Review by Felix on April 20, 2026.

Courage, this is the word that comes to my mind when I am listening to Deathgeist's fourth album "Underworld". Despite a fortunately stable line-up, the Brazilians have decided to present a change in style. Not a radical one, but after three albums of pure thrash metal, "Underworld" also tackles new metallic regions. The first significant change is the throttled velocity. The average speed is somewhere between mid- and up-tempo. Relentlessly advancing fast-paced sections do not leave their footprint on the album. Songs like the pretty dragging (but not bad) "Mind Games" or the similarly designed closer "Skinwalker" with its meditative ending add a different approach to the album. "Last Memories" reaches the pinnacle of otherness. Despite its crispy solo, it can be labelled as a melancholic semi-ballad. Anyway, do not skip it, because it is never kitschy, but rather thoughtful and pretty adult.

This form of musical and surely mental maturity unites all songs and lends the album an overarching homogeneity. "The Kraken's Wrath" features all elements of the "new" Deathgeist. It is very heavy during the verses, it boasts with dynamic in the chorus and it surprises with a mild intermezzo. Again, I do not speak about a drastic re-orientation, but the increased proportion of relatively traditional metal sequences gives the band – and the listener – new perspectives. "U.F.O Inc." shows that the band feels well in its new stylistic region. Otherwise it would not be possible to write such a strong piece. It is definitely no typical thrasher which intends to break all your bones, but its very robust riff and the intense beginning with the support of the flickering keyboards make a lot of fun. And I may not forget that there are still a few pure thrash metal pieces, especially "Destination: Dust" and "When Darkness Falls". It goes without saying that both are highly recommendable and the latter seems like a furious reaction to the gentler tones of the semi-ballad.

But I have not mentioned the best single component of the album yet. Those who guess I want to speak about the production right now, I must disappoint you. Not because the mix is bad. Those who listen to "Underworld" will appreciate its powerful, harsh yet clear sound. It bestows the material a natural aggressiveness and contributes to the positive impact of the album. However, the best part of the package is the opening title track. You have always high expectations when it comes to the opener? And you are of the opinion that a title track has to have something special? Well, "Underworld" (the song) jumps over the very high bar with ease. This excellent number is blessed with an outstanding guitar introduction which is a wake-up call, fanfare and riff all in one. Straight, energetic and speedy parts follow. They herald the glory of thrash in an awesome manner and it is absolutely amazing to experience how this track brings depth, velocity and vigour together. "Into The Darkwoods" starts with a quite hymnal riff as well, but this song (as well as any others) cannot challenge the overwhelming opener.

That's it, 44 minutes go by far too quickly. I show respect. Deathgeist have broadened their portfolio without becoming untrue to themselves and they took this step out of their comfort zone without being forced to do so. Sometimes they still thrash, but sometimes they sound like the angrier brothers of Mystic Prophecy, if we forget that the voice of Adriano Perfetto is less voluminous than the one of Roberto Liapakis. But Adriano has its own style as well and he does a good job – just like the entire band. "Underworld" is too good to fall on deaf ears and maybe some of you are well advised to give it a try.

Rating: 7.8 out of 10

Review by Felix on April 20, 2026.

Courage, this is the word that comes to my mind when I am listening to Deathgeist's fourth album "Underworld". Despite a fortunately stable line-up, the Brazilians have decided to present a change in style. Not a radical one, but after three albums of pure thrash metal, "Underworld" also tackles new metallic regions. The first significant change is the throttled velocity. The average speed is somewhere between mid- and up-tempo. Relentlessly advancing fast-paced sections do not leave their footprint on the album. Songs like the pretty dragging (but not bad) "Mind Games" or the similarly designed closer "Skinwalker" with its meditative ending add a different approach to the album. "Last Memories" reaches the pinnacle of otherness. Despite its crispy solo, it can be labelled as a melancholic semi-ballad. Anyway, do not skip it, because it is never kitschy, but rather thoughtful and pretty adult.

