▶️Toxic Holocaust An Overdose Of Death Review◀️

▶️Toxic Holocaust An Overdose Of Death Review◀️

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4:58 Album Review/Track Preview/Rating
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💥Toxic Holocaust An Overdose Of Death Review💥
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Welcome to album review Tuesdays here on the channel! So tonight I am doing another subscriber request and this one comes courtesy of user “Luke17” and he has asked me to review Toxic Holocaust-An Overdose of Death which I am very excited for. Toxic Holocaust are a thrash/speed/black metal band with some punk thrown in for good measure.

I mean shit dude how do you get any better than that when it comes to the ingredients of your music. This is something we don’t see in metal too often anymore. Toxic Holocaust are one of those bands who fucking do it right as well. They aren’t some trendy dickriding garbage that’s trying to “cater” to a specific crowd. No, this is a band hell-bent on delivering, Art, Creativity, passion and meaning in their music and it’s very fuckin apparent on “An Overdose Of Death”
Alright so before we get into the review let me give you guys some background on Toxic Holocaust.

A punitive thrash metal project influenced by hardcore punk, west coast hard rock, and proto-death metal bands of the '80s such as Discharge, Hellhammer, and Venom, Toxic Holocaust is largely a one-man operation run by Oregon native Joel Grind. Emerging in the late '90s, the project eventually expanded into a live entity, and by 2020 the group had issued six well-received full-length albums and multiple EPs.

Evil Never DiesGrind founded the band in 1999 in the city of Portland. Writing and recording all of the group's music himself, he issued a pair of demos (1999's Radiation Sickness and 2002's Critical Mass) before unleashing the project's first full-length effort, Evil Never Dies, in 2003.
The group's burgeoning popularity in the metal underground prompted Grind to take the enterprise out of the studio and onto the stage, so he hired a backing band and hit the road. However, the expanded version of Toxic Holocaust would not make its way into the studio for album number two. 2005's Hell on Earth once again saw Grind assume all duties, but he did manage to enlist renowned heavy metal artist Ed Repka (Megadeth, Death, etc.) to design the cover.

Extensive touring followed, along with a recording contract with America's premier death metal label, Relapse Records. In addition to releasing the third Toxic Holocaust album, An Overdose of Death... (2008), Relapse reissued Evil Never Dies and Hell on Earth. The Gravelord EP arrived in 2009, followed in 2011 by the full-length Conjure and Command, which was the first Toxic Holocaust release to feature a full band, with Grind joined by bass player Phil Zeller and drummer Nick Bellmore.

That same crew stayed aboard for 2013's Chemistry of Consciousness, but Grind would return to the one-man-band setup for 2019's dystopian technological takeover-themed Primal Future: 2019. How fitting is that? So many metal bands making art about this technocracy attempt at enslavement and communism…. NEW WORLD ORDER anyone? Yeah, this is one of the main fucking reasons I love metal and why I only listen to metal that has a real meaning and purpose behind its art, direction, creativity and expression!

Opening this album is the song “Wild Dogs” and this is a sonic attack of thrash/black/hardcore punk and it has some incredible thrash meets punk riffing with those black metal type rasps thrown in the mix. But it also has some tinges of black metal in the riffs as well which I really appreciate.

The song is very well structured and dynamic which gives the music a really awesome atmosphere and powerful feeling throughout as well. Vocals are full of passion, conviction and thought provoking subject matter and you can certainly tell that this is one of those bands that’s doing metal because they’re feeling every ounce of it. Perfect headbanging thrash opener here guys.

Next up we have Nuke The Cross which opens with some really fast tempo drumming and some black/thrash metal riffing which reminds me a lot of darkthrone in a lot of ways but it’s like Darkthrone meets Kreator and the marriage of the 2 riffing styles is absolutely perfect for the music at hand here. Drums are played with precision and purpose here and it adds to the music’s intensity very effectively.