Unburier - Survive the Vermin (Official Video)

Check out this music video from UK death metal band UNBURIER. Below you will find the official information about the band and their music.

Unburier

As Time Awaits

27 February 2026

UK death metal band UNBURIER has returned with their latest EP, As Time Awaits on February 27th 2026. Uncompromisingly vicious but performed with utmost precision, the band expands their sonic scope while honing the intensity that defined their previous releases. With their new drummer Kim Hughes joining the lineup, UNBURIER unleashes a perfect storm of fresh energy and renewed technicality, pushing their blend of old-school and modern death metal to new extremes. Known for raw ferocity and deft performances, UNBURIER sharpens their approach on this release with tighter songwriting, bigger hooks, and a more refined, punishing delivery.

The EP opens ominously with the intro of "Continuum", then charges onward into the depths and never lets up. Darkness prevails on "Continuum" with a groovy rhythm section and tastefully melodic guitar leads. Powerful mid-range vocals drive the song, occasionally layered with guttural growls to add depth and intensity. The melodies are underpinned with elegantly-phrased fretless bass lines and tight, progressive drumming. The track steadily builds momentum before hitting a breakdown that shifts the dynamics, leading into back-to-back solos that showcase the band’s musicianship. Lyrically, "Continuum" explores the collapse of rigid beliefs and the confusion that follows. It paints a picture of spiraling ideas and false guidance, revealing the emptiness behind so-called truths. The track dives into the tension between light and darkness, truth and deception, showing how we wrestle with meaning in a world full of contradictions. Dark, intense, and unflinching, it sets a tone of uneasy reflection and relentless questioning.

Next, kicking off with a section of torrential, arpeggiated dissonance, "Abyssal Uncertainty" quickly announces its brutality before diving into rapid, NECROPHAGIST-inspired riffing. The fretless bass weaves in and out of each riff, acting as the translator between the frantic guitars and precise drumming. Despite shifting meter and tempo, the song maintains a consistent feel and raw edge throughout, sonically illustrating the darkened narrative. It features the standout solo of the EP, utilizing the track's unyielding brutality as momentum into a soaring passage that showcases a more playful lead guitar style. "Abyssal Uncertainty" is the most lyrically-ambitious track of the EP, with nods to Camus, Lovecraft and other literary influences. The listener is invited to witness a trapped laborer's descent into madness, reflecting on and acknowledging the absurdity of his life and death. The struggles depicted here represent those of anyone who has been forced to devote themselves to someone else's greed, and the yearning for a world where we can each live in accordance with our own nature.

Finally, "Survive the Vermin" ends the EP with the appropriate blend of ferocity and spellbinding technicality. Vocalist and guitarist Ben Champion shows off a viscerally emotive vocal range, skillfully punctuating his mid-range snarls with screeching highs for maximum impact. Bassist Stan Mitchell and drummer Kim Hughes lay the foundation for the song's intensity with a punchy, driving rhythm section. Guitarist Blake Hibberd propels the momentum forward with a relentless barrage of twisting, turning, shredding leads. The lyrics of "Survive The Vermin" develop themes of purpose and identity on the EP through a first-person account of a cosmic, immortal warrior. Surrendering flesh for steel, the narrator struggles to detach themselves from the sensations they thought to have discarded. The lyrics ask if, when we give ourselves wholly to one purpose, it is worth sacrificing the simplicity of everyday life. Paying homage to sci-fi author Nate Crowley and absurdist philosophy, "Survive The Vermin" provides the most direct declaration of the themes behind the EP.

Newcomers to UNBURIER's realm of fury and technicality will find As Time Awaits to be a compelling introduction to the band's evolving sound, and longtime listeners will be proud to follow the band’s growth across their earlier releases.

About UNBURIER:

Hailing from the south of England, UNBURIER stormed onto the death metal scene in the summer of 2022 with their debut EP Twisted Existence. The EP showcased the band's undeniable technical abilities, in addition to their raw and harrowing sound. In 2024, UNBURIER returned with their follow-up EP, Nebulous, on which the band refined their songwriting and technical prowess. On this release, the band ventured even deeper into the realms of their death metal influences, among which they count DEATH, NECROPHAGIST, and REVOCATION.

Having conquered stages alongside the likes of SANGUISUGABOGG, CRYPTA, and PARTY CANNON, as well as making notable appearances at Bloodstock Open Air and Incineration Festival, UNBURIER continues to carve a path alongside giants of the death metal genre. Their upcoming third EP, As Time Awaits, sees UNBURIER blending old- and new-school death metal styles with technicality, hooks, and razor-sharp songwriting. Carrying the torch of the classic death metal sound into a new age, As Time Awaits is certain to enthrall longtime fans of the genre.

UNBURIER lineup:

Ben Champion - Vocals/Guitar

Blake Hibberd - Guitar/Vocals

Stan Mitchell - Bass

Kim Hughes - Drums

Unburier - Survive the Vermin (Official Video)

https://www.facebook.com/unburierband/

MALEFIC - IT HAUNTS [OFFICIAL MUSIC VIDEO]

check out this music video and official information about the extreme metal band MALEFIC

(extreme metal from Georgia, USA) MALEFIC - IT HAUNTS [OFFICIAL MUSIC VIDEO]

Malefic

Impermanence

Terminus Hate City

13 February 2026

ABOUT THE NEW MUSIC: Atlanta blackened thrash visionaries MALEFIC are set to unleash their debut album, Impermanence, via Terminus Hate City on February 13, 2026. The band initially began work on the album in 2018, and conquered numerous personal and professional challenges on the road to completing their masterpiece. Drawing influence from black, death, and thrash metal, the diverse array of songs wrestles with themes such as politics, drug use, existentialism, perseverance, and the lasting consequences of one’s choices. Impermanence represents the culmination of many years of hard work and dedication, along with a deep love for music beyond strict genre boundaries.

The album opens with “Blood Of The Throne”, a storm of blistering blackened thrash metal. Precise guitar work, furious drumming, and vicious vocals dominate the soundscape, drawing the listener into a world where an oppressive economic system chews people up and spits them out. Unrelenting from the first note to the last, the song presents a venomous warning about the state of global affairs.

“In Darkest Dreams” showcases the MALEFIC’s death metal influences while retaining undertones of blackened thrash. Notably, it is one of the only songs on the album with a defined chorus, but still relies on a progressive rock-inspired structure. The band shifts their focus from reality to fantasy in this song, with lyrics telling a horror story about a deathly reaper figure.

“Of Gods And Man” marks a change of pace from the first two songs. It showcases MALEFIC’s melodic black metal influences, with a sense of urgency to the riffs and prominent bass lines. Intricate picking patterns intertwine with dueling guitar solos, as vocalist Aaron Baumoel spins a tale about greed, consumerism, and instant gratification. The song deals with the human relationship to a creator figure, and the existentialism that frequently pervades this relationship.

“Idiocracy” changes up the dynamics even further by introducing a black-n-roll sound. Catchy triplet riffing and epic arpeggios make it a memorable standout on the album. The lyrical themes return to the political and philosophical issues that are prevalent in modern society, arguing that many are unaware of their own ignorance, although they may attempt to call out others.

