A cyborg does the talking on Ministry‘s new single, “Singularity,” warning that “Your time on this planet has passed … we are in control.” With A.I.-doom headlines piling up lately, Al Jourgensen and company have managed to time an apocalypse anthem almost perfectly.
The accompanying video, directed by Ben Garcia of Rage4Order Designs alongside Jourgensen and Joshua Bradford (formerly of Revolting Cocks), plays out the machine uprising in full.
“Singularity” is the third single pulled from Hate To Go (Take Out Or Delivery), Ministry‘s last-ever album, due Oct. 30 on Cleopatra Records and following earlier cuts “Burned Out” and “We Hate.” The record closes out a 45-year run that helped define an entire genre.
Ministry and Jourgensen have carried the industrial-music torch since 1981, racking up 17 studio albums, eight live records, eight side projects, tours across five continents, an autobiography, two documentaries and, by Jourgensen‘s own count, three separate last rites — not to mention a fanbase that’s stuck around for all of it.
Reflecting on closing this chapter, Jourgensen said: “I’m fucking done. I’m proud of what I’ve accomplished. I’m amazed at the path that it’s taken, from With Sympathy to where we’re at today, and all points in between. It’s been quite a ride, but I’m completely at peace with the fact that it’s done. It’s time to herd goats.”
Hate To Go (Take Out Or Delivery), Ministry‘s 17th studio release, brings back longtime member Paul Barker for one final feature on closing track “We’re Still Here,” alongside the band’s current lineup: guitarists Monte Pittman and Cesar Soto, bassist Paul D’Amour, sampler and synth player John Bechdel, and drummer Pepe Clarke Magaña.
Hate To Go (Take Out Or Delivery) rolls out across vinyl, CD, cassette and digital, with a handful of vinyl variants and box sets in the mix:
Green & Black Splatter LP
Silver & Black Splatter LP
Coke Bottle Green LP
Box Set: Green Splatter LP, Picture LP, 7-inch, CD
Box Set: Purple Marble LP, Picture LP, 7-inch, CD
The farewell doesn’t stop at the album. Ministry heads out on an international goodbye run in 2027, kicking off with the “Goodbye Europe” tour alongside Die Krupps starting in April, before a full U.S. leg follows. European dates come with meet-and-greet packages featuring Jourgensen, complete with a photo op, souvenir laminate, silk-screen poster and a commemorative tour coin.
Before all that, Ministry still has a handful of 2026 dates left, including a stop at Chicago’s Salt Shed plus appearances at the Louder Than Life and Sick New World Texas festivals, along with Australia’s Good Things festival — with more side dates being added.
Ministry got its start in Chicago in 1981 as the brainchild of Jourgensen, widely regarded as the godfather of industrial music. Early on, the band leaned into synth-pop textures that fit right in with the emerging technology of the era. That began with four 12-inch singles on Wax Trax! Records in 1981, followed by the debut LP With Sympathy on Arista Records in 1983. From there, Ministry‘s sound got heavier and more abrasive, cementing its reputation with Twitch (1986), The Land Of Rape And Honey (1988) and The Mind Is A Terrible Thing To Taste (1989). Psalm 69: The Way To Succeed And The Way To Suck Eggs (1992) pushed the band into the mainstream and earned its first Grammy nod — the first of six nominations to date. Eight more albums followed before the band went on hiatus in 2013, returning in 2018 with AmeriKKKant, which kept the focus on Jourgensen‘s bleak read on modern politics and society. Moral Hygiene (2021) opened a new creative chapter, followed by 16th studio album Hopiumforthemasses in 2024 and The Squirrely Years Revisited, a collection of reworked early synth-pop tracks, in 2025.
Hate To Go (Take Out Or Delivery) is available to pre-order here.
The heaviest death metal bands aren’t necessarily the best ones, the biggest ones, or the ones you’d name first. Brutality is its own measurement — sonic weight, suffocating density, technical ferocity and a willingness to make something genuinely difficult to sit through. These are thirteen bands at their most punishing, each ranked by the album where they went furthest.
What actually makes a death metal record heavy? The speed of the blast beats? The depth of the gutturals? The density of the production? For us it’s all of it at once — brutality as a craft rather than an accident, a calculated assault that leaves you battered and somehow wanting it again.
How this list was made, and why some obvious names aren’t on it
Four things, weighed against each other.
Sonic weight. Not volume — density. How much of the frequency spectrum a record occupies, and how little room it leaves you.
