Rome Streetz – “Trainspotting” review

London, England, United Kingdom born & Brooklyn, New York raised lyricist Rome Streetz enlisting Conductor Williams for his 10th studio LP. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce & the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring alongside the Big Ghost Ltd.-produced Wasn’t Built in a Day both made the top 10 spots of my last couple Best Of lists & Hatton Garden Holdup produced by Daringer became a flawless spot in my top 5 of 2024 last winter. Mass Appeal Records in the midst of their upcoming 7 album series has locked in with both GxFR acts to go Trainspotting.

“Andre Agassi” sets the tone with a gully boom bap instrumental making reference to one of the greatest tennis players of all-time whereas “M*A*S*H” homages the Paramount Skydance Corporation-owned CBS sitcom of the same name holding the record for the most-watched series finale of any TV show. “Runny Nose” dustily gets in his pyrex bag talking about moving weight until “Ricky Bobby” featuring Method Man takes it’s name after the main character of the classic film Talladega Nights.

Meanwhile on “Blood in Boogers”, we have Rome running more laps around the whole game lyrically maintaining the traditional boom bap sound instrumentally while the single “Rule 4080” reiterates what A Tribe Called Quest taught everyone 3 decades ago. “Died 1,000 Times” aquatically suggests to stack more instead of spending the income quickly just before “Heartbreaker” chops up a soul sample to talk about breaking another hearts once again.

“10 Toes” featuring Jay Worthy psychedelically unites the pair to discuss their commitment to the game leading into “Connie’s Revenge” talking about putting your favorite rapper’s neck on the chopping blocks. “99 Attributes” soulfully gears up to smoke whole entire record labels comparing his bars to coke while “Joe Pesci” makes comparison to the actor & best friend of Robert De Niro in the Martin Scorsese classics Goodfellas, Casino & The Irishman.

The song “Electric Slide” works in a slickly drumless rap rock vibe talking about being in the best form he’s been at in his whole entire career & pushing the output in his discography to prove it, but then “Resource Room” finishes Trainspotting with a woozily jazzy reminding everyone that he’s been on for a grip & I can certainly confirm since I started reviewing him when Joyeria came out on my 23rd birthday 6 years ago already.

Verifying the reality of Rome being on the grasp of fully realizing his potential, Conductor directs the Trainspotting trip & it pushing him closer to a space where when spirited debates around “top 10 MCs lists” are being held. The Heartbreakers member’s production is heavily rooted in the boom bap sound with secondary influences of jazz rap, drumless & rap rock to make Rome’s distinct fashion of putting rhymes together the backdrop they couldn’t deserved more.

Score: 4.5/5

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Daniel Son – “Baggage Claims” review

Toronto, Ontario, Canada emcee Daniel Son with his 9th proper full-length album. A member of the Brown Bag Money collective, his profile began to rapidly increase in the underground off projects like the Giallo Point-produced debut mixtape The Gunners or the Futurewave-produced sophomore album Yenaldooshi. He just teamed up with Raz Fresco this spring for the spectacular collab album Northside paying homage to the roots of the Toronto hip hop scene & a few months after reuniting with Futurewave for the first time since Son Tzu & the Wav.God on Bushman Bodega last summer & the Finn-produced Hare Brained Schemes a few months later. He & Futurewave however are looking to make some Baggage Claims almost 3 weeks after Maple Leaf Pro Wrestling (MLP) founder Scott D’Amore crowned the longest reigning 2-time TNA World Champion, TNA X Division Champion, 2-time TNA World Tag Team Champion & former PWG World Tag Team Champion Josh Alexander the inaugural MLP Canadian Champion and former 2-time RPW British Women’s Champion Gisele Shaw the inaugural MLP Women’s Canadian Champion.

The title track is this grisly boom bap intro assuring shit ain’t always glamorous on his end & showing everyone the progression whereas “Sweet Peppers” soulfully wastes no time whatsoever to reach the penthouse views he desires. “French River” keeps it in the basement instrumentally venting over the visions he’s had ingrained in his mind as of late just before “Euthanize” featuring al.divino refuses to stop the bread income all because of hits getting put out.

