Despite the fact that they formed in 2012, Nukem exude classic thrash, blurring Bay Area melody with East Coast grit and gang vocals. Influences from Death Angel, Nuclear Assault and Overkill punctuate the twelve tracks of The Grave Remains, although flashes of a dozen other bands run through the veins of Nukem. Guitarist/singer Steve Brogden’s growls remind me of John Kevill of Warbringer mixed with a more pissed-off Mark Osegueda, delivering jagged crossover barks with conviction. Rob Cavestany even makes a guest appearance on “Into the Kill Zone”, cementing the Death Angel frame of reference.
Exodus’ main singers, Gary Holt and Lee Altus, also play a few riffs on “Empress of Evil” and “Don’t Believe a Word” respectively, the latter of which is a Thin Lizzy cover. All in all, Nukem combine a host of inspirations into a contribution of so many thrash sources that they collapse into a voice at once familiar and distinct.
Nukem play infectiously fun thrash that overflows with vocals and a bass tone so rich and full that it quickly became my favorite aspect of The Grave Remains. Brogden’s guitars flutter, sizzle and coax throughout the forty-nine minutes, yet bassist Don Lauder steals the spotlight again and again. From the insidious hum on “Unconditional Surrender” to the coy interplay on “Empress of Evil”, Lauder’s bass bounces and parades with glee in the low frequencies. “Torture, Murder, Mutilate!” and “Random Acts of Violence” further emphasize the bass while highlighting Nukem’s six-string assault, with Xander Gambini reinforcing Brogden’s core. What’s more, former Nukem guitarist (and current Dark Angel guitarist), Laura Christine, joins her former bandmates and Gary Holt on “Empress of Evil”, while “Random Acts of Violence” features Russ Tippins (Satan and Tanith). Drummer Norm Leggio rounds out the rhythm section, deftly playing rolls, fills and tight grooves, supporting Nukem’s well-crafted performances.
Nukem execute thrash with the fierce vitality of a hungry up-and-comer, but a few missteps cap The Grave Remains’ ceiling. While the riffs are good when experienced individually, taken together they often lack the intensity or memorable quality to stand apart from one another. The Grave Remains shines most during the bass and the rousing choruses, but those two alone can’t carry an entire thrash album. This issue wouldn’t be so glaring if the track lengths were trimmed, but as they stand, only two songs (aside from the superfluous instrumental tracks) stay under the four-minute mark, and one of those is a cover. Repeated spins strengthen the case for cutting thirty to sixty seconds from many tracks, which would help bolster The Grave Remains and leave listeners craving MOAR. On a positive note, the production shines with a balanced mix that gives every instrument plenty of room, and Nukem’s fervent embrace of headbanging guarantees I’ll never have a bad time.
Ultimately, Nukem deliver a classic thrash with a few flaws I can see, but easily look past. The Grave Remains won’t change the genre’s landscape, but fans will find plenty to enjoy, and despite the melting pot of references, Nukem manage to claim their place in the thrash wing of the metal sphere. Songs like “Unconditional Surrender” and “Curse of the Devil’s Bible” are welcome ears that have found a home in my playlists, and I look forward to the next time Nukem ask us to come get some.
Rating: Good
DR: 8 | Format reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Releases on Facebook worldwide: April 10, 2026
