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Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,¹ this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

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Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

The post Anubis – Anthromorphicide Review appeared first on Angry Metal Guy.

The vocalist, who was a member of The Beast from 1994 to 1999, has been sober since June 2019

When the black death struck Europe in the mid-1300’s it was devastating. Maybe there was something in the air. Maybe it was punishment from an angry God. People died. They weren’t ready. They tried to protect themselves with sweet-smelling herbs, they held up charms, and they called the priests. They had no idea what they were in for. In many ways this could apply to Knife Bride and their new EP ‘Sorry About The Plague’.

Speaking of things sweeping across Europe, destroying everything in their path, Knife Bride have just returned from a tour on the continent supporting Svalbard. This isn’t as simple as it sounds, they occupy a slightly strange position. They have an established social media presence, a scattering of singles, strong word-of-mouth, but not all that much music.

Until now the band has had no clear identity. There was no story. These five songs remedy that. Imagine where Architects were headed on ‘For Those Who Wish To Exist’ and continue along that path. That’s the sound, similar to newcomers Gore. It’s a holistic blend of ideas, a hybrid; indebted to metal rather than contaminated by it, setting them apart from many of their peers.

Fittingly for an EP framed around the bubonic plague the songs are frequently blistering. The guitars on ‘Alone At The Altar’ are a cocktail of thick punches and screaming harmonics designed to give you friction burns while the breathless riffing and high tempo of ‘Crucify’ will leave you scorched. The song’s sound fits very neatly with the lyric “I’m in the business of destroying everything,” especially when the slow breakdown hits with the force of a derailed freight train, crumpling the song around it. ‘Porcelain’ shares a similar slow, djent-style breakdown but is built around nasty stabby little riffs which shows off their songwriting skills in a completely different way.

Relatively speaking, the EP’s first half is heavier while the second is more expansive. The luscious opening to ‘Lillies’ evolves into shuffling electric sounds and snakelike hisses, while ‘Poisoned By God’ uses slow, watery keyboard notes to give it an expansive depth, making for a suitably epic closer.

As the kids say, vocalist Mollie Clack is “sick.” She performs with the confidence and style of a pop singer. On the opening track she works really hard to give the chorus a real catchy hook but on every song her style is as assured as it is varied. On ‘Lilies’ she takes on a theatrical edge, leaning on the word “darkness” to give it an unusual form and following the music as it descends into madness. It feels effortless and inspired. Lyrically ‘Alone At The Altar’ has slightly unfortunate subtext, as it is easy to read as being about Covid, or an STD, but it’s a great song either way. It’s a great EP.

Spread the word. Knife Bride’s new EP is like the plague; it’s vicious, life-changing and so infectious your ears might fall off.

IAN KENWORTHY

Bad Static unleash pure riot grrrl energy with Ban Male Podcasts, a sharp, unapologetic punk blast packed with attitude and biting satire. Fueled by snarling guitars, punchy rhythms, and fierce vocals, the track takes aim at toxic online culture with wit and unfiltered rage. There’s a raw, DIY spirit running throughout, balancing chaos with catchy hooks that stick long after the noise fades. Bold, confrontational, and darkly humorous, Ban Male Podcasts is both a statement and a release—channeling frustration into something loud, fearless, and impossible to ignore.

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Strange Plants return with Ground Falls Away, an energetic indie rock cut that thrives on momentum and vintage-inspired warmth. Driven by pulsing rhythms and a distinctive push-and-pull groove, the track captures the restless urgency of pushing forward even when everything feels uncertain. Layered with analog textures, subtle synths, and an expansive instrumental back half, it builds into a dynamic and immersive listening experience.

Balancing introspection with forward motion, Ground Falls Away channels pressure, resilience, and quiet optimism into a sound that feels both nostalgic and vividly alive.

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My last interview at Dark Clouds Over Camden Festival 2025 for Metal Devastation Radio was with Ben, the owner of Raven Records, where all the interviews took place.