“How It Goes” suggests over a flute-tinged boom bap beat to go the way it already is nowadays cheffing up the product & serving it leading into “1973” featuring Raspy teaming up for a lullaby dedicated to everyone laying their heads in the street. “Bleed the Shark” ruggedly explains that he can catch a rat from him being all the way in the field refining his chef skills at night, but then “The Fume” featuring Bito Slime cloudily yet rawly talks about moving in rare fashion.

Meanwhile on “Cold Chicken”, we have Daniel over a drumless instrumental talking about dying for what’s his & acknowledging the old fashioned tendencies he shares while “Need More Paper” returns to the boom bap expresses the necessity of making his bread stack up continuously higher. “Baylor” kicks the horns out trying to make it known to this girl he’s seeing that all he knows is the filth while “Fly the Pigeon” featuring King Bliss gives the finger to the entire world.

al.divino comes back for the dusty “Sun Lo” talking about never peaking & making sure their competition never eats again while “Crushed Stones” hooks up a vocal flip experiencing the same shit others warned him he’d experience in the rap game. “Sweet & Sour Duck” strips the drums learning to keep his mouth closed at an early age while “Run the Shop” featuring Recognize Ali finds the duo wanting to be loved for their ambition.

The jazzy “Pin Stripe” featuring Asun Eastwood feels reminiscent of the previous collaborative efforts Psychics of Filth & Bite the Bullet promises that everything they’re saying shouldn’t be taken in a metaphorical sense by any means while “Villains” talks about pushing coke. “Regular” concludes Baggage Claims on a rawly vintage note teasing more music with Futurewave to come since they’ve been cooking normally as of late.

Commemorating the 7-year anniversary of Pressure Cooker earlier this month, the Brown Bag Money standout & his go-to producer unearth 18 outtakes that were made during those sessions & compile them into a sequel of it’s own sounding like they recorded it recently. I can very much tell that Futurewave’s boom bap production was recorded during that era, except that & Daniel Son’s pen make an exciting throwback to their dual breakthrough.

Score: 4/5

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Coyote – “yoteLAndia” review

Los Angeles, California duo Coyote ending the month with their 5th studio LP. Consisting of the Morales brothers LadiesLoveGuapo & Ricky Blanco, they went on to gain traction in late 2022 off their debut album Thicker than Water noted for its witty punchlines & East coast influences. Their sophomore effort L.Aliens last summer quickly became their breakout project to the point where people were recommending to me & easily understood the appeal, eagerly waiting to hear yoteLAndia coming off their feature on the new Reason mixtape I Love You Again.

“Sea of Darkness” is a sample-driven boom bap opener talking about being in the end days whereas “Dodging Bullets” kinda has a Memphis influence instrumentally showing off how violent both siblings can get when necessary. “SLAng” featuring B-Real & Zoe Osama samples “Deep Cover” by Dr. Dre marking the debut of WWE Hall of Famer Snoop Dogg breaking down the west coast lingo until “Drop Top Down” featuring Doeman & & Paul Wall dedicates itself to those in the lowriders.

Ab-Soul teams up with Coyote on the lead single “Runnin’ All Fades” hopping over a cloudy trap instrumental with some notable switch-ups talking about a blizzard going on outside while “Face Tatts” featuring Lefty Gunplay finds the quartet over some drum breaks from Jason Martin formerly known as Problem and Mike & Keys to talk about hearing everyone caught a fade. “Goon” featuring Bizarre on the remix pulls from Latin jazz at the start prior to changing in favor of some bass-licks howling at the moon together just before “L.A. Verses Everybody” featuring Sirrealist feels like it’s their city against the world.

“Run a Muck” brings the Memphis undertones back in the fold & putting a dirtier south spin on it behaving in an disruptive, uncontrollable fashion leading into “Minor Setbacks” talking about relatively small or insignificant hindrances they’ve come across in their personal lives & their music career respectively. “Best Served Cold” featuring NEMS finds the trio over a boom bap beat discussing the way they prefer to serve revenge, but then “Who Want Problems” mercilessly asks if anyone wants beef with them.

Kruk 1 appears for “Not Done Yet” bringing a bit of a Mobb vibe to the table talking about putting it down for hip hop culture with no end in sight while “Product of Immigration” profoundly tackles their upbringings in light of the mass deportations & increased discrimination towards immigrants this year. “redruM Backwards” featuring Tash keeps it dusty thanks to DJ Lethal thirsting for blood while “Barrel of a 9” gets on the gangsta rap tip maintaining a boom bap flare.

