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  • Lambrini Girls announce new single and tour

    Lambrini Girls new single and tour

    The post Lambrini Girls announce new single and tour appeared first on Louder Than War.

  • Guilt Trip Premiere New Single & Music Video “No Love Lost” From Upcoming New Album “Armour Of Angels”

    A day after announcing that their new album “Armour Of Angels” will arrive on June 5th via Roadrunner Records, Guilt Trip have unveiled a music video for their track “No Love Lost.” The clip, directed by Luigi Sibona, accompanies the single, with the band offering the following commentary on the song: Read More/Discuss on Metal Underground.com

  • King Kraken Release New Single ‘Call To War’ On April 17th

    King Kraken release their storming new rocker ‘Call To War‘ on the 17th of April, and it’s a riff riddled, power packed, full frontal assault on the senses which sees the band kicking their new campaign off in style! “Call to War is the first single king kraken have released since our second album last […]

    The post King Kraken Release New Single ‘Call To War’ On April 17th appeared first on ROCKPOSER DOT COM.

  • Pete Townshend to appear at Eric Clapton’s Crossroads Guitar Festival

    Pete Townshend will appear at Eric Clapton’s Crossroads Guitar Festival in Austin, TX on 26-27 September 2026.

    Eric Clapton’s Crossroads Guitar Festival 2026 returns to Texas, taking place September 26-27 in Austin, Texas at Moody Center. It will be his seventh festival and is being held in celebration of the 28th anniversary of the 1998 founding of the Crossroads Centre Antigua.  The event will feature main stage concerts and muti-artist collaborations by some of the best guitarists in the world from across multiple musical genres. Among numerous Crossroads veterans returning this year will be Joe Bonamassa, Gary Clark Jr., Billy Gibbons, Buddy Guy, Sonny Landreth, John Mayer, Del McCoury Band, Tedeschi Trucks Band, and Jimmie Vaughan, while Trey Anastasio, Tommy Emmanuel, Julian Lage and Pete Townshend will be making their Crossroads debuts.  As in past Festivals, Eric Clapton will perform both nights.  A detailed list of artists is featured below.

    Guitar Center returns as the exclusive retail partner of the Crossroads Festival 2026, continuing its longstanding support of the event and its mission to benefit the Crossroads Centre Antigua. This year, Guitar Center will bring its presence to life through The Guitar Center Experience, an immersive destination at the venue where fans can explore gear, connect with leading guitar brands including Fender, Gibson, Martin, PRS and Ernie Ball, and engage in hands-on interactive moments throughout the weekend. Guitar Center will offer on-site retail, giving attendees access to an exclusive curated collection tied to the festival. The experience will also feature a rare showcase of iconic guitars from Guitar Center’s Legends Collection, including Eric Clapton’s 1956 Fender Stratocaster, “Blackie”, and the 1964 Gibson ES-335 he played in Cream, as well as Stevie Ray Vaughan’s legendary 1965 Fender Stratocaster, “Lenny”, offering fans a closer look at instruments that have shaped history, alongside a celebration of guitar culture and its icons. Continuing its legacy of honoring legends, Guitar Center will induct an artist – to be announced – into its famed RockWalk onsite during the Festival. Pre-show admission to the Guitar Center Experience will be open daily two hours before showtime to ticketholders only. For more information, please visit CrossroadsGuitarFestival.com.

    Tickets for the event will go on sale Friday, April 3rd at 10am local time.   More information can be found at www.crossroadsguitarfestival.com

    Artist Lineup as of today (listed alphabetically):

    Trey Anastasio

    Joe Bonamassa

    Eric Clapton

    Gary Clark Jr

    Tommy Emmanuel

    Billy Gibbons

    Buddy Guy

    Ben Haggard

    Sierra Hull

    Marcus King

    Sonny Landreth

    Julian Lage

    Taj Mahal

    Pedro Martins

    John Mayer

    Del McCoury Band

    John McLaughlin

    Keb’ Mo’

    Dirk Powell

    Robert Randolph

    Kurt Rosenwinkel

    Daniel Santiago

    Tedeschi Trucks Band

    Pete Townshend

    Jimmie Vaughan

    Bradley Walker & Brothers of the Heart

    “We are thrilled to welcome the legendary Eric Clapton and his Crossroads Guitar Festival to Moody Center. Out of the more than 380 concerts we’ve hosted since opening in 2022, this is poised to be one of the most iconic events ever to take place in our arena. It represents the very best of live music—bringing together world-class artists, passionate fans, and an unforgettable atmosphere right here in the Live Music Capital of the World,” said Michael Owens, SVP of Entertainment for Moody Center

    The Crossroads Center Antigua booth will have staff available to help individuals and families learn more about the treatment philosophy and programs at the Centre, and how to begin the process of addiction recovery and what to expect along that journey.