This form of musical and surely mental maturity unites all songs and lends the album an overarching homogeneity. "The Kraken's Wrath" features all elements of the "new" Deathgeist. It is very heavy during the verses, it boasts with dynamic in the chorus and it surprises with a mild intermezzo. Again, I do not speak about a drastic re-orientation, but the increased proportion of relatively traditional metal sequences gives the band – and the listener – new perspectives. "U.F.O Inc." shows that the band feels well in its new stylistic region. Otherwise it would not be possible to write such a strong piece. It is definitely no typical thrasher which intends to break all your bones, but its very robust riff and the intense beginning with the support of the flickering keyboards make a lot of fun. And I may not forget that there are still a few pure thrash metal pieces, especially "Destination: Dust" and "When Darkness Falls". It goes without saying that both are highly recommendable and the latter seems like a furious reaction to the gentler tones of the semi-ballad.

But I have not mentioned the best single component of the album yet. Those who guess I want to speak about the production right now, I must disappoint you. Not because the mix is bad. Those who listen to "Underworld" will appreciate its powerful, harsh yet clear sound. It bestows the material a natural aggressiveness and contributes to the positive impact of the album. However, the best part of the package is the opening title track. You have always high expectations when it comes to the opener? And you are of the opinion that a title track has to have something special? Well, "Underworld" (the song) jumps over the very high bar with ease. This excellent number is blessed with an outstanding guitar introduction which is a wake-up call, fanfare and riff all in one. Straight, energetic and speedy parts follow. They herald the glory of thrash in an awesome manner and it is absolutely amazing to experience how this track brings depth, velocity and vigour together. "Into The Darkwoods" starts with a quite hymnal riff as well, but this song (as well as any others) cannot challenge the overwhelming opener.

That's it, 44 minutes go by far too quickly. I show respect. Deathgeist have broadened their portfolio without becoming untrue to themselves and they took this step out of their comfort zone without being forced to do so. Sometimes they still thrash, but sometimes they sound like the angrier brothers of Mystic Prophecy, if we forget that the voice of Adriano Perfetto is less voluminous than the one of Roberto Liapakis. But Adriano has its own style as well and he does a good job – just like the entire band. "Underworld" is too good to fall on deaf ears and maybe some of you are well advised to give it a try.

Rating: 7.8 out of 10

Review by Alexi on November 29, 2004.

Not only has Lamb of God again reinvented themselves, they have also crafted one of the most revolutionary “American Metal” records. Over the last few years, Lamb of God has been categorized with Cleveland’s Chimaira and Boston’s Killswitch Engage in the New Wave of American Metal movement. On Ashes of the Wake, Lamb of God have shown that they are far more musically mature then their contemporaries, and have the ability to make amazing music accessible to all headbangers. The album combines many styles of metal to form one cohesive, unique breed.

Two main forms heavily influence Ashes of the Wake. The first, a European influence from Sweden – At The Gates. You can also hear hints of modern Swede thrash bands such as The Crown, The Haunted and The Forsaken on this record.

The second, an American influence, comes primarily to compliment the aforementioned counterpart. One can hear the power of Pantera and the aggression of Slayer. The hyper speed of the Swedish sound is slowed down, creating a unique sound when drums are added. Riff building is also becoming very popular in American metal, and Lamb of God has embraced this idea on the record. The opening track, “Laid to Rest,” is a perfect example of the two styles of music merged. This fusion is the most evident and exciting feature of this album.

The musicianship on Ashes of the Wake clearly sets the band apart from other American releases this year. Drummer, Chris Adler (who at one point played bass for the band), accentuates the relentless guitar chops with his abilities behind the kit. Guitarists, Mark Morton and Will Adler do a great job writing an assortment of riffs and unrelenting gallops reminiscent of the bands thrashy roots, combining them together on each track and building excellent transitions. Vocalist Randy Blythe has shown a fair amount of growth since their last album, As the Palaces Burn. He is now able to scream comfortably both high and low, and is able to make great vocal transitions within a single song. Bassist John Campbell never disrupts the chemistry between the guitars and drums.

Ashes of the Wake is one of the best releases of this year, and for the first time, Lamb of God has a professionally-produced record. Standout tracks include, “Laid To Rest,” the heavily-Slayer influenced, “Blood of the Scribe” and the final track, “Remorse is for the Dead,” which features Chris Poland (Megadeth) and Alex Skolnik (ex-Testament) on lead guitars.

