<![CDATA[Sound Fury Magazine - Music Reviews]]>

<![CDATA[Sound Fury Magazine - Music Reviews]]>Tue, 12 May 2026 17:28:49 -0700Weebly<![CDATA[‘It Calls Me By Name’ Is A Strong New Studio Effort From WAGE WAR]]>Wed, 06 May 2026 15:09:51 GMThttps://www.soundfurymagazine.com/musicreviews/it-calls-me-by-name-is-a-strong-new-studio-effort-from-wage-warBy: Philip Sayblack | Phil's Picks

Well…that did not take long. Not even a full two years after releasing its then latest studio recording, its album, Stigma, Wage War has followed up that record with a new record, its EP, It Calls Me By Name. Released late last month through Fearless Records, the five-song record is another presentation from the band that proves worth hearing at least once. This is proven through both its musical and lyrical content. Throughout the course of the 15-minute record, the band switches up sounds and styles just enough to keep things interesting while also presenting lyrical themes that definitely make for their own share of thought. Case in point is the EP’s opener, ‘Song of the Swamp.’ This song will be discussed shortly. ‘Karma,’ the record’s penultimate entry does just as much to support the noted statement regarding the EP’s overall content. It will be discussed a little later. ‘Blindfold,’ the EP’s third track, is yet one more example of how the record’s overall content makes it worth hearing. When it is considered alongside the other two songs noted here and that trio with the EP’s two remaining songs, the whole makes It Calls Me By Name a strong new offering from Wage War a positive new offering from the band.
It Calls Me By Name, the recently released new EP from Wage War (only the band’s second ever EP behind its independently released 2011 EP, The Fall of Kings, is an impressive new offering from the veteran metal outfit. The record proves worth hearing thanks to its musical and lyrical content. This is proven from the beginning to end of the brief presentation. The EP’s lead single/opener, ‘Song of The Swamp’ makes that clear with its deathcore style arrangement. From front man Briton Bond’s screams, which are comparable to those of Whitechapel front man Phil Bozeman at times, to the intense instrumental performances by his band mates – guitarists Seth Blake and Cody Quistad, bassist Chris Gaylord, and drummer Stephen Kluesner – the song’s overall musical composition is a powerhouse presentation whose punch is fully impacting through its own three-minute-plus run time.
The song’s lyrical content is tame on the surface but when examined on a deeper level (maybe this is just this critic overthinking things. If so, oh well), it comes across almost as some kind of brutal horror movie. This as Bond screams in the song’s chorus of the deadly alligator, “Eyes roll back/When the teeth bite down/The beast stays fed/And the weak will drown/Deeper and deeper/Down to the bottom you go/Leave the bones for the bottom feeders/And the flesh for the crows.” This is a pretty dramatic visual. It definitely makes a person rethink going into a swamp, needless to say. The reminder in the song’s finale about the alligator’s power adds to that horror movie sense as an announcer states of the alligator, “An alligator/The American version of the crocodile/Lies hidden in the swamps/Fish are the basis of their diet/But they eat anything they can overpower.” That final statement, that “they eat anything they can overpower” adds to the sense of horror here. It generates that “tingle” of fear that humans love to have and together with the song’s equally intense musical arrangement, makes the song in whole a clear example of how much this EP has to offer.
‘Karma,’ the EP’s penultimate entry, is another example of the strength of It Calls Me By Name. The song’s musical arrangement takes the record in a direction completely different from that of ‘Swamp Song.’ In place of the deathcore style instrumentation and vocals is a more prominent use of electronics and production to give the song its own identity within the bigger picture of the record. That at approach is used primarily in the song’s verses while the chorus is more of an emo type performance. The song’s breakdown utilizes what can only be described as a sort of “rapping” to make for even more interest. The whole is a presentation that holds its own among the record’s tracks and further shows the importance of the EP’s musical body.
The fire in the song’s musical arrangement works well with the lyrical content, which delivers a message of a person getting what they deserve. This as Briton screams right from the song’s outset, “You can’t escape karma.” He continues in the song’s lead verse and chorus, “See no saints in the mirror/Sins past due to the dealer/Can you feel the ice cold breath/Like a noose on the neck/Pound of flesh for the reaper/Pale skin crawls like an insect/Bloodstream flood like an infest/You can try to plead/But the rope still swings/And the sharp blade slings/For the death blessed/This is what you think it is/I hope you’re paranoid/I pray the punishment fits/As if you had a choice.” This is pure anger. This is “you’re gonna get yours.” It is a fully impacting statement that is sure to be therapeutic for any listener considering how many people are out there who deserve to have karma get them in the end. Bond adds as the chorus continues, “Dig yourself a grave/And make your peace/Bow your head/And face the guillotine.” Again, herein is so much fiery emotion that will resonate with so many listeners. It is along the lines of the fiery message in another of Wage War’s notable songs, ‘High Horse.’ Quistad adds his own talents and fire to the song as he adds in the chorus, “You’re gonna drown in the debt you repay/Burn in the Hell that you made/Maybe you should be afraid/You can’t escape karma.” This overall statement is so powerful. It is a statement that will definitely resonate with listeners and in turn become a memorable addition to this EP in its own right, further showing how much the record has to offer.
Yet one more song that shows the EP’s impact is its third entry, ‘Blindfold.’ This roughly three-and-a-half-minute song is the album’s “softest,” spending most of its time in a more emo mood than the anger that fuels most of the record. As with ‘Karma,’ this song’s arrangement is dominated by electronics and distinct production that pairs with the song’s more metalcore leanings for a whole that presents its own identity within the record as well. The softly song, almost contemplative vocals couple with the subdued instrumentation to add to the unique impact. The whole therein makes the song stand out unquestionably within the bigger body of the song.
The song’s musical mood makes sense considering that lyrically, it comes across as yet another of those songs that centers on the all too familiar topic of a broken relationship. This seeming theme comes as Briton sings in the song’s lead verse and chorus, “I could find you/With two hands over my eyes/Something binds you/A demon or the divine/Now blood runs/But it’s ice cold/I don’t wanna know too much/You drag me through the glass/Just to pour salt in the cuts/So what’s left to love?” That last statement, “What’s left to love” makes relatively clear, the apparent theme here especially in partner with that note of a person being dragged “through the glass/Just to pour salt in the cuts.” That is obvious metaphorical language for someone putting another through misery just to add insult to injury. The inferred theme is heightened even more in the song’s chorus as Quistad adds his own line, stating, “Into the dark I follow/Sick with sorrow/A heart-shaped hollow/Keep your hooks in me/never set me free.” That heart shaped hollow is apparent reference to a space where that heart once was but is now empty. The mention of the other person keeping “your hooks in me” is clear reference to that person being there, causing that pain albeit emotionally rather than physically. To that end, this song about a broken relationship is sure to appeal to specific audiences in its own right. When its melancholy musical arrangement is considered along with this all too familiar theme, the whole makes the song stand out even more. When the song is considered alongside the others examined here and that trio with the EP’s two remaining songs, the whole leaves It Calls Me By Name a mostly positive new studio offering from Wage War that is sure to tide audiences over until the release of the band’s next full-length recording.
It Calls Me By Name, the recently released new EP from Wage War, is a strong new offering from the veteran metalcore outfit. It is a presentation that established audiences and more casual listeners alike will find engaging and entertaining. This is proven through the record’s musical arrangements and its lyrical content alike, as has been evidenced here. When those songs are considered along with the EP’s two remaining entries, the whole therein leaves It Calls Me By Name one more welcome addition to this year’s field of new EPs.
It Calls Me By Name is available now. More information on the EP is available along with all of Wage War’s latest news at:
Website: https://wagewarband.com
Facebook: https://www.facebook.com/wagewar
Twitter: https://twitter.com/wagewar