    About Crossroads Centre Antigua

    Founded in 1998, the Crossroads Centre Antigua was created to provide treatment and education to chemically and alcohol dependent persons, their families and their significant others. Treatment is provided through residential care, family and aftercare programs. The pathway to recovery is founded on the 12 steps and a change in lifestyle. The Crossroads Centre Antigua also operates a halfway house in Antigua called Bevon House and facilitates various ongoing recovery initiatives on the island of Antigua and in the Caribbean. For more information visit www.crossroadsantigua.org

    About Guitar Center

    Guitar Center is the leading retailer of musical instruments, lessons, repairs and rentals in the U.S. With more than 300 stores across the U.S. and one of the top direct sales websites in the industry, Guitar Center has helped people make music for more than 60 years. Guitar Center also provides customers with various musician-based services, including Guitar Center Lessons, where musicians of all ages and skill levels can learn to play a variety of instruments in many music genres, GC Repairs, an on-site maintenance and repairs service, and GC Rentals, a program offering easy rentals of instruments and other music gear. Additionally, Guitar Center’s sister brands include Music & Arts, which operates more than 250 stores specializing in band & orchestral instruments for sale and rental, serving teachers, band directors, college professors, parents and students, and Musician’s Friend, a leading direct marketer of musical instruments in the United States. Guitar Center Business Solutions is the commercial division of Guitar Center, delivering professional audio, video, lighting, and integrated technology solutions for businesses, institutions, and creators nationwide through a specialized portfolio of brands including AVDG (Audio Visual Design Group), GC Pro, and Custom House at Guitar Center.

    The post Pete Townshend to appear at Eric Clapton’s Crossroads Guitar Festival appeared first on The Who.

  • Reviews: Winterfylleth, Iron Savior, Stormo, Foghazer (Mark Young, Simon Black, Joe Guatieri & Cherie Curits)

    Winterfylleth – The Unyielding Season (Napalm Records) [Mark Young]

    Here we go for one of the BIG releases of 2026. Its 20 not out for one of the pre-eminent UK Black Metal acts and they have returned with a combination of both ferocious and accessible material.

    They strike with a blast of extreme metal that should be held as a high water mark of what a band can do with the right tools and the right energy, aligning to make this an album that should appeal to long time fans of the genre as well as bringing in new. I appreciate that in terms of the review, I’m writing it in almost a backwards way, getting my opinions out first about how this is such a storming release rather than giving you a track by track deep dive.

    Well, deep dives are boring.

    I will say that it starts with what can be described as triumphant, Heroes Of A Hundred Fields. This is the place setter, where any attraction is won or lost and straight away this is on the front foot, grabbing you and embarking on a journey that puts you front and centre. Its everything you expect from them and more, sounding pristine where you can pick up every nuance and then puts its foot through the floor with Echoes In The After, that pace picked up and launched at you. 

    What you pick up is those little chord changes that run amongst the charging drums. On the strength of these two you have a beast that is continually moving forward and won’t back off. It is rare that you have an opening 1-2 that comes at you with such an epic stance but that is what you get here. Both tracks are designed to embrace, engage and keep you listening.

    One of the key indicators for my enjoyment of any album is how it plays out whilst driving. The boss will tell you that my playlists consist of the albums I review, and generally once the review is done they are removed. This has remained in place, as a reminder of what excellence sounds like. 

    This is the case here. It has survived a number of journeys due to the fact that they don’t let the foot off the gas. A Hollow Existence is a superlative track 3, avoiding the normal routine of pulling back in intent and purpose. It keeps that sense of majesty in place whilst the title track builds and builds, opting for a reduced tempo that is no less enthralling because of the way they have arranged it. 

    Let me be honest, the key to this albums success with me is not that they have done something completely brand new. All of the classic BM approaches are here, the rising chord sequences that evoke that sense of joy and triumph (you will know exactly what I mean once you hear it) its just the way that they have done it. I couldn’t readily put into words what makes this different, it just is. Even their moments of introspection such as Where Dreams Once Grew, I’ll forgive them for it given the class of the material present.

