Review by Felix on March 31, 2026.

Root vegetables like radishes or carrots thrive particularly well in the shade. This is what they have in common with Zerre, a band that has grown somewhere in the backyard, far away from my metal radar, although they are Germans like me. “Rotting On A Golden Throne” is already their fourth full-length (the promo speaks of the second album, maybe due to a change in style?) and it makes me fear that I missed three good albums in the past. Having said this, it feels all the better to have jumped on the bandwagon now. Maybe the guy on the throne is rotting, but everything else is vital, energetic, and impressive. Zerre celebrate a mix of 87% thrash and 13% hardcore – or is the mixture 88% to 12%? I don’t know, but what I realise is that these shadow creatures like albums like “Finished With The Dogs”. In other words, they have very good taste. Some parts of the album, for example, the verses of 'Mental Vacation', probably possess the irresistible power to make Sabina Classen put on her leather outfit again. Holy Moses not only releases outstanding masterpieces, but their first works are truly a good point of reference. Moreover, the band also had on some outputs a pretty punky touch.

But Zerre are not fixated on a particular influence. Although the (male) voice builds another bridge to Holy Moses, the riffs are also inspired by legends like Exodus or Lääz Rockit. A track like 'Tin God' sounds pretty American and belongs to the highlights of the album, not only because of its precisely set background vocals. However, perhaps it is not fair to pick out single tracks, because already the stage-setting intro with the original title 'Intro' weaves a subtle, suspenseful narrative, and the first regular track kicks, punches, and spits in all directions. Its finding and title, 'Pigs Will Be Pigs,' is difficult to refute, but this is not the only reason why it is hard to resist this song. But as I said, all tracks shine with a rousing effect. Without exception, they are cleverly arranged. It clearly pays off that four guys of the quintet have been involved in the song-writing process. No riff is played half-heartedly; they work excellently and make the album appear as a sonic equivalent of an energy drink. Honestly speaking, I wish the new Exodus could compete with Zerre in terms of energetic destruction – but they can’t, and this is not only the guilt of their lead vocalist, this Billy Milano of our present times.

Deficiencies? Not really. The guys offer the perfect average (high) velocity, the production gives even the bass guitar a worthy sound, which enriches the entire technical implementation. Moreover, Zerre sound modern, but they also know each and every classroom of the old school of thrash. A pretty melodic solo every now and then (for example, in the title track) does not sand down the rough edges of the material. The barking and shouting of the lead vocalist and his quite present supporters in the background alone prevent that. So you’d have to look very hard to find anything negative. I see no sense in the outro of the title track, which has no connection to the main parts of the song, but I guess there are bigger problems on earth.

The punk / hardcore roots not only shimmer through the compositions, but they are also mirrored in some lyrics. Lines like “right-wing destruction” or “call me a leftist fool” make clear that these guys know where they stand politically. A clear position is the privilege of youth; the shades of grey grow over the years. Just like radishes in the shadow, but “Rotting On A Golden Throne” tastes much better than this vegetable. Just like the latest works of Teutonic Slaughter or Ravager, it enriches the pulsating thrash scene of Germany in an unexpected and outstanding manner. So here I sit, deeply impressed, while the straight and hyper-furious closer 'No Alibi' leaves a final trace of devastation. “Rotting On A Golden Throne” is a must-have for any thrasher with a modicum of self-respect. Don’t believe me? Listen to the first ten seconds of 'Deception Of The Weak' with its titanic riff at the beginning, and you will be convinced immediately.

Rating: 9.3 out of 10

Review by Elijah on January 16, 2020.

Just like the review I did for A Blood Clot Ejaculation, pretty much everything is the same on this record too. Clean production, good songwriting, a deep and heavy feel, slams galore, etc. etc. Just another good release that's as great as the band's first album.

There's nothing much to say at all, as this is a carbon copy of the last album, just with different songs. This time the lineup is listed with an actual drummer, but it still has a drum programming area listed, so I don't know whether any actual drums are being played here, so whatever, doesn't matter. Pretty much the only difference is that this album has more slams. The last album had more of a faster feel, but Deformity of Human Consciousness is more slammy. It has more slam riffs than the last album, and more songs open up with pure slams.

Compared to the band's previous debut, this album features some slower stuff and obviously more slams. Almost every single song on this album opens up with a slam riff, or a slam riff over some drums, and they're slow and perfect. This album is also more experimental and random as well. They throw in some traditional Chinese stuff in there, the vocals are slightly more expansive, and they just do what they want here with stuff. On the last album it was just song after song focusing more on the actual music rather than experimentation and randomness, which this album tends to focus on more.

Some other differences/new things are the Korn cover they did of 'Faget', it's cool and interesting. Not bad at all for a slam cover of a nu metal song. It sounds just like the original song but with heavier drums and slam vocals. The other thing is the poppy-electronic song on here; 'Electric Shock (Remix)'. I don't know where this one came from, but it isn't bad at all. It's just riffing with an electronic beat backing it up, it isn't bad like some people think it'd be, it's actually pretty cool, I enjoy it.

This album is just as great and awesome as the last one. There's not really much difference except for what I already said above, but that doesn't matter, it doesn't affect the album from being generally good, not at all.

So yeah, just another awesome album by this band. There's subtle to no changes in comparison to the band's debut. Just another good ass record by this band.

Rating: 10 out of 10

Review by Elijah on January 16, 2020.

Just like the review I did for A Blood Clot Ejaculation, pretty much everything is the same on this record too. Clean production, good songwriting, a deep and heavy feel, slams galore, etc. etc. Just another good release that's as great as the band's first album.

There's nothing much to say at all, as this is a carbon copy of the last album, just with different songs. This time the lineup is listed with an actual drummer, but it still has a drum programming area listed, so I don't know whether any actual drums are being played here, so whatever, doesn't matter. Pretty much the only difference is that this album has more slams. The last album had more of a faster feel, but Deformity of Human Consciousness is more slammy. It has more slam riffs than the last album, and more songs open up with pure slams.

Compared to the band's previous debut, this album features some slower stuff and obviously more slams. Almost every single song on this album opens up with a slam riff, or a slam riff over some drums, and they're slow and perfect. This album is also more experimental and random as well. They throw in some traditional Chinese stuff in there, the vocals are slightly more expansive, and they just do what they want here with stuff. On the last album it was just song after song focusing more on the actual music rather than experimentation and randomness, which this album tends to focus on more.

Some other differences/new things are the Korn cover they did of 'Faget', it's cool and interesting. Not bad at all for a slam cover of a nu metal song. It sounds just like the original song but with heavier drums and slam vocals. The other thing is the poppy-electronic song on here; 'Electric Shock (Remix)'. I don't know where this one came from, but it isn't bad at all. It's just riffing with an electronic beat backing it up, it isn't bad like some people think it'd be, it's actually pretty cool, I enjoy it.

This album is just as great and awesome as the last one. There's not really much difference except for what I already said above, but that doesn't matter, it doesn't affect the album from being generally good, not at all.

So yeah, just another awesome album by this band. There's subtle to no changes in comparison to the band's debut. Just another good ass record by this band.

Rating: 10 out of 10