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]]><![CDATA[Metal Church Is As Strong As Ever In Its Latest Studio Recording]]>Tue, 05 May 2026 21:10:52 GMThttps://www.soundfurymagazine.com/musicreviews/metal-church-is-as-strong-as-ever-in-its-latest-studio-recordingBy: Philip Sayblack | Phil's Picks

This coming summer, Metal Church will make its way along the U.S.’ East Coast in support of its latest album, Dead to Rights. The band’s 14th album (outlets reporting it as the band’s 13th are wrong), it came April 10 via its current label home Rat Pak Records, less than three years after the release of its then latest album, Congregation of Annihilation. Spanning 10-songs in its standard edition (the expanded edition includes an 11th, bonus track), this 47-minute record (again in its standard edition) is a positive new offering from the veteran hard rock band. That is due in part to the record’s featured musical arrangements. The lyrical themes that accompany the album add to the record’s success. The record’s production puts the final touch to its presentation. When it is considered alongside the presentation’s overall content, the whole therein makes Dead to Rights one more positive offering from Metal Church that the band’s established audiences and casual audiences alike will appreciate.
Dead to Rights, the latest full-length studio recording from Metal Church, is a strong new outing for the veteran hard rock act. The album succeeds in part through its featured musical arrangements. From the album’s opener to its end, the arrangements featured throughout the record make for plenty for audiences to appreciate. Right from the outset, ‘Brainwash Game,’ audiences get a song that is one part power metal and one part thrash. Guitarists Rick Van Zandt and Kurdt Vanderhoof combine to make for a hard hitting performance in their own right while vocalist Brian Allen’s performance blends elements of Rob Halford, Udo Dirkschneider, and even Rob Dukes for a presence that is unique to say the very least. That unique vocal presence carries throughout the course of the album, too, making for plenty for audiences to appreciate just in that aspect.
‘F.A.F.O.’ (which stands for F*** Around and Find Out) takes more of a thrash lean than the album’s opener. Though, there are still some power metal and hard rock leanings throughout, subtle as they may be. Drummer Ken Mary’s work on the drums here deserves its own praise especially as he switches back and forth between the hi-hat and ride throughout the up-tempo composition. Van Zandt’s guitar solo and his general performance makes for plenty of enjoyment, too.
As the album progresses into its third entry, ‘Dead to Rights,’ what audiences get is a sort of vintage thrash style work in the vein of classic Anthrax, Megadeth and Metallica. At the same time, the group’s collective work ensures the composition maintains its own identity, even as Allen even makes his performance so close in sound and style to that of Dave Mustaine. Dave, if you read this, take note. It is impressive.
The album’s next two tracks – ‘Deep Cover Shakedown’ and ‘Feet to the Fire’ – take the album in a more mainstream hard rock direction, changing things up just enough as the record’s first half closes out. As the album’s second half opens, the band starts to move back in a thrash direction albeit subtly in ‘The Show.’ That blend of hard rock and thrash here is a smart move. It makes the song a solid transition point for the record. This is especially obvious as the album’s second half progresses into ‘Heaven Knows (Slip Away).’ The album’s seventh entry, it picks up the intensity even more again, showing the clear thought put into the record’s sequencing. ‘No Memory,’ (track eight) maintains that intensity with yet more vintage thrash that still maintains its own modern edge. The band maintains that modern hard rock edge, very much again in the vein of Megadeth in ‘Wasted Time,’ the record’s penultimate entry.
As the album closes out in ‘My Wrath,’ the band offers listeners quite the surprise. Van Zandt opens the song with a decidedly bluesy hard rock riff before the rest of the band joins in and moves things back in that familiar thrash direction. One would think the two sounds and styles would not work but somehow the group manages to make it work and successfully so. Looking back at this and the record’s other entries, the whole of Dead to Rights’ musical body is certain to keep audiences engaged and entertained throughout the course of its nearly 50-minute run time.
Building on the appeal of the record’s musical body is the lyrical content that accompanies said material. ‘The Show’ is just one of so many examples of the importance of the album’s lyrical themes. In the case of this song, the theme would seem to be that familiar theme of the forces that control us and keep us divided. This is just this critic’s interpretation and comes as Allen sings in the song’s lead verse and chorus, “Keep the peasant trained/And throw them away/Just want to know how much they will obey/Right about the time they realize/We run the show and will change disguise/Right now/You’ll see/What we want you to see/Your mind is mine/And we can make you blind/In time you’ll know/What we want you to know/So now it’s time to start the show.” That very statement from the unseen force that “We run the show and will change disguise” certainly seems to point to that inference especially alongside the opening note of keeping “the peasant trained.” Those in power use those of us in “lower levels” and throw us away in a moment. Those in power continue to control things and as soon as we the masses start to realize what’s up, they change things up and make us se what they want us to see and believe.
The seeming commentary continues as Allen sings in the song’s second verse, “You won’t want to leave/Stay right where you are/happy in your room/A sugar-poisoned jar/Thinking for yourself/That will never fly/Social credit score/Your freedom waves goodbye.” In other words, “you will be happy in your station/Don’t try to do anything more/Don’t think for yourself/That will never fly. We don’t want you to do that.” Once again, here certainly seems to be metaphorical language regarding the control that those in power want to maintain. If in fact that is the case then it is a unique way to address such a familiar topic. It makes this song just one example of the importance of the album’s lyrical content.
‘Brainwash Game,’ the album’s opener, is another solid example of the importance of the record’s lyrical themes. In the case of this song, the seeming theme is another familiar matter, that of people who make themselves the victims in life; those who sit around feeling sorry for themselves. Again, this is just this critic’s interpretation. The seeming theme is delivered as Allen sings in the song’s lead verse and chorus, “Watching and waiting/The world is frustrating/Having your life pass you by/Nothing you’re doing/And everyone’s losing/While others have endless supply/Guardian angels coming alive/Always waiting/Lighting up the sky/Brainwash game/Feel no shame/You’re gonna lose it every time/Brainwash game/Yourself to blame/This is no victimless crime.” This certainly points at someone who is feeling depressed, seeing others keep succeeding while we sit idly, feeling sorry for ourselves, we have only ourselves to blame. It comes across as that motivation to pick ourselves up and make our own way.
The seeming commentary continues in the second verse, which states, “Winning or losing/It’s all so confusing/When you don’t know wrong from right/The path you are choosing/The truth you’re refusing/Society’s new parasite.” That mention of refusing the truth, choosing one’s path, certainly seems to point back to the noted inference about people sitting around feeling sorry for themselves as they would rather ignore the truth that they have only themselves to blame when everyone else is succeeding. If in fact this overall interpretation is somewhere in the proverbial ballpark then it is another powerful message that so many people need. Yes, it comes across as some “tough love” but maybe some people need that tough discussion. Keeping that in mind, it is yet another example of the importance of the album’s lyrical content.
Yet one more example of the importance of the album’s lyrical content comes in the form of the album’s closer, ‘My Wrath.’ This song comes across as one of those familiar songs that centers on someone who is just fed up with the actions of another. We have all dealt with that person and sadly may even still do just that. This seeming theme is inferred as Allen sings in the song’s lead verse and chorus, “Wide awake/With anger in my heart/Don’t you mess with me/You will cease to be/You can’t take it/You have played your part/Look into my eyes/To doubt would be unwise/You have your head up in the clouds/And buried in the sand/And you still have no clue/On what it takes/To be a man/You will feel my wrath.” This certainly comes across as that anger being vented about that other upsetting person. To that end, if it is then it is certainly one of those therapeutic works that will help people in dealing with such individuals in their own lives.
The subject’s anger at that other person is just as fiery in the song’s second verse, which states, “There’s no reason for you to speak your mind/No one’s listening/Your voice is sickening/Youre’ just a freak of nature anyway/get that nonsense out of here/You shall disappear/You keep on talking/Your life is over/Go ahead and make your funeral plans/You will feel my wrath/I hear your demons screaming/For you there is no redeeming.” Again this certainly points to a theme of frustration with a clearly very toxic personality. It is a fully relatable topic that is delivered in fully accessible fashion. When it is coupled with the fire in the song’s musical arrangement, its impact is enhanced, making for even more impact. When the whole therein is considered along with the apparent themes in the album’s other songs examined here and that whole with the rest of the album’s lyrical content, no doubt is left as to the importance of the album’s overall lyrical content. When that content is paired alongside the album’s overall musical content, the whole makes for more than enough reason for audiences to take in this album.
Putting the final touch to the album is its production. The time and effort put into the balance of the instrumental and vocal performances throughout the album fully paid off. Each musician’s performance complimented that of his fellow performer’s work, with the result being a fully immersive presentation whose aesthetic is just as impressive as that ensured through the album’s overall content. When the whole is considered collectively, it leaves Dead to Rights a definite welcome new offering from Metal Church and one more welcome addition to this year’s field of new hard rock and metal albums.
Dead to Rights, the latest album from Metal Church, is a strong new offering from the veteran hard rock band. Its success comes in part through its musical arrangements, which exhibit the band’s familiar blend of hard rock and thrash. The sequencing thereof makes for just as much to appreciate here, too. The lyrical themes that accompany the album’s musical arrangements add their own appeal to the whole thanks to the unique delivery of the familiar topics delivered and to the noted topics themselves. The record’s production ensures a fully positive aesthetic to the record, making sure that the album is worth hearing as much for that aspect as for its content. Each item examined is important in its own way to the whole of the album. All things considered they make Dead to Rights one more welcome addition to this year’s already very crowded field of new hard rock and metal albums.
Metal Church’s North American tour in support of Dead to Rights is scheduled to launch July 18 in Derry, NH and to run through July 26 in Leesburg, VA. Performances in Newton, NJ; Rochester, NY and Reading, PA are also included in the East coast run. A series of North American festival performances are also scheduled for later this summer. More information on the band’s upcoming live dates is available along with all of the band’s latest news at:
Website: https://MetalChurchOfficial.com
Facebook: https://www.facebook.com/OfficialMetalChurch
Twitter: https://twitter.com/metalchurchis1

