Review by Felix on December 27, 2022.

Sometimes it is just great to get back to the basics (“We want to drink beer”). Sometimes it cannot be generic enough (“We hate the society”). Sometimes lyrics are good, not because they are high-sophisticated, but they translate the music into words (“We want to be free”). In a nutshell, sometimes it is wonderful to listen to an album like In Punk We Thrash.

I admit that my first contact with the band via YouTube left an ambivalent impression. Music-wise, I liked their song, the title track, immediately. A great riff, a lot of energy and a primitive yet catchy chorus results exactly in what the song wants to be: a punk-influenced thrasher. But why was the singer, a kind of Mexican Mike Muir, waving a knife dummy around? Anyway, he was shouting words like “Mosh or die, pogo till death” while the lead guitarist looked like the grandson of Dee Dee Ramone. The more I listened the song, the more I enjoyed this straight neckbreaker and my inner voice told me I have to buy the album.

Now I am sitting here in my room and listen to the gold vinyl of In Punk We Thrash. This edition holds only twelve songs, M-A lists 13, 'Hasta El Infierno' is missing. Shit, but on the other hand: punk albums have to be short. And yes, there is more punk than thrash on this output. It’s not only the artwork, the pretty infantile painting on the back of the lyric sheet or the outfit of the musicians. The raw simplicity of songs like 'Hasta La Muerte' builds a bridge to bands like English Dogs (before they got lost where legend began…) or Broken Bones. Acidez do not know any kind of stop sign and so it is no surprise that 'Hasta La Muerte' is sandwiched by two equally straight and furious pieces, the instrumental intro (does this speedy opening send greetings to Nuclear Assault’s “L.S.D.”?) and the title track that scores with its irresistible drive. By the way, especially this song brings the high quality of the production to light. The bass guitar is a precious factor, everything is transparent but not sterile and no component lacks impact. Even in its wildest parts, for example during the dominant high speed sections of the friendly titled 'No Hay Perdón Al Enemigo', the production shines with clarity.

But does it make sense to highlight single songs? The entire A side is filled to the max with fantastic material. I am a little surprised by the lyrical excursion into black metal in 'Satanic Conspiracy', because the socio-critical lyrics are more fitting from my point of view. However, this is no big deal and you should not take my petty complaints too seriously. Of higher relevance is that the B side continues seamlessly from the previous material. 'El Punk Salvó Mi Vida' is another fast-paced soundtrack for the next mosh pit and, according to its title, it houses the most punk-like riffing of the album. Anyway, it’s not just the guitar work which makes this vinyl to such a superb release. Lead vocalist Tupa does not possess the most charismatic voice I have ever heard, but he expresses the necessary dose of anger, defiance and rebellion. So he qualifies for thrashing headbangers, nasty punk bombs and beery Motörhead worship ('Wasted On The Road', no highlight, but still okay).

Punk or thrash metal purists will probably moan about the here presented mix, but their narrow-mindedness is not the Mexicans' or my problem. Not only the villainous riffing of 'Anti-autoridad' is just too cool to be ignored and the bass guitarist gets insane one more time. I enjoy the connection of punk aesthetics with thrashing guitar sounds as well as the constantly high energy level of the dirty dozen of songs. And I am sure that 'Nos Quieren Controlar' has a real background, but the other side will never win as long as the alarming six strings of this song can be heard. Given this situation, I recommend the following: Drink beer! Hate society! Make party! Listen to In Punk We Thrash!

Rating: 8.7 out of 10

Review by Norbert on January 10, 2026.