“Deserter” reintroduces a more prominent death metal sound. Ominous drums flow into groovy riffs and intricate solos, leading up to a barrage of thrash riffs. Call-and-response harsh vocals emerge out of the darkness, voicing feelings of abandonment and suicidal ideation. Syncopated drum beats and bass lines relentlessly carry the momentum onward.

“Disembodiment” opens with a haunting acoustic introduction, unlike any of the previous tracks on the album. The brutal, dueling harmonies in the chorus create the album’s emotional high point, as the lyrics warn of the dangers of narcissism, gaslighting, and emotional manipulation. Musically and lyrically, the song paints a path to despair that is, ironically, paved with beauty along the way.

Melodic and grandiose, “Obsidian Earth” is the album’s magnum opus. Unrelentingly aggressive, yet melodic and grandiose, the song takes the listener through a barrage of black metal riffs and blasting, melodic hooks, finally landing on an epic solo by Jason Davila. The song laments an impending, self-inflicted extinction of humanity, with a vocal performance marked by disquieting rage.

The most progressive song on the album, “Echoes Of Silence” boasts an ominous acoustic introduction. A variety of melodies expertly intertwine with one another, deftly carrying over from one section to the next. Chaotic black metal riffs drive forward a narrative about the dual nature of addiction, dispersed with heavy chords and cries of desperation. A cathartic guitar solo finally breaks the tension, and the lyrics of the last chorus serve as a reminder of life’s fragility.

The album finally drops off into the blackened abyss with “It Haunts”, pummeling the listener with charging riffs and fierce vocals. While intricate harmonies and guitar work weave themselves throughout the song, the epic guitar solo commands rapt attention. Mysterious lyrics describe a supernatural haunting, and are fittingly closed out by ghostly, magnificent acoustic arpeggios.

About MALEFIC:

MALEFIC roared onto the Atlanta metal scene in 2007 with ambitions to modernize the black metal genre. With their tight riffs, tasty leads, and relatable lyricism, MALEFIC abandons cliches and defies traditional genre boundaries. Their special blend of black metal, drawing from thrash and death metal influences, appeals to metalheads across subgenres. They count OLD MAN'S CHILD, CARCASS, TESTAMENT, DISSECTION, and OPETH among their most prominent influences, offering a fresh, modern take on metal that is unrivaled in the United States.

Though they are set to release their very first full-length album, Impermanence, in 2025, MALEFIC boasts an impressive live performance history, having played shows with notable bands such as 1349, CRYPTA, and PROFANATICA. After a hiatus in 2009, the band eagerly picked back up where they left off and reformed with a new lineup. MALEFIC initially began work on Impermanence in 2018, taking their time to ensure that every detail accurately reflected their vision for their album. The band's hard work and dedication has culminated in a powerful debut, lovingly crafted by fans of nuanced, boundary-pushing music.

MALEFIC lineup:

Jason Davila - Guitar

Aaron Baumoel - Drums, Vocals

Sam Williams - Guitar

Andy McGraw - Bass

MALEFIC - IT HAUNTS [OFFICIAL MUSIC VIDEO]

(traditional heavy metal) MEGA COLOSSUS "Battlefront"

Mega Colossus

Watch Out!

Cruz Del Sur Music

6 March 2026

Raleigh (NC) - Traditional Heavy Metal quintet, Mega Colossus, is back with their second Cruz Del Sur Music album, Watch Out! Set for a March 6 release on CD, vinyl, and digital formats, get ready for seven tracks of melodic, fearless and fun metal!

Armed with yet another splendid, vicious array of riffs and vocal hooks galore, Mega Colossus takes classic heavy metal to another level on Watch Out!

Since their 2005 formation, Mega Colossus have forged a high-energy take on traditional heavy metal that values songcraft, harmony and personality over trends. With a stable lineup since 2021 and continued momentum from 2023’s critically hailed Showdown, Mega Colossus has re-emerged with their most definitive statement to date, Watch Out!

Recorded at Warrior Sound in Chapel Hill, North Carolina, Watch Out! (a title that was influenced by Ronnie James Dio’s legendary “lookout!” lines) was produced by Al Jacob and mixed by Matt Tuttle, capturing a band in full stride as it continues to harness its immense strengths. The album draws together elements from Mega Colossus’ earlier releases—blazing guitar solos, intricate twin-guitar harmonies and ambitious four-part vocal harmonies, while pushing into new and unexpected territory.

Often associated with the New Wave of Traditional Heavy Metal, Mega Colossus has earned comparisons to Iron Maiden, although their approach remains distinctly their own. Rejecting modern metal conventions, the band avoids down-tuning, harsh vocals and exaggerated darkness. There are no screams or growls here—just melody, speed and classic heavy metal energy. Songwriting on Watch Out! is deliberately unconventional, taking unexpected turns and shifting gears without warning, moving from punk-inspired thrash to Thin Lizzy–style hard rock while remaining cohesive and memorable.

One of the album’s boldest moments comes via “The Halls Of Mystikos,” a track inspired by Uriah Heep, that opens with a subdued, eerie atmosphere before erupting into full-blooded heavy metal—a striking departure from the band’s usual dynamic range. Mega Colossus continues to take chances that few of their peers attempt, particularly through layered vocal arrangements, trusting that strong melodies and conviction will always win out.

Lyrically, Mega Colossus occupies a refreshingly different space within metal. Rather than anger or nihilism, their songs celebrate science fiction, storytelling, escapism, and camaraderie. Many tracks explore imagined sci-fi worlds, a natural extension of the band’s identity—vocalist Sean Buchanan is also a science fiction author, currently completing his first novel, which he has been releasing chapter-by-chapter over the past year.

Visually and personally, Mega Colossus remains grounded. Long hair, leather jackets, black jeans—no costumes, no exaggerated toughness. They’re not trying to be rock stars; they’re regular people who love heavy metal, love hanging out with fans, and are known for being approachable, social, and genuinely grateful for the community around them. That authenticity has helped them build a loyal following, particularly in Germany and the United States, where physical formats remain central to their releases.

The band has become a familiar presence on the European underground circuit, having appeared at respected festivals such as Hell Over Hammaburg (Germany) and Up the Hammers (Greece). In 2026, Mega Colossus returns to these stages alongside a run of club shows across Europe, bringing Watch Out! directly to the audiences who have championed them over the years.

With a track record of consistently positive reviews, a reputation for memorable live performances, and a sound that balances tradition with adventure, Watch Out! stands as Mega Colossus’ most confident and fully realized statement to date—proof that heavy metal can still be melodic, fearless and fun.

MEGA COLOSSUS "Battlefront"

(Seattle heavy metal) GREYHAWK - Take A Stand

Here is another new song from the upcoming album by Seattle heavy metal band GREYHAWK. The album comes out this week.

Greyhawk

Warriors of Greyhawk

Cruz Del Sur Music

13 February 2026

Seattle (WA) - Fusing classic U.S. power metal, AOR and all things epic metal; Greyhawk returns with their third album of triumphant battle hymns!

Cruz Del Sur Music will release Warriors of Greyhawk on February 13, 2026 (North American physical product distribution on March 6). The album will be available on CD, Tape, Viny LP, and digital formats.

Refreshed, rejuvenated and ready for adventure; Greyhawk are back with their third album of epic, melodic power/heavy metal fused with an anthemic AOR angle. Shredding guitars, soaring vocals, powerful rhythms and songs that will stick with you are all a part of this majestic opus.