Suffocating atmosphere. Whether the thing feels oppressive rather than merely fast.
Technical ferocity. Speed and precision used as weapons rather than as showing off.
Remorseless aggression. Whether it lets up. The best records here never do.
And here’s what explains the shape of this list. Those criteria are not the same as “greatest.” Death, Morbid Angel and Obituary are three of the most important bands the genre produced and none of them has an entry, because heaviest is a different question from best. This list rewards the records that went furthest into pure punishment, which weights it toward brutal death metal and slam rather than the genre’s founding texts.
If you want the bands who defined death metal, that’s a different list. This one is about the ones who pushed hardest.
In an era of hyper-polished production, Philadelphia’s Pissgrave weaponise raw, unfiltered filth. Posthumous Humiliation is less a collection of songs than an act of auditory terrorism. The production is murky, the vocals cavernously harsh, the song structures pure chaos.
What sets it apart is its complete rejection of listenability. It’s an anti-record, designed to repel — and in that hostility it achieves a unique and genuinely frightening kind of heaviness.
It’s also the most recent album here by eighteen years, which tells you something about how rarely anyone still makes a record this uninterested in being enjoyed.
12. Angelcorpse – Exterminate (1998)
Some bands play death metal. Angelcorpse wage war with it.
Exterminate is a relentless barrage of blackened death metal that feels like a full-scale military invasion. Fusing the militant precision of early Morbid Angel with the chaotic evil of bands like Blasphemy, Angelcorpse built a sound that is pure blasphemous napalm.
From the opening riff of “Christhammer” there is no room to breathe. The tremolo-picked riffs come at you like shrapnel, and Pete Helmkamp‘s vocals sound like a field commander ordering an execution. A masterclass in warlike brutality.
11. Disgorge – Cranial Impalement (1999)
California’s Disgorge are a cornerstone of the brutal death metal scene, and Cranial Impalement is their magnum opus of gore-soaked punishment.
This album is an oppressive, suffocating wall of sound. The guttural vocals are so inhumanly low they sound like a backed-up sewer drain, the blast beats are a constant concussive force, and the riffs pummel you into submission without a moment of relief.
Very few albums maintain this level of singular, oppressive intensity from start to finish. It’s a beating you have to endure to understand.
10. Devourment – Molesting the Decapitated (1999)
If Suffocation invented the slam, Devourment turned it into a religion.
Molesting the Decapitated is the bible of slam death metal. The Dallas band took the chugging, groove-laden breakdowns of their predecessors and slowed them to a tectonic, bone-breaking crawl.
The cavernous production and the utterly disgusting gurgle of the vocals create an atmosphere of pure knuckle-dragging violence. This album is the sound of a very large man hitting you repeatedly with a boulder, and for that it remains a monument.
9. Brodequin – Instruments of Torture (2000)
Named after a medieval torture device, Brodequin have always been dedicated to a single theme: historical agony. The music is the sonic equivalent.
Instruments of Torture mirrors its subject matter exactly — it’s an exercise in endurance. Rejecting groove entirely, the band opt for a relentless storm of hyperspeed blast beats, frantic tremolo riffs, and some of the most indecipherable pitch-shifted gutturals ever recorded.
Listening to it feels like being put on the rack. Punishing, agonising, and unlike anything else here.
8. Nile – Black Seeds of Vengeance (2000)
Nobody blends high-concept historical themes with low-end brutality like Nile.
Their technicality gets most of the attention, but on Black Seeds of Vengeance the ferocity is what’s front and centre. This is an ancient, monstrous thing — hyper-speed drumming from Derek Roddy, intricate riffing that never stops moving, and Karl Sanders‘ growls sounding like something excavated rather than recorded.
What makes it heavy is the density. It’s intellectually demanding and primally savage at the same time, which very few records in this genre manage.
7. Dying Fetus – Destroy the Opposition (2000)
For a great many people, Destroy the Opposition was the way in.
Dying Fetus perfected their formula here: technical riffing, socio-political rage, and the kind of neck-snapping breakdowns that became their signature. The grooves on this album are the reason a generation of bands started writing breakdowns at all.
It’s a masterclass in knowing when to unleash blinding speed and when to pull back into a slam that could level a building. An absolute essential, and the most replayable record on this list by some distance.
6. Cryptopsy – None So Vile (1996)
Controlled chaos, and there’s no better description available.
Flo Mounier‘s drumming is the reason this album has the reputation it does — a whirlwind of gravity blasts and fills nobody else was attempting in 1996. Layered over it are the demented, gore-soaked shrieks and grunts of Lord Worm, who sounds less like a vocalist than a symptom.