]]><![CDATA[John Corabi’s Solo Debut Is One Of 2026’s Best “New” Rock Albums]]>Sat, 02 May 2026 07:00:00 GMThttps://www.soundfurymagazine.com/musicreviews/john-corabis-solo-debut-is-one-of-2026s-best-new-rock-albumsBy: Philip Sayblack | Phil's Picks

John Corabi has done quite a bit in his career in the music industry. From fronting Motley Crue for a period in the 1990s to working with the likes of RATT, Brides of Destruction and currently fronting The Dead Daisies, Corabi has quite the impressive resume. One thing that this far into his career that Corabi had not done interestingly enough, is release any solo music. That is until now. This past weekend, the veteran rocker released his debut solo album in the form of New Day. Spanning 12 songs, the 48-minute record is an auspicious first solo outing after all these years. This is proven in part through the musical arrangements featured throughout the album’s body. The lyrical themes that accompany the album’s musical body add to the record’s appeal in their own right. The record’s production puts the finishing touch to the whole. Each item noted is important in its own way to the whole of the record. All things considered they make New Day welcome “new” addition to this year’s field of new rock albums.New Day, the brand-new solo debut record from John Corabi, is a strong first outing for the veteran rocker. It is a presentation that his established audiences are sure to appreciate as well as casual rock fans. This is proven in part through the record’s featured musical arrangements. As is noted in information announcing the album’s release this past Friday through Frontiers Music s.r.l., the musical content featured throughout this album is a welcome throwback to the sounds of a bygone era. Right from the album’s outset, which is also its title track, audiences get a song whose composition immediately conjures thoughts of some of the best works of The Black Crowes. The country-rock styling of ‘When I Was Young,’ what with its blending of a mandolin alongside the guitars makes for its own unique presentation. The bluesy base of ‘One More Shot,’ immediately conjures thoughts of the beloved Stevie Ray Vaughan hit, ‘Cold Shot,’ at least in the verses. The choruses are more rocking. ‘Laurel,’ which is included in the record’s second half, is immediately comparable to works from legendary rocker Tom Petty even as it maintains its own identity.
As the album nears its end, things stay just as enjoyable as Corabi and his fellow musicians make their way through the soulful Allman Brothers-esque ‘Good To Be Back Here Again.’ The gentle, bluesy southern rock lean makes it an instantly infectious work. Liner notes were not included with the album’s digital presentation, but among the figures whop provided their musical talents to the record are producer Marti Frederiksen, who also performed on organ, guitar, piano, percussion; Evan Frederiksen (drums, bass, guitar, mandolin, Richard Fortsu (guitar), Paul Taylor (piano, organ, clarinet), and Charlie Starr (guitar). Fortsu is known for his work with Guns N’ Roses while Taylor has worked with Winger and Steve Perry. Starr is most well-known as a member of Blackberry Smoke. In other words, Corabi’s fellow musicians here is a whose who of rockers, and the group’s talent makes for so much to enjoy not just here but throughout the album.
As the album continues progressing, Corabi and company throw back even more so with a work in ‘Cosi Bella’ that to a point, displays hints of The Beatles, only amped up. It is a truly unique work that deserves its own attention.
‘Your Own Worst Enemy,’ the record’s penultimate entry, is another fun, bluesy southern rock composition that throws in influences of Stevie Ray Vaughan and so many other well-known and respected figures of the same vein. At the same time it maintains its own identity just as much as the rest of the record’s entries, adding even more reason for appeal herein. Corabi and company’s cover of Sly and the Family Stone’s ‘Everyday People’ closes out the record in its own interesting fashion. It stays true to the source material to a point while also giving the timeless classic a welcome update that throws back to the fun rock sounds of the mid-late 1970s. It is such a fun accent to the whole of this record. Between this song and all of the others (both noted and not), the whole presents audiences with a rich diversity of musical sounds and styles that forms a solid foundation for the album.
There is no doubt that the wide diversity in the musical arrangements featured in New Day do a lot to make the album worth hearing. They are just part of what makes the album worth hearing. The lyrical themes that accompany the record’s musical content add to the album’s appeal. Case in point is the early entry, ‘When I Was Young.’ The album’s fourth song, it is a warm reminiscing about one’s past. What is interesting here is that instead of being one of those songs in which someone laments having missed out on this or on that, or even being one of those songs in which a person laments about mistakes made, it is instead a positive retrospective. This as Corabi sings at first in the song’s lead verse and chorus about what he “could have done.” However as the song nears its end he adds, “Well the clock don’t stop for no one in this city/And time don’t ever wait for anyone/All the dues that I’ve paid/Made me what I am today/So look at what I’ve done/When I was young.” In other words, at first he had those rueful thoughts but in the bigger picture he realized that he sure did do a lot. It is one of those tales of someone making a realization – a positive realization – in looking back. Keeping that in mind, everybody has one of those moments. Because of that it makes this story all the more accessible and relatable for listeners and in turn, just one prime example of the importance of the album’s lyrical themes.
‘Your Own Worst Enemy’ is another strong example of the noted importance of the album’s lyrical content. It is another fully accessible and relatable work whose title speaks for itself. The lyrical presentation herein adds to the immediate impact of the title. It is one of those songs about those toxic people who are…well…their own worst enemies. As Corabi sings here, “It feels like I’ve been facing this forever/A relatively plain and simple truth….You always think the world is out to get you/While you pour your gasoline onto the flames/I’ve seen this all before/Don’t wanna see no more/Now you ain’t got nobody left to blame/You/Can do what you want/Say what you will/But you are your own worst enemy/It’s never in doubt/No easy way out/When you are/Your own worst enemy.” There is one minor section in that lead verse that is difficult to decipher sans lyrics, but the bigger, overarching message is clear especially in the chorus. This is a person addressing another, saying he/she is sick and tired of that toxic personality from the other person. This subject is pointing out to the other, that said person and person’s personality are a pain, just in specific metaphorical language. The commentary continues in similar fashion in the song’s second verse, with a slightly harsher statement that said second subject’s reality will eventually be revealed in time. He is right, too. There are too many people like the individual being addressed here. Those people are eventually outed, too. In the end, those people will have only themselves to blame for what happens to them. Again, herein is a topic that is fully relatable and accessible for listeners. To that end, it proves itself another solid example of the important role of the lyrics presented in this album.
‘1969,’ another later entry in the record’s body, is yet one more example of the importance thereof. Corabi hinted at the song being a social commentary of sorts as he stated of the work, “‘1969’ is a great son inspired by the current situations in America, which made me think of another turbulent time in the 60s-70s…” In other words the song would seem to be a social commentary. The very mention of “Mr. President/Can you justify/All the boys you sent”? is as prescient today as it was in 1969, considering what the current occupant of the White House is doing at this very time. Even the line about the “trip to the moon” is right there even though the song is lyrically about 1969, it certainly sounds like something that belongs right now in the 21st century. The whole matter of trying to “give peace a chance” and there being “a change in the air” even adds to it. Here in the 21st century, that change is coming as Democrats are (thankfully) looking like they are going to retake Congress and put a stop to the vile activities of the current administration. Corabi is so right through this song. It really does resonate and is such a fitting song for the times. To that end it is yet one more example of how much the albums lyrical themes prove just as important to its presentation as its musical arrangements.
Putting the final touch to the whole of this record is its production. From beginning to end, the production ensures a positive aesthetic for listeners. That is thanks to the expert balance of the audio and video throughout each work. Clearly plenty of time and effort went into perfecting that balance. The result is that the record succeeds not only for its content but for the work that went into presenting said content. To that end, the whole of this album proves to be a fully successful debut solo outing for John Corabi.
New Day, the debut solo album from rocker John Corabi, is a strong first outing for the veteran musician/singer in regard to solo work. This is proven in part through its easily accessible and familiar musical arrangements, which are infectious from one to the next, ensuring their own identity while also throwing back to the golden days of rock and roll in each song. The lyrical themes that accompany the album’s musical arrangements add to the appeal ensured through the album’s musical arrangements. That is because of their own familiarity and their accessibility. The record’s production puts the finishing touch to the whole, ensuring a positive listening experience thanks to all things being expertly balanced. Each item examined is important in its own way to the whole of the album. All things considered they make New Day one of the best “new” rock albums of 2026.
New Day is available now through Frontiers Music s.r.l. More information on the album is available along with all of John Corabi’s latest news at:

Website: https://johncorabi.com

Facebook: https://johncorabimusic

Twitter: https://twitter.com/crablegs59

]]><![CDATA[ALBUM REVIEW: CROBOT NEW ALBUM SUPERMOON]]>Fri, 01 May 2026 15:19:33 GMThttps://www.soundfurymagazine.com/musicreviews/album-review-crobot-new-album-supermoonBy: Regis Lima

Supermoon delivers a powerful blend of gritty rock energy and smooth, infectious rhythm that immediately grabs your attention. From the first note, Crobot showcases their signature sound driven by amazing guitar riffs, tight grooves, and vocals that don’t just carry melodies, but transport you somewhere new.

There’s a natural flow throughout the album that makes it incredibly easy to enjoy in any setting. Whether you’re coming home after a long, stressful day, cracking open a drink, and unwinding or cruising down the road with the windows open on a perfect spring afternoon Supermoon sets the tone effortlessly. It’s the kind of record that adapts to your moment and elevates it.

Tracks like “Gun to My Head” and “Happy Day” stand out as perfect representations of that feel good yet hard-hitting balance. They capture both the raw energy and the laid-back groove that define the album’s identity.

Musically, Supermoon feels like a modern explosion of classic rock DNA. Imagine the soul and swagger of Deep Purple fused with the power and mystique of Led Zeppelin but amplified into something heavier, sharper, and more aggressive. It’s classic rock… on steroids.

Overall, Supermoon is a high energy, vibe driven album that delivers both punch and atmosphere. Whether you’re a longtime rock fan or just looking for something that hits hard while feeling good, this is a record worth putting on repeat.

