2024’s Doom Rules Eternally introduced founding member Kostas Salodmidis’ new project to the world and established Distorted Reflection’s core of doom. Combining Candlemass riffs with Sorcerer drama and a touch of Sorrows Path shred, that core carries over unchanged into Doom Zone. Kostas’ beefy riffs and screaming solos remain as present as ever, and so does his shaky baritone croon. Vangelis gains greater presence with his bass here, which is a welcome improvement over the debut, burbling in lockstep with riffs and offering counterpoint during solo breaks. Filling out the lineup, Thomas Zen pounds the skins with a swinging stomp that suits this doom-laden material like a fitted suit, classy and reigned into the pocket at all times. It might not be the most exciting or unique formula, but it works.

Unfortunately, Doom Zone lacks the one thing that made Doom Rules Eternally worth covering: charm. Doom Zone isn’t completely soulless, but its flaws dominate my experience, leaving very little room for Distorted Reflection’s earnest delivery and competent riffcraft to shine. Evident from the onset of opener “3000 A.D.” and unrelenting throughout the runtime, Kostas’ vocals conspire to distract and detract at almost every opportunity. Unstable vibrato, strained upper range¹, abysmal growls and repetitive melodic phrasing make tracks like “My Second Father,” “Gates of Paranoia,” “Tower of Dreams,” and “Morbid Reality” difficult to enjoy. Doom Zone’s songwriting is also noticeably weaker, suffering from a deeply repetitive structure and monotonous pacing that inevitably stalls any momentum individual elements (riffs, solos, choruses) initiate (“Asphyxiation,” “The Final Attempt”). It’s a good thing, then, that Doom Zone is short, clocking in at a responsible 39 minutes. Even so, it drags such that I routinely check my playback to see if I’m close to the end.

This is a shame, because Distorted Reflection are gifted musicians with great potential. Kostas filled Doom Zone with an arsenal of chunky riffs and high-octane solos (“3000 A.D.,” “Certain Death,” “Diminished,” “Morbid Reality”), many of which aptly reference the great works of the doom metal scene, though perhaps a bit too closely. Zen’s drumming is a perfect fit for this sound as well, and Vangelis’ bass noodling is a delight to hear with such clarity. More importantly, everybody understands their role and can play their instruments well enough to attract the spotlight without having to force it away from someone else. The overarching problem ultimately lies in the songwriting. With the exception of a few solid tracks at the album’s midpoint, like “Diminished,” Doom Zone wholly lacks the dynamics, the creativity, and the voice it needs to succeed.

Charm can go a long way to make me like something I would otherwise pass up. Distorted Reflection almost instantaneously lost the charm they once had after my time with Doom Zone. Unmemorable, uninspired, and at times downright irritating, Doom Zone fails to exhibit Distorted Reflection’s strengths in a way that overshadows their flaws. Instead, it accomplished the inverse. Flaws glare, making the process of picking out highlights a grind, and the experience of enjoying the good a chore. I still have hope that they can turn it around with album three, but as it stands, my recommendation is to leave Doom Zone behind while you traverse the doom zone.

Rating: Bad
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: distortedreflectiondoom.bandcamp.com | facebook.com/distortedreflectiondoom
Releases Worldwide: February 27th, 2026

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How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

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It doesn’t get much olde-r, sound-wise that is, than what Germany’s Blackslash have been laying down since their 2007 formation (with the exact same lineup, I might add. Impressive!). Drawing power from their patrons, heavy metal deities like Iron Maiden and Saxon, Blackslash specialize in extremely guitar-forward tunes of all speeds and sizes. Embedded single “Heroes, Saints & Fools” just oozes classic metal. Between the epic flair of the intro and outro leads, the hair-metal pinch harmonics that kick in once the song hits full speed, and the very “Number of the Beast” delivery of the chorus, this track checks just about every box for what makes heavy metal the greatest accomplishment of the human race.

That holy, lionhearted, halberd-wielding hellion on the cover looks an awful lot like Maiden’s Eddie, and that resemblance is fitting given Blackslash’s faithful use of many of that band’s signature musical elements. “The Watcher” begins and ends with a Steve Harris bass riff accompanied by clean guitars that would feel right at home on any of Maiden’s 2000-and-later albums, and the rest of the song pays homage to the band’s classic 80s stuff. “Die By the Blade” continues that homage, penultimate track “Where Are We Heading To?” combines Maiden guitars with some Bon Jovi-style hard rock to deliver a surprisingly heartfelt ballad, and “Life After Death” adds the gritty influence of Blackslash’s countrymates Accept into this mix of trveness.

