Posted on April 21st 2026, 8:00a.m.
Category: news
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CHEZ KANE – Reckless (Album Review)
For me, it is a case of diminishing returns for Chez Kane. Loved the debut, thought the follow-up was still pretty strong but suffered from a poor choice of song sequencing (never open with a ballad), now we have the third album ‘Reckless’ to dive into. As with the other two records, this is a project driven by Danny Rexon from Crazy Lixx – written, produced , mixed and played by Danny with Chez getting writing credit on a couple of songs. I’m not sure I’d want to put my name to these lyrics though – they border on utterly ridiculous and something perhaps Spinal Tap might even say no to. I mean, I’m all for an 80s revival, most of my life has been spent living in that decade, but I’d be happy to see the ‘I wanna lick you, thump you, pump you, bonk you, do you…’ lyrics left behind. And the less said about the cover art the better. Atrociously cringe worthy and cheesy lyrics aside the music is right out of 1988, and the hooks and melodies are there to reel you in. Chez can sing like an angel, she has a really strong voice that to be honest, if wasn’t featured here, the rest of the album would fall apart. The selling point here is big catchy cheesy songs delivered with sure conviction. I prefer the second half of the record for song strength. I think the reviews are going to be mixed here. Can’t fault the catchiness of it all and the great retro feel, but the image and the lyrics almost capsize the ship. And I really miss a big ballad in amongst the mix. Chez sang a few brilliant ballads across the first two albums. 10 all up-tempo tracks don’t allow much room for the listener to catch their breath. Three albums in, I reckon it’s time for Chez to pivot on the next record. Each album has been increasingly ‘over the top’ and the mid boggles at where #4 could go given the trajectory so far. -
Listening Now : Raye & Marlowe – FREE
Raye & Marlowe deliver timeless elegance on FREE, a warm, mid-tempo soul duet steeped in ’70s Philadelphia tradition. Built around rich Rhodes keys, subtle brass, and gospel-tinged call-and-response, the track unfolds with effortless grace, allowing its emotional core to shine. The chemistry between the two vocalists is undeniable, weaving layered harmonies and intimate exchanges into a sound that feels both classic and refreshingly modern. With a chorus that lingers long after it ends, FREE captures the essence of love, identity, and liberation with sincerity, finesse, and a beautifully understated sense of soul.
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Listening Now : Forever Factory – Never Boring
Forever Factory blur the lines between isolation and stimulation on Never Boring, a hypnotic indie electronic cut that turns staying in into a charged, almost cinematic experience. Driven by pulsing drum machines, swirling synths, and subtly off-kilter vocals, the track thrives on repetition and internal tension, capturing the restless loop of thought that builds behind closed doors. There’s a dark wit running through its self-aware narrative, balancing control and temptation with precision. More psychological than physical, Never Boring is a sleek, modern groove that finds movement not on the dancefloor, but deep within the mind.
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Until Solace Premiere New Single & Music Video “Haze & The Sunken Place”
Michigan deathcore duo Until Solace premiere a new single and music video by the name of "Haze & The Sunken Place", streaming via YouTube and Spotify for you now below. Read More/Discuss on Metal Underground.com -
Portrayal Of Guilt Premiere New Single “Total Black”
Portrayal Of Guilt have premiered their new track “Total Black” ahead of the release of their fifth studio album, “…Beginning Of The End,” which is set to arrive this Friday, April 24th. Fans won’t have to wait long to hear the new material live either, as the blackened post-hardcore outfit will kick off a tour next month. The run wi… Read More/Discuss on Metal Underground.com -
HARDLINE – Shout (Album Review)
Hardline have quite the catalogue since realigning themselves as a European line-up with Johnny Gioeli fronting as the only original member. Their sound changed instantly, but I’ve always had a liking for the material and JG is a masterful vocalist. He turns up on other projects, but I think it’s here that he always sound most at home and the best version of himself. The change to a new label seems to have given the band a fresh lease on life. This is a supremely energetic hard rock record with melodies and hooks galore. Johnny is singing for his life and the production is also a step up again. It’s a tight record with guitars and vocals fully in control. Keyboards line the tracks throughout, but not as dominantly as previous albums. The opening trio is tunes run hot, with ‘It Owns You’ definitely giving off classic Hardline vibes. The monster ballad ‘When You Came Into My Life’ is a cover of the Scorpions track, but Johnny makes it his own with an earth shattering vocal. ‘Mother Love’ and ‘Welcome To The Thunder’ (check out the intro!) again hold the true style of the original Hardline debut, which will surely impress long-time fans, but elsewhere there’s no letup in quality – just smash and grab melodic hard rock with chorus hooks and those killer vocals. The closing piano ballad is another piece of brilliance. Probably the band’s best album since the debut – itself a genre classic that will never ever be topped (how could they, it’s a completely different line-up and time). Don’t let any preconceptions keep you from enjoying this kick ass album. -
Album Review: At The Gates – The Ghost of a Future Dead
Album Review: At The Gates – The Ghost of a Future Dead
Reviewed by Rich Oliver
This is going to be a tough one to swallow. The final works of the legend that is Tomas “Tompa” Lindberg. A legendary figure in metal who was involved in countless bands and projects with an encyclopedic knowledge of extreme metal remaining as big a fan of genre as he was in his teens to his untimely end. Of course, he was best known as frontman for the hugely influential Gothenburg melodic death metal band At The Gates and it is with At The Gates that we have his epitaph in the form of “The Ghost Of A Future Dead” the eighth and final album from the band.