    Like everything, it must end and they bring the curtain down with Enchantment, which is a treat, especially for fans of Paradise Lost. This is a quality nod to another long standing UK act, and it sounds ace. What we have is a contender for AOTY, it is that simple. 10/10

    Iron Savior – Awesome Anthems Of The Galaxy (Perception Records) [Simon Black]

    This stalwart Power Metal act are one of many that have been doing their thing for an eternity, but whose very existence I was completely oblivious of before returning to this reviewing lark after a 23-year hiatus just in time for Covid. 

    Since then, a bunch of their releases have crossed my platter, and generally I am rather positive towards them. It’s exactly the kind of Euro Power Metal that ticks my boxes, balancing just enough classic NWOOBHM influence with the standard Euro Power tropes, but avoiding sounding cliched Power cookie cutter, despite the fact that a significant number of their releases covered a convoluted SF arc through a whole bunch of their albums.

    To be fair, much of that recent output has been an opportunity to catch up with that back catalogue, as the band have been gently re-recording the material from their Noise years, since they’re not quite a big enough going concern to win the rights back legally in the way Helloween did; interspersed with new original stuff, natch. This one is a bit different…

    No less than seventeen tracks grace this release: all new recordings yes, but not of their own material. Iron Savior has taken the bold step of releasing a whole hour and ten minutes of covers. Now most bands barely get away with an EP of these, and even the likes of Ghost do so sparingly, whilst careful curating ones that fit the ethos of the band’s image. 

    This selection shows the age of the band, being entirely culled from either pop hits of the late 70’s and 80’s, or memorable movie soundtrack tracks from the same period (although to be fair in those days those two categories could overlap somewhat). And here’s the rub – not a one of them jumps out as being an obvious empathic note for a cheesy Euro Power Metal band, although for this release cheese most certainly presents in quantity.

    I did wonder at first if this was a slightly left of field extension of their seemingly endless Atlantis Sleeper arc (i.e. re-recordings of B-sides and fillers from the early days), but no, this is completely new and off the cuff. This is the sort of thing Tragedy make a living out of, but for some bizarre reason Iron Savior actually pull this off, and well. Firstly, the choice of material is eminently recognisable to most and secondly it survives the cheesy Power Metal processing whilst sounding recognisably a cover and also most definitely the output of Hamburg’s finest.

    In many ways this is a smart move, and at least half of these covers could find their way into their live set without anyone batting an eyelid, which is a sensible way of winning over a new audience in a festival setting, because let’s face anthemic bangers that the whole can sing along to despite never having heard of the band before is a winner. 

    Sometimes it’s not so effective – neither Journey’s Separate Ways nor Rainbow’s Since You’ve Been Gone are adding anything to either the originals’ nor Iron Savior’s stock, but I’m never going to be able to listen to Frankie Goes To Hollywood’s Relax, the title track of Fame or A-Ha’s Take On Me in quite the same way again…

    As for me, Iron Savior has lost nothing credibility wise with this release, which is just as well, as it’s a brave thing to try, but pull it off they do, and with aplomb. 8/10

    Stormo – Sogni Che Invadono Il Cielo (ANFESIBENA) [Joe Guatieri]

    Stormo are a Screamo band out of Italy who formed all the way back in 2007. With plenty of critically acclaimed releases under their belt, they’ve been flying the flag high for European Hardcore bands for a long time now, being one of the standouts of the genre. Today I’ll be taking on their latest offering, the 2026 EP titled, Sogni Che Invadono Il Cielo.

    The record opens with Gesti, an absolute rager, clocking in at just over 1:40. From the get-go, you have straining feedback, wild drums and shouting directly into your ear, absolutely feral. The instruments cover every single nook and cranny of the mix, making sure that you have nowhere to run or hide. It’s a mission statement and they are coming directly for your jugular.

    Next going into track two with Maree, the wild energy feels more focused, resulting in a stunning bass line which sweeps over the song in its style, it is that one person in the mosh pit that you can’t help be amazed by as they are dancing so effortlessly as if they do it everyday, it’s pure self expression. This is combined with drums that punch you full-force right in the gut and a solo at the back-end of the track made up of a piercing noise which screams as loud as the vocalist.