If Heroes, Saints & Fools is a successful heavy metal album—which it is—it is so for two reasons: the very Biff Byford-esque delivery of singer Clemens Haas, and the amazing chemistry of the guitar duo comprised of Christian Haas and Daniel Hölderle. Clemens balances his crooning with just enough gravel to truly impress, and if you pick any random moment on this record, there’s a good chance you’ll hear the guitars doing something really cool when you press ‘play’—one of my favorite moments is the triumphant intro to closer “Maniacs and Madmen.” “Sacrificed” is the one song that I might have left on the cutting room floor if forced to choose, but the rest of the album certainly qualifies as ‘very good,’ with “Tokyo,” “The Watcher,” “Maniacs and Madmen,” and the title track approaching greatness.

I’m sure I’ll jinx myself by saying this, but the olde gods of heavy metal seem to be blessing my oath of devotion to all things traditional by bestowing upon me an unexpected boon of goodness in the early parts of 2025. Blackslash literally wear their influences on their cover art, and they’ve done those influences proud on Heroes, Saints & Fools. Fans of Maiden, Accept, and Saxon are highly encouraged to play it loud.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Iron Shield Records
Websites: facebook.com/blackslashband | www.blackslash-band.de
Releases Worldwide: January 31st, 2025

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It’s hard to believe we’re almost twenty-five years into the thrashaissance that started in the early aughts, when bands like

Nailing the aesthetic on the wrapper—see the pointy logo and colorful comic-book cover art?—the thrash inside Destabilizer‘s Monopoly on Violence is as straightforward as it gets. Devotees of Bonded by Blood and Pleasures of the Flesh era Exodus will have an excellent idea of what to expect from Destabilizer‘s sound, even though the production here is a bit slicker. Niels Sonne does an admirable job holding down all guitar duties, dropping riffs of shredding speed (“Rampage”) and mid-paced chuggery (“Monopoly on Violence”) with equal skill. In true thrash fashion, Kenneth Terkelsen’s kit work provides enough fabulous disaster to keep things recklessly unhinged without letting them go completely off the rails, while Thomas Haxen’s (Horned Almighty) beer bottle bass work, full of effervescent bubbles and plops that lay nicely in Quentin Nicollet’s mix, rounds out Destabilizer‘s rhythm section.

With all this stock-in-trade musicality, the vocal performances stand out most on Monopoly on Violence. A shared responsibility between Haxen and Terkelsen—the former taking the lead and the latter taking backup—the two create a thrashnicolor dream coat of vocal variability. Mainly miming the quirky deliveries of Vio-Lence‘s Sean Killian and Exodus‘ Paul Baloff¹, Haxen’s approach adds maniacal energy to tracks like “Easy Prey” and “Pacific Holocaust,” which even contains whiffs of the late, great Dave Brockie² from Gwar in its nuance. Add to that the occasional death growls and full-on gang shouts that prowl the nooks and crannies of tracks like “Kommander” or “Thrash or Fuck Off,” and Destabilizer manage to inject enough nostalgic mist into the midst of Monopoly on Violence to keep me engaged.

Destabilizer is in no way attempting to reinvent the steel here, however, and while holding a mirror up to the eighties thrash masters of old has always been a hallmark of the retro movement, it often leads to drop-in-the-bucket feelings of “meh.” With its mostly stock riffing and, at times, lyrical juvenility—”Kommander”‘s chuckle-inducing ‘Cuffed up tightly / Disarray I don’t take lightly / Dislocated shoulder / Anarchists getting bolder’ lyric a case in point—Monopoly on Violence doesn’t do anything to escalate itself into “must listen” territory. Combine these points with some atmospheric-via-brie synth intros (“Easy Prey,” “Kommander”), and you’re left with an album that is too explicitly catered, alienating what might have been a more discerning thrash-hungry crowd by producing nothing more than an exercise in thrash flash tattoo art.

