The Raleigh trio draws from the unstable death/thrash divide of the late ’80s and early ’90s on a 10-track debut arriving August 21 via Dying Victims Productions.
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The Raleigh trio draws from the unstable death/thrash divide of the late ’80s and early ’90s on a 10-track debut arriving August 21 via Dying Victims Productions.
The Exodus and Slayer guitarist sits down with Frank Godla to correct the record on long-standing genre assumptions.
A canceled performance at the Evil Live Festival prompted some in the crowd to launch objects toward the empty stage, as the band addressed the decision online.
The band’s 1986 debut still stands on its own, but four decades later, it’s a quiet gesture from their former bassist that stays with them.
A strange video of the Anthrax and Megadeth bassists riffing on death surfaces while Anthrax tours with a temporary drummer.
The Baltimore band’s second album turns road-tested thrash and punk hostility into a cohesive, dynamic statement of collapse.
Infinite Illumination blends doom, thrash, and classic heavy metal into a cohesive statement that resists genre borders.
A new argument reframes the John Bush years not as an awkward interlude, but as half the band’s story — and maybe its most creatively solid stretch.
Mark “Smitty” Neal’s exclusive shots document a night where two pillars of Bay Area thrash shared a New York stage with a no-nonsense groove metal opener.
The Exodus guitarist’s recent reflection cuts through the bravado of thrash metal with a rare moment of personal candor.