Unlike a lot of technical death metal, Cryptopsy never traded savagery for complexity. “Slit Your Guts” and “Phobophile” are perfect storms of musical intelligence and psychotic rage, which is why this remains one of the most revered records in all of extreme metal.
5. Suffocation – Effigy of the Forgotten (1991)
This is the genesis. Nearly every brutal death metal band that followed owes its existence to this record.
Effigy of the Forgotten is where Suffocation pioneered the slam — that combination of lightning-fast blast beats with impossibly heavy, slowed-down breakdowns that became the template for an entire subgenre. Frank Mullen‘s guttural style and the intricacy of the riffing set a standard for extremity that, for a lot of people, has never been beaten.
It isn’t just a classic. It’s the foundational text, and everything below it on this page exists because of it.
4. Origin – Informis Infinitas Inhumanitas (2002)
If brutality is measured in pure speed, this is a serious contender for the heaviest album ever made.
Informis Infinitas Inhumanitas operates at a velocity that still sounds inhuman more than two decades later. It’s a particle accelerator — relentless blast beats from John Longstreth, a dizzying swarm of hyper-technical riffs, and no interest whatsoever in giving you a moment to recover.
Underneath the technical display is a core of genuine devastation. An overwhelming record, and one that sounds like the physical limit of what four people can do at once.
3. Cannibal Corpse – Tomb of the Mutilated (1992)
The horror film of death metal, and a landmark of lyrical depravity that dragged the genre into the middle of a public argument it never really left.
Featuring the vocals of Chris Barnes and anthems of gore like “Hammer Smashed Face,” Tomb of the Mutilated is pure uncut brutality. The riffing is relentless, the production is thick and filthy, and there’s no attempt anywhere on it to make the thing palatable.
Cannibal Corpse went on to release decades of strong material, but this album remains the defining moment — the point at which death metal became something the wider world had to have an opinion about.
2. Deicide – Legion (1992)
Their debut was a landmark. Legion is where Deicide became something else entirely.
This album is a rabid animal. Under thirty minutes long, and one of the fastest, most ferocious, most hate-filled records the genre has produced. Glen Benton‘s growls and shrieks sound genuinely possessed, and Steve Asheim‘s drumming is a frantic, complex assault that shouldn’t be physically sustainable across an album.
There’s no subtlety anywhere on it. Just relentless fury at breakneck speed, and it is — for anyone who wants the purest death metal answer to the question this page is asking — the record at the top of the pile.
1. Anaal Nathrakh – The Codex Necro (2001)
Let’s deal with the obvious objection first, because it’s a fair one. Anaal Nathrakh are not a death metal band.
Their sound is a fusion of black metal, industrial and grindcore, and if what you want is the purest death metal answer to this question, it’s the record sitting at number two. Nobody would argue with you for stopping there.
But this list is about the absolute pinnacle of unrelenting, soul-crushing sonic devastation — and on that measure, nothing we have ever heard surpasses The Codex Necro.
This is the sound of the apocalypse. It is overwhelming, inhuman and genuinely frightening. The programmed blast beats sound like machine-gun fire rather than drums. The riffs aren’t riffs so much as sheets of hatred. The vocals are the shrieks of something being destroyed.
It transcends its genre to become the purest expression of auditory violence anybody has committed to tape, and that’s why it’s here. Heaviest isn’t a genre category. It’s a measurement, and this record wins it.
Every band on this list, ranked
Where this list will start arguments
Anaal Nathrakh at number one. They aren’t a death metal band and the entry says so plainly. They also made the most punishing record on this page, and pretending otherwise to protect a genre boundary would be dishonest. If it bothers you, Deicide at two is the answer you’re looking for.
No Morbid Angel, no Death, no Obituary. All three are more important than most of what’s here. None of them made an album as purely brutal as the thirteen listed. Importance and heaviness are different measurements and this list only weighs one of them.
Suffocation at five will read as low to anyone who knows the genre’s history. Effigy of the Forgotten invented the slam and everything below it exists because of it. Influence isn’t one of the four criteria — which is the only reason it isn’t higher, and it’s a fair thing to argue about.
Pissgrave at thirteen will get called a stunt pick. It’s the newest record here by eighteen years and it’s deliberately unlistenable. That’s precisely why it qualifies.
Thirteen death metal bands ranked by the album where each went furthest, judged on sonic weight, suffocating atmosphere, technical ferocity and remorseless aggression.