If you wish to hear a new wave of music and be part of a metal revolution that will go down in history, get off your ass and buy Ashes of the Wake.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 7
Production: 8
Originality: 9
Overall: 8

Rating: 8 out of 10

Review by Felix on April 20, 2026.

Courage, this is the word that comes to my mind when I am listening to Deathgeist's fourth album "Underworld". Despite a fortunately stable line-up, the Brazilians have decided to present a change in style. Not a radical one, but after three albums of pure thrash metal, "Underworld" also tackles new metallic regions. The first significant change is the throttled velocity. The average speed is somewhere between mid- and up-tempo. Relentlessly advancing fast-paced sections do not leave their footprint on the album. Songs like the pretty dragging (but not bad) "Mind Games" or the similarly designed closer "Skinwalker" with its meditative ending add a different approach to the album. "Last Memories" reaches the pinnacle of otherness. Despite its crispy solo, it can be labelled as a melancholic semi-ballad. Anyway, do not skip it, because it is never kitschy, but rather thoughtful and pretty adult.

This form of musical and surely mental maturity unites all songs and lends the album an overarching homogeneity. "The Kraken's Wrath" features all elements of the "new" Deathgeist. It is very heavy during the verses, it boasts with dynamic in the chorus and it surprises with a mild intermezzo. Again, I do not speak about a drastic re-orientation, but the increased proportion of relatively traditional metal sequences gives the band – and the listener – new perspectives. "U.F.O Inc." shows that the band feels well in its new stylistic region. Otherwise it would not be possible to write such a strong piece. It is definitely no typical thrasher which intends to break all your bones, but its very robust riff and the intense beginning with the support of the flickering keyboards make a lot of fun. And I may not forget that there are still a few pure thrash metal pieces, especially "Destination: Dust" and "When Darkness Falls". It goes without saying that both are highly recommendable and the latter seems like a furious reaction to the gentler tones of the semi-ballad.

But I have not mentioned the best single component of the album yet. Those who guess I want to speak about the production right now, I must disappoint you. Not because the mix is bad. Those who listen to "Underworld" will appreciate its powerful, harsh yet clear sound. It bestows the material a natural aggressiveness and contributes to the positive impact of the album. However, the best part of the package is the opening title track. You have always high expectations when it comes to the opener? And you are of the opinion that a title track has to have something special? Well, "Underworld" (the song) jumps over the very high bar with ease. This excellent number is blessed with an outstanding guitar introduction which is a wake-up call, fanfare and riff all in one. Straight, energetic and speedy parts follow. They herald the glory of thrash in an awesome manner and it is absolutely amazing to experience how this track brings depth, velocity and vigour together. "Into The Darkwoods" starts with a quite hymnal riff as well, but this song (as well as any others) cannot challenge the overwhelming opener.

That's it, 44 minutes go by far too quickly. I show respect. Deathgeist have broadened their portfolio without becoming untrue to themselves and they took this step out of their comfort zone without being forced to do so. Sometimes they still thrash, but sometimes they sound like the angrier brothers of Mystic Prophecy, if we forget that the voice of Adriano Perfetto is less voluminous than the one of Roberto Liapakis. But Adriano has its own style as well and he does a good job – just like the entire band. "Underworld" is too good to fall on deaf ears and maybe some of you are well advised to give it a try.

Rating: 7.8 out of 10

Review by Felix on April 20, 2026.

Courage, this is the word that comes to my mind when I am listening to Deathgeist's fourth album "Underworld". Despite a fortunately stable line-up, the Brazilians have decided to present a change in style. Not a radical one, but after three albums of pure thrash metal, "Underworld" also tackles new metallic regions. The first significant change is the throttled velocity. The average speed is somewhere between mid- and up-tempo. Relentlessly advancing fast-paced sections do not leave their footprint on the album. Songs like the pretty dragging (but not bad) "Mind Games" or the similarly designed closer "Skinwalker" with its meditative ending add a different approach to the album. "Last Memories" reaches the pinnacle of otherness. Despite its crispy solo, it can be labelled as a melancholic semi-ballad. Anyway, do not skip it, because it is never kitschy, but rather thoughtful and pretty adult.