It is fitting that the classic lineup of At The Gates that recorded the seminal “Slaughter Of The Soul” album recorded this final release with guitarist Anders Björler rejoining the band in 2022. The album has been completed in the studio for over two years with the vocals drawn from demo recordings made by Tompa prior to his diagnosis and illness. The album was completed “in accordance with Tomas’ wishes; including the album title, sound mix, track order, artwork, and overall presentation” and “combines the ferocious energy and hard-hitting powerful melodies that is the essence of At The Gates. This album is Tomas’ legacy”.
After the more diverse and experimental nature of previous album “The Nightmare Of Being”, “The Ghost Of A Future Dead” sees At The Gates in blistering form with the songwriting having a far more straightforward attack throwing back to albums such as “Slaughter Of The Soul” and “At War With Reality”. Even though the album was written prior to Tompa’s illness and death, it very much feels like a statement of intent with the band giving us an undistilled and pure At The Gates experience.
This is an album that rarely lets up being a full on Gothenburg melodic death metal attack with moments to catch your breath being few and far between. The album opens in ferocious style with lead single ‘The Fever Mask’ which was “one of the final songs written for the album and quickly stood out as the natural choice for both the opening track and the first single”. It is full of speed, power and aggression and has that unmistakable At The Gates sound running throughout. The momentum keeps going on ‘The Dissonant Void’ with its breakneck speed and relentless attack. There is a slight respite on ‘Det Oerhörda’ which slows the pace slightly but ramps up the heaviness and atmosphere with this approach repeated on songs such as ‘In Dark Distortion’ and ‘Parasitical Hive’ providing a counter to the relentless pace on crushing tunes such as ‘A Ritual Of Waste’, ‘Tomb Of Heaven’ and ‘The Unfathomable’.
The calmest moment of the album comes towards the end with the gorgeous acoustically-led instrumental ‘Förgängligheten’ showcasing the fantastic musicianship of the band. As I mentioned earlier, “The Ghost Of A Future Dead” sees the classic line-up of At The Gates back together for one last time and they are in fine form indeed with the rhythm section of bassist Jonas Björler and Adrian Erlandsson as pummelling and unrelenting as ever and the guitar team of Anders Björler and Martin Larsson capturing the furious and melodic magic which makes At The Gates so revered in the metal community. Tompa sounds as caustic as ever with his unmistakable vocal attack and it is pleasing that his final recordings sound as passionate and intense as they do considering the vocals were drawn from demo recordings.
As a long time At The Gates fan, it is hard not to be driven by emotion in reviewing this album. It is not only saying goodbye to one of the most distinctive harsh vocalists in metal but also one of the best frontmen and inspiring figureheads in extreme metal. Looking at “The Ghost Of A Future Dead” on its own merits, it is a ridiculously good At The Gates album and easily their finest since “At War With Reality”. The band sounds energised, the music is on fire and the performances are as good as the band can be. It’s a very bittersweet album but it is safe to say that Tompa and At The Gates go out in style playing to all their strengths and a fantastic epitaph not only for Tompa but for the band itself. Thank you At The Gates and RIP Tompa.
The post Album Review: At The Gates – The Ghost of a Future Dead appeared first on The Razor's Edge.
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Listening Now : ROREY – Dying Fire
ROREY delivers a deeply affecting dose of cathartic dream pop with Dying Fire, a track that lingers in the fragile space between love and inevitability. Built on lush arrangements and bittersweet melodies, the song unfolds with emotional restraint, embracing acceptance rather than blame. Her ethereal vocals carry a quiet intensity, reflecting the weight of a relationship that can no longer survive despite its depth. There’s something disarmingly honest in the way Dying Fire navigates heartbreak, turning vulnerability into strength and capturing that shared, unspoken ache when love alone simply isn’t enough.
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“I think he is a genius. He’s the master of the middle eight.” Big Big Train’s Gregory Spawton picks the soundtrack of his life
Big Big Train co-founder Gregory Spawton picks his records, artistsand gigs of lasting significance