“Strike a Pose” featuring Young Drummer Boy dabbles with a nervous sound pulling up to the spot with the main goal to leave with pretty, young women stealing them from their men while “Footang” talks about chopping bricks & to be paid if you want to try the product. The sampling of Latin music suits “Ni De Aqui Ni De Aya” perfectly so they can both get some shit off their chests & “Meet the Lambs” ends with their version of “Meet the Grahams” by Kendrick Lamar.

Starting the deluxe run, “Nasty Work” kicks down the door with a boom bap instrumental talking about being shameless while the doomsday trap aesthetic ms of “Don’t Be at the Club” takes a moment to call comfortability a luxury. “California” featuring Xzibit unites for a tribute to the sunshine state while “A.M.H.S.D. (All My Homies Slang Dope)” featuring Fre$h talks about their friends moving weight.

“Fly Guys” featuring JuJu Flaco reminds me of something The Neptunes would’ve produced in the late 90s while “The Scoop” talks about the slim chances of making it out the hood because kids be flexing trigger fingers. The final bonus track “Idiocracy” properly finishes with the Morales over a drumless sample to confess they’ve been losing their optimism because of the world falling apart & adults justifying killing children.

Over 10 months since they broke out after their freestyle on The Bootleg Kev Podcast, there wasn’t any better option for LadiesLoveGuapo & Ricky Blanco to capitalize on the success of their sophomore effort last summer than welcoming everyone to yoteLAndia. You still get palatable production like the predecessor whether it be boom bap, jazz rap, Mobb, nervous or trap in addition to the Yotes telling us their story & a list of guests joining them offering different perspectives in their world.

Score: 4/5

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Bruiser Wolf – “Potluck” review

This is the 3rd full-length studio album from Detroit, Michigan emcee Bruiser Wolf. A member of the Bruiser Brigade collective, his 2021 solo debut Dope Game Stupid would become an experimentally gangsta & comedic gem although the sophomore effort My Story Got Stories was more moderately received 16 months ago. “Rope Chain” last summer is already one of my favorite songs in Bruiser’s whole discography & even if it’s not on Potluck, some of the teasers from it held their own weight.

“Say No More” produced by Knxwledge was a groovy opener that sets the tone of what’s to come talking about this being the reason he’s hated & giving the audience what they’ve been waiting for whereas “Write or Wrong” turns up the funkiness thanking God for the microphone in his hand. “Air Fryer” takes a cloudier, sample-based trap approach thanks to Harry Fraud talking about using that very object to cook up dope while “Beat the Charge” brings a soulful flare to the table courtesy of Nicholas Craven likening his life to a movie.

Jake One hooks up a cloudy trap instrumental during “Lock In” so Bruiser can talk about having to focus leading into “Pee-wee Herman” featuring Chilly Gonzales bringing the 2 together over a quirkier beat flexing that both of them are always grindin’ & servin’. “Offer I Couldn’t Refuse” was a great cloudy trap single that F1LTHY of Working on Dying laced explaining that the street made him a deal so good to the point where he couldn’t turn it down prior to the soulful “Trust Issues” talking about trusting someone who eventually snitched.

“Baby You” shows off his equity & discusses a woman who desires to fuck with a real one over a bare chipmunk soul instrumental from both Harry Fraud & Danny G while “Guns & Squares” featuring Sir Michael Rocks finds the pair talking about fuckin’ with those 2 things in the past until ditching ‘em in favor of boom bap on top of prominent bass-licks. “Fancy” featuring Fat Ray crosses over synth-funk & hip hop referencing The Walt Disney Company-owned FX series Snowfall while “Whippin’” featuring Nebr, The Tiger jazzily talks about the drug game.

The song “Confusing” begins the final moments of Potluck stripping the drums once again venting over the perplexing nature of bitches that’re usually around him & lastly, “Over Looks” luxuriously finishes up the LP telling this women that she’s so much more than looks on top of pointing out the shallow nature of society these days & hoping the message he’s trying to convey doesn’t get disregarded.

