese?

On World War Dinosaur, Victorius demonstrates a seasoned knack for crafting straightforward, yet satisfying, dinosaur-themed power metal bangers. The band’s execution of their over-the-top subject matter is less garish than one might expect, eschewing lengthy spoken-word sections or lore-heavy character backstories in favor of poppy power metal with dinosaur-specific hooks. Tracks are fast-paced and built around the tried-and-true power formula of hyper-melodic guitar/synth hooks over galloping drums, with huge, festival-ready singalong choruses, and Victorius are masters at transitioning seamlessly between the expected sections. It’s easy to get lost in the Galneryus-esque haze of dino rippers on songs like “Raptor Squad Attack,” “Brachio Bazooka Battalion,” and “Dino Power Resistance,” which fully lean into their concept. There’s a simple joyousness to be had in listening to well-executed, catchy power metal, and it’s only made more fun by the blatantly absurd subject matter.

Luckily, Victorius aren’t just coasting on a dumb (read: brilliant) gimmick; they actually play like a band that’s been around the block. Vocalist David Bassin, who’s sounded a bit weightless in the past, finally shows up swinging. Here, he sounds confident and inspired, helped by stacked vocal harmonies and gang shouts, which appropriately heighten big moments. Bassin’s soaring tenor absolutely shines while belting out ludicrous lines on ridiculous choruses (“World War Dinosaur,” “Dino Race From Outer Space), leading the charge and treating the “dino vs. ninja” subject matter as if his life depended on it. Beyond the choruses, it’s the truly infectious non-vocal melodic lines that stand out on repeated listens. Guitarists Dirk Scharsich and Flo serve up sharp, memorable leads that weave throughout the songs, with the opening fanfare of “Kingdom of the Strong” and “Lost Legacy” serving as highlights. Throw in the usual bombastic orchestration and gloriously tacky synth work, and suddenly these compositions coalesce into something that’s still sugary and familiar, but hit just a bit harder than your typical middling power metal.

I only wish World War Dinosaur saw Victorius take more musical and conceptual risks. Every song is in the 3-4 minute range, and nearly all of them follow the tried and true power metal formula. There are some mid-tempo cuts like “Evil Mean Megalodon” about a cybernetic shark/submarine of all things, but most tracks feel incredibly similar. This extends to the concept as well, which seems to exist primarily as dinosaur-covered wrapping paper over some standard power metal lyrics about war and battles. There seems to be very little about the actual dinosaur-ninja war as promised, with no narrative progression present, just several songs about dinosaur war units (“Raptor Squad Attack,” “Brachio Bazooka Battalion,” “Prehistoric Panzer Power”), one song about laser ninjas (“Lazer Ninja Thunderstorm”) and a vague conclusion about “fighting forever” (“Lost Legacy”). None of this really detracts from the fun, chorus-focused power metal on display, but it does feel like a minor missed opportunity to elevate the record beyond the sum of its parts.

Nonetheless, World War Dinosaur is a well-crafted, entertaining and incredibly campy slab of power metal. Victorius aren’t charting particularly novel territory, but they’re clearly familiar with the elements that make this style so enjoyable and the over-the-top concept helps to make the whole package more exciting. For those in search of some accessible power cheese to brighten their day, look no further.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Perception Records
Websites: victoriusmetal.net | facebook.com/victoriusmetal
Releases Worldwide: April 17th, 2026

The post Victorius – World War Dinosaur Review appeared first on Angry Metal Guy.

Posted on April 21st 2026, 12:00p.m.

Posted on April 21st 2026, 12:00p.m.

Award winning independent rock artist Jasmine Cain has released the official music video for her powerful new single ‘Hurt’. With a career that includes multiple industry awards, intensive touring and a reputation for relentless drive, Jasmine continues to prove why she is one of the most respected independent forces in modern rock. ‘Hurt’ is one […]

The post Award Winning Rock Artist Jasmine Cain Releases Music Video For ‘Hurt’ appeared first on ROCKPOSER DOT COM.

