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The World Has Gone To Hell by Conquest (Dark Star Records)

The World Has  Gone To Hell by  Conquest  (Dark Star Records)

Conquest from St Louis, Missouri has been raging since the 90’s, ramming the ramparts presenting their own ferocious brand of kick ass heavy metal thunder. Fans of Metallica and Judas Priest will surely be enraptured by the thrilling compositions the almighty Conquest has unleashed upon the world at large throughout their glorious tenure. The World Has Gone To Hell is the name of Conquest’s latest and greatest metal manifesto – a battalion of heavy duty, thought provoking anthems that genre fans will want to revisit time and again.

Kicking off with the blasting opening title track, The World Has Gone To Hell sets the tone for what is a wild ride through the times that we live in today as seen through the eyes of the metal battalion known as Conquest. Throughout our journey into the metal minds of Conquest, we venture through Black Skies and American Blood, two songs destined for heavy metal infamy. Another standout track Heart Of Gold demonstrates how wildly effective the Conquest crew can be when issuing a powerhouse ballad. And the head banging goes on tenfold, with Demons and Angels, New August, and Mississippi ripping into the diabolical heart and soul of the matter. In the end, auditory retribution arrives in the form of The Creator, Killing Time, and Into The Black – a staggering trifecta of songs that will leave the listener devastated to the core.

The Conquest lineup slams it all into the stratosphere, featuring the participation of Derrick Brumley on vocals and guitar, Tim Fleetwood on drums, Mike Crook on guitar, and Rob Boyer on bass. The artwork found within The World Has Gone To Hell is tremendously effective, created by Drake Mefestta, showing a decaying Statue Of Liberty in flames. A burning slab of modern metal mayhem to be sure, Conquest is a band at the very height of their sonic artistry, and The World Has Gone To Hell will leave an indelible impression upon all who encounter its stunning reveries.

(Review by Ken Morton)

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