Do you know any death metal bands from Argentina?
Well, neither do I.
[After further reflection, I don't know ANY bands from Argentina.]
And so I probably would have floated in blissful ignorance if it weren't for my neighbor, a tireless metal caver and propagator of such music, who pointed out one of the CDs from his underground death metal stall.
I listened.
And I was hooked.
And I'd like to share a bit of my immersion, but I'm a bit lacking in conceptual skills—because, after all, I didn't know ANY band from Argentina until a moment ago!
But for many years, I loved Argentine football. This was probably thanks to Tomasz Wołek—an outstanding journalist, columnist, and sports commentator, known for his colorful language, immense erudition, and passion for Latin American culture. As a commentator, he was unusual – he combined sports with culture, history, and politics. He often managed to talk about Latin American literature, dictators, or the poetry of Pablo Neruda during a match. Did Tomasz Wołek like death metal? I don't think so, but since I'm not only completely ignorant of Argentine death metal but also of Argentine music in general, I had the fun of trying to review a death metal album recorded by the hordes of the country: Alfredo Di Stéfano, Daniel Passarella, Gabriel Batistuta, Diego Maradona, and Lionel Messi (and hundreds of other fantastic footballers) through Tomasz Wołek's mouth.

¿Estamos?
Let's get started!

Stadium: Estadio del Infierno
Referee: Mors
Live broadcast: Radio Wawa (but that was from the early 90s) and Metal Sudamérica
Match: Ataudes vs. Tempus Edax Rerum
Commentators: Tomás "La Cueva" Wołek and Norberto "El Cráneo" Bawej
The first whistle blows! And already chills!

Dear listeners! Welcome to a thrilling clash between life and transience, where the Ataudes team takes to the pitch, determined to crush time and all illusions. From the very first note of the intro, 'Obertura,' we know this won't be a one-goal game—it'll be a fight for everything, without extra time, without mercy.
Attack from Deep - 'Maleficios, Conjuros & Lamentaciones'
Ataudes comes out wide—the guitars press, the drums shred the tempo like a classic defensive midfielder in the style of Javier Mascherano, and Cristian Viegas's vocals launch counterattacks from the depths of hell. Every riff is a strike from outside the penalty area, and the production? Clean as a referee after a bribe—you can hear everything! 'Lo Que Mora En El Subconsciente' - A Pass into the Darkness
This track is like Messi's raid through seven defenders of an existential void. The vocals are reminiscent of the cheers of fans who have lost hope, and the guitar solo... Madre mía, what a beautiful pass between worlds that was! Doom, black, death – all styles play here as one harmonious team, without losing the ball.

Confusion in the Penalty Area: 'La Desgracia'
We have a moment of hesitation! Time stops, but not the team. 'La Desgracia' is an own goal of reality – everything is falling apart, but it sounds incredible. The atmosphere is like an away game to Bolivia at midnight – stuffy, claustrophobic, yet heroic.

The final whistle – time is down 0-1

"Tempus Edax Rerum"  ends like a match after which the stadium falls silent in respect. This isn't a knockout victory; it's the surgical disintegration of existence. Ataudes walk off the pitch with their heads held high – they left their hearts, blood, and every imaginable pentagram on the pitch.

Dear radio listeners, if you haven't yet listened to "Tempus Edax Rerum" – the second album by the Atadeus horde, released last year, it's like watching the World Cup final without the sound – a real drama! Turn it on, brew some yerba mate, turn off the lights... and let yourself be drawn in. Time may devour everything, but no one will eat this album.
¡ATAUDES - CAMPEÓN DEL METAL DEL SUR!

PS. On a more serious note: "Tempus Edax Rerum" is a death metal memento mori of sorts, one that doesn't so much knock on the door as break it down with a blast. The band doesn't mince words – it's dark, heavy, and merciless, but also classy and atmospheric. This isn't just another homage to genre classics – Ataudes aren't a cover band in disguise. They combine old-school brutality with black metal's chill, sepulchral riffs with melancholic spaces and the occasional doom sigh. There are plenty of moments where the tempo drops, and the listener may feel as if the ground is slipping away from under them – falling into catacombs with the Morbid Angel logo on the ceiling.

The production? Raw, but perfect – as if recorded in a stone tomb, which, by some strange coincidence, has excellent acoustics. And the cover – a figure looking at an approaching wave – perfectly captures the album's atmosphere: you can't escape, but you can marvel before it swallows you. A must-have for fans of old death metal with a soul and a black heart. Coffins (ataúdes) won't close themselves. I've been trying to close them for some time now. And I'll probably struggle with them for a while longer.

Rating: 8.5 out of 10