Number one: Anaal Nathrakh’s The Codex Necro (2001) — not strictly a death metal band, and still the most punishing record here.
The pure death metal answer: Deicide’s Legion (1992). Under thirty minutes of the fastest, most hate-filled material the genre has produced.
The foundation: Suffocation’s Effigy of the Forgotten (1991) invented the slam, and everything below it on this list exists because of it.
The list is weighted toward brutal death metal and slam rather than the genre’s founding bands, because heaviest and best are different questions. Death, Morbid Angel and Obituary aren’t here for that reason.
The deep cuts are deliberate. Pissgrave, Brodequin, Disgorge and Angelcorpse are on here because pure brutality was the only criterion applied.
FAQ
Who are the heaviest death metal bands?
Anaal Nathrakh, Deicide, Cannibal Corpse, Origin, Suffocation, Cryptopsy, Dying Fetus, Nile, Brodequin, Devourment, Disgorge, Angelcorpse and Pissgrave. Each is ranked here by the single album on which they went furthest into pure brutality — measured by sonic weight, suffocating atmosphere, technical ferocity and unrelenting aggression rather than influence or overall quality.
What is the heaviest death metal album of all time?
Anaal Nathrakh’s The Codex Necro (2001), on the basis of sheer sonic devastation — though the band fuse black metal, industrial and grindcore rather than playing pure death metal. For a strictly death metal answer, Deicide’s Legion and Cryptopsy’s None So Vile are the strongest contenders.
What is the difference between death metal and brutal death metal?
Brutal death metal is a subgenre focused on the most extreme elements: deeper, more guttural vocals often described as gurgles, an emphasis on both hyper-fast blast beats and slow crushing slams, and a denser, more suffocating production. Most of the bands here sit in that territory rather than in death metal’s more melodic or technical branches.
Who invented the death metal slam?
Suffocation, on their 1991 debut Effigy of the Forgotten. Combining lightning-fast blast beats with slowed-down, impossibly heavy breakdowns became the template for the entire brutal death metal subgenre.
Why aren’t Death, Morbid Angel or Obituary on this list?
Because heaviest and best are different questions. All three are foundational and more important than most bands here, but none made an album as purely punishing as the thirteen ranked. This list weighs brutality alone — not influence, songwriting or legacy.
Thirteen bands, four decades, and a number one that isn’t technically a death metal band. Who’s missing, and what have we got wrong? Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
Don’t worry, we’re not going to try to make you pay attention every time one of the BlackPink girls releases a solo track. But if one of them happens to make a banger, you might want to know about that. Rosé, the New Zealand-born BlackPink member, has made at least one banger outside the context of the huge K-pop group. Her 2024 Bruno Mars collab “APT” was a global smash, and it’s still by far the biggest solo track to come from the BlackPink mothership. The same thing could conceivably happen with hew new single “new trick.”
Grammy Award-winning rock and roll band Greta Van Fleet has released their newest single “Tear It Down,” available everywhere via Republic Records. The track comes in advance of their highly anticipated new studio album, Palace For The People, out on October 9.
“Tear It Down” follows lead tracks “Play Your Games” and “Saw You Stand” and offers another look behind the curtain of their majestic new album. “Tear It Down” tempers a bold riff with pensive lyricism. On the verses, Josh Kiszka confesses, “I’m searching for answers in the shifting clouds. What do we do when it gets too loud?” The chorus explodes to life and presents an answer: “Build it up, then you tear it down.”
On Palace For The People, Greta Van Fleet continues to explore themes of humanity, connection, resilience, and transcendence—building a body of work that feels both deeply personal and universally resonant. They’ve made a mysterious, monumental, and cataclysmic body of work, painting a sonic tableau out of powerhouse vocals, earth-rupturing riffs, and stunning solos. This is expressive, ethereal, and energetic rock and roll music delivered with apropos symphonic grace, revelrous excess, dynamics, and the glory of a collective who refuse to be boxed in musically, thematically, or spiritually. It’s also the brilliance of a bloodline committed to tape. They have taken another massive creative leap, building a new place for listeners to congregate and determining the tone for rock’s future in the process.
“The function of the artist is to provide what the universe cannot,” Josh states. “We wanted to make a record that personifies adventure, passion, brutality, beauty, sex, and imagination, so that’s what we did. We played the Palace of the People in London, and our music is a Palace for the People. When you’ve seen so much of the world, you realize there’s so much more of the world you have not seen. We’re starseekers. We’re simply taking the human experience and translating it into music.”