Potluck exemplifies of how nobody in the game cooks like Bruiser Wolf as he invites us to a world where truth, absurdity & wisdom are doled out in even portions. Known for his signature voice along with vivid street narratives & off-kilter humor, Bruiser carves out his own space & singular voice further than before with the most expansive album in his discography taking on the sounds of drumless, jazz rap, Detroit trap & chipmunk soul telling the gangsta life.

Score: 4/5

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Oddisee – “En Route” review

This is the 7th EP from Washington D.C. emcee/producer Oddisee. Getting introduced to him through his incredible 7th album & Mello Music Group debut The Good Fight a decade ago weeks before my high school graduation, I also happen to enjoy his work with Diamond District, the Odd Seasons mixtape series, his 4th EP Alwasta & The Good Fight’s successor The Iceberg. I happened to cover & Yet Still exactly a year ago feeling like it was a solid jazz rap EP, staying En Route for a follow-up.

“Tomorrow Can’t Be Borrowed” delivers streams of consciousness over some jazzy piano chords disputing the “borrowed time” notion whereas “A Rare Thing” works in a horn-tinged boom bap instrumental talking about it being uncommon to know love & couldn’t help but make me think of the increased hate speech on Twitter in the past few years. “Small Talk” heads for a funkier approach putting everyone’s better days of their career’s in the rear view mirror & “Natural Selection” ends by doing his thing with no one to save him.

Marking his return to Mello Music Group after putting out a couple projects independently, Oddisee’s follow-up to & Yet Still exactly 365 days later elevates it’s above the predecessor making music for whatever journey we as humans are heading in our lives today. His jazzy production compliments the reflection of physical, emotional & spiritual movements we may have all tying into each other conceptually for a soulful snapshot of motion & meaning.

Score: 4/5

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Swans – “Birthing” review

Swans are a highly regarded New York experimental post-rock outfit masterminded by Young God Records founder Michael Gira. Their lengthy discography includes essentials in the band’s respective styles like Filth, Children of God, White Light From the Mouth of Infinity, The Great Annihilator, my favorite of theirs Soundtracks for the Blind, my 3rd favorite The Seer, my 2nd favorite To Be Kind & The Beggar. The latter will be celebrating its 2-year anniversary next month & Birthing’s getting us ready for another summer.

“The Healers” was a magnificently ambitious evolving intro embarking on a 21 minute journey through slick textures on an ocean of sounds singing about the heavens raining down knives of silver to kiss our bodies in the river whereas “I’m a Tower” sticks out as a Single of the Year contender bringing together post-rock, experimental rock, drone, krautrock, totalism, poetry, art rock, post-punk, goth rock & noise rock fluidly for 19 minutes.

Getting to the title track, it evolved into a lengthy sonic beast full of colorful grooves & rich soundscapes because of of multiple portions of it improving progressively during the band’s last tour advising all these motherfuckers to pay attention to him prior to the shortest track here “Red Yellow” fuses their experimental post-rock sound with goth rock with a hook that’s powerfully sung enough to send goosebumps down your arms.

“Guardian Spirit” starts the 2nd half of Birthing emphasizing a darker atmosphere compositionally talking about Michael’s life being your death while “The Merge” feels reminiscent to the handful of musical experimentations Swans has been known for since the early portion of their career trying out sound collage & harsh noise. “Rope / Away” ends with a 2-part closer making the first leg of it entirely instrumental remembering his mother, Bill Rieflin, Catherine Ceresole & Simon Henwood the other

Finishing the trilogy that leaving meaning. started & The Beggar bridged, allegedly the last album in their discography to focus on all-consuming sound worlds to take on a significantly pared down form for the foreseeable future adds to their legacy with their 3rd generational masterpiece behind Soundtracks for the Blind & To Be Kind. Michael’s production expands the experimentally droney post-rock style Swans have made a name of themselves off of & blending it with krautrock, totalism, poetry, art rock, post-punk, goth rock, noise rock, sound collage & harsh noise.

Score: 5/5

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Masta Killa – “Balance” review

Brooklyn, New York emcee Masta Killa of the almighty Wu-Tang Clan dropping his 5th studio LP almost a decade after his last one. Becoming the final member to branch out on his own 21 years ago this weekend, No Said Date today remains the most underrated solo debut from any swordsmen with Made in Brooklyn & Selling My Soul becoming more moderately received. Loyalty is Royalty came in the fall of 2017 following numerous delays & is finding Balance ahead of the Wu’s upcoming farewell tour this summer.