]]><![CDATA[Album Review: Foo Fighters – Your Favorite Toy]]>Wed, 29 Apr 2026 17:33:54 GMThttps://www.soundfurymagazine.com/musicreviews/album-review-foo-fighters-your-favorite-toyBy: Evan J. Thomas
⭐️⭐️⭐️⭐️☆ (4/5)

I have a soft spot in my heart and ears for the Foo Fighters since they have been my favorite band for nearly two decades. There’s something fitting about Foo Fighters titling their latest record Your Favorite Toy. After decades of arena dominance, lineup changes, and personal loss, this is a band that understands both the joy and the weight of returning to what you love and making it feel new again. The result is an album that leans into their strengths while taking just enough risks to keep things interesting.
From the first track, Your Favorite Toy wastes no time. The opening stretch is classic Foo Fighters... punchy, melodic, and built for massive singalongs but there’s an underlying urgency here that gives it extra bite. The guitars feel sharper, the rhythms tighter, and Dave Grohl’s vocals carry a grit that suggests reflection as much as release.
Tracks like “Window” deliver that signature Foos balance of introspection and explosive payoff, building from restrained verses into soaring, cathartic choruses. It’s familiar territory, but it hits for a reason as they’ve mastered the formula without letting it feel stale. Elsewhere, the band stretches out sonically, weaving in subtler textures and moodier dynamics that show a willingness to evolve without abandoning their core identity.
Lyrically, the album feels more grounded than some of their past efforts. There’s a sense of looking back while pushing forward... grappling with change, memory, and resilience. It never gets overly heavy, but there’s enough emotional depth to give the record weight beneath its stadium sized hooks. For me, there are a few tracks that have that grit and grunge feel along with their punk influences.
That said, Your Favorite Toy isn’t without its flaws. A few tracks in the middle section blur together, leaning a bit too comfortably into the band’s established sound without offering a standout moment. It’s the only place where the album dips slightly, but not enough to derail the overall experience.
What ultimately makes Your Favorite Toy work is its balance. It’s not a radical reinvention like "Sonic Highways", nor does it try to be. Instead, it’s a confident, well crafted record from a band that knows exactly who they are and how to deliver the goods. The highs are strong, the energy is undeniable, and even its safer moments are still undeniably Foo Fighters.
Four stars feels right for this album. Not because it’s perfect, but because it proves Foo Fighters still have plenty left in the tank and they know exactly how to make it hit.

TRACK LIST:
1. Caught in the Echo
2. Of All People
3. Window
4. Your Favorite Toy
5. If You Only Knew
6. Spit Shine
7. Unconditional
8. Child Actor
9. Amen, Caveman
10. Asking for a Friend

]]><![CDATA[‘Gus G.’s ‘Steel Burner’ Is A Solid Addition To 2026’s New Hard Rock/Metal Albums Field]]>Tue, 28 Apr 2026 18:56:08 GMThttps://www.soundfurymagazine.com/musicreviews/gus-gs-steel-burner-is-a-solid-addition-to-2026s-new-hard-rockmetal-albums-fieldBy: Philip Sayblack / Phil's Picks

Gus G. is a busy musician. The famed guitarist, who is a founding member of the hard rock act Firewind has just released his fifth solo album, Steel Burner. Released Friday via Metal Department Records, the 10-song album came roughly four years after the release of his then latest solo album, Quantum Leap and only two years after the release of Firewind’s latest album, Stand United 2024. That record was supported by a global tour that spanned 2024 and 2025. Somehow Gus G. (whose real name is Konstantinos Karamitroudis) was able to keep the stress of it all from negatively impacting this 38-minute album. From its beginning to its end, the record offers audiences plenty to appreciate both from its instrumental and “full” songs. Among the most notable of the instrumental numbers is the record’s midpoint, ‘What If.’ The “full” songs (those that include vocal performances) actually make up half of the album’s body and are sequenced well throughout the whole. One of the most notable of those tracks comes early in the record in the form of ‘Nothing Can Break Me.’ One more of the more notable of the instrumentals comes in the form of the late entry, ‘Confession.’ When this and the other songs examined are together, they paint a clear picture of why this record is so successful. When the trio is considered alongside the record’s seven remaining songs, the whole makes Steel Burner yet one more of this year’s top new hard rock and metal albums.
Steel Burner, the latest full-length studio recording from Gus G. is another strong new offering from the veteran musician and guitarist. This is proven throughout the course of the album’s nearly 40-minute run time both in its instrumental and “full” tracks. One of the most notable of those instrumentals comes in the record’s midpoint, ‘What If.’ Clocking in at just under four minutes, it takes elements of works from Dream Theater guitarist John Petrucci and from another fellow legendary guitarist, one Joe Satriani, and makes for a fully engaging, entertaining and in turn immersive presentation. Gus G. shines here in this work that even with the noted comparisons still maintains its own identity. This is even as he performed and recorded not only the guitar line but also the bass and drums. The whole of his varied performances makes the song such a solid composition that is certain to engage and entertain audiences in its own right.
Looking at the album’s “full” songs, one of the most notable of those entries comes early in the form of ‘Nothing Can Break Me.’ This song takes listeners in a different direction from ‘What If.’ In the case of this song, it is more intense, more power metal in its approach. Famed vocalis Doro Pesch delivers the song’s uplifting message of perseverance here while Gus G.’s overall work offers so much musical enjoyment. It should be noted here that Dennis Ward handled the bass duties on this song while Gus G. continued to handle the guitar and drums once again.
The song’s noted uplifting lyrics send that noted clear message as Pesch sings, “In my heart/I’m strong and proud/But this world just gets me down/And it’s time I’m acting now/’Cause you know I’m feeling/Hurt/And pain/And blood/All around me/Hurt/And pain/And blood/It cannot break me/Even though it breaks me down/I will turn it all around/Can you hear me screaming/Nothing will break me down.” Pesch adds in the song’s second verse, “I was feeling safe and sound/And it’s turning all around/Am I bleeding inside out/Getting cold and freezing/Hurt/And pain/And blood/All around me/They cannot break me/Even though it breaks me down/I will turn it all around/Can you hear me screaming/Nothing will break me/Nothing will break me/Yes, I feel it in the air/Desperation/And I hope that you care/Nothing will break me/Nothing can break me down!” This uplifting message is as welcome as so many of its counterparts from so many other rock and metal acts out there. We all get to that point of burnout, just as Pesch sings about here, but we have to remind ourselves that as she noted, “nothing will break me down.” Keeping that in mind, this positive message pairs with the song’s heavy musical arrangement for a whole that makes it one of the album’s highest points (and there are plenty of high points throughout this record).
One more of the most notable of the instrumental tracks here comes in the form of the late entry, ‘Confession.’ Coming in at just under four minutes (three minutes, 52 seconds to be exact), ‘Confession’ is another deeply emotional work (performed entirely once more by Karamitroudis) that easily lends itself to works from fellow guitarists John Petrucci and Joe Satriani. He has taken the best elements of their works here – huge but controlled solos and more swelling “verses” – to make the whole another unique work that easily holds its own here. The subtlety in the bridge, for instance, makes for a wonderful counter to the more bombastic moments of the verses while the drumming and bass work once more add their own richness to the whole. The whole is one more work that audiences are certain to appreciate. When this and the other songs examined here are considered alongside the rest of the album’s entries, the whole makes fully clear just how strong this latest entry from Gus G. is. It is a presentation that unquestionably holds its own alongside all of the other hard rock and metal albums released to date this year.
Steel Burner, the latest solo album from Gus G. is another solid new offering from the veteran guitarist and musician. This is proven in its instrumental works and its “full” tracks. Each of the songs examined make that clear. When those songs are considered alongside the rest of the album’s offerings, the whole makes Steel Burner one more welcome addition to this year’s field of new hard rock and metal albums and another work that reminds audiences of why Gus G. remains one of the rock and metal communities’ top guitarists.
Steel Burner is available now. More information on the album is available along with all of Gus G.’s latest news at:
Website: https://gusgofficial.com
Facebook: https://www.facebook.com/officialgusg
Twitter: https://twitter.com/gusgofficial