“As much as it is a Greta Van Fleet record and a rock and roll record at its core, in its heart, it’s a very modern record,” lead guitarist Jake Kiszka concludes.
Recorded in Tennessee in the spring of 2026, Palace for the People was co-produced by the band and Mike Elizondo (Turnstile, Eminem, Fiona Apple), and showcases a band more vibrant, cohesive, and stronger than ever. Drummer Danny Wagner shares: “The minute the four of us step into a room with the shared goal of creating, there is very little that can stop us.”
Bassist and keyboardist Sam Kiszka adds: “we realized the music is our palace!”
Since emerging from Frankenmuth, Michigan, Greta Van Fleet have become one of rock and roll’s defining voices of their generation. Across multiple platinum-selling releases and sold-out arena tours spanning the globe, the Grammy Award-winning band has consistently challenged expectations while forging a sound entirely their own. Palace for the People represents the band’s boldest artistic statement yet.
Palace for the People is available to pre-order here.
The purpose of this blog post its to get you to listen to Yaphet, the new album from Philadelphia indie rapper Curly Castro. In most cases, the headline of the post would just be something about how that album exists. But a prospective reader might be more likely to click after seeing lots and lots of other underground rap names in the headline. As it happens, Yaphet opens with a gigantic six-minute posse cut that sounds like the Backwoodz Studioz Avengers assembling, so that’s what goes in the headline. It’s just how the internet works.
A breakup is rarely finished just because somebody has delivered the closing speech. There are still arguments to rehearse, streets to avoid, and a suspicious number of reasons to take the long way home. Madison, Wisconsin’s Whippets give that unfinished business a suitably unhealthy bounce on Not Dead, a song in which announcing “This is the end” does very little to stop the next bad idea.
Premiering today, Not Dead previews the trio’s second album, No Skulls, due October 2, 2026, through Bobby Hussy’s No Coast label. With Hussy on guitar and vocals, Tyler Spatz on bass, and Hart Miller on drums, Whippets bring post-punk, grunge, and garage rock into a close, uncomfortable embrace, leaving plenty of room for deathrock’s theatrical appetites.
A thick, ominous bass figure gets things moving before the drums cascade into a serpentine guitar hook, bringing a horror-film leer to the song’s garage abrasion. Hussy’s voice quivers and twists around the words, making private misery sound like something that might require an exorcist. The rhythm soon acquires an infectious bounce, with Spatz’s bass holding the floor beneath the guitar’s crooked turns and Miller’s mounting commotion. There is something of Dance with Me-era T.S.O.L. in this marriage of morbid theatre and physical release: music for pogoing through a personal catastrophe, with an ’80s post-punk chorus sharp enough to remember the following morning.
The lyrics make repeated attempts to draw a line under the relationship. “This is the end” and “We are not friends” sound decisive enough, until the other admissions begin slipping through. The refrain’s insistence on being alive comes with a revealing qualification: “In my head.” That is where the old attachment continues to conduct its business, untouched by whatever has happened outside it. By the closing “No need to lie / I still drive by,” the brave farewell has become an unwanted return visit. Whippets give that contradiction a beat you can jump to, allowing the uglier implications to catch up between choruses.
Hussy says:
“Our new record, “No Skulls” is by far the best record I’ve ever recorded….and I’ve recorded a few at this point in my life. I’m very proud of both the songs and the production on this album. “Not Dead” is the second single from the album and it perfectly represents everything I love about this band: Sharp guitar riffs, hypnotic dirty bass lines that pivot in all the right places and drums that escalate frantically as needed. Catch us shredding this one out on tour in Europe!”
No Skulls features ten tracks, recorded and mixed by Hussy, produced by Bert Roberts and Whippets, and mastered by Justin Perkins. The cover artwork is by Erin Sullivan. The album comes out October 2 on LP, CD, and digital formats, with the chartreuse-and-black swirl vinyl limited to 100 copies.
Listen to Not Dead below and pre-order No Skullshere.
Whippets introduced themselves with a 2022 seven-inch EP on Italy’s Goodbye Boozy, which sold out within a week, followed by their self-titled debut album on No Coast in 2024. Readers may remember Splinter, whose deathrock inclinations made an early case for the band’s particular chemistry. Their shared history reaches further back: Hussy and Spatz have both played in The Hussy and Cave Curse, and also work together in Wristwatch, while Miller’s past bands include Tenement, MDC, and Wartorn. That experience gives the trio a useful feel for how much disorder a memorable song can accommodate.