From the very beginning you will be met with soaring guitars, pounding riffs and a classic heavy/power metal attack from the instrumentals. Grandiose and powerful vocals complete the mix, which is perfectly blended by Henrik Udd’s sublime production which is detailed and grandiose. Daniel Porta has provided artwork for this record and clearly the band have had a strong input on all aspects of the release to make sure the entire experience is gripping for you, the fans.

Not many bands blend the more traditional epic heavy/power metal glory with these AOR elements but Greyhawk do so marvellously, giving the music not only power but memorability, showing that on their third album - this will definitely stand the test of time. The musicianship is continually improving on all counts, from the crushing drumming to the mind-blowing guitar work to the operatic and stunning vocals. Lovers of all things fantastical, adventurous and metallic will be enchanted, enthralled and bedazzled by this stratospheric effort.

“This album is a return to the epic metal roots that we had on our debut album Keepers of the Flame”, says founding member Darin Wall, “it also features some faster songs where we explore our love for power metal, as well as some of the 80s AOR vibes we had on the last album “Thunderheart”. Songs about inner strength, overcoming obstacles in life, and triumphing in victory are all present here. Creating an experience where the listener can find inspiration from the lyrics and energy of the songs, or detach from reality a bit and get lost in some of the epic fantastical themes is the goal. Ronnie James Dio is the band's biggest influence as far as lyrical themes go.”

GREYHAWK - Take A Stand

Warriors Of Greyhawk by Greyhawk

LEAVES' EYES - Song Of Darkness (Official Music Video)

LEAVES' EYES

Song of Darkness

Reigning Phoenix Music

6 March 2026

ABOUT THE BAND: For more than two decades, LEAVES' EYES have forged their own path through the realms of symphonic and Viking metal, uniting mythic storytelling with boundless musical imagination. Founded in 2003 by vocalist and producer Alexander Krull, the band stands as a meeting point between power and poetry. With Finnish soprano Elina Siirala fronting the band since 2016, their sound has evolved into a breathtaking blend of classical precision and visceral energy. Joined by Florian Ewert and Luc Gebhardt on guitars, bassist Dominik Prykiel and session drummer Nils Kreul, LEAVES' EYES create immersive worlds that bridge ancient history and modern emotion.

In 2026, the band enters a new chapter with the release of the EP Song Of Darkness, marking the dawn of a creative cycle that expands both their sonic and conceptual horizons. Recorded at Mastersound Studio under Krull’s production, the record refines their signature fusion of orchestral depth and metallic intensity. It reveals a group at the height of its craft, balancing the sweeping scale of symphonic metal with an earthy, human pulse.

Lyrically, Song Of Darkness journeys into the shifting borders between myth, magic and history. The stories it tells of shadowed realms, dark times, and the courage that endures through loss, mirror timeless themes that have always guided the band’s vision. The title track "Song Of Darkness" is inspired by the medieval Icelandic saga of Gisli the Outlaw and takes the listener to times of murder and intrigue, guilt-ridden magical dreams and the hope of redemption.

Each song unfolds like a chapter in a saga: cinematic in scope, yet deeply personal in feeling. Siirala’s commanding and emotional performance brings the tales to life, her voice illuminating the storm of sound around her, while Krull’s growls anchor the music with raw force and conviction.

Musically, the EP showcases the band’s mastery of contrasts. Towering choirs and strings rise beside crushing riffs, while folk-inspired melodies whisper through the darkness. From the orchestral grandeur that opens the record to the final echoes of its closing refrain, Song Of Darkness builds an atmosphere of tension and release that reflects both the brutality and beauty of legend. The production captures the clarity of each instrument and the spirit of live performance, a hallmark of Krull’s meticulous approach to sound.

Beyond the studio, LEAVES' EYES remain a band of storytellers who understand that myth lives not only in words, but also in image and experience. Their acclaimed music videos and live productions transport audiences into the heart of their narratives, complete with authentic Viking-era props, handcrafted costumes, and cinematic backdrops. Through their close collaboration with re-enactment groups, the band bridges artistic creation and cultural heritage, keeping history alive in sound and spectacle.

As they step into their third decade, LEAVES' EYES stand as one of symphonic metal’s most visionary forces. The release of Song Of Darkness sets the tone for the next full-length chapter to follow, reaffirming their dedication to musical storytelling that transcends time and trend. It is both a reflection of their journey so far and a signal of what lies ahead: music that burns with purpose, steeped in legend yet alive with modern fire.

LEAVES EYES IS:

Elina Siirala - Vocals

Alexander Krull - Vocals

Florian Ewert - Guitar

Luc Gebhardt - Guitar

Dominik Prykiel - Bass

Simon Skrlec - Drums

SONG OF DARKNESS 4:08

HALL OF THE BRAVE 4:56

UNTIL THE LAST DAY 3:48

ROOTS ETERNAL 3:38

LEAVES' EYES - Song Of Darkness (Official Music Video)

https://www.facebook.com/leaveseyesofficial

LEGIONARY - If the Judges Became the Judged (Official Lyric Video)

New Jersey-based, Melodic Death/Thrash Band, Legionary, are set to release a new, 5-track full-length album! Never-Ending Quest for Purpose is out on March 6!

Multi-instrumental, composer, and founder, Frank D'Erasmo had this to say about the forthcoming album:

"This new album is a continuation of the path we took on our last EP, Prison Realm. For fans of that EP, this new album is in that style again, but on steroids! Things sound heavier, more epic, and more massive on this album. All of the same guys from the last release have returned, including vocalist Chris Clancy (As I Lay Dying, Invictus, Mutiny Within) and lead guitarist Tony Barhoum (Chaos Sanctuary, Condition Critical), but the big addition this time around was mix engineer, Mike Low. Things have never sounded this BIG on a Legionary release!"

for fans of: Kreator, Iced Earth, Into Eternity, Mutiny Within, Control Denied

Track Listing:

1. Sentenced to a Life of Chronic Guilt

2. If the Judges Became the Judged

3. Never-Ending Quest for Purpose

4. Controllers of Perception

5. Story Without Closure

LEGIONARY - If the Judges Became the Judged (Official Lyric Video)

in memory of Pål Mozart (1980-2025) from doom-prog band Madder Mortem (Norway)

Pål ("Paul") Mozart Bjørke was a Norwegian musician in the progressive and avant-garde metal scenes. Born on October 27, 1980, he is best known for his work as the bassist and backing vocalist for Madder Mortem between 2000 and 2003. During this period, he performed on the albums All Flesh Is Grass (2001) and Deadlands (2002), and also contributed keyboards and percussion to these recordings. After his time in Madder Mortem in 2003, he became the lead vocalist and bassist for the band Frantic Bleep. He wrote the lyrics for and performed on their only full-length album, The Sense Apparatus, which was released in February 2005. His musical career also included roles in other Norwegian projects such as the band Chopworm, and he contributed accordion to later Madder Mortem releases, including the 2006 album Desiderata. He passed away on February 7, 2025, at the age of 44.