“Hip Hop Forever” is a boom bap intro that Easy Mo Bee laced talking about the culture we’ve all come to know & love living eternally due to it’s global connection whereas “Eagle Claw” featuring Cappadonna & Raekwon keeps it in the basement instrumentally seeing whose sword is the sharpest. “BK Harlem” was a dope homage to 2 of the 5 boroughs of their state regardless if I wasn’t too big on Head I.C.E.’s performance, but then “Building with the Abbott” featuring & produced by RZA takes it back to Prince Rakeem’s chipmunk soul roots speaking wisdom.

As for “City”, we have Jamel Irief telling us that he’s still here doing it for what the late Guru of Gang Starr used to call “The Planet” over 3 decades ago while “Glad to Meet You” featuring Method Man & WWE Hall of Famer Snoop Dogg charmingly links up talking about catching rides instead of feelings. “It’s Been a Long Time” feels reminiscent of “Queen” off No Said Date with its romantic content leading into “Trumpets” featuring AZ, N.O.R.E. & Uncle Murda bringing some mafioso vibes.

“King Custom” continues the 2nd leg of Balance with a weird reggae/hip hop crossover that feels off-the-cuff & Jamel slightly using a fake patois almost like Drake used to on Views almost a decade ago with the only exception of it not sounding commercialized thanks to PF Cuttin’ behind the boards. The closer “Again” featuring AB Money & Big Bub is even worse, giving me flashbacks of “Trap Phone” off of Ghostface Killah’s latest album Set the Tone (Guns & Roses).

Arguably the swordsmen with the most refined flow of the entire Clan, the wise words Jamel offers with a diverse cast of MCs by his side further proves his sword is sharper than ever giving what the world & the musical universe desperately needs. The production is vintage New York hip hop at its finest & even if a couple features punch under their weight, Killa still consistently captures a wide spectrum of moods & content in a half hour.

Score: 4/5

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Rivers of Nihil – Self-Titled review

Reading, Pennsylvania progressive tech-death metal band Rivers of Nihil consisting of lead guitarist/keyboardist/programmer Brody Uttley, drummer/backing vocalist Jared Klein, rhythm guitarist/backing vocalist Andy Thomas & bassist/frontman Adam Biggs returning after 4 years with an eponymous 5th LP. Signing to Metal Blade Records on my 16th birthday in 2012, their full-length debut the next fall The Conscious Seed of Light & their sophomore effort Monarchy broke their ground as a progressive tech-death outfit until Where Owls Know My Name became notable for it’s secondary djent & jazz fusion influences. The Work toned it down on the death metal elements in favor of standard prog metal & had a feeling this self-titled body of work would delve further down that rabbit hole.

“The Sub-Orbital Blues” was a tolerable progressive death metal single singing about the dichotomy of living in a 21st century society rife with scientific & technological advancements whereas “Dustman” asks if you believe what you see & being nothing but dust. “Criminals” had to be my least favorite single due to it’s meat & potatoes take on death metal, melodic metalcore & deathcore preying on innocent men while “Despair Church” promises to take the whole world away.

To end the first half, “Water & Time” encourages to let those 2 things disintegrate it leaves you alone lost in space going for a progressively melodic death metal direction just before “House of Light” ditching the melodic elements of the previously mentioned single asking for a sign to be set free told no lies. “Evidence” turns up the hostility talking about dangerous games being played with a cage, waiting at the end, but then “American Death” refuses to believe a word said & calls themselves the American Dream itself.

“The Logical End” keeps the progressive death metal hybrids going singing about building another empire right where they’re standing due to them never having to see a logical end for as long as they live the rest of their days & not fading away while the title track appropriately finishes the album asking not to breathe in a disease born from the flowers of despair, encouraging to wake up or you’ll bе swept away because of another day being lost wasted.

Setting out to bring the sounds of their previous material with all the fat cut away, Rivers of Nihil complete their mission successfully with a body of work reminiscent of The Conscious Seed of Light & Monarchy in terms of technicality with the only exception being these guys having a mature understanding of pacing or bringing a more refreshed perspective of the experimentation throughout Where Owls Know My Name & The Work respectively.