]]><![CDATA[‘Stone Cold Anger’ Is A Solid Return For Pro-Pain]]>Tue, 28 Apr 2026 07:00:00 GMThttps://www.soundfurymagazine.com/musicreviews/stone-cold-anger-is-a-solid-return-for-pro-painBy: Philip Sayblack / Phil's Picks

Late next month, hardcore metal act Pro-Pain will release its first new album in more than a decade when it drops Stone Cold Anger. The record will be the band’s first for its new label home, Napalm Records. Clocking in at roughly 31-minutes across 10 songs, this record packs a big punch in that short run time from beginning to end. Its success comes in part through its featured musical arrangements, which will be discussed shortly. The lyrical themes that accompany said content add to the record’s appeal and will be examined a little later. The record’s production puts the finishing touch to the whole. Each item noted is important to the whole of the record. All things considered they make Stone Cold Anger a mostly positive return for this veteran hardcore outfit.
Stone Cold Anger, the latest album from Pro-Pain, is a strong new offering from the band. That is saying a lot considering that more than a decade has passed since the release of the band’s then latest album, Voice of Rebellion (2015). The album’s appeal comes in large part through its featured musical arrangements, which offer audiences a blend of the band’s familiar hardcore style compositions that are easily likened to works from the likes of Hatebreed, Madball, Earth Crisis, etc. with more melodic metal a la Prong’s heavier, melodic works. Hearing those more melodic moments with front man Gary Meskil actually sounding somewhat like Prong front man Tommy Victor in those more melodic moments. The sequencing of those songs, taking that variety into mind, does plenty to keep things interesting throughout the record’s run time. That is because the sequencing thereof changes things up just enough from one track to the next to keep things interesting.
The songs that are included in Stone Cold Anger make for a strong starting point for this album and are just part of what makes the album worth hearing. The lyrical themes that accompany the album’s musical body make for their own interest. The lyrical themes vary a bit more than the musical arrangements, presenting a wider range of content. The album’s lead single, ‘Oceans of Blood’ for instance, is a clear socio-politically charged work. Meskil made that clear in an interview about the single, noting, “The frustration of people worldwide regarding the rampant corruption and criminality of their governments has reached a breaking point. Wars are being waged in their name without any consent, funded by their own hard earned tax dollars. With rising living costs and inflation eroding the value of money, tensions are rising. We’ve already seen this reach a critical level in countries, like Sri Lanka, France, and more recently, Nepal, where citizens have taken drastic actions against corrupt politicians, even resorting to violence and destruction of property…” Such material is nothing new to the rock and metal communities and honestly is no less impacting here than in other cases from Pro-Pain’s contemporaries.
Another notable theme comes in another of the album’s singles, ‘Scorched Earth.’ Instead of the political fare from the album’s lead single, this song’s theme is more social. As Meskil pointed out of the song that it “explores what happens when ordinary are pushed to their breaking point. Drawing inspiration from films, such as the 1990s Michael Douglas drama Falling Down, the lyrics examine how pressure, frustration, and a sense of powerlessness can build over time. The song speaks to themes of reckoning, consequence, and genuine accountability.” So what audiences get here is a powerful, hard hitting musical arrangement coupled with a lyrical theme that is fully relatable and in turn accessible. The resultant therapeutic impact thereof makes this song yet another important addition to the album’s presentation.
‘Rinse & Repeat,’ is yet another key addition to the album’ in regard to its lyrical content. The opener to the album’s second half, this “deep cut” seems to deliver a message of protest against the control that religion has on the world. Being that this is not one of the album’s singles (at least not at the time of this review’s posting), lyrics are not available. From what can be understood from a close listen, Meskil makes mention early in the song that “evil lurks in the church.” That certainly seems to be a cut and dry statement. He later states, “We’re all baptized in guilt/So wash away those sins/Come clean and ask yourself/Should God save us now/When Salvation’s close?” This is pretty straight forward. That mention of there being “evil in the church” includes a statement about the evil being there “to divide/divert and deceive.” Again, this is very true. This certainly comes across as a damning indictment of religious leadership in America today. If it is not then one would certainly be interested to learn the truth of the theme. If it is the theme, then it is another familiar topic that resonates with audiences just as much here as in so many other cases. To that end, when this theme is considered alongside the others examined here and that trio with the rest of the album’s lyrical themes, the whole therein makes the record’s lyrical body just as important as its musical side. Keeping all of that in mind, the content featured throughout Stone Cold Anger more than gives audiences reason to take in this album.
Putting the final touch to the album is the record’s production. It goes without saying that Stone Cold Anger is a heavy record. It is intense. Those behind the boards are to be applauded for ensuring the balance of each song’s balance of instrumental and vocal performances. From one song to the next, each performance sees the performances complimenting one another expertly. The result is that each song hits listeners with an intense “punch” with the result being a presentation that audiences new and established alike will appreciate for this aesthetic element. When the positive impact of the record’s production is considered alongside all of its content, the whole makes Stone Cold Anger a solid return for Pro-Pain that shows this band has not lost a single step even having been away for such a long time. It makes itself a record that is one more welcome addition to this year’s field of new hard rock and metal albums.
Stone Cold Anger, the forthcoming brand-new album from Pro-Pain, is a solid new offering from the band that firmly re-establishes the band and its place within the hard rock and metal community. That is proven in part through its intense musical arrangements, which offer listeners something familiar and something slightly newer but still familiar in its own right. The record’s lyrical themes are just as heavy as the record’s musical arrangements and as accessible as ever. The record’s production puts the finishing touch to the whole, ensuring its easiness on the ears. Each item examined is important in its own way to the whole of this record. All things considered they make Stone Cold Anger arguably one of the best of this year’s new hard rock and metal albums so far.
Pro-Pain has an extensive European tour planned to support its new album. The tour is scheduled to launch May 13 in Essen, Germany and to run through Nov. 21 in Eindhoven, The Netherlands. The tour’s schedule is noted below:
PRO-PAIN LIVE 2026:
5/13 — Essen, DE — Turock
5/14 — Osnabrück, DE — Bastard Club
5/15 — Alkmaar, NL — HAL25 Herrie Festival
5/16 — Halle, BE — Skallyfest
5/22 — Loburg, DE — Wir Leben Laut Festival
5/23 — Malle, BE — Kemphe Onderstroom
6/5 — Emmen, NL — Pitfest
6/6 — Tilburg, NL — Little Devil
6/12 — Leipzig, DE — Red Bull Arena
6/13 — Leipzig, DE — Red Bull Arena
6/14 — Kassel, DE — Goldgrube
6/19 — Fehrbellin, DE — Protzen Open Air Festival
6/20 — Lübeck, DE — Riders Cafe
6/26 — Szczecin, PL — Hells Bells Festival
6/27 — Avesta, SE — Krylbomangel Festival
7/2 — Trutnov, CZ — Obscene Extreme Festival
7/3 — Frankfurt, DE — Deutsche Bank Park
7/4 — Frankfurt, DE — Deutsche Bank Park
7/10 — Cologne, DE — MTC Club
7/11 — Gelsenkirchen, DE — Veltins Arena
7/16 — Nottertal-Heilinger Höhen, DE — G.O.N.D. Festival
7/17 — Marienberg, DE — Rock Auf Dem Berg Festival
7/18 — Marburg, DE — KFZ Marburg
7/24 — Munich, DE — Free & Easy Festival
7/25 — Olomouc, CZ — Pod Parou Festival
8/21 — Schmelz, DE — Heartcore Island Open Air Festival
8/22 — Freiburg, DE — Crash
8/29 — Wallesau, DE — Wallesau Ist Blau Festival
11/14 — Eindhoven, NL — Helldorado Festival
11/21 — Eindhoven, NL — Revolution Calling Festival
Stone Cold Anger is scheduled for release May 15. More information on the album is available along with all of Pro-Pain’s latest news at:
Website: https://pro-pain.com
Facebook: https://facebook.com/propainhardcore
Twitter: https://twitter.com/propainarmy