Tomas Lindberg recorded his vocals for The Ghost Of A Future Dead the day before surgery, but still captures the magic that made melodeath a global movement

Hamish Anderson taps into raw emotion and classic blues rock power with Pain, a moody and electrifying track driven by gritty guitars and soulful intensity. Blending Southern rock swagger with timeless blues influences, the song unfolds with a sense of urgency and depth, anchored by expressive vocals and passionate storytelling. There’s a magnetic, almost hypnotic groove at its core, where each guitar line feels both deliberate and deeply felt. Pain stands as a powerful tribute to the electric guitar, channeling longing, resilience, and self-discovery into a sound that feels both classic and fiercely alive.

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Multi-platinum rock band SEETHER return with Beneath The Surface, a powerful new digital EP. Expanding on the emotional depth and sonic intensity that have defined their career, the EP offers fans a deeper look into the band’s creative core—where raw honesty and heavy-hitting melodies collide.

Beneath The Surface includes two previously unreleased studio tracks, highlighted by the gripping lead single ‘Into The Ground,’ a song that showcases Seether’s signature blend of brooding atmosphere and explosive energy. The EP is rounded out with a selection of live recordings that capture the band’s commanding presence on stage, delivering a visceral experience for longtime fans and new listeners alike.

“This EP is about digging deeper—past what’s on the surface and into the things that really drive us,” says frontman Shaun Morgan. “It’s a mix of new ideas and the energy we feel when we’re playing live. We wanted to give fans something real and immediate.”

The band’s Dale Stewart says, “I’m really stoked about our new EP. We’ve been sitting on some great material that I can’t wait to get out to the fans. ‘Into the Ground’ really gets me pumped and “Proud Daddy” is one of my favourite songs from the last sessions we did.”

With a legacy that includes multiple chart-topping hits and a reputation as one of rock’s most enduring acts, Seether continue to evolve while staying true to their roots. Beneath The Surface stands as a testament to that balance—unfiltered, dynamic, and unmistakably Seether.

Formed in 1999 in Pretoria, South Africa, Seether have built a global following with their signature blend of post-grunge grit and alternative metal melody. Led by vocalist and primary songwriter Shaun Morgan, the band broke through with 2004’s Disclaimer II and went on to deliver five gold and platinum albums and two dozen Billboard Rock Airplay Top 10 hits including 20 No. 1s at U.S. radio with their anthems “Broken,” “Fake It” and “Words as Weapons.” Known for their emotionally raw lyrics and high-energy live performances, Seether have earned both critical and commercial success worldwide. With a lineup rounded out by Dale Stewart, John Humphrey, and Corey Lowery, the band continues to evolve while staying true to the intensity and honesty that have defined their career.

Beneath The Surface is available now.

Listen to Beneath The Surface here:
https://ffm.to/seether-beneaththesurface

The post SEETHER’S New EP BENEATH THE SURFACE — Out Now appeared first on The Rockpit.

With their new self-titled album due on 28 August 2026 via Spinefarm, Airbourne have shared the single Alive After Death (Last Plane Out), along with an open letter from Joel O’Keeffe to Motörhead legend Lemmy.

Here, Joel reflects on how Lemmy’s advice guided them through years of hard work, collaborations, and challenges to create their new album, one that the band are proud their roadies finally love.

The Joel O’Keeffe letter reads:

Dear Lemmy, 

Well, mate, it’s been a long time since we’ve said “g’day” or shared a stage together.  We’ve never forgotten one of the things you said to us, which was: “No matter what, stay true to yourselves. Don’t worry about all the other bullshit in the music industry.  Make music that your roadies will like. Because they’ve heard your shit more than anyone else, if they like it, everyone will love it.”  

Mate, we did it.  

Six years ago, we shut the roller doors to everyone and got to work writing songs for this record, spending many, many hours, many, many days, weeks, months and years writing and writing, throwing things out, starting again, and always sifting for gold.  

After about five years of this, we felt that we had a solid bunch of Rock’ n’ Roll songs happening. Then, Mutt Lange and Bryan Adams brought in their big guns, and a couple of those songs we wrote with them have made the record.