Madder Mortem – "Breaker of Worlds" from All Flesh Is Grass (2001)

Frantic Bleep – "...But a Memory" from The Sense Apparatus (2005)

AEON GODS - Birth Of Light (Official Lyric Video)

“Birth Of Light” is the first single taken from the new Aeon Gods album “Reborn To Light” to be released on February 20 by Scarlet Records – “Birth Of Light” ignites the new Aeon Gods era with a powerful vision drawn from the ancient Egyptian creation myth of Hermopolis. At the dawn of existence, when the world lay within the silent waters of Nun, the cosmic egg emerged – a vessel of potential, protected by the primordial Ogdoad. From this sacred origin rose the first radiance: the newborn sun-god Re, breaking the eternal darkness and setting creation into motion

AEON GODS

Reborn To Light

Scarlet Records

20 February 2026

AEON GODS - Birth Of Light (Official Lyric Video)

VISERION - REIGN OF FIRE - GUITAR PLAYTHROUGH

check out this black metal from New York, USA!

VISERION - REIGN OF FIRE - GUITAR PLAYTHROUGH

HYPERION - Deafening [2026]

HyperionN is traditional heavy metal from Italy. This song is from the 3rd album "Cybergenesis" on CD & Digital on January 15th, 2026 through Fighter Records.

OFFICIAL BIOGRAPHY

HyperioN were formed in 2015 by drummer Jason Beghelli and guitarist Davide Cotti to play traditional heavy metal, drawing inspiration from bands such as Metal Church, early Queensrÿche, and Judas Priest, while adding their own personal touch. The band quickly gained attention with their debut album Dangerous Days (2017), released via Spanish label Fighter Records. The album was warmly welcomed by critics and gave HyperioN the chance to share the stage with established Italian acts such as Tarchon Fist, Black Phantom, and Rain.

After the recording of the second album, founding drummer Jason Beghelli stepped down for personal reasons and was replaced by Francesco Madonna. In 2020, the band released Into The Maelstrom, again on Fighter Records. The album received excellent reviews worldwide, but the COVID-19 pandemic forced the cancellation of all live promotion plans. Despite the circumstances, HyperioN significantly expanded their fanbase across the United States, Canada, Mexico, and Europe through platforms like Bandcamp, finally returning to the stage in 2021.

This first era of the band came to a turning point in 2021, when several lineup changes reshaped HyperioN’s identity. Long-time bassist Antonio Scalia left the band, and after a long search Simone Cauli joined in September 2022. Just a week earlier, guitarist Luke Fortini had departed, but the vacant role was swiftly filled by Francis Dipasquale (from thrashers Dypron). With the lineup restored, work began on new material, only to face another setback in spring 2023 when vocalist Michelangelo Carano decided to leave. After months of auditions, HyperioN found the missing piece in singer Max Morelli, known for his work with Signum Draconis and Ladykiller.

With this new and revitalized lineup, Hyperion completed the writing and production of their third album Cybergenesis, a record that represents both continuity and rebirth. Although only guitarist Davide Cotti remains from the original formation, he has always been the main composer and driving force behind the band, making sure Hyperion's sound stays true to its roots: driving riffs that ignite into bursts of speed, soaring yet gritty vocals, and melodic hooks that make every chorus memorable.

HYPERION - Deafening [2026]

THE ETERNAL - Celestial Veil (Official Music Video)

Taken from the EP "Celestial" (January 16th, 2026) "The lyrics of 'Celestial Veil' depict a meditation on loss, memory, and the cosmic inevitability of separation. They weave imagery of stars, constellations, and light fading into darkness to reflect the fragility of human connection and the grief of distance between two souls. The recurring theme of time standing still suggests moments of longing suspended against the vastness of the universe, while the celestial metaphors frame love and loss as forces written in the stars - beautiful yet doomed. Despite despair and fading light, Mark clings to memory and dreams, revealing both the pain of absence and the enduring pull of an eternal, though fragile, bond."

THE ETERNAL - Celestial Veil (Official Music Video)

https://www.facebook.com/TheEternal

🎧 Stream, get it here: https://theeternal.rpm.link/celestialYT

in memory of Black Death drummer Phil Bullard (1948-2008)

Phil Bullard (November 29, 1948 – February 6, 2008) was the drummer and co-founder of the Cleveland-based heavy metal band Black Death. The story of Phil begins in Cleveland, Ohio, a city with a gritty, industrial character that was fertile ground for rock music. In 1977, Phil joined forces with guitarist Greg Hicks and bassist Clayborn Pinkins to form Black Death. At the time of the New Wave of British Heavy Metal, Black Death was carving its own heavy metal.

At the beginning, the band almost ended early because of tragedy. In 1979, original bassist Clayborn Pinkins was killed, but Phil's commitment to the project gave stability, eventually welcoming bassist Darrell Harris and vocalist/guitarist Siki Spacek to complete the definitive lineup.

In 1984, the band's self-titled debut, Black Death, came out on Auburn Records. On this record, Bullard’s drumming style was on full display: a raw, thunderous, loud approach that provided the intensity and energy needed to match Spacek’s vocals and Hicks' blistering solos.

After the original iteration of Black Death disbanded in 1988, Phil did not abandon his musical roots. He remained a fixture in the Ohio rock scene, eventually reuniting with Greg Hicks in the band Mandrake. In this project, Bullard continued to perform Black Death classics, ensuring that the band’s historical importance was not forgotten during the 1990s and early 2000s.

Phil died on February 6, 2008, at the age of 59 following a battle with colon cancer.

Black Death - Night of the Living Death

in memory of legendary guitarist Gary Moore (1952-2011)

For fans of heavy metal music, Robert William Gary Moore (4 April 1952 – 6 February 2011) is best known for his work with Thin Lizzy and his 1980s heavy metal period; however, he would later go on to define an entirely different era for himself as a blues guitarist. Given that I only know his blues music sparingly, I won't comment on it, and will instead limit myself to the part of his career that I know better.

Born in Belfast, Gary developed a reputation as an exceptionally skilled guitarist from a young age. It is well known that Thin Lizzy vocalist Phil Lynott had a great admiration for Gary and was always looking to have him play guitar with the band. Sharing such a close friendship, Phil and Gary collaborated on multiple occasions, including the entirety of the 1979 album Black Rose: A Rock Legend, an album I consider wonderful.

Critics more knowledgeable than I have observed several key traits in his work. Regarding Black Rose, critics view the album as a landmark for Celtic-influenced hard rock. They observe that Gary integrated traditional Irish melodic structures with the emerging dual-guitar harmonies of the New Wave of British Heavy Metal. His technical contributions to tracks like 'Róisín Dubh (Black Rose): A Rock Legend' are particularly noted.

In my opinion (Metal Bulletin Zine), the 1980s marked Gary's move toward heavy metal. Through albums such as Corridors of Power (1982) and Victims of the Future (1983), Moore refined his blues origins with intense distortion and rapid-fire shredding. His style often featured a sustain-heavy 'singing' tone, and he was admired by a generation of guitarists, from Metallica’s Kirk Hammett to neo-classical shredders. Kirk considers Gary one of his top five influences and has stated that he borrowed ideas from Gary for both Master of Puppets and the Black Album.

In the 1990s, Gary returned to the blues. For those interested in exploring his life in depth, some authors have studied his work in great detail. Gary Moore: The Official Biography by Harry Shapiro (2022) is widely considered the definitive work. Shapiro, a rock biographer who has also written about Jimi Hendrix, Eric Clapton, and Jack Bruce, includes a foreword by Kirk Hammett, who now owns Moore’s famous 'Greeny' guitar. The book features interviews with Ian Paice (Deep Purple), Glenn Hughes (Black Sabbath/Deep Purple), and members of Thin Lizzy. Another book is White Knuckles: The Life and Music of Gary Moore by Martin Power (2021), who has also written on Pearl Jam, Aerosmith, and Queen. This book explores the technical side of his playing and his constant genre-hopping from jazz-fusion to metal and blues.