]]><![CDATA[STEALING HANDSHAKES Deliver Grit, Heart, and Alt-Rock Revival on Self-Titled EP]]>Mon, 27 Apr 2026 07:00:00 GMThttps://www.soundfurymagazine.com/musicreviews/stealing-handshakes-deliver-grit-heart-and-alt-rock-revival-on-self-titled-epBy: Evan J. Thomas

Stealing Handshakes – Stealing Handshakes (EP Review)
⭐⭐⭐⭐½
(4 1/2 out of 5 Stars)

There’s something refreshingly unfiltered about Stealing Handshakes, the self-titled EP from the Pampa, Texas four piece that’s carving out their space in modern alternative rock. Blending the raw edge of ’90s alt-rock with a more current, emotionally charged approach, this release feels both nostalgic and forward moving at the same time. I felt the grungy mixed with a pop element throughout this EP.
From the first track, the band leans into what they do best gritty guitar tones, driving rhythms, and vocals that carry equal parts urgency and vulnerability. There’s a clear influence from the golden era of alternative rock, but it never feels like imitation. Instead, Stealing Handshakes channel that spirit into something that feels personal and alive.
What stands out most across the EP is the songwriting. These aren’t just loud, high energy tracks they’re structured with intention, building tension and release in a way that keeps you locked in. The hooks hit when they need to, but it’s the emotional undercurrent that gives the songs staying power. There’s a sense that every lyric has weight behind it, adding depth to the band’s already punchy sound.
Sonically, the EP balances polish with grit. The production is clean enough to let every instrument breathe, but it still holds onto that rough-around the edges feel that makes alternative rock hit harder. Guitars cut through with purpose, the rhythm section keeps everything grounded, and the vocals sit front and center exactly where they should be.
If there’s any critique, it’s that the EP leaves you wanting more and not in a bad way. At its core, this feels like a strong introduction to a band that’s still building momentum. You get a clear sense of their identity, but also the feeling that they’ve only scratched the surface of what they can become. I'm looking to see how the band plays off this EP for their future music.
This EP captures that intensity while giving listeners something they can come back to. It’s the kind of release that proves Stealing Handshakes isn’t just another regional act, they’re a band with the potential to break well beyond Texas and i'm here for it.

Stealing Handshakes is a confident, emotionally driven EP that bridges past and present alt rock with authenticity and punch. If this is the foundation, what comes next could be something even bigger.

]]><![CDATA[‘Goliath’ Is A “Giant” Success For EXODUS]]>Fri, 10 Apr 2026 17:03:07 GMThttps://www.soundfurymagazine.com/musicreviews/goliath-is-a-giant-success-for-exodusBy: Philip Sayblack | Phil's Picks