We wrote a lot with Bryan, and he was incredibly inspiring, and we learned a lot from him-a true rock ‘n’ roll gentleman. At that point, a long-time mate of ours, Vick Wright, flew out to Australia, and we wrote and wrote and wrote some more with him. He’s a rock ‘n’ roll street poet, and he taught us a lot as well. We ended up with some real good rockers with him. 

We sent everything to Brian Howes, and he said we have a solid record now, and he was pumped to work his magic.  

Dante from Spinefarm, who has been a real champion all along the way on this record, gave us the green light to make Airbourne.  

We shipped out a ton of gear from our Manchester compound and from all over the world, loaded it into a semi-tonne truck, and drove it up the Eastern guts of Australia from Melbourne to Music Farm Studios, hidden in a jungle on the surf coast of Australia.  This place is surrounded by snakes, Sydney funnel-web spiders, rats and cane toads—plenty of stuff that can kill ya. We know you would have loved it there because that which doesn’t kill you only makes you louder!    

We coped with hurricane weather, flash flooding rains, palm trees that were torn out of the ground.   One of them almost killed Streety, our bass player.  That was a very near miss.  

The tape machine was a fucker. It wouldn’t stop blowing up but she sounded great, so she was worth dealing with and waiting on.  

Every day we would wake up, jump over a brown snake or python, feed the pigs, say “g’day” to the goats, watch the one male rooster with a harem of hens swooning around him whilst he’s strutting around the place like he was King Dick. Who knew that fowl could be so inspiring? 

We’d make our way down the hill to the studio, jumping over “old mate,” the resident snake that lived at the front doors of the studio. When we entered the studio, we’d make some heart-starting coffees, put some pies in the pie warmer, VB’s on ice, then Brian Howes, Mike Fraser, and Karl Dicaire would show up.

A few cigarettes, laughs, and caffeine later, we’d talk some bullshit, and then we’d get rocking. For about 12-16 hours, we would go. Time ceased to exist for us, and it was the best fun we’ve ever had making an album.  

The last batch of songs we wrote with Brian around the Studio Kitchen table, often whilst hurricanes had killed the power.  While they were smashing the studio together, we brought this album home.  

The main console was the original Neve desk from Albert Studios 1 here in Australia, (AC/DC, Rose Tattoo, The Angels, Billy Thorpe and more), there’s an unmistakable Raw Oz rock tone in this desk and you’d love it. 

We didn’t finish the record in time, as we had to go back out on tour, which actually worked out really well because lyrics that weren’t written in that studio needed to come from being on the road, and that’s exactly what happened with the song Alive After Death.

We came back after the tour to our Melbourne studio home, down in St Kilda, the famous Hothouse Studios, where we recorded our first EP.

We’ve always had a love affair with Hothouse—it has the Neve console from Albert’s Studio 2, so it was gutsy to go back there and finish this record off.  

Craig Harnath, who we’ve been mates with forever, joined the team, and after another tour, another few months and trips down to Hothouse, we finally finished the record.  

Zakk Cervini joined the team and mixed up a Rock ‘n’ Roll storm of a record.  He’s a real weapon! Ted Jensen—aka “the great one”— gave Zakk’s atomic mixes a real supercharged spit and polish and brought it all home with his classic trademark Sterling master print that only he can do. 

So, we finally ripped off the Band-Aid and mustered up the balls to play it to the roadies…. And guess what? They love this one! Thank fuck! Only took us 20 years!  

Thanks again for all of your words back then mate.  We’ve never forgotten them and we wouldn’t be here without ya. We’ll always keep you ‘Alive After Death‘.  

Rock on, Lem.  

Much Love, 

Joel.

Airbourne release their new self-titled album on 28 August 2026 via Spinefarm. Pre-orders are available from airbourne.lnk.to/Airbourne.

The post Airbourne / Open Letter To Lemmy Reveals The Wild Journey Behind New Album first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.