Category: news
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My