    Getting deeper, later on we’ve got track five with Constellazion. A warm buzzing sound and very deliberate and detailed drums start things off as we’re taken by hand on a journey through a sunken city. Cinematic fuzz bass and guitars sway as one as group vocals march us forward. It shows the album at its most reflective and after all of the destruction that we’ve witnessed so far, this is a true point of solace. Constellazion is beautiful, it’s no doubt my favourite song on the record. 

    There are plenty more moments which I just have to mention here, take track four with Indaco/Ardesia. It has Black Metal stylings to it with the hard blast beats and scratchy riffs. For me it paints a picture of standing on a hillside in a storm as you’re confronted by the fear of how humans have ruined nature. The song then transitions flawlessly into track five, that buzzing as previously mentioned is an alarm bell that lasts forever.

    Another song that I would like to point out is the closer with Isole. It is truly anxiety inducing as an industrialised, bordering on primal beat is conjured up from earth’s rotten core. With vocals that are truly at their wit’s end, screaming for help, it makes me burst into tears.

    Despite the language barrier, every breath connects with my person which is something that I’ve rarely experienced in my life before. The wonderful thing about language is that you can apply your own meaning to it and a handful of the vocal performances here truly moved me. Then the song and album come to an end with a watery guitar passage which attempts to bring some comfort to you, a lullaby of sorts. The conclusion has some hope, though is still distracted by uncertainty. Purgatory.

    For me with Sogni Che Invadono Il Cielo, it presents thoughts of external suffering rather than something that is entirely within yourself. To me with most Screamo it’s like shouting in your room on your own, whether this feels like shouting out of your window, trying desperately to alert one human soul out there. The sea pops up to me constantly throughout the album’s run-time and it brings to my attention that our planet is dying. Nature is meant to be natural.

    Overall, Stormo has made a fabulous, environmentally-aware EP that is a call for more action in this world. It’s an emotional and heavy hitting documentary in album form, one that you want to go back to again and again, not just for comfort but to learn more. 9/10

    Foghazer – He Left The Temple (Hypnotic Dirge Records) [Cherie Curtis]

    Foghazer’s debut album, He Left The Temple, features nine otherworldly tracks with a powerful and chilling atmosphere. It’s magnetic, weird, and hypnotic in a way that’s both unsettling and comforting. He Left The Temple is more of a soundscape of technological macabre than it is music for a standard playlist – Unless you live in a Neo – Noir crime thriller.

    Foghazer masterfully toes the line between messy and the controlled. In theory, as you work your way through the album, what you hear shouldn’t make sense but when the textures and sound layers mesh, they create an eerie and surprisingly catchy beat. Sluggish, distorted, and echoing guitar riffs repeat to slowly build tension, paired with a slow repetitive drum beat to create a hazy and tranquil atmosphere. This is promptly undercut by integrated keyboard samples which dash the tranquil dream state and turn it into a nightmare.

    Track 1 He is a fine example of this; it starts slow and repetitive before introducing some gloriously haunting female operatic vocalising for the hook, alongside some 90s- style hip-hop record scratches. Just when you feel you’re beginning to grasp what’s going on, track 4 Temple, brings some harsh and blinding black metal vocals to serve as an ominous, unexpected pivot.

    Overall, He Left The Temple is fascinating; it establishes a world of its own and, track after track, world builds and creates tension without a real conclusion or climax. It’s a weird melting pot of genres, trip-hop, black metal and symphonic metal- and that alone is incredibly ambitious. It’s safe to say that Foghazer pulls it off. There is soul, musical skill, and delicate craftmanship here, with a healthy dose of experimentation which I feel makes this album one of a kind. 

    It isn’t something most people, myself included may gravitate towards on a day –to –day basis, but on a grey moody Sunday afternoon or while skulking around a deserted moor, I’ll put it on for some ambience. 6/10

  • Smoke Rites – Eager Eyes of Talion CD

    When it comes to the heavy underground, Warsaw has quietly become a massive powerhouse for everything slow, low,

  • Lambrini Girls return with new single and video, Cult Of Celebrity

    Posted on March 31st 2026, 9:00a.m.