Exodus, one of the greatest names in thrash metal, officially returned late last month with its latest album, Goliath. The band’s 13th album, it is a powerhouse presentation that established and new fans alike will find appealing thanks to its musical arrangements and its lyrical themes, as its singles – ‘Goliath,’ ‘3111’ and ‘Promise You This’ – have already proven. They are just a snapshot of how much the album has to offer. ‘Hostis Humani Generis,’ does just as much to make this clear, as does ‘Beyond The Event Horizon’ with its own powerhouse musical body and unique social commentary. ‘The Dirtiest of the Dozen,’ which closes out this standout album, also enhances its presentation. Each song noted does its own share to engage and entertain audiences. When they are considered alongside the album’s singles, and other songs, such as ‘Violence Works’ and ‘The Changing Me,’ (and the rest of the album’s entries) the whole therein makes Goliath easily one more of this year’s top new hard rock and metal albums.
Goliath, the latest full-length studio recording from Exodus, is a presentation that just as with each of its records, continues to fully exhibit just what makes this band one of metal’s elite acts. The singles that this record has produced have already proven that to be the case. They are just some of the songs that make that clear. ‘Hostis Humani Generis,’ one of the album’s early entries, is another example of what makes this album so impacting. Clocking in at just under five and a half minutes, the song’s musical arrangement is everything that audiences have come to expect from Exodus throughout the years. It is a searing, full-throttle composition that is just as much the band’s own work as it is a presentation that is comparable to works from fellow thrashers Slayer. The cutting guitar solo, the precision in the time keeping, the equally powerful vocals and even the bass line here make the song in whole fully immersive.
The fire in the song’s musical arrangement is perfect companion to the song’s lyrical content, which centers on a person who is just hateful, evil, and vile. It explains why the song’s title translates from Latin to ‘Enemy of Humanity.’ The person addressed here certainly sounds like a certain hate filled, evil individual in the White House. This as front man Rob Dukes states of the person, “Forsaken/Villainous/Despicable/Impulsive/Volatile/Unpredictable/Descriptions all the rats have used for me/the word that’s never used is empathy/I couldn’t give a f*** about how I act/My actions/Or the ones that they impact/My hostility brings peace of mind/I am the enemy of all mankind.” The current “President of the United States” certain sounds a lot like this individual. Whether that was the intent here is anyone’s guess. The thing is that there are lots of people out there just like that person, so it could apply to anyone. Having that in mind, the fire in this presentation does well to help people deal with such people.
Dukes continues of the person, “I wanna paint the town red/In chaos and bloodshed and revelry/I wanna kill the fatted calf/Bathe in the bloodbath and the applause/I wanna set the town on fire/And do what I desire/And end them all/I wanna give what they deserve/Exterminate them all and have a ball/Go on a tear/ Without a care/Live it up and celebrate/I choose hate.” That last line, “I choose hate” sounds just like the convicted felon in the White House, considering he has openly said “I hate my enemy” while also claiming himself to be deserving of the Nobel Peace Prize and a Christian. Again, whether the band was addressing said individual or others like him, the song is still hard hitting just as much for this damning indictment of personality as for the equally fiery musical arrangement that accompanies the song.
‘Enemy of Humanity’ is just one of the many songs presented in Goliath that makes the album memorable and powerful. Another notable entry to the record comes later in its run in the form of ‘Beyond The Event Horizon.’ The opener for the album’s second half, this song’s musical arrangement is just as intense as anything else on this record. The band wastes absolutely no time jumping into the fire here. The group’s performance is like a musical whiplash on listeners that lasts just over five minutes. Even in the moments when the song slows down and turns into a more trudging metal style presentation its impact is not lost at all. The whole is a work that rests easily on its own merits.
The musical arrangement featured here is just part of what makes the song stand out. The social commentary contained within its lines adds even more to its impact. The commentary in question is centered, interestingly, on the destructive power of a black hole, believe it or not. This sounds odd, perhaps, even nihilistic, but it makes sense. As Dukes sings here, “Black hole of death/The destroyer of life/Air turns to fire/It’s the end of mankind.” He further adds of the black hole’s power, “Forever the darkness/With silence/The death/Universe collapses/Under weight of the black/Gravity explodes/Bones turn to dust/Everything is nothing/Existence is crushed.” Again, this certainly sounds nihilistic, but it is meant to make a point as Dukes later states, “Wars fought for nothing/The religion and lies/Holocaust of the heavens/Of all space and time/Crushing weight of the darkness/A vice on your cerebral mass/Beyond the event horizon/You are gone.” What Dukes is saying here is that yes, there is something big and bad out there that has the ability to wipe out all humanity without even trying. To that point, all of the wars that humanity has ever fought have been for nothing. All of the negative that religion and its lies have brought have been for nothing because ultimately there is something far greater and scarier out there. The whole thing is meant to make a person stop and really think existentially to a point. It is meant to make a person really contemplate the idiocy of all of the hate and negativity and how little it has really accomplished. Keeping that in mind, this song becomes even more notable to the whole of this record. It further shows just how much this record has to offer audiences and does so in full.
