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NUKEM
The Grave Remains

Redefining Darkness (2026)
Rating: 7/10

Cult Californian thrashers Nukem embark on their second full-length, The Grave Remains. It’s been a decade since debut album The Unholy Trinity, but the mob wastes no further time as ‘Policies Of Hate’ kicks in after a short introduction (‘The Dead Draw’). Immediately there’s familiarity in those scything riffs as the band takes influence from a horde of thrash acts ranging from Sacrifice to Anthrax, and from Dark Angel to Death Angel with Overkill and Warbringer lurking beneath. This is the sort of modern thrash that does exactly what it says on the tin, especially when fronted by the generic yet potent vocal rasps of riff master Steve Brogden.

This is an aggressive album which is littered with notable guest appearances: ‘Into The Kill Zone’ features Death Angel’s Rob Cavestany, ‘Random Acts Of Violence’ features Russ Tippons of Satan and Tanith, Exodus main axeman Gary Holt and Dark Angel and ex-Nukem’s Laura Christine lend their talents to ‘Empress Of Evil’, and Lee Altus of Heathen and Exodus provides a solo on the rendition of Thin Lizzy classic ‘Don’t Believe A Word’.

Such cameos can only be a positive for Nukem who surge their way through 50 minutes of metal climaxing in that decent Lizzy cover. However, it’s the manic thrash before it all which leaves the ears smouldering as bassist Don Lauder excels. In fact, he is one of my favourite players within the thrash scene, bringing his backbone to songs like ‘Unconditional Surrender’ and adding extra beef. While many of the songs feel too long, the ferocious fun keeps the listener engaged simply because the mosh pit is just so inviting.

At its strongest, The Grave Remains can offer some very memorable moments, particularly my personal favourite ‘Curse Of The Devils Bible’. Riffs chug with a catchy fluidity, the drums are fierce and tidy, and throughout the vocals bring a hostile Warbringer vibe. Percussive force Norm Leggio also puts in a notable performance, as ‘Empress Of Evil’ and ‘Torture, Murder, Mutilate!’ strike with bestial efficiency.

Had this been released in the golden thrash decade of the 80s, it might have locked horns with bands such as Lȧȧz Rockit, because through all of its exuberance The Grave Remains is formulaic. I love thrash, and I like Nukem but when the end of the year rolls round and I’m reflecting on the albums which made the biggest impact, I won’t be speaking of this. However, it’s still a solid thrash album from start to finish and those cameos really are a nice touch.

Neil Arnold

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