Category: news

  • “You could buy them at any novelty store. Nobody tried to name him. He just became the Not Man.” The story of the ’80s toy which accidentally became Anthrax’s iconic mascot

    In 1985, Heartland created a series of Monster Toys, palm-sized rubber faces which could be distorted into many grimaces, simply by placing your fingers into the back of the toy.

    There were four to collect, each more hideous than the last. Some toy historians say they came with an animatronic body which held a red, glowing axe and moved around to the strains of When the Saints Go Marching In, much to the annoyance of anyone in close proximity. It was a different time.

    Heartland had also created an iconic thrash metal mascot, quite by accident.

    Following the release of Spreading the Disease, which emerged in the same year as Monster Toys, Anthrax had their own gurning anti-hero; a moustachioed maniac would appear on their tour shirts. He’d later appear on album and single artwork, too, as well get inked into drummer Charlie Benante‘s upper left arm.

    “I remember one day we were in a store in Boston, and we see the little doll,” singer Joey Belladonna recalled during a 1988 interview. “You ever seen the thing before? And then Island records had put a thing out on Spreading The Disease that said ‘By George, I think he’s got it’; it was his face and we figured we’d have him along with us basically. Nothing really big, he just happened to be around us. He’ll be in the new video!”

    “You could buy it at any novelty store,” remembers Scott Ian. “We all thought it was cool. Nobody tried to name him. He just became the Not Man.”

    But why ‘Not Man’? And not something similar to Murray, like Dio’s demon pal?

    “I knew this kid, Alan Luckman, and he used to say it all the time in about ’74, ’75. And that’s what made me say it,” Ian told Guitar World in 1993. “That’s how it became Scott Not and all that kind of crap.”

    The front and back artwork for Anthrax's 1988 album State of Euphoria

    The artwork for Anthrax’s 1988 album State of Euphoria (Image credit: Island Records)

    Metal mascots were largely serious brand extensions of globally successful bands. Iron Maiden had Eddie, Megadeth had Vic Rattlehead, while Dio had the evil-sounding demon Murray.

    The Not Man was a case of the band planting their tongue firmly in their cheek. After all, the band were wearing Bermuda shorts, recording rap singles and employing legendary MAD magazine illustrator Mort Drucker to draw their new mascot cradling the band on the back of their 1988 album State of Euphoria.

    International versions of their single Antisocial depicted the Not Man spray painting a wall. In the accompanying video, their drum tech John Tempesta (who’d go on to join Exodus, Testament, White Zombie, The Cult and Helmet) wore a big papier-mâché head and enthusiastically high-fiving the crowd. As a joke, the head was removed at the end of the video to show it was a legendary vocalist was under there all along. Spoiler: he wasn’t, really.

    “We got Ozzy to wear the Not Man head,” laughs Ian, still seemingly in disbelief decades later. “He agreed to do that! Ozzy was stoked. It’s hard to explain how stuff like that felt because it was unbelievable.”

    While Not Man has made fleeting appearances over the years, he has remained an iconic part of Anthrax’s visual history. He appeared in the band’s 2021 graphic novel Among the Living, and in 2023, a zombified version also featured in Iron Maiden’s mobile game Legacy of the Beast.

    “We couldn’t be happier to be featured in this game,” read a statement from the band. “When the idea came up, we were completely taken aback by it, like, ‘are you serious?’ You have Eddie, one of the greatest mascots of all time, and the Not-Man!”

    In coming months, the band will publish their forthcoming book NOT: The Illustrated Oral History Of Anthrax through Z2 comics, and is heavily featured in early glimpses of the artwork, including a very cheeky parody of the DC Comics one-shot Batman: The Killing Joke by Alan Moore, Brian Bolland, and John Higgins.

  • Gig Review: Robin Trower / Jack J Hutchinson – Queen’s Hall, Edinburgh (1st September 2026)

    It’s a wet and miserable night as we queue up for the legend that is Robin Trower at the Queen’s Hall in Edinburgh, but first up we have Jack J Hutchinson performing as a stripped-down duo tonight with Greg Smith on bass. There were quite a lot of people here who were only here for … Continue reading Gig Review: Robin Trower / Jack J Hutchinson – Queen’s Hall, Edinburgh (1st September 2026)
  • Live Review: Soulfly – Birmingham

    Live Review: Soulfly – O2 Institute, Birmingham

    5th September 2026
    Support: Nailbomb, Dosed
    Words: Cat Finch
    Photos: Tim Finch

    Soulfly’s return to Birmingham brought a suitably brutal package to the city, with an evening built around groove, industrial noise and outright aggression.