Destabilizer doesn’t suck. Monopoly on Violence isn’t terrible. Depending on when you and your buddies start cracking beers, this album will have your sober friends nodding and your drunken buds bobbing. But when the hangover wears off, you’ll be left with some run-of-the-mill thrash metal. There is fun to be had, but it is mostly fleeting, which makes it interesting how difficult waffling over a simple half-point can be when trying to land on an album’s score. I’ve spent more time wrestling that fact with Destabilizer than I should have, but this is where I landed. Agree or disagree, though, it’s my review, so “Thrash or Fuck Off.”

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Shield Records
Websites: destabilizer.bandcamp.com | facebook.com/destabilizerDK
Releases Worldwide: January 17th, 2025

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Naturally, Distorted Reflection sounds remarkably similar to Sorrows Path on the surface—right down to each’s charming, heavily accented vocals. Tightly written, catchy, and chunky tunes form the backbone of each band’s repertoire, handily appealing to fans of Sorcerer and Candlemass. The most notable deviation Distorted Reflection takes from Sorrows Path’s application of the epic doom blueprint, dalliances with lightly progressive time signatures and slithering vocal lines give way to lusty trad/ heavy gallops, shreddy solos, and no-nonsense, straightforward songwriting. At a lean and lithe thirty-six minutes, Doom Rules Eternally defies the protracted runtimes of many modern epic doom opuses, instead opting for an infectious, easily digestible, and infinitely replayable collection.

With opener “Mr. Snake,” Distorted Reflection showcase their long-running pedigree of powerful, chest-pumping, epic doom. A remarkably strong opening salvo for this fledgling group, many of the album’s core attributes make their entrance here. Kostas’ endearing accent shoves through his gutsy, powerhouse baritone, backed by his groovy riffs and rocking solos (“Ring of Fire,” “Colours”). Vangelis Yalamas’ thrumming bass deliver ample heft to these perhaps overly simple, but effective structures, embellished with largely tasteful synth work in the background (“The Eternal Gate”). Last but not least, Stelios Pavlou’s effective, minimalist performance on the kit brings high levels of swagger to the whole affair (“Colours,” “Victim of Fate”). As the record progresses, memorable choruses, marching beats, and headbangable riffage abound. “Ring of Fire,” “Colours,” and “Cassandra” all offer great examples of each, “Cassandra” especially boasting the most dynamic songwriting of the bunch. Almost fooling me by playing the ballad card early on, “Cassandra” picks up steam in short order, creating a great surprise pick-me-up—not to mention one of the record’s best solos—that brings a shot of momentum to the back end of the record.

There’s a lot to love in Distorted Reflection’s debut, but there’s a near-equal number of things that don’t always work. Kostas’ affected vocals won me over very quickly, his powerhouse upper range unexpectedly solid. However, as the record continues, ESL lyrical fumbles and Kostas’ inexplicable tendency to limit himself to his lower midrange wear down my interest somewhat. While never enough of an issue to dispel the record’s charm outright, some of the cheesier songs like “Dark Mermaid,” “Twilight Zone,” and “Ghosts of Mind” do challenge my enjoyment as those aforementioned vocal concerns compound with a preponderance of muddy synths, oddly abrupt conclusions that disrupt album flow, and lackluster transitions between verse and chorus, respectively. As an added nitpick, there are moments where I question some of the mixing decisions made here. Kostas’ vocals seem too far forward in the mix, which causes many consonant sounds such as “ts” and “ch” to pierce harshly against the instrumental backdrop. There are similar instances in the drum mixing, which seem far too up front in “Cassandra” to evoke the delicate introduction that I believe the band intended. These are small mixing concerns easily ignored during initial listens, of course. However, they become more noticeable with greater time invested, so it might be something worth noting for future releases nonetheless.