Yet one more example of how much Goliath has to offer audiences is ‘The Dirtiest of the Dozen.’ This song, which barely tops the five-minute mark (five minutes, nine seconds to be exact), is unique in that throughout that run time, it does not come across as the typical thrash style work for which the band has come to be known. The guitar riff performed throughout the arrangement’s first roughly 90 seconds actually feels almost surf rock in style. Audiences who really actively take in the song and focus on the riff will catch that unique touch. From there, it turns to a more late 80s, almost fun thrash style than something intense.
Interestingly enough, that approach makes some sense, considering the song’s lyrical theme, which actually comes across as being quite familiar and accessible. It’s that almost celebratory type message. This is inferred as Dukes sings here, “Straight from the gutter/We are the brothers of the blood/Creators of the violence/In an unrelenting flood/We started out with nothing/When the s*** hit all the fans/We begged, borrowed, and stole/To support our f****** band/We dove headlong into the belly of the beast/A never ending story/A life on which we feast/The time too vast to measure/At night our greatest pleasure/Is the rage that we let out/It’s not about the fortune/Even less about the fame/It’s all about the crushing/That’s etched upon our name/A gang of super heavy/Dysfunction absolute/The dirtiest of the dozen/We proudly give to you.” Again, this is a familiar theme that so many bands have hit on throughout their careers. It is that celebration of the past while looking to the future, noting they do it not for the money and fame but for the love of what they do. And Exodus has done a lot, needless to say. From there, Dukes goes on to note the band has gone through the worst, is still here and will keep going until it cannot do it anymore. It is a love letter of sorts to fans, letting fans know this band is here to be here for as long as it can keep going. This is a statement that audiences are sure to appreciate along with the more lighthearted vibe of the song’s musical arrangement. When the whole is considered along with the other songs examined here and that whole along with the album’s singles and the rest of the record’s body, that whole makes Goliath easily one more of this year’s top new hard rock and metal albums.
Goliath, the latest full-length studio recording from Exodus, is a record that is sure to please the band’s established audience base and new listeners alike. This is proven through the record’s musical and lyrical content alike. Each of the songs examined here make that clear, as do its trio of singles and the rest of the record’s entries. All things considered, this record is easily just as powerful and memorable as any of Exodus’ existing records. Additionally, it is easily one of the best new hard rock and metal albums released so far this year.
Goliath is available now. Exodus is touring Europe in support of the album and will bring its tour to North America beginning Apr. 29 in Montclair, NJ. The tour is scheduled to run through May 29 in Los Angeles, CA and includes stops in cities, such as Greensboro, NC; Denver, CO and las Vegas, NV. The band’s tour schedule and more information on Exodus’ new album is available along with all of the band’s latest news at:
Website: https://exodusattack.com
Facebook: https://www.facebook.com/exodusattack
Twitter: https://twitter.com/exodusattack

]]><![CDATA[Sneak Peak Preview of CROBOT NEW Album Supermoon Due Out May 1]]>Wed, 08 Apr 2026 19:00:34 GMThttps://www.soundfurymagazine.com/musicreviews/sneak-peak-preview-of-crobot-new-album-supermoon-due-out-may-1By: "Hollywood" Rob Denis

Crobot is a world-renowned hard rock band, hailing from Pottsville, Pennsylvania. It has
been nearly two years since the release of their last album, Obsidian (White Rabbit
Deluxe Edition), and now they are back with even more attitude and swagger. The band
is gearing up to drop their new full-length album, Supermoon, arriving on all streaming
platforms on May 1, 2026.

This 12-track release delivers a heavy blend of ‘80s and ‘90s hard rock energy, packed
with powerful riffs and crushing vocals. Fans of Guns 'N Roses and Alter Bridge will find
plenty to love here. The album channels the magic of classic ‘80s guitar work
reminiscent of Slash, paired with vocal intensity that echoes the unmistakable style of
Myles Kennedy; and that is definitely not a bad thing.

With tracks like “Low Life” and “Gasoline” making waves back in 2019, Crobot has not
missed a beat picking up right where they left off. On Supermoon, the band cranks
everything up a notch, delivering powerful riffs, hard-hitting drums, and soaring melodic
vocals that feel bigger and more refined than ever.

The album kicks off with “Gun to My Head,” a standout track driven by poetic lyrics and
explosive energy. While only “Gun to My Head” and “Foot Off” are currently available,
the full 12-track experience is just weeks away and it is shaping up to be one worth
putting on repeat.

The lyric video for “Gun to My Head” is already out on YouTube, offering an early
glimpse into what Supermoon has in store. After hearing the full album, this track
remains a clear highlight and one that immediately grabs your attention and sets the
tone for what is to come.

For over a decade, Crobot has been crafting a distinct brand of hard-hitting musical
artistry. From Something Supernatural (2015) to now, the Pottsville natives have built an
impressive catalog, and Supermoon stands poised to be their latest standout release.
With ten tracks still waiting to be unleashed, there is plenty more for fans to get excited
about, and if the early singles are any indication, Crobot Nation is in for something
special. You can stay up to date on all their news, tour updates, EP releases, etc. by
giving them a follow. Clicking here will take you to their website and other social media
links. Horns up!

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