This form of musical and surely mental maturity unites all songs and lends the album an overarching homogeneity. "The Kraken's Wrath" features all elements of the "new" Deathgeist. It is very heavy during the verses, it boasts with dynamic in the chorus and it surprises with a mild intermezzo. Again, I do not speak about a drastic re-orientation, but the increased proportion of relatively traditional metal sequences gives the band – and the listener – new perspectives. "U.F.O Inc." shows that the band feels well in its new stylistic region. Otherwise it would not be possible to write such a strong piece. It is definitely no typical thrasher which intends to break all your bones, but its very robust riff and the intense beginning with the support of the flickering keyboards make a lot of fun. And I may not forget that there are still a few pure thrash metal pieces, especially "Destination: Dust" and "When Darkness Falls". It goes without saying that both are highly recommendable and the latter seems like a furious reaction to the gentler tones of the semi-ballad.

But I have not mentioned the best single component of the album yet. Those who guess I want to speak about the production right now, I must disappoint you. Not because the mix is bad. Those who listen to "Underworld" will appreciate its powerful, harsh yet clear sound. It bestows the material a natural aggressiveness and contributes to the positive impact of the album. However, the best part of the package is the opening title track. You have always high expectations when it comes to the opener? And you are of the opinion that a title track has to have something special? Well, "Underworld" (the song) jumps over the very high bar with ease. This excellent number is blessed with an outstanding guitar introduction which is a wake-up call, fanfare and riff all in one. Straight, energetic and speedy parts follow. They herald the glory of thrash in an awesome manner and it is absolutely amazing to experience how this track brings depth, velocity and vigour together. "Into The Darkwoods" starts with a quite hymnal riff as well, but this song (as well as any others) cannot challenge the overwhelming opener.

That's it, 44 minutes go by far too quickly. I show respect. Deathgeist have broadened their portfolio without becoming untrue to themselves and they took this step out of their comfort zone without being forced to do so. Sometimes they still thrash, but sometimes they sound like the angrier brothers of Mystic Prophecy, if we forget that the voice of Adriano Perfetto is less voluminous than the one of Roberto Liapakis. But Adriano has its own style as well and he does a good job – just like the entire band. "Underworld" is too good to fall on deaf ears and maybe some of you are well advised to give it a try.

Rating: 7.8 out of 10

Review by Felix on April 20, 2026.

Courage, this is the word that comes to my mind when I am listening to Deathgeist's fourth album "Underworld". Despite a fortunately stable line-up, the Brazilians have decided to present a change in style. Not a radical one, but after three albums of pure thrash metal, "Underworld" also tackles new metallic regions. The first significant change is the throttled velocity. The average speed is somewhere between mid- and up-tempo. Relentlessly advancing fast-paced sections do not leave their footprint on the album. Songs like the pretty dragging (but not bad) "Mind Games" or the similarly designed closer "Skinwalker" with its meditative ending add a different approach to the album. "Last Memories" reaches the pinnacle of otherness. Despite its crispy solo, it can be labelled as a melancholic semi-ballad. Anyway, do not skip it, because it is never kitschy, but rather thoughtful and pretty adult.

This form of musical and surely mental maturity unites all songs and lends the album an overarching homogeneity. "The Kraken's Wrath" features all elements of the "new" Deathgeist. It is very heavy during the verses, it boasts with dynamic in the chorus and it surprises with a mild intermezzo. Again, I do not speak about a drastic re-orientation, but the increased proportion of relatively traditional metal sequences gives the band – and the listener – new perspectives. "U.F.O Inc." shows that the band feels well in its new stylistic region. Otherwise it would not be possible to write such a strong piece. It is definitely no typical thrasher which intends to break all your bones, but its very robust riff and the intense beginning with the support of the flickering keyboards make a lot of fun. And I may not forget that there are still a few pure thrash metal pieces, especially "Destination: Dust" and "When Darkness Falls". It goes without saying that both are highly recommendable and the latter seems like a furious reaction to the gentler tones of the semi-ballad.