    Dosed waste absolutely no time establishing their identity. With song titles such as ‘Chewing on the Entrails of a Dying Dickhead’ and ‘A Pitful Attempt At Life’, subtlety clearly isn’t high on the agenda. ‘Aquarius’ and ‘The Lost Art Of Gratitude’ keep the momentum building, while ‘Jaw Breaker’ and ‘Run Your Mouth’ demonstrate a raw, direct approach that translates particularly well to a live setting.

    The second half of Dosed’s set becomes increasingly ferocious. ‘Soulcrusher’ and ‘Self Doubt Is For The Weak’ hit with considerable weight before ‘Knife at a Hammer Fight’ and ‘Fucked With A Pickaxe’ bring the set to an appropriately chaotic conclusion. As opening acts go, they leave the room suitably warmed up for what follows.

    Nailbomb are a completely different proposition. The project, originally formed by Max Cavalera and Fudge Tunnel’s Alex Newport, has always occupied a particularly abrasive corner of the metal spectrum, combining industrial textures, hardcore aggression and a deliberately ugly sense of confrontation. There are two schools of thought for this revived run for the band. The bands original, fleeting lifespan built an aurora around the entity, making that album and show at Dynamo the pinnacle of metal folklore, and that any extension to that diminished the aura. Then there are those in the camp that this music is meant to be heard live and this run gives a generation of metal heads the chance to witness the project live for the first time.

    Their appearance tonight feels less like a conventional support slot and more like an opportunity to unleash something genuinely hostile on an unsuspecting audience. ‘Wasting Away’ immediately establishes the mood, its grinding industrial attack cutting through the venue with little concern for comfort. The crowd show an intensity this venue has not seen before. This feels like 1995 Dynamo all over again!

    ‘Vi Toma No Cu’, ‘24 Hour Bullshit’ and ‘Guerrillas’ keep the pressure firmly applied, with the band’s stripped-back aggression making every song feel like a direct assault. There is very little polish here, Nailbomb’s appeal has always been rooted in the raw industrial attitude melded into these intense riffs.

    The set continues its relentless march through ‘Blind and Lost’, ‘Sum of Your Achievements’ and ‘Cockroaches’, before ‘World of Shit’ and ‘Shit Piñata’ take things even further into the gutter. The songs retain the rawness of the original material while sounding perfectly at home in a packed Birmingham venue.

    By the time ‘Religious Cancer’ and ‘Sick Life’ bring the set to a close, Nailbomb have delivered exactly what their reputation promised; abrasive, uncompromising and thoroughly pissed off. It’s a short, sharp reminder that sometimes allowing that rare, explosive outfit to relive its youth is actually a good thing.

    After the chaos of Nailbomb, its time for Soulfly to follow. They take to the stage and launch straight into ‘Back to the Primitive’, immediately turning the venue into a sea of movement. Max Cavalera remains a formidable presence, commanding the stage with confidence. ‘Seek ‘n’ Strike’ and ‘No Hope = No Fear’ keep the intensity high before ‘Prophecy’ brings one of the evening’s biggest responses.

    ‘No Pain = No Power’ keeps the momentum going before the set takes a more tribal turn with ‘Berimbau / Tribe’. The combination highlights one of the defining characteristics of Soulfly, with Cavalera’s metal aggression sitting alongside Brazilian rhythms and percussion. ‘I and I’ and ‘Downstro’y bring the focus firmly back to the heavier side of the band’s sound, with the crowd responding to every breakdown and groove. The performance feels raw rather than overly polished, which suits the material perfectly.

    The Brazilian influence becomes even more prominent during ‘Chama / Bumba’ and the fleet of drummers, then ‘Favela/Dystopia’, with the rhythmic elements adding another dimension to what is already a relentlessly physical performance.

    For the finale, Soulfly unleash ‘Jumpdafuckup’ and ‘Eye for an Eye’, and the venue erupts accordingly. It’s a suitably explosive conclusion to a set that has delivered exactly what the Birmingham crowd came for… huge riffs, relentless grooves and Max Cavalera at the centre of it all.

    Photo credits: Tim Finch

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post Live Review: Soulfly – Birmingham appeared first on The Razor's Edge.

  • Live Gallery: Soulfly – Birmingham

    Live Gallery: Soulfly – O2 Institute, Birmingham

    5th September 2026
    Support: Nailbomb, Dosed
    Photos: Tim Finch

    We look back at the epic Soulfly show through the eyes of our photographer Tim Finch!

    Soulfly

    Nailbomb

    Dosed

    Fans

    Photo credits: Tim Finch

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post Live Gallery: Soulfly – Birmingham appeared first on The Razor's Edge.

