With their weapons reloaded, Warbringer have emerged from the trenches after a five-year absence with the release of Wrath and Ruin. Rather than talking about warfare as they did last time around, they’ve dipped their toes into themes of class, power, techno-feudalism, socioeconomics and modern dystopia. The album cover perfectly sums up singer John Kevill’s description, depicting an ivory tower looming above the suffering below, in what could also be interpreted as a subtle nod to Orwell’s 1984.

‘The Sword and the Cross’ couldn’t be a more sinister opener. The intro, consisting of Carlos Cruz’s pounding drum fills, Chase Bryant’s bass tone and the guitar chugging of Adam Carroll and Chase Becker is like watching The Undertaker roll his eyes backwards after delivering a Tombstone Piledriver. Only then does it give way to a nuclear assault of music as John Kevill unleashes his intimidating screams while everyone else joins in the fun, whether it be blast beats or aggressive picking. As usual, there has to be a breakdown followed by a solo at some point to create even more tension.

Unlike most political thrash bands that scream and shout like protesters looking to tear down the establishment, Warbringer go much deeper and more philosophical, and that’s what makes them stand out. John Kevill’s intelligence and history background are seriously impressive when it comes to songwriting. You really have to pay close attention to what’s being said because once you’ve done that and absorbed the music, it all starts to make sense. In this instance, the song explores how rulers cement their power through violence (the sword) and religion (the cross). Apply that to today’s world and the concept remains largely the same, only the weapons and methods have changed.

‘A Better World’ is a fearless shot at the failures of humanity as Warbringer rub it in that a so-called ‘better world’ is nothing more than a dream. John himself admitted that when he was younger, he believed things would be better in the future, but reality never corresponded. With the way planet Earth is headed, there’s perhaps no better way to translate such feelings of pessimism than to scream your lungs out. John doesn’t just have a sick presence live; he can do it in the studio as well. When he said this would be a darker album, he wasn’t wrong. His agonising screams of desperation as the world around us falls apart propel that message forward, as if he’s begging people to take a hard look at themselves and actually strive for a healthier future.

While it’s easy to focus on the vocals alone, the rest of the band all play their part in making ‘A Better World’ the ultimate neckbreaker. Chase and Adam deserve credit for the drop D tuning because not only does it hit hard, but it also matches the bleak, dystopian atmosphere the song evokes. As for the solos between the pair, there are plenty of shades of Black Dahlia with delightful shredding. Carlos delivers his trademark fills around that huge kit of his before returning to the all-too-familiar blast beats that have become a hallmark of Warbringer’s sound.

‘Neuromancer’ is where things start to get interesting. It may only be three tracks in, but Warbringer are determined to keep listeners engaged. They aren’t afraid to take risks by dropping the tempo and diving into death metal territory. You can hear plenty of Death’s ‘Crystal Mountain’ and ‘Symbolic’ in the mid-paced chugging riffs, fills, tempo changes and John’s lower vocal register, which is reminiscent of both Obituary’s John Tardy and Death’s Chuck Schuldiner.

Unfortunately, thrash is one of those subgenres that has struggled to reinvent itself over time. However, Warbringer somehow manages to avoid sounding like just another generic 2000s thrash revival band. They find ways to keep things fresh rather than slipping into autopilot to the point where you’ve switched off less than a third of the way through an album or show. You can come away from a listening session and happily return for another round without ever feeling like you’re suffering from overkill.

‘Through a Glass, Darkly’ marks another twist in this epic story as the Californian group encourages deeper thinking not just through the lyrics, but through the music itself. John’s whispers at the start, combined with haunted melodies that feel like a black-and-white video of an abandoned church, can send shivers down your spine. Notice how this time his screams shift towards something more psychotic and horror-inspired, while you picture yourself staring at a doomsday egg timer. Carlos’ stomping grooves at a walking pace also feel suitably eerie, showing just how cleverly he adapts to the atmosphere around him.

The song is named after a poem by George Patton, written in 1922, about a warrior who believed he would eternally reincarnate through every battle he fought. John Kevill being John Kevill couldn’t pass up the opportunity to draw inspiration from such a fascinating piece and, as mentioned before, his historical knowledge once again manifests itself beautifully. Like every soldier on the front line, the trauma of watching your comrades die leaves scars for life and while weapons and technology may change, humanity’s desire for conflict never does.

‘Strike from the Sky’ provides a bit of respite with the band bringing things back to a more traditional thrash feel. However, it isn’t long before they pull another rabbit out of the hat with ‘Cage of Air’. Warbringer sees no limits to how far they want to push listeners towards insanity as they venture into prog. Carlos jumps in and out of double and half-time blast beats like a footballer performing stepovers, while we get to hear black metal-inspired riffs for the first time on the album. Meanwhile, John is once again at the forefront, stretching the upper end of his vocal range with piercing high-pitched screams. Not to mention the addition of some chilling whispers, which accurately mirror the song’s themes of mental anguish, where you think you’ve escaped hell only to be dragged straight back once your hopes are confronted by reality.

‘The Last of My Kind’ wraps up Wrath and Ruin with a message of “staying true to yourself and never giving in,” as John puts it. For those who are still optimistic after so much bleakness, you’ve got your reward. Carlos Cruz gives the album the ultimate send-off by going on another mad one behind the kit. From blast beats to slower grooves and pre-solo breakdowns, his technique stands out among many drummers striving to reach that level of perfection. Adam and Chase also give their all, delivering increasingly brutal riffs and solos in what could be one of the best thrash guitar duos of recent times. John, meanwhile, needs no further introduction. His intelligent lyrics and talent behind the mic join forces like soulmates who found love at first sight.

Consistency has been Warbringer’s secret weapon since their formation, and it’s revealed itself once again here. They’ve refused to sound like just another generic band, pushing the subgenre out of a comfort zone that hasn’t been challenged for decades. As for the lyrics, forget going through ultra-complicated books when you’ve got John Kevill, who can enlighten you in a matter of minutes. The world is about more than clashing with police and shouting through megaphones. Should you be interested in listening to disc two, which consists of live tracks from the band’s ‘Ravaging Europe’ tour in 2023, check it out. As someone who personally attended one of those shows in Manchester, I can confidently say these are ones you wouldn’t want to miss.

Wrath and Ruin was released on March 14 2025 via Napalm Records