(written by Islander) As you gaze upon the torrents of blood cascading down through a cold and desolate landscape on the cover of the record we’re about to premiere, you can begin to get a sense of the musical experience it offers. The artwork (by Julian Mora) matches the record’s name — Bloodsurge. Bloodsurge is […]
The post AN NCS SPLIT PREMIERE (AND A REVIEW): DET AND CRITICAL DEFIANCE — “BLOODSURGE” appeared first on NO CLEAN SINGING.
Album Review: City Of Lights – City Of Lights Pride & Joy Music – October 23rd October 2026 Reviewer – Chris O’Connor It has been a particularly fruitful year for Pride & Joy Music, a label that seemingly possesses an inexhaustible ability to unearth and champion some of the finest melodic rock talent around. And […]
The post Album Review: City Of Lights – City Of Lights appeared first on ROCKPOSER DOT COM.
He was called in to authenticate a mask and more.
The post Ex-Slipknot Percussionist Chris Fehn Showed Up On ‘Pawn Stars’ This Week appeared first on Theprp.com.
A band releasing a self-titled album can signify many things. Dropping a self-styled debut is a classic move, and has been utilized by legendary acts like Black Sabbath and Iron Maiden. Similarly, reserving your namesake for a swan song can be a poignant end to a storied career (Megadeth). Beyond the bookends, self-titled albums typically represent either a shift in musical direction (Metallica) or what a band believes is the apotheosis of their sound (Flotsam and Jetsam). With this in mind, Forbidden lives at a crossroads of past and present. Their debut, Forbidden Evil, referenced the quintet’s original name, and their newest album, Forbidden, marks the beginning of a new epoch. After another decade-long stretch of inactivity,1 2023 witnessed Forbidden mainstays guitarist Craig Locicero and bassist Matt Camacho resurrect the thrash stalwart, this time without founding vocalist Russ Anderson.2 Alongside newcomers guitarist Jeremy von Epp (The Watchers), drummer Chris Kontos (ex-Machine Head), and vocalist Norman Skinner, the Bay Area vets serve a dish of thrash-a-roni heralding a new chapter of Forbidden. Grab a seat as we dig in to find out whether Forbidden is a platter paired with a chalice of goods.
Though Forbidden’s quality doesn’t entirely hinge upon it, Forbidden’s fandom will inevitably look to Russ Anderson’s successor as a proxy for quality. From the early thrash stylings of Forbidden Evil and Twisted into Form to Green’s groove metal angst and Omega Wave’s Nevermore-informed, fiery melodies, Russ established a high bar for versatility and charisma. Skinner’s voice renders a different chemistry with Forbidden, sometimes engendering different moods and reference points despite maintaining the band’s general trajectory. For instance, “Psyclops” conjures Annihilator vocal phrasing as Skinner’s voice oscillates between dreamy cleans and raspy, tough-guy barks—the latter evoking a mashup of Cowboys-era Phil Anselmo and Chuck Billy. Meanwhile, “Sycophantasy” again elicits Testament-like snarls in between higher-pitched bouts recalling Sanctuary and Nuclear Assault. Even with the disparate vocal references, though, Forbidden never strays far from the band’s core identity.
While all moments on Forbidden sound like Forbidden, the extremes of the album hit hardest. Opening triad “Single Point Failure,” “Burning the Lungs of Earth,” and “Divided by Zero” commence with an effective merger of thrash and heavy metal, acting as a natural continuation from 2010’s Omega Wave. Locicero and von Epp weave together fusillades of barbed riffs (“Divided by Zero”) while Camacho’s bass purrs underneath. Chris Kontos’s drumming urges with hammering grooves and tom-heavy fills, and “Burning the Lungs of Earth” evidences a particularly potent performance. But it’s the closing duo of “Sol Grave” and “Flower of Life” that Forbidden lands their stride with fresh directions and inspired songwriting. Though both tracks trend long, each feels complete with intra-song diversity, and combined they rejuvenate the last quarter of the album with novel ideas.
Considering the strength of the album’s best material, inessential moments drag Forbidden’s momentum down, especially during its middle. “DCLXVI”3 begins with a slow build of clean guitars and orchestral flourishes, but never gets out of first gear as tempos languish in slinky grooves and background chorals repeat the slightly goofy refrain of ‘DCLXVI’ over and over. Like “DCLXVI,” Psyclops starts promisingly but doesn’t cover enough ideas to justify its five minutes, and follow-up “Jisei” feels like an expendable three-minute interlude. By the time “Mutually Assured Dysfunction” kicks off with a welcome injection of vigor, it’s burdened with pulling the ship out of the doldrums and back into the sailing lane. Unfortunately, at over six minutes, its impact gets spread too thin, and it’s not until “Sol Grave” that we’re once again at cruising speed. In all, Forbidden proves they can still thrash and smash convincingly, but often get in their own way with a lack of self-editing.
Though Forbidden is a flawed album, there’s enough happening on it to get excited about what Forbidden’s future could be. The loss of Russ’ irreplaceable pipes is felt, although Skinner capably steps in and lays down a sufficient (if often safe) performance. In all, Locicero and Camacho reignite Forbidden’s flames and tap talented musicians who shake the ground with heavy metal thunder. At over an hour long, Forbidden is an album that I’ll revisit more in parts rather than as a whole, but there’s enough promise to hope that, with more carefully considered songwriting, the next studio album might unbridle the full glory of Forbidden’s late-career magic.
Rating: Mixed
DR: 5 | Format Reviewed: 320 kbps mp3
Label: BLKIIBLK Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 23rd, 2026
The post Forbidden – Forbidden Review appeared first on Angry Metal Guy.
Posted on October 22nd 2026, 5:14pm