Legacy Magazine presents tribute to Motörhead. There are Sodom, Entombed, Destruction, Grave Digger, Onslaught and other bands.

With Destroy Erase Improve, Meshuggah shattered any preconceived notions about what death, thrash, and prog metal could be with one astoundingly accurate, calculated blow. The Swedish outfit managed to surpass their startlingly original, if relatively immature debut, Contradictions Collapse, with a record so pure in concept and execution, it borders on genius. Lyrical themes visualize the integration of machines with organisms as humanity's next logical evolutionary step, while the music backing it up is mind-bogglingly technical, polyrhythmic math metal - the work of highly skilled men with powerful instruments. While the idea looks unwieldy on paper, Meshuggah handles it with a balance of raw guts and sheer brainpower, weaving hardcore-style shouts amongst deceptively (and deviously) simple staccato guitar riffs and insanely precise drumming - often with all three components acting in different time signatures…

You know what lays ahead whenever you embark on listening to a new Kreator studio album, and 2009's Hordes of Chaos is certainly no different. And that isn't meant as a knock on the band - heck, Kreator should be commended for sticking to their guns and continuing on in the same "thrash-happy" style since pretty much their inception (without bowing down to musical trends). So, that said, you can make up your own "Kreator checklist": growled vocals and intense riffing (the album-opening title track), lightning-fast tempos ("Warcurse"), tasty dual-guitar work ("Destroy What Destroys You") - it's all represented here, folks. It's been nearly four long years since Mille Petrozza and friends issued an all-new studio album, and Hordes of Chaos should most definitely meet the needs of Kreator diehards worldwide.

On first listen, the sound on Obzen, Meshuggah's sixth full-length, is startling, not for its trademark rapid-fire key and tempo changes, or for the intricate, insanely knotty riffs that careened over 2002's Nothing or 2005's Catch Thirty-Three. Instead, it is the rampaging charge that leads off the set on "Combustion," a balls-out sprint that recalls the band's earlier catalog albums like Contradictions Collapse, Destroy Erase Improve, and even Chaosphere. Power, focus and attention to the bone-crushing power are at the center of Obzen. That said, it loses nothing in terms of the band's keen focus of musical or technical innovation or drummer Tomas Haake's songwriting. What it does leave behind is some of the mathy quick-change-for-the-sake-of-it annoyances that were more a show-off of athletic prowess than actual compositional tropes…

Imagine a metallic and mechanical journey through extremely complex and brutal metal stuffed with insane spacey guitar solos and neck breaking sharp riffs. Meshuggah's third studio release, "Chaosphere" from 1998, is just like that. An extremely technical prog-metal mayhem of an album, clocking in at 46-minutes; there are no silent parts here, only pure metal throughout, so If you are used to other prog metal bands like Dream Theater and Symphony X, well, then you'll be blowed away with this album's ability to nearly crack your brain. This is Meshuggah's most extreme release yet, guitars, bass, drums and vocals crashes into each other with amazing speed and NO emotion or melody, creating this extremely intense and brutal monster. The best thing is that the result is so original too! No bands before or after have ever created something like this before! That makes this album so interesting.

Prepare for the newest offering by US-American thrash legends Flotsam and Jetsam. I Am the Weapon not only takes up seamlessly where it's two outstanding predecessors left off, but also goes one step further in terms of musical skill and composition. While they fully live out their core competencies such as their aggressive style with fast tempos, I Am the Weapon features more surprising moments than ever before. From brutal high-octane tracks like "I Am the Weapon" to the atmospheric but not superfast "Burned My Bridges" each track on the album is convincing in its own way.

"Blood On Canvas" is the most ferocious album to date from the thrashers Darkness from Essen, Germany.
The songs are more aggressive and heavier than anything else in the Darkness discography to date. Although it is not a concept album, "Blood On Canvas" is not a mere collection of nine songs created in one period, but a multi-faceted sound painting, painted with the colors of wrath. Musically, Darkness deliver the uncompromising and fast thrash metal they have been known for since their debut album "Death Squad" (1987). However, the compositions on this album are more complex and detailed than usual, without losing any of the aggression, heaviness and authenticity. The lyrics are no longer just a description of the madness that determines the course of this world, but get to the heart of the matter in a straightforward and uncompromising manner.

3rd full album by this Spanish Thrash Metal band with Dave Rotten (Avulsed) on vocals and Vicente Payá (Unbounded Terror) on bass. 9 new songs and a cover of Atrophy. Authentic Thrash Metal neckbreaker and ass kicker not suitable for commercial ears!!
For lovers of bands such as Dark Angel, Morbid Saint, Atrophy, D.R.I., Infernäl Mäjesty, Exodus, Sepultura, Sodom, Vio-Lence.

The return to form that began on 2016's Dystopia continues with The Sick, the Dying…and the Dead!, the 16th studio album from metal institution Megadeth. As with Dystopia, Megadeth ringleader Dave Mustaine and his bandmates focus on precision thrash, this time around turning in a tighter, cleaner batch of songs that feel both intently focused and streamlined for maximum intensity. The time leading up to the album wasn't an easy one for the band, however, and the six years that passed between the last record and this one stand as the longest time between new material in the band's nearly 40-year history. The turbulent time spent working on The Sick included not just Mustaine being diagnosed with and aggressively treated for throat cancer but also Megadeth co-founder and bassist David Ellefson leaving the band due to his involvement in a sex scandal…

Metallica live at Soldier Field, Chicago, IL, 11 August, 2024.

Act Of Creation's intense, complex and uncompromising melodic death metal album "Moments To Remain" perfectly captures the band's energy and features a massive wall of sound that still leaves enough room for the subtle nuances of Act Of Creation's signature sound.
"Moments To Remain" can be seen as a continuation of the last three Act Of Creation albums, but it should still be seen as a stand-alone release. The whole album is based on the concept of reviewing an entire day and thinking about certain topics while sitting by the water. The result is an album that, despite all its complexity, makes no compromises when it comes to a powerful performance and thus invites the listener on a highly emotional journey through the musical world of Act Of Creation.

Metallica live at Soldier Field, Chicago, IL, 9 August, 2024.

Metallica live at Gillette Stadium, Foxborough, MA, 4 August, 2024.

Metallica live at Gillette Stadium, Foxborough, MA, 2 August, 2024.