  • SHADES OF BLACK: BEHEMOTH, TROLLDOM, VREDEHAMMER, HARDIESSE, IHLOOSUHREE, THE LOVECRAFT SEXTET

    (written by Islander) I feel somewhat better today as compared to yesterday (thanks for asking), though the achiness produced by the inoculation hasn’t completely vanished. Once again, I looked forward to assembling the following column as a welcome distraction from the twinges of soreness. By way of overview, I’ll say that today’s collection leans into […]

    The post SHADES OF BLACK: BEHEMOTH, TROLLDOM, VREDEHAMMER, HARDIESSE, IHLOOSUHREE, THE LOVECRAFT SEXTET appeared first on NO CLEAN SINGING.

  • Gig Review: The Prodigy / Carl Cox / Yosuke Yukimatsu / Scarlxrd / David Rodigan – Royal Highland Showgrounds, Edinburgh (29th August 2026)

    On Saturday, 29th August, the Royal Highland Showgrounds turned into a massive open-air rave. The last Summer Session was dedicated to electronic music – an ode to the genre’s history and its newest and brightest contributions. David Rodigan, one of the most recognised promoters of reggae and Jamaican music and culture, kicked off the party. … Continue reading Gig Review: The Prodigy / Carl Cox / Yosuke Yukimatsu / Scarlxrd / David Rodigan – Royal Highland Showgrounds, Edinburgh (29th August 2026)
  • BLUE MEDUSA Debuts New Single/Video “CROCODILE” + Track Revealed Ahead Of First Ever Festival Appearances At Louder Than Life & Aftershock

    © Beatriz Mariano

    Following the success of the singles “Checkmate” and “Flying Monkey,” BLUE MEDUSA, the band of metal icon Alissa White-Gluz, takes a step forward with “CROCODILE,” released on Friday, September 4th on all platforms.

    Dark, tense, viscerally disturbing, “CROCODILE” explores that creeping feeling that danger is approaching, even when it remains invisible.

    “‘CROCODILE’ speaks of that feeling of being watched… that instinctive fear when you know danger is lurking nearby, even without seeing it. The feeling that something is hiding just beneath the surface of what seems safe or familiar. It is in this tension, between what we perceive and what we sense, that the song lives.” – Alissa White-Gluz

    “CROCODILE” MUSIC VIDEO: 
    https://youtu.be/8DVwEt00MEY

    The music video marks a new chapter in the visual collaboration between the singer and Vicente Cordero (Industrialism Films), with the two artists once again co-directing the video. It features the very first performance of Blue Medusa with the full band. Alissa plays a one-of-a-kind guitar, custom-made by Nik Huber Guitars as part of a three-way collaboration between Sea Shepherd, Doyle Wolfgang von Frankenstein and Blue Medusa. Equipped with Doyle-signed Von Frankenstein Monster Gear pickups and strings, and autographed by both artists, it will be auctioned to benefit Sea Shepherd’s marine conservation efforts.

    Beatriz Mariano (Okkultist) also brings her creative touch: chilling visuals & saturated voice.

    STREAM “CROCODILE”: 
    https://onerpm.link/crocodile

    Alissa White-Gluz, a multifaceted artist and activist, was at Hellfest this year, where fans enjoyed a special acoustic set with Savage Lands, followed by a surprise appearance alongside Sepultura on “Kaiowas” during one of the Brazilian band’s final concerts.

    Elsewhere, the singer has been involved in numerous collaborations: three different stages at Wacken Open Air , including “Our Kingdom,” the festival’s official anthem composed with Bear McCreary, two vocal performances with Dragonforce at Sonic Temple and Welcome to Rockville, whom she will rejoin this fall for the Inhumane Rampage anniversary tour in North America. Also, several surprise appearances with Ice Nine Kills in Europe, notably at Rock am Ring and Rock im Park, as well as Heavy Week-End in France!

    This autumn, Louder Than Life and Aftershock will host Blue Medusa ‘s first-ever festival appearances, ahead of the band’s arrival in Europe in 2027. More announcements to follow…

    BLUE MEDUSA TOUR DATES:

    2026
    Sept 18 – Louisville, KY – Louder Than Life Festival
    Oct 2 – Sacramento, CA – Aftershock Festival

    2027
    July 28-31 – Wacken, DE – Wacken Open Air
    Aug 11-14 – Villena, ES – Leyendas Del Rock
    Aug 18-21 – Dinkelsbühl, DE – Summer Breeze Open Air

    BLUE MEDUSA online:
    Website | Instagram | TikTok | Facebook | YouTube | Bandsintown

    ALISSA WHITE-GLUZ online:
    Website | Patreon | Instagram | TikTok | Facebook | YouTube | Bandsintown

  • BODYJAR, KNIFE HANDS, HARROW, BACKYARD BUSINESS: Altar Bar, Hobart, 05/09/2026

    Words by Annette Geneva Photos by Pete Mellows It is wonderfully strange walking into a Bodyjar show in 2026 and realising you have somehow entered a room containing two completely different generations of punk fans. The night kicked off with local supports Harrow, Backyard Business and Knife Hands, before Bodyjar took the stage for a […]