All in all, Doom Rules Eternally never lost its charm during the two weeks I spent with it. It’s been a loyal work and gym companion, keeping me motivated and engaged for the most part. It’s been a worthwhile choice for focused spins as well, fun enough to get my head banging without trying my patience too much. Consequently, I believe Distorted Reflection holds great potential. It’s just a matter of realizing that potential going forward—working out the kinks in the armor will go a long way towards that goal. As is, Doom Rules Eternally is a decent, but flawed, epic doom record that will likely satisfy fans of the style, but won’t exceed expectations beyond that threshold.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Iron Shield Records
Website: facebook.com/distortedreflectiondoom
Releases Worldwide: February 9th, 2024

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Though Germany’s Full Assault has been around for over fifteen years, I’ve never heard of them. I was even surprised they’ve never been reviewed before in these halls. But that might be the lack of a label—until now. Their Iron Shields debut, Dying World, arrives with neothrash tendencies that combine a Crisix-like vocal approach with At the Gates thrashery. Standing as their third full-length release, Dying World comes seven years after their last (and undoubtedly best) album, War Blooded. Though their debut record, Forgotten Blood Tales, had some highlights, its successor is far superior in every way. While you won’t find anything new that hasn’t been done before, this three-piece outfit was firing on all cylinders when they recorded that album. They even evolved their sound from unhinged bruisers, like “Unleashed Warbeast,” to Amon Amarthy melodic numbers, like “City of No Hope.” And now the band pushes farther into those melodic influences with this new record.

How far they go and how far it’ll take them probably depends on the listener. Fans of the band will find some differences between Dying World and their last album. While War Blooded had inklings of that melodeath sound, this new record goes all in. While still invoking the spirit of old-school At the Gates, the band even adds some of the melodies of Kreator to the mix. The result is a combination of overly technical thrash licks and dramatic choruses. At times, the band even extends their song lengths beyond what’s typical for them to capture (if anything) the grandioseness of their melodic builds. Other times, it feels like they aren’t quite up to the challenge, slowing songs down that would otherwise be shredders. It’s an odd conglomeration that will either be adored by their fanbase or left by the wayside.

“Edge of a Collapse” is one of the better tracks on the album, tearing its way through a killer riff while borrowing its melodic qualities from the likes of Trivium and Kreator. The fitting solo at the halfway point does wonders for the song, enhancing the emotion as it soars to its conclusion. Its only real flaw is that it overstays its welcome just a little bit. “All Hope Is Gone” is another that shares some similarities to Kreator, particularly in its mighty chorus. It has great energy, and even when it stops to let the drums set up the next phase of the song, the harmonizing guitar leads and soaring solo bring it back into action.

The opener, “Final Dawn of Light,” is one of those songs that struggles to keep pace. After the almost Viking-like introduction, the intricate riffage fights and struggles to get rolling. More than on previous albums, the vocals have a sharper, Crisix-like edge that swings from one ear to the other during the chorus. And, like most of the songs on the album, there’s a dramatic turn after the midpoint, chugging its way back to life until it closes with the chorus. “Signs of the End” also struggles to keep pace. While the melodic riffage is beefy and the guitars alternate between ripping thrash licks and old-school Metallica sustains, the drums do very little to add to the charge. Well, other than just being there as a really loud metronome.

While there’s some great stuff on Dying World, and impressive guitar work, the album drags on too long. This is not helped by songs like “Planet Grave” and “Piece of Cloth.” While the fretwork in the first is badass, it transitions to a pointless bass lead and these annoying fade-ins and fade-outs before finally ending a minute too late. “Piece of Cloth,” on the other hand, never gets going in the first place. Instead, it drawls on and on, ending the album on a low point. Though Dying World isn’t a disappointment in Full Assault standards, it’s not at the same level of hookiness as its predecessor. That said, if you like the namedrops in this review, there’s potential you might enjoy Dying World. For me, I’ll stick with the slick and snappy War Blooded.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: fullassault.bandcamp.com¹ | facebook.com/fullassaultofficial
Releases Worldwide: February 9th, 2024

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What I do like about thrash, regardless of dubious quality levels, is the fact most bands plying their trade sound like they are having an absolute blast. Fusion Bomb is another prime example, embracing the genre’s classic past with feisty energy and riffy fun on vibrant opener “Zest of Scorn.” Yes aside from some modernized production elements, this shit is predictably mined from the ’80s, landing Fusion Bomb very much in the retro thrash category. There’s hints of Exodus and some crossover flair thrown into the pot, but unfortunately the song-writing struggles to elevate the band into more interesting realms of intrigue, despite their best efforts and a series of solid, if unspectacular tunes.