Lastly, it would be criminal to forget Gary Moore's singing! In my experience, Gary has such a unique and powerful voice that I am never confused as to who is performing, whether it is blues, classic rock, or heavy metal. It’s Gary Moore; his voice is unmistakable. I like his singing a lot.

(I was going to share just a couple of songs, but then I got carried away! Oh, well, blast some Gary Moore music!)

Gary Moore - Still Got The Blues [HD] (1990)

THIN LIZZY The Boys Are Back In Town live Sydney Opera 1978 (w. Gary Moore)

Thin Lizzy - Toughest Street in Town (from Black Rose)

Gary Moore & Phil Lynott- Out in the Fields

Gary Moore - Murder In The Skies (from 1983 Victims of the Future)

Gary Moore - Victims Of The Future (from 1983 Victims of the Future)

Gary Moore - Led Clones (with Ozzy Osbourne)

review - Eximperitus: brutal-melodic, technical-progressive, doom-atmospheric death metal

Eximperitus

Meritoriousness of Equanimity

Willowtip Records

30 January 2026

Sergey Liakh - guitars

Paweł Nałęcki - vocals

Davide Billia (Italy) (Antropofagus, Beheaded) - drums (session)

I see this music as eclectic death metal with brutal-melodic, technical-progressive, and doom-atmospheric elements, creating a heavy, dense, but engaging listening experience, usually categorized within the brutal technical genre. Generally identified as a band originating in Belarus (the Eastern Slavic country to the north of Ukraine and west of Russia), it is not clear if they are still based there. Given the present Belarusian government's support of Putin's war against Ukraine, many people in the country are apprehensive about the future.

Or, as the band puts it: "In times when despair overflows human hearts… when the chasm of strife between civilizations widens… when loyalty to ideologies tears blood ties apart… when the world stands still, poised for the final leap of prolonged self-destruction… We can draw strength solely from internal sources, which are filled only by the multifaceted power of Death Metal..."

This is their third album and, in my opinion, it is very well-executed. It is technical, but it features melodic passages that provide a contrast resulting in a cool juxtaposition within extreme metal. The music occasionally hits full-on blasting death metal speeds, but they aren't a one-trick pony; rather, they utilize a large bag of tools for moods and tempos. Overall, I get the sense that they worked hard to deliver quality in everything from the songwriting to the bold inclusion of melody. There is even some melodic singing on track four, a welcome contrast to the low, guttural growling.

The growling is the predominant vocal style and, to me, the one element that is the least developed. It is a bit too monotonous and percussive, following the rythmic patterns; it could benefit from more unhinged, maniacal, or tearing screams. Regardless, I have enjoyed the album immensely. It is certainly not a stiff-necked or limited release. For example, the melodic singing should have been used even more than the small amount featured here. The listener gets brutal heaviness and fierce intensity, but also an atmospheric richness and emotive depth that serves as an unexpected surprise.

track list

1. One Step Long Infinity 02:25

2. Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality 05:05

3. Twelve Centuries of Triumph of the Third Kingdom: the Idea of the Inner Creation of the Aristocratic Character of the Leader and the Process of Tempering Him in the Crucible of Trials in the Face of the Exaltation of Life as an Ode to the Heroic Ideals of Future Civilizations 01:24

4. Finding Consistency in the Fourth Quadrant of Eternity 05:12

5. The Untimely Fruit of the Unsaid 05:40

6. Golden Chains for the Construction of Individual Greatness 04:06

7. Molecular Disintegration of an Unattainable Solitary Will in a Vessel of Wisdom...as a Result of the Soul's Aspiration to Break the Summed Up Set of Delusions of Reason... in the Course of a Personal Experience of Accepting the Imperfection of the World and Proving that Time Gets Rid of the Fragile and Leaves Invulnerable 01:38

8. Chalkionic Wandering Among the Wreckage of the Future 03:29

9. Standing at the Skirt of the Ruins of Human Nature (...on the Other Side of Man and Time) 04:52

total time 33:51

Meritoriousness of Equanimity by Eximperitus

Happy birthday to Petra's John Schlitt!

John William Schlitt (born February 3, 1950) is the singer for legendary classic rock missionaries Petra. Below is his biography, taken from his website.

JOHN BEGAN SINGING WHEN HE WAS JUST FIVE YEARS OLD, PERFORMING THE LEADS IN RECITALS AND PLAYS IN HIS SCHOOL. BY THE TIME HE WAS 13 HE WAS IN THE UNFORGETTABLY TITLED BAND "VINEGAR HILLS HOMETOWN BAND SOMETHING DIFFERENT" - BEING PAID $25 BUCKS AS LEAD SINGER.

It soon became clear that a career in music was in John’s future. He finished college with a degree in civil engineering and promptly set about making a name for himself in the world of rock ‘n roll. His unique, fiery tenor and unbridled passion for singing landed him a gig fronting the secular rock outfit Head East.

John’s eight-year stint with Head East put him on the map in terms of his career – the band was celebrated for its raw energy and swagger. Described by one newspaper as a "brash…cocky, (and) hard-fisted rock band” the five-piece enjoyed a loyal following and a string of hits throughout the ‘70s that helped solidify their fanbase. John’s career seemed set but it all came to a distressing end in 1980 when he was let go by the band. The reason: John had an out-of-control drug and alcohol addiction.

His departure from Head East should have served as a wake-up call but John immediately decided to start another band in an attempt to feed his drug and alcohol addiction. His lack of musical focus and hunger for a constant “fix” led to the band’s quick demise. John, who seemed poised for a long and fruitful career in music, was suddenly an abject failure. He became another casualty of rock ‘n roll decadence, rejected by his peers and left to his own drug-influenced devices.

Little did he realize that God was already hard at work in changing his life. As John battled his inner demons, God began working on his wife Dorla, who met the Lord as John continued his descent into dispair. John’s initial reaction was one of distaste.

“Get outta my face! I don’t need this Jesus stuff; I’m too cool for Jesus. I’ll tell ya, I’ll become a Christian when I’m rich, famous, done everything, too old to have any fun, and then I’ll do it just… hmmm….. to be safe.”

Dorla’s new found faith upset John but it did impress him. "She was so happy all the time; I was like totally miserable. One day I said 'What makes you so happy?' And she goes, 'I'm glad you asked.' And I just go 'Oh, man - here it comes.'"

John fought the Holy Spirit’s beckoning every step of the way. In his mind, suicide was the only way out of the downward spiral that had so engulfed his life. A quick and easy overdose of pills was the method of choice.

But Dorla’s persistent prayer and love led to John’s spiritual awakening.

One evening, just prior to his planned demise, John agreed to accompany Dorla to see their pastor. “I only went along so my wife would be able to say ‘he tried’ after I was gone," said John.

But God wasn’t about to let John end things. That evening, "I… got hit with a boldness about Jesus that I've never known before," he recalls in awe. "I got saved that night, and it was a new beginning for me. I didn't feel that burden of guilt anymore, and I had a new chance. Although I still had all my debts from all my drug stupidity, I knew that God and I were gonna be able - you know, we'd take care of it. And sure enough, it was (taken care of), step by step - God's way."