But I have not mentioned the best single component of the album yet. Those who guess I want to speak about the production right now, I must disappoint you. Not because the mix is bad. Those who listen to "Underworld" will appreciate its powerful, harsh yet clear sound. It bestows the material a natural aggressiveness and contributes to the positive impact of the album. However, the best part of the package is the opening title track. You have always high expectations when it comes to the opener? And you are of the opinion that a title track has to have something special? Well, "Underworld" (the song) jumps over the very high bar with ease. This excellent number is blessed with an outstanding guitar introduction which is a wake-up call, fanfare and riff all in one. Straight, energetic and speedy parts follow. They herald the glory of thrash in an awesome manner and it is absolutely amazing to experience how this track brings depth, velocity and vigour together. "Into The Darkwoods" starts with a quite hymnal riff as well, but this song (as well as any others) cannot challenge the overwhelming opener.

That's it, 44 minutes go by far too quickly. I show respect. Deathgeist have broadened their portfolio without becoming untrue to themselves and they took this step out of their comfort zone without being forced to do so. Sometimes they still thrash, but sometimes they sound like the angrier brothers of Mystic Prophecy, if we forget that the voice of Adriano Perfetto is less voluminous than the one of Roberto Liapakis. But Adriano has its own style as well and he does a good job – just like the entire band. "Underworld" is too good to fall on deaf ears and maybe some of you are well advised to give it a try.

Rating: 7.8 out of 10

Review by Felix on April 20, 2026.

Courage, this is the word that comes to my mind when I am listening to Deathgeist's fourth album "Underworld". Despite a fortunately stable line-up, the Brazilians have decided to present a change in style. Not a radical one, but after three albums of pure thrash metal, "Underworld" also tackles new metallic regions. The first significant change is the throttled velocity. The average speed is somewhere between mid- and up-tempo. Relentlessly advancing fast-paced sections do not leave their footprint on the album. Songs like the pretty dragging (but not bad) "Mind Games" or the similarly designed closer "Skinwalker" with its meditative ending add a different approach to the album. "Last Memories" reaches the pinnacle of otherness. Despite its crispy solo, it can be labelled as a melancholic semi-ballad. Anyway, do not skip it, because it is never kitschy, but rather thoughtful and pretty adult.

This form of musical and surely mental maturity unites all songs and lends the album an overarching homogeneity. "The Kraken's Wrath" features all elements of the "new" Deathgeist. It is very heavy during the verses, it boasts with dynamic in the chorus and it surprises with a mild intermezzo. Again, I do not speak about a drastic re-orientation, but the increased proportion of relatively traditional metal sequences gives the band – and the listener – new perspectives. "U.F.O Inc." shows that the band feels well in its new stylistic region. Otherwise it would not be possible to write such a strong piece. It is definitely no typical thrasher which intends to break all your bones, but its very robust riff and the intense beginning with the support of the flickering keyboards make a lot of fun. And I may not forget that there are still a few pure thrash metal pieces, especially "Destination: Dust" and "When Darkness Falls". It goes without saying that both are highly recommendable and the latter seems like a furious reaction to the gentler tones of the semi-ballad.

But I have not mentioned the best single component of the album yet. Those who guess I want to speak about the production right now, I must disappoint you. Not because the mix is bad. Those who listen to "Underworld" will appreciate its powerful, harsh yet clear sound. It bestows the material a natural aggressiveness and contributes to the positive impact of the album. However, the best part of the package is the opening title track. You have always high expectations when it comes to the opener? And you are of the opinion that a title track has to have something special? Well, "Underworld" (the song) jumps over the very high bar with ease. This excellent number is blessed with an outstanding guitar introduction which is a wake-up call, fanfare and riff all in one. Straight, energetic and speedy parts follow. They herald the glory of thrash in an awesome manner and it is absolutely amazing to experience how this track brings depth, velocity and vigour together. "Into The Darkwoods" starts with a quite hymnal riff as well, but this song (as well as any others) cannot challenge the overwhelming opener.

That's it, 44 minutes go by far too quickly. I show respect. Deathgeist have broadened their portfolio without becoming untrue to themselves and they took this step out of their comfort zone without being forced to do so. Sometimes they still thrash, but sometimes they sound like the angrier brothers of Mystic Prophecy, if we forget that the voice of Adriano Perfetto is less voluminous than the one of Roberto Liapakis. But Adriano has its own style as well and he does a good job – just like the entire band. "Underworld" is too good to fall on deaf ears and maybe some of you are well advised to give it a try.

Rating: 7.8 out of 10