  • Live Review: Margarita Witch Cult – Manchester

    Live Review: Margarita Witch Cult – Star & Garter, Manchester

    27th March 2026
    Support: The Bear Around Your Neck

    Words: Cat Finch
    Photos: Tim Finch

    Margarita Witch Cult were one of those bands that have been on my “must see” list ever since I heard their brilliant debut album a few years ago, and I couldn’t have picked a better venue to see them in than Manchester’s very own house of doom, The Star and Garter.

    The place was packed, and bang on 8pm, local support band, The Bear Around Your Neck, took to the stage. The duo of drummer Jay and guitarist/vocalist Nathaniel start with a fuzzy laid back opening to “Poison Vortex” with each snare hit and picked guitar string being audible. They are heavier live than on record, as I mentioned to Jay outside at the end of the gig, but the songs flow well. There’s plenty of distortion and feedback before “Earthly Vessels” which has a heftier sound to it, alongside swift tempo changes, a bit of echoed vocals, and big riffs, which goes down well with the crowd.

    “ROTT” has a wonderfully raw energy around it, and with Nathaniel facing the drums, they begin the intro. I can see heads banging all over the pace as the now more animated frontman lets out a few screams. They get a bit darker on “Chained Locusts” but once again the rhythm is good, and we are all enjoying their psychedelic grunge rock. Final track “Mutated Faith” has that space age feeling before the weighty melody kicks in. It’s a good song to end their enjoyable set and the crowd gives then a good round of applause.

    With arms held out wide, bassist Jim Thing greets the crowd as Brummies Margarita Witch Cult begin their aural assault. Now this is what a Friday night in Manchester is all about. As the intro kicks in, heads are banging, hair is flailing about, and they open with “Crawl Home to Your Coffin”. The bass is deep, and with triple vocals on the chorus, they are nice and heavy, following on with the wonderful “Be My Witch”.

    Their songs have groove, rhythm, plenty of riffs from Scott Vincent, and pounding drums from George Casual, and with the audience screaming the lyrics to “Sacrifice” back at them, the pit gets bigger and fiercer, which prompts the drummer to ask them to “all look out for each other”. Ahead of “Mars Rover” Casual announces that “it’s great to be back in Manny” before he builds up the beat for the pacey track. The weightier “Lord of the Flies” is fired at us next, with the crowd getting wilder as guitarist and bassist do synchronised windmills on their instruments.

    Photo Credit: Tim Finch Photography

    Casual informs us that “the next one is a ballad and is the first song we every played together” as they launch into “The Witchfinder Comes” which is epic. Considering this is their first UK headlining tour, they know what the crowd wants and know exactly how to give it to them, as the set list is balanced with terrific songs from both their albums. Asking us to “grab your partners, as it’s time for a slow dance” the trio begins the slower start to “Who Put Bella in the Wych Elm” and then it goes off, as the low and heavy sound sees rows of sequenced headbanging from the assembled masses.

    After the dynamic, grooviness of “Witches Candle” we are encouraged by Vincent to “sing along if you know the chorus” and the crowd clearly did, as “Scream Bloody Murder” whips us into a frenzy. It’s such a splendid song, with ace solos and rhythm, matched only by the wonderous “Death Lurks at Every Turn” as the floor is turned into a see of limbs. It’s raucous, imposing, hefty, and as they walk off, the drummer signals they have one more.

    “This is Birmingham folk history” as they play a quick melody of Black Sabbath songs as a way of introducing their final song, the appropriately titled “Diabolical Influence” which sees the final drops of sweat and energy from both crowd and band pour out and is the perfect way to end their mightily majestic set.

    Photo Credit: Tim Finch Photography

    Photo Credits: Tim Finch Photography

    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: Margarita Witch Cult – Manchester appeared first on The Razor's Edge.

  • “Greg Lake was a bit of a cabaret singer. Jon Anderson, whatever you think of his lyrics, bloody meant it”: The prog stars who influenced a comedy musician’s career – and made him become a milkman for a while

    Graham Fellows, creator of Jilted John and John Shuttleworth, started out with ELP before finding Yes, Focus, The Enid and Pink Floyd (although he has no time for The Dark Side Of The Moon)

  • “Greg Lake was a bit of a cabaret singer. Jon Anderson, whatever you think of his lyrics, bloody meant it”: The prog stars who influenced a comedy musician’s career – and made him become a milkman for a while

    Graham Fellows, creator of Jilted John and John Shuttleworth, started out with ELP before finding Yes, Focus, The Enid and Pink Floyd (although he has no time for The Dark Side Of The Moon)