John resolved to live for God and even forsake music, if that was what God ordered. He ended up looking for practical work to support his family, starting from scratch. "That was actually scary," he admits, realizing how hard it was to fit into a regular day job after so many years of being on the road doing his own thing. "I finally got a job sweeping the floor at a tool and die factory and was very happy about it. Then in God's plan, step by step, I got increased - I finally worked as a mining engineer for a mining construction company and ended up being their cost and scheduling engineer."

If you asked John back then if he’d have anything to do with music again, he would have given you a firm “no”. His priorities had shifted – God and his family came first. And of course, he wanted nothing to do with the drug scene ever again.

But God wasn’t done with him musically. In fact, it turned out that John’s days in Head East were a precursor to something greater. Five years after firmly putting music behind him, God called John back to fronting the Christian rock band Petra.

John recalls those exciting days. "We (John and Bob Hartman) have a mutual friend who is a music critic for Christian music, and someone had sent a tape that I had sang on for a bunch of kids in Illinois; it was just a real dinky tape, but the manager was very, very aggressive and he sent copies of this tape all over the industry. This man got one, and Bob was talking to him and he says, "Is there anything I can do to help you, Bob?"

In turn Bob asked his friend to find a singer for Petra. His pal mentioned Schlitt and produced the demo tape that had John wailing on it.

"So he gave the number, and once he started investigating it, the number by that time had been changed, it no longer worked… but he got interested and started investigating, trying to find me. He finally found my brother…who was mentioned on the first Head East album, and went searching through the listings, the telephone listings in Illinois and found him. He called him up and asked if he'd have me call him. I did and that's how he found me!"

It all seemed too easy. "Bob Hartman calls me up and asks, 'Would you consider singing for Petra?' I say, 'You gotta be kidding me! I haven't sung for five years.'"

"All I wanna know is if you're still a Christian.”

"'I'm a heavy-duty Christian.”

"Good. Let's talk."

John auditioned for the part and sang "Altar Ego,” a song that eventually appeared on Petra’s 1986's album Back to the Street. "There was one high part in it that I hit, and he (Bob) goes 'Where did that come from?!' I said, 'Oh, it's no big deal.’ I could see his eyes just clicking, going 'Yeah - got the range, got the….. this is good, this is good!' And it was funny! I felt like it had worked out well."

John Schlitt officially joined Petra in 1986, bringing with him his amazing vocal range and abilities that made him a legend with Head East. Except this time, his mind was no longer blown on drugs and alcohol – he was clean, focused, and armed with a powerful message: God made us to be winners - Jesus Christ is alive and through Him we are to be victorious in His perfect plan for us.

And that’s how it’s been with John ever since. Twenty years later and four Grammy awards on his shelf, sixteen Petra albums, one II Guys from Petra album, and six solo albums recorded - millions of which have sold all over the world - John is a man who lives for Jesus and makes no bones about his faith.

"The only thing I can do is be the best Christian artist I can be, to be the boldest Christian artist I can be,” he says. "I will always be able to look anyone in the face who wants to sit and say 'So you're a Christian?' and I'll say 'You darn right I am; just listen to my music, listen to what I have to say, listen to the interviews.' There's no doubt about where I stand."

While John is arguably one of the most powerful vocalists around, his mightiest cry is the cry of his heart. Whether onstage or up close and personal, John’s voice is one of a truly changed soul. And his music is and always will be a reflection of God’s love and redeeming power.

Petra - Creed (Official Music Video)

in memory of Exodus vocalist Paul Baloff (1960-2002)

Paul Nicholas Baloff (April 25, 1960 – February 2, 2002)

A wild screamer if there ever was one, Paul Baloff's thrash metal stage performances inspired many young metal fans in the Bay Area. Ridiculous and intense at the same time, his only album with Exodus remains a fan favorite to this day. If you listen to Exodus' Bonded by Blood and Metallica's Kill 'Em All, you'll notice that they share the same genre, sound, style, and feeling; these two albums represent similar music made by two different bands, both drawing from the same sources of inspiration. Unfortunately, Paul was too immature and undisciplined to transition into a professional vocalist who could sustain a living from his art. To me, Paul seemed like an immature man-child who had gotten out of control with his behavior and drug addiction, unable to function seriously for Exodus.

Exodus always knew that Paul was the right man for the job if he could ever figure out how to act like an adult and be professional. For this reason, the band kept giving Paul second, third, and fourth chances to grow up. Unfortunately, he could not rise to the occasion, and it always ended with Exodus firing him. What's worse, it seemed that every time Exodus gave him another chance, they ended up in a worse place than before, having been set back even further due to the time wasted on giving him more opportunities. At least that’s how it feels when you study the trajectory of Exodus.

Of course, there must have been other problems that the band members and record labels have never revealed. For example, why did it take so long for the debut album to come out in 1985? By that time, their West Coast peers Metallica and Slayer were well on their way to commercial success and had moved beyond the local California underground. Why did Exodus not get their album released by Metal Blade Records or Megaforce Records? I wonder if the album, like many metal albums, contained lyrics that were deemed too graphic or stupid, given that some of the lyrics on the album are beyond stupid.

At any rate, on that Exodus debut album, Paul delivered a performance that thrash fans have remembered for decades. Below you will find the Wikipedia biography on Paul, along with a very interesting Blabbermouth interview that sheds light on the problems that Exodus faced, as well as the issues that Paul ultimately caused for the band.

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From WIKIPEDIA: Paul Nicholas Baloff (April 25, 1960 – February 2, 2002) was an American singer, best known as the original lead vocalist of the thrash metal band Exodus. He was fired from Exodus shortly after the release of the band's 1985 debut album Bonded by Blood, which is considered one of the most influential thrash metal albums of all time. He sang with various other bands before rejoining Exodus in 1997. Baloff died of a stroke in 2002.

Baloff was born in Highland Hospital in Oakland, California. His mother was Dutch, and he was of partial Russian descent. In life, he would spread rumors that he was a Russian immigrant under the birth name Pavel Nikolayevitch Balchishkov, and that his parents were "rocket scientists" who fled the country, creating what bandmates later called his "unofficial folklore."

Formation of Exodus (1981–1983): Exodus guitarist Kirk Hammett and Baloff met at a North Berkeley house party in 1981 and became fast friends due to their shared admiration for punk rock and the new wave of British heavy metal. Baloff joined Exodus in 1982 as lead vocalist to complete the lineup, which included Hammett, guitarist Gary Holt, drummer Tom Hunting and bassist Geoff Andrews.

Bonded by Blood and firing (1984–1997): Exodus recorded their first album Bonded by Blood in the summer of 1984. Audio engineering college student Mark Whitaker, who had attended high school with Baloff, oversaw management and record production for the band at the time. 1984 concert photos from Exodus shows at Aquatic Park's Eastern Front Metal Festival (with Slayer and Suicidal Tendencies) and Ruthie's Inn (with Megadeth and Slayer) were included on the album sleeve inserts. Originally titled "A Lesson in Violence", the album was not released until April 1985 amidst creative and business setbacks.

Shortly after touring for Bonded by Blood, Baloff was fired from the band for "personal and musical differences", although he still had writer credits on their next album, Pleasures of the Flesh. He was replaced by Steve "Zetro" Souza, who had previously been the lead vocalist for Legacy, an early incarnation of Testament. Baloff went on to form the band Piranha. He sang in several bands in the San Francisco Bay area including Piranha, Hirax, and Heathen.

Return to Exodus (1997–2000): After a few dormant years of Exodus' extended hiatus, Baloff briefly reunited with Holt and Hunolt to reform Exodus in 1997. They released a live album titled Another Lesson in Violence. The group disbanded again shortly after, in part due to a falling out with record label Century Media over the way the live album was promoted, and over an aborted attempt at a live concert video that was filmed but never released due to a financial dispute.

Exodus' second reformation and death (2001–2002): In 2001, Exodus reformed once again. There was talk of recording a new studio album and the band continued to play local shows in and around the San Francisco Bay Area. In February 2002, Baloff had a stroke that left him in a coma, and he died after being removed from life support. He was 41 years old.

Former vocalist Steve Souza was recruited back into the band to finish the rest of their concert commitments. Although it appeared to outsiders that with Baloff's death, Exodus would cease to exist, guitarist Gary Holt was determined to release a new studio record. The result was 2004's Tempo of the Damned, which is dedicated to Baloff's memory.

Legacy: In October 2008, Exodus released a re-recording of their 1985 debut album Bonded by Blood entitled Let There Be Blood. Gary Holt released the following statement about the band's decision to revisit their debut album: "After many years in the planning and discussion stage, we have finally completed the re-recording of 'Bonded By Blood'. We have decided to call it 'Let There Be Blood' and it is our way of paying homage to [late singer] Paul Baloff by showing how relevant these songs we had written together still are. We aren't trying to replace the original; that's impossible anyway. We are just giving these songs the benefit of modern production. It's something we talked about before Paul's death and it's always been important to us to do. We were super excited about entering the studio once again to record these classics, and now it's back to writing the next studio record!"

On February 4, 2012, a Paul Baloff Memorial Reunion Concert was held at the Oakland Metro Opera House. Former and current members included Kirk Hammett, Rick Hunolt, Gary Holt, Geoff Andrews, Lee Altus, Rob Dukes, Tom Hunting and Jack Gibson. It was the first time they have all played together since 1983.

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Former EXODUS Guitarist RICK HUNOLT On Firing PAUL BALOFF: 'It Could Have Been The Biggest Mistake We Ever Made' November 10, 2022 (BLABBERMOUTH)

In a new interview with For The Passion Not The Fashion, ex-EXODUS guitarist Rick Hunolt reflected on his former band's decision to fire original singer Paul Baloff in 1986 due to what at the time was described as "personal and musical differences." Paul was replaced by Steve "Zetro" Souza, who had previously been the lead vocalist for LEGACY, an early incarnation of fellow Bay Area thrashers TESTAMENT.

Rick said (as transcribed by BLABBERMOUTH): "Paul was… He wouldn't work. He was gettin' bad on the drugs. We all were, but Paul was probably the worst. And we were at a point in the band… It was so tough. It was the craziest thing, it was the hardest thing I ever did, the hardest thing we ever did. And I don't even know today, at this point… It could have been the biggest mistake we ever made. I don't know. No one will know. But I'll admit that — it could have been the biggest mistake we ever made. Who knows?"

Hunolt continued: "Zetro was great filling in; he was great. He did a good job. But after we let Paul go, he just fell deeper and deeper into his addiction and everything. Basically, he was homeless. He wouldn't get a job and he wouldn't stop doing what he was doing. We had to let him go. It was just to the point where it was getting so bad that he couldn't do anything. He couldn't remember lyrics. It was just bad.

"But I'll be the first to admit… I always try to think of what would have happened to EXODUS if we kept Paul," Rick added. "I don't even know. I don't even know if he would have been able to sing any of the music off of [EXODUS's second album, 1987's] 'Pleasures Of The Flesh'. I don't know.

"Anyway, that was the toughest decision me and Gary [Holt, fellow EXODUS guitarist] ever had to make. It was horrible."

Regarding Souza's addition to EXODUS, Hunolt said: "Not everybody's gonna like him. He's done a great job. He's had his ups and downs. But I think right now he's doing great. I think on [EXODUS's latest album] 'Persona Non Grata' he sounds better than he ever has."

Although Baloff didn't appear on "Pleasures Of The Flesh", he did record a demo in 1986 featuring three songs that made it to the final album: "Seeds Of Hate", "Pleasures Of The Flesh" and "Braindead". You can hear those recordings below.

Hunolt previously touched upon EXODUS's split with Baloff in November 2021 when he spoke with Heavy Culture about why he thinks his former band failed to achieve the same commercial heights as the so-called "Big Four" of 1980s thrash metal, namely METALLICA, SLAYER, MEGADETH and ANTHRAX. He said: "First of all, we were just kids. We couldn't even buy alcohol. We were super young and just crazy, full of crazy energy. We recorded the album, 'Bonded By Blood', and it took forever and ever and ever and ever for it to come out — it took forever. So that really messed us up in the world. SLAYER, METALLICA and EXODUS — we were all there at the same time, we all had albums ready to be released, and, of course, ours was last one [to come out] because of record company craziness. So, the follow-up ['Pleasures Of The Flesh'], losing Paul was super tough.

"I think that when anybody… A good example if 'Van Halen I' — to this day, everybody compares everything that they've done after 'Van Halen I' to 'Van Halen I'. Same thing that we've been dealing with for 30 years — everything that we do after 'Bonded By Blood' is gonna be compared to 'Bonded By Blood'. So there's always gonna be people that say that, 'No, no, no. Nothing will ever be as good as 'Bonded By Blood'.' And then there's gonna be people that say, 'Yeah, their stuff after that is good too.' It's always gonna be that way. We have no control over it.

"Hiring a new singer and putting out 'Pleasures'… And then we had to wait another year for 'Pleasures' to come out; it was, like, another year for 'Pleasures' to come out. So that was like a double… '84, and then we waited till… 'Pleasures' came out, what, '86 or something? Late '85? So, people were just waiting and waiting and waiting. And we're sitting there going, 'G****** it.' It was a lot of pressure. Meanwhile, we got METALLICA and SLAYER and ANTHRAX now on board releasing albums every year. And we're just slowly but surely losing traction. It was tough. But **** happens. We were just kids. We didn't know anything.

"I think losing Paul was a big deal back then," Hunolt added. "I think that maybe we made a mistake by firing Paul. And this is just looking back on everything for me; this is just my personal thought. This is the stuff that I think about sometimes. What would have happened if we didn't fire Paul? I just think that maybe we would have gotten a little bit more traction if we didn't have that lag in between.

"People love Paul. And Paul was… he's a legend. He was going through a bad time in his life, and I guess, at the time, we felt that maybe he was holding us back; I think probably that's what we were thinking. I think that probably we might have thought about getting him better instead of firing him.

"But as far as the 'Big Four' goes… Well, I don't know… Maybe it should just be the 'Big Five.' I will say this: I think that everybody has their place in the old-school thrash. If you wanna give 'em a number or whatever, go ahead. I think it doesn't mean anything. I think that the people that were there and the people that love our genre know where everybody stands. And I know where we stand, for sure. Without EXODUS, I think that thrash metal would be very, very different."