Score: 4.5/5

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A.M. Early Morning & Novatore – “Kingdom of Criminality II” review

This is the 2nd collaborative album between Chicago, Illinois emcees A.M. Early Morning & Novatore. Both of whom have been turning heads in the underground for a several years now, but didn’t actually connect with each other until “Looking Back” off the latter’s Embrace the Darkness II: Explorers of Experience produced by C-Lance. They teamed up on Kingdom of Criminality produced by Stu Bangas in 2021 & are back 4 years later with Johnny Slash producing the sequel.

“Rabbit & Elephant” opens Kingdom of Criminality II with a hardcore rap rock intro with some solemnly jazzy horns talking about their return as a duo whereas “VHS” takes the boom bap route instrumentally cautioning the apocalyptic vibes when the pistols come out. “Gore Hounds” makes a dope reference to the Prince of hip hop André 3000 making New Blue Sun a flute-heavy solo debut while “Circle of Goats II” featuring Lord Goat turns up the horrorcore influences all the way for a sequel to a standout on the predecessor.

Jarren Benton joins A.M. & Novatore on “Battleground” fuses orchestral & boom bap individually discussing the violent nature of all 3 of themselves & after “Hyenas” hooks up a soul sample likening themselves to assassins ready to take you out with snipers, “Twisted Metal” homages the video game franchise TV adaption with it’s upcoming 2nd season on the Comcast Corporation subsidiary NBCUniversal-owned peacock with the franchise’s mascot being played by Samoa Joe of the current AEW World Trios Champions The Opps.

“King of the Jungle” featuring Chubs angrily expresses the struggle each of them had to endure in their lives to get in the positions they’re at now while “Smurfs” obviously sounds grittier & cutthroat than the Paramount Skydance Corporation’s upcoming reboot of the franchise starring Rihanna later this summer. “Nocturnal Predators” finishes up the LP with the pair describing themselves as being those who come out during the night to attack their prey.

Looking back when I first got into these dudes individually around the same time period, Kingdom of Criminality II lives up to the expectations. I had set out for it in terms of being another great underground hip hop collab effort. It’s refreshing to hear their chemistry still flowing tightly as it did 4 years previously & Johnny Slash’s production style seamlessly compliments Stu Bangas’ on the predecessor when we had originally entered the Kingdom of Criminality.

Score: 4.5/5

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Vader – “Humanihility” review

Vader is a death metal band from Olszytn, Poland consisting of original rhythm guitarist Mauser, backup rhythm guitarist Spider, bassist Hal, drummer Michał Andrzejczyk & frontman Peter. Beginning as a more traditional heavy metal group until moving on to thrash as well as speed & finally the death metal style they’ve become known for today, their first couple albums The Ultimate Incantation & De Profundis would become the most beloved entries in their discography. MNRK Music Group signed them for Black to the Blind & joined Metal Blade Records in a 3-album deal: Litany, Revelations & The Beast. Since 2009 however, they’ve been making theirselves at home with Nuclear Blast Records by putting out their last 5 LPs Necropolis, Welcome to the Morbid Reich, Tibi et Igni, The Empire & Solitude in Madness in addition to their last 3 EPs Go to Hell!!!, Iron Times & Thy Messenger on the label. Almost 5 years since Solitude in Madness, they’re reuniting for their 9th EP & the 9th project overall since the Nuclear Blast deal.

“Genocide Designed” was a tight deathened thrash metal intro singing about being a parasitic humanoid & rotten thoughts born in the deepest pits of Hell whereas “Rampage” works in more blistering tempos, technically palm-muted riffs & rapidly shredding solos describing an eternal war. “Unbending” sends off the EP with a death metal single calling to be respected for the soul he’s become even if it’s a surrealistic plea from his perspective

For only being 3 songs & 9 minutes at length, Humanihility’s viciously old school thrash metal direction contains enough ferocity to match the traditionally neck-breaking tempos Vader has become known for in the last 4 decades. It has a more personal style to it than Solitude of Madness, fusing the death metal sound they’ve become known for in over 3 decades & mixing elements of thrash along the way to hold off fans whenever their 13th album comes.

Score: 3.5/5

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