Bandcamp [Release date 01.05.26] Whatever else this album is, and it is many things, it is not Americana, which is what it is being promoted as. It is a pretty special collection of really well crafted songs delivered in a … Continue reading →

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Album Review: Necroccultus – The Afterdeath Blackness

Reviewed by Sam Jones

Sometimes all it takes to create interest in a record is album art. That was the case for myself concerning Necroccultus’ new album, The Afterdeath Blackness. Formed back in 2003 out of Guanajuato, Mexico, Necroccultus have been in the game far longer than I’d expected, releasing their first studio album Encircling The Mysterious Necrorevelation in 2005. For the next twenty years their catalogue would be comprised of Splits and EPs until 2013 where there would be a seven year silence. But come 2020, a new Demo and Split, it looked like things seemed promising once more, until the announcement of this record, their first studio full length in twenty-one years, sporting a revamped logo, reshaped band roster, with sole remaining member Isaías Huerta on vocals and signed on with Terror From Hell Records. This strongly appears like a rebirth for the band as they prepare for black and death metal onslaught, penned in for an April 24th release date. I’m always fascinated by records such as this, following up a substantial gap in albums, and so I was ready to pick it apart.

I like that Necroccultus don’t throw us into the deep end entirely without some means of flotation; the opening track is this mounting and building piece where pieces of the band come together over its duration as the power inherent finds its crescendo. But even then as the first real track begins the band demonstrate that was merely a fledgling of their arsenal, ripping off a slew of riffs and vocal bellows that would bring the greatest demons to quailing. Their sound is muddy, their performance echoes on record, and while they could fill it out they’ve chosen not to creating this subterranean, dismal space where anything could be hiding. As their tempo increases it only becomes more frantic, more desperate, as Necroccultus only intensify the compression brought to bear on us.

The guitar work, rapid-fire and malevolent as it is, possesses a particularly baritone presence as riffs and licks are ripped off the fretboard. The overall production has leant this record a sickening and clinging aesthetic like old moss that won’t surrender its domain. While the riffs, low in the mix, remain close to the album’s foundation, Necroccultus still made sure they could be easily heard and followed, and therefore gave their riffs the lacerated, shredding edge not unlike serrated blades. However, beneath even these riffs you’ll find the basslines chugging along where they’re providing cushioning at a bedrock level. Removing guitar work entirely periodically we hear the bass for all it embodies: thick, disparate, unapologetic. There’s nothing of bounce to the bass herein, just another layering of unrepentant strength that leaves nothing alive.

Seemingly making up for the twenty-one year gap between records, The Afterdeath Blackness doesn’t stop for anything. The instant a track begins you’re at the complete mercy of the band as riffs and blast beats and bellowing vocals barrel down your way without end. As varying segments of songwriting occur, even those where the band should typically slow to allow for some break, their pace never truly wanes. Sure, there are times where their tempo eases to allow for bridging sequences between the slaughter, but it never outright feels like they’re choosing to slow down. It only ends when a track does, and upon starting anew the chaos revives thoroughly. Guitars and drums challenge each other to a ravenous medley, culminating in death metal devouring itself.

One way you can describe Necroccultus as is barely controlled carnage. The further you dive into the record the greater your realisation that it’s hardly contained, it’s bursting at the seams as it continuously destroys itself and everything around. Much of their performance here is played at breakneck speed and as aforementioned hardly slows down for a moment, but the result is a record where that said intensity actively rips apart as each instrumental and vocal element vies for their time in the spotlight. One can almost see each member fighting for their time, overpowering the other, and yet it’s that resulting carnage imbuing us with the desire to return. Despite the wake of their rampancy Necroccultus can be followed and structure discerned. The Afterdeath Blackness is a record barely holding on, and its music herein a byproduct of songwriting depicting the most heinous death throes.

In conclusion, The Afterdeath Blackness is a record that refuses to stop for anything and nothing but your dismembered corpse will satisfy their bloodlust. Reminiscent to death metal acts from the nineties like Angelcorpse where intensity and carnage was the sole goal, Necroccultus send us to hell and back with unwavering ferocity. It’s the kind of album where you know what you’re getting but if this is the vibe you’re after, you’ll be grinning ear to ear within the first seconds. I hope the next album isn’t too long a wait as Necroccultus show promise delivering songwriting unmarred by constraints or modern sensibilities. They don’t want a well organised piece the audience can go down to pick apart, they want utter capitulation, total war. And that’s what you get.

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The post Album Review: Necroccultus – The Afterdeath Blackness | Death Metal appeared first on The Razor's Edge.

The Limit return with a fierce statement of intent, announcing their explosive new album, ‘Another Drop‘, alongside the unapologetic brand-new single, ‘Part Two, Screw You’, that captures the spirit of real rock ‘n’ roll, setting the tone for the album’s visceral, unrelenting energy. Set for release on July 31st by Silver Lining Music, ‘Another Drop‘ […]

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