Hunolt makes a guest appearance on "Persona Non Grata", which was released in November 2021 via Nuclear Blast Records.

The San Francisco Bay Area thrashers' latest disc is the follow-up to 2014's "Blood In Blood Out", which was their first release since the departure of the group's lead singer of nine years, Rob Dukes, and the return of Souza, who previously fronted EXODUS from 1986 to 1993 and from 2002 to 2004.

Longtime EXODUS fans will recall that Hunolt — the other half of the famed EXODUS "H-Team" who is on every studio recording from 1985 through 2004 and co-wrote some of the band's best-known songs such as "A Lesson In Violence" and "Deliver Us To Evil" — left EXODUS after the band's highly acclaimed 2004 reunion album, "Tempo Of The Damned". Following his departure, Hunolt was replaced by HEATHEN guitarist Lee Altus.

The original lineup of EXODUS consisted of guitarists Hammett and Tim Agnello, Hunting and vocalist Keith Stewart. Holt joined the band in 1981, while Kirk left two years before EXODUS's debut album, "Bonded By Blood", saw the light of day.

Exodus – Live Combat Tour (1985 Full Concert | 4K/Remastered)

in memory of Jimmy Iversen (1959-2026)

Frank Jimmy Iversen -(December 19, 1959-January 31st, 2026)

Metal Archives shows that Jimmy worked bands like Bad Habitz, Jimmy the Fox, Blonde On Blonde, Jorn, Perfect Crime, Road, Unit Five, and You.

The music that I know from Jimmy is his work with Jorn from 2009 to 2012. Below you will find a JORN song for which Metal Archives gives songwriting credit to Jimmy.

Wikipedia (Norwegian - translated here): In 1980 he joined the pop group Unit Five as a guitarist. He later became a member of the rock band Road, and later as a guitarist and songwriter in Blonde on Blonde. He was then a guitarist and songwriter in Perfect Crime, which at the time collaborated with Bernie Marsden (Whitesnake). Iversen has always been a member of Unit Five, but always has other projects going on, such as the Thin Lizzy tribute band Bad Habitz, with Ronni Le Tekrø, among others. He participated as a guitarist and songwriter on Spirit Black with Jorn in 2009. In 2011 he released the album The Fox, under the name "Jimmy The Fox". In 2012 he participated on the compilation album by Bente Smaavik, 1979-2011. Iversen became a permanent member of Jorn in the fall of 2011, as a songwriter and guitarist. Iversen worked as a guitar teacher at Bodø Cultural School.

JORN - I Came to Rock

celebrating GIRLSCHOOL - Running Wild

Girlschool

Running Wild

February 1st, 1985

Mercury Records

1. Let Me Go 03:48

2. Running Wild 04:40

3. Do You Love Me? (Kiss cover) 03:19

4. Something for Nothing 03:18

5. Are You Ready? 03:37

6. Nowhere to Run 03:43

7. I Want You Back 04:33

8. Nasty Nasty 02:46

9. Love Is a Lie 03:09

10. Can't You See 04:55

total time 37:48

Jackie Bodimead - vocals (lead)

Kim McAuliffe - guitars, Vocals (backing)

Cris Bonacci - guitars

Gil Weston - bass

Denise Dufort - drums

According to Metal Archives, this album was released on February 1, 1985. This was their fifth album and the first recorded after the departure of original guitarist and singer Kelly Johnson, as the band expanded to a five-piece lineup. Critics apparently don't like this album because the band sounds too American; apparently, some people still wanted them to sound like they did from 1978 to 1981. Girlschool is a pioneering British heavy metal band and was part of the New Wave of British Heavy Metal. They are often named in conjunction with Motörhead because the two bands toured together and were friends, and were known for a high-energy combination of punk and metal. Personally, I think the punk thing is a bit exaggerated: they were not a punk band at all, but whatever. Some people say that this album is among their worst because it is simply too American, but I don't care. It is anthem, arena-rock heavy metal music. It sounds awesome! I have no idea why some people don't like it. Of course, I'm an American, and I have no problem with a British band sounding too "American," whatever that means. So, were Led Zeppelin and Black Sabbath not "American-sounding" with their love of African-American blues and 1950s American rock and roll? Whatever. Come see me and let's argue about it, ha!

Look, Girlschool has big choruses and catchy songs on this album. Is the band trying to get on TV and the radio? Yes, they are! Oh no, what a crime! They are trying to make a living as musicians and came up with catchy, hard-rock heavy metal songs. I like the early Girlschool albums, and I think this album sounds good, too. The melodies are much bigger, and the singing sounds really nice. Frankly, I am surprised how good the album sounds decades later. Apparently, even though they are a British band, the album was originally released only in the United States via Mercury Records. It was a difficult-to-find import for fans in the UK and Europe for decades. It didn't receive an official CD reissue until 2014, and just last year (2025), a special Live CD/DVD set from that era (Live in London 1984) was released to celebrate this period of the band.

Anyway, Girlschool is an awesome band, and this is one of their albums. I like it!

Girlschool - Are You Ready (Running Wild 1985)

Girlschool - Running Wild (Running Wild 1985)

celebrating STEELER (Germany) - Undercover Animal

Steeler

Undercover Animal

February 1st, 1988

Steamhammer

1. (I'll Be) Hunter or Hunted 03:40

2. Undercover Animal 04:50

3. Shadow in the Redlight 04:23

4. Hard Breaks 03:49

5. Criminal 03:56

6. Rely on Rock 04:17

7. Stand Tall 03:28

8. The Deeper the Night 05:10

9. Knock Me Out 03:15

10. Bad to the Bone 02:36

Peter Burtz - vocals

Axel Rudi Pell - guitars

Tom Eder - guitars

Roland Hag - bass

Jan Yildiral - drums

According to Metal Archives, Steeler's fourth album, titled Undercover Animal, was released on February 1, 1988. Do you ever hear an album and you think it sounds good and you like it, and you read nothing but negative reviews and wonder what's happening? I do not know why the reviewers on Metal Archives have such a negative attitude towards this album. Is it that the reviewers were expecting something else? What? German thrash? German garage metal production? Some German band pretending to be a Venom clone? I have no idea.

This album is melodic, hard-rock heavy metal from the late 1980s, very much like the hard-rock heavy metal bands in the United States and Germany were making. Big rockers. Arena rock. Huge choruses. Guitar! Guitar solos. Singing. Ear-friendly songs that would sound good on TV and on the radio. It's a catchy, melodic album that emphasizes hook-oriented choruses and mid-tempo grooves. This is not speed metal. Look, I know that in the early '80s the music was faster and grittier, but this is 1988. They're not trying to be a speed band anymore, if they ever were, which I doubt. Is this commercially-viable heavy metal? It could be, with the right team around the band, in the right place, and all the other things needed for big success. Unfortunately, not everything was going right for them, and this was their last album.

It's got good singing, good songs, good melodies, and the mighty, legendary guitarist Axel Rudi Pell. If you like hard-rock heavy metal from the 1980s, give it a listen and make up your own mind. After this album, Axel Rudi Pell began releasing music under his own name, building a prolific discography that now spans more than 20 albums, according to Metal Archives.

(If this first link doesn't work, please try the second one.)

Steeler (Axel Rudi Pell) - Undercover Animal (Video) (1988) HQ Audio

Steeler (Axel Rudi Pell) - Undercover Animal