Compact in construction, Fusion Bomb keep it relatively simple and avoid bloated song lengths, paring this thrasher down to a lean 36 minutes, sans worthless filler tracks. I will contest that Fusion Bomb, for all their confident thrash swagger, aren’t able to lift themselves into the upper tier of modern thrash. Yet Concrete Jungle is not without merit or retro charm. The tempos are blazing, snarling ’80s thrash vox spit venom, while the riffs are churned out thick and fast. Overall the musicianship is top-notch and the band sound like they are held together by fierce chemistry and obvious passion for their craft. Although there’s some fine moments of beefy mid-tempo grooves, Fusion Bomb sound most effective at high speed, ramping-up the intensity and energy levels on vibrant, riff-centric cuts, such as “Blazing Heat,” the punky “You’re a Cancer to This World,” and short but sweet blast of “TMNA.”

The cartoon Devil vs. Angel on the shoulders scenario kept popping into my head during my time with Concrete Jungle. On one hand, Fusion Bomb have crafted an energetic, tightly performed album of throwback thrash ditties, armed with some decent riffs, wild solos, solid production, and requisite thrash elements screwed solidly into place. Yet, Fusion Bomb fail to generate much excitement beyond surface level temporary enjoyment, nor do they add anything fresh to a genre in dire need of bands willing to push the envelope and not simply rest on nostalgia trips.

For all its strengths and simple headbanging fun, Concrete Jungle seems highly unlikely to stick around my rotation past the completion of this assignment. The songs are solidly entertaining, but are not distinctive or memorable enough to suggest any great staying power, while the vocals sound a bit forced and grating on occasion. Retro thrash diehards may find enough sneering attitude, old school riffage and blazing tempos to satiate their thrashlust, but Fusion Bomb, for all their passion, talents and tongue in cheek humor, can’t quite win this jaded thrash fiend over with this competent but unexciting debut.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Iron Shield Records
Websites: fusionbomb.bandcamp.com | facebook.com/fusion.bomb.lux
Releases Worldwide: January 25th, 2019

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Opener “Back to Life” steamrolled me right out of the digipak, and the blows keep coming as the album forges on. Though Ancestral is Italian, it features none of the keys and precious little of the cheese of many of its power metal compatriots. While Fabio Lione (ex-Rhapsody of Fire, Angra) is featured on “Lust for Supremacy,” that track differs not at all from the band’s usual approach. Few acts in European power metal (perhaps Blind Guardian, Rage, Eldritch, Kiuas) manage to strike as adroit a balance of thrash-like dissonance, rhythmic fury, and shocks of sing-along melody. Master of Fate is heavy and wastes absolutely no time trying to be something that it’s not. There’s very little wasted space here, and the closest thing to power metal’s typical momentum-sapping ballad is the unusually varied and interesting “No More Regrets.”

Euro-power fans will likely find “Back to Life,” “Lust for Supremacy,” and “Master of Fate” the most appealing tracks, as they conjure the most memorable vocal lines. Those in search of more aggression and less overt melodicism are more likely to appreciate the ambitious “Wind of Egadi,” the beefy riffs of “Seven Months of Siege,” and the searing instrumental “Refuge of Souls.” The band doesn’t mind getting technical at times, such as in said instrumental and the borderline prog-thrashy closer “From Beyond” (evocative of Mekong Delta and Vektor), and it rounds out its smörgåsbord of metal stylings with a cover of Helloween’s “Savage.”

Master of Fate is truly one of the most instrumentally capable and furious power metal releases of 2017, and every cog in the machine is primed to deliver. Not only are the guitars consistently churning out new riffs and writhing rhythm lines, but the frenetic drums are routinely a highlight and the bass work is absolutely outstanding (check out “From Beyond”). Vocalist Jo Lombardo may have an interminable accent, but his delivery is quite respectable and he packs a great wail. The only pointedly negative thing I have to say about Master of Fate is that its energy and originality dips a bit during “No More Regrets” and “On the Route of Death” before things close with a bang. That, and Ancestral encounters the oft-contracted Italian plague of dreadful grammar and accented vocals. So novel is the group’s approach and so potent its execution, however, that I have no difficulty recommending this to a fairly wide crowd.

Tracks to check out: ”Back to Life,” “Wind of Egadi,” “Refuge of Souls,” and “From Beyond”

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