From the opening seconds of Speak for the Dead, it’s immediately clear this album was not made to comfort, flatter, or politely coexist. This is a record that lunges at you with boots first, dragging the grit of Santa Rosa’s gutters straight into your ears. Formed in 2024 by Jordie Hilley and Clay Prieto—both veterans of California’s Oi! and hardcore scenes—and completed by the ferocious vocal presence of Eric Lundgren and the razor-sharp guitar work of Nick Parker, Speak for the Dead arrives fully formed, furious, and unapologetic. Their self-titled debut album is a volatile collision of black metal, death metal, hardcore punk, and street rock ’n’ roll, channelling the raw spirit of Discharge, Inepsy, Power Trip, and Motörhead without ever sounding like a museum piece. This is not nostalgia worship, but a resurrection with teeth.
The album opens with “Whatever It Takes….”, a statement of intent delivered at breakneck speed. The track doesn’t ease you in—it detonates. Drums blast with militaristic precision, guitars tear through the mix like rusted blades, and Lundgren’s vocals sound like they’re clawing their way out of a burning building. There’s a sense of urgency here that defines the album as a whole: this band sounds like they have something to say and no patience to say it politely. That urgency carries straight into “The World We Know,” which expands the sonic palette slightly while maintaining the same scorched-earth aggression. The riffs feel heavier, more deliberate, and the lyrics bite with a nihilistic clarity that reflects a world unravelling at the seams.
“Fighting In The Pit” and “Rearview Riot” are where Speak for the Dead’s hardcore punk DNA really shines through. These tracks feel tailor-made for sweat-soaked floors and flying bodies, fueled by gang-chant energy and riffs that demand movement. “Rearview Riot” in particular is a standout, balancing speed and groove with a sense of chaos that feels barely contained. Nick Parker’s guitar work here is especially notable—his playing is sharp, frantic, and instinctive, never indulging in technical excess but always landing exactly where it needs to. This is music written for impact, not indulgence, and it thrives on that discipline.
Midway through the album, “Headwound” and “Take Back the Streets” deepen the record’s sense of menace and purpose. “Headwound” slows the pace just enough to let the weight sink in, its crushing riffs and suffocating atmosphere flirting with death metal’s darker edges. The song feels claustrophobic in the best way, like being trapped in a room with the walls closing in. “Take Back the Streets,” on the other hand, is pure defiance—a rallying cry rooted in punk tradition but delivered with a metallic punch. It’s here that Speak for the Dead’s identity becomes clearest: this is street music sharpened into a weapon, music that belongs to people who’ve lived it rather than imagined it.
“Lights Out” marks a subtle but important shift in the album’s trajectory. While still aggressive and raw, the track leans more heavily into rock ’n’ roll swagger, invoking Motörhead’s immortal influence without slipping into imitation. There’s a looseness here that feels intentional, a reminder that heaviness doesn’t always come from speed or brutality alone. The groove hits harder because it breathes, and the band sounds confident enough to let the song ride its own momentum. This willingness to break away from strict genre rules is one of the album’s greatest strengths, proving that Speak for the Dead are thinking beyond formulas.
The darkness deepens again with “Dread” and “Eternal Night,” two tracks that push further into blackened territory. “Dread” is tense and foreboding, built on riffs that feel cold and hostile, while the rhythm section locks into a relentless churn. “Eternal Night” lives up to its name, dripping with atmosphere and dread, its melodies haunting without becoming ornate. Eric Lundgren’s vocal performance across these tracks is particularly commanding—he inhabits the songs, sounding equally capable of summoning rage, despair, and grim resolve. There’s an authenticity here that can’t be faked, a sense that these emotions are lived rather than performed.
As the album approaches its conclusion, the cumulative effect of its intensity becomes clear. This is not a collection of disconnected tracks, but a cohesive statement built on shared values: resistance, survival, and raw expression. Each song feeds into the next, creating a feeling of momentum that never truly lets up. Even in its slower or more groove-driven moments, Speak for the Dead maintains a sense of danger, as if the band could erupt back into chaos at any moment. That tension keeps the listener locked in, waiting for the next blow.
The title track, “Speak for the Dead,” serves as a fitting finale and mission statement. It brings together all the album’s elements—punk urgency, metal weight, rock ’n’ roll grit—into one final surge of controlled violence. The song feels anthemic without being polished, heavy without being bloated. Lyrically and emotionally, it resonates as a call to give voice to those crushed or forgotten, aligning perfectly with the band’s name and ethos. It closes the album not with resolution, but with a challenge, leaving the listener energised rather than exhausted.
What makes Speak for the Dead stand out in an overcrowded heavy music landscape is its balance of familiarity and ferocity. Yes, you can hear the echoes of Discharge’s d-beat fury, Power Trip’s crossover muscle, and Motörhead’s eternal swagger—but these influences are tools, not crutches. The band uses them to build something that feels urgent and alive in the present moment. There’s no sense of trend-chasing or retro cosplay here, only a deep respect for the roots of heavy music and a desire to push it forward on their own terms.
In the end, Speak for the Dead is a debut that hits like a brick to the teeth and lingers like smoke in your lungs. It’s loud, filthy, fast, and unapologetically human—music made by people who understand that real power comes from honesty and conviction, not perfection. Whether you come from punk, metal, or straight-up rock ’n’ roll, this album has something that will resonate deep in your bones. Speak for the Dead aren’t asking for permission, and they’re certainly not waiting their turn. They’ve arrived swinging, and the underground is better—and louder—for it.
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