Whippets take the No Skulls on the road this autumn, with October shows alongside Busey and Brüder and a November date supporting The Faint. A 23-date European tour follows in January and February 2027. See the upcoming itinerary below.
Whippets take No Skulls on the road this autumn, with October shows alongside Busey and Brüder and a November date with The Faint. A 23-date European tour follows in January and February 2027. See the upcoming itinerary below.
No Skulls US Tour 2026
October 8 — Minneapolis, MN — Zhora Darling, with Busey and Brüder
October 9 — Madison, WI — Mickey’s Tavern, with Busey and Brüder
October 10 — Chicago, IL — Liar’s Club, with Busey and Brüder
November 1 — Indianapolis, IN — Turntable, with The Faint
No Skulls European Tour 2027
January 22 — Netherlands — City and venue TBA
January 23 — Paris, France — Venue TBA
January 24 — France — City and venue TBA
January 25 — France — City and venue TBA
January 26 — France — City and venue TBA
January 27 — Köln, Germany — Sonic Ballroom
January 28 — Dortmund, Germany — Venue TBA
January 29 — Hamburg, Germany — Komet
January 30 — Berlin, Germany — Schokoladen
January 31 — Hannover, Germany — Nordstadtbraut
February 1 — Bayreuth, Germany — Schokofabrik
February 2 — Winterthur, Switzerland — Venue TBA
February 3 — Tübingen, Germany — Blauer Salon
February 4 — Stuttgart, Germany — Venue TBA
February 5 — Karlsruhe, Germany — Alte Hackerei
February 6 — Limburg, Netherlands — Kakadu
February 7 — Arnhem, Netherlands — Cafe Bosch
February 8 — Bruxelles, Belgium — Le Chaff
February 9 — France — City and venue TBA
February 10 — Annecy, France — Venue TBA
February 11 — Germany — City and venue TBA
February 12 — Groningen, Netherlands — Vera, with Primitive Ring
The German gothcore band Lacrimas Profundere is releasing the new single “Faceless” today, including the accompanying video. The song is also featured on the upcoming studio album Lay Me Down O Silent Fear.
What could it sound like if Bring Me The Horizon were to suddenly cover Queen? Guitarist OliverNikolas Schmid says: “We don’t know, but with “Faceless” we at least gave it a try”! It was the song I had written as a tribute to “Unseen” from the last album. But somehow the chorus never really caught fire, and I really annoyed Julian with it too, until he then sent 3 fragments that unfortunately had absolutely nothing to do with the actual song. They were simply three ideas he had sung dry.
One of the ideas grabbed me immediately upon first hearing it. Large parts of the music and the key had to be completely changed and rewritten around the vocals, but it was magical. You can’t plan things like that; they just happen, and that’s what I love so much about music and what still keeps it so exciting for me after all these years. If Julian and I should ever part ways, we will certainly still write good music, but this special something will be gone forever. The term gothcore had already been haunting my mind since the descriptions of the last album, such as HIM meets Metalcore, and now it was time to create an album that hopefully marks the starting point of this new musical style. “Faceless” fits wonderfully with what I envision it to be.”
Lay Me Down O Silent Fear is available to be pre-ordered here. Released on September 25th, 2026 through Steamhammer worldwide in the following configurations:
Tankcrimes is pleased to unveil a CD repress of Wings Of Chains, the debut full-length from Richmond, Virginia speed metal cult, BAT.
BAT‘s esteemed membership on Wings Of Chains is well known featuring vocalist/bassist Ryan Waste (Municipal Waste, Volture), guitarist Nick Poulos (Municipal Waste, Volture), and drummer Felix Griffin (D.R.I.) and their collective experience bleeds through every gnarled note of the record.
Initially released in 2016 via Hells Headbangers, the twelve-track production is an unapologetic firestorm of filth and fury. But more than that, such hard-charging and immediately headbanging speed metal can only come from total diehards who intimately know the secret of steel. From the opening “Bloodhounds” on down to the band’s titular theme song, BAT barrels forth like filth hounds of Hades, pounding metal with violence and force, leaving “Total Wreckage” in their wake.
Comments Ryan Waste, “We’re psyched to have our debut album back on CD format to accompany the LP at Tankcrimes. Many of these songs will remain in the setlist for our upcoming tour with Voïvod this October. BAT is flying higher than ever on Wings Of Chains!”
Order Tankcrimes’ CD and vinyl editions of BAT’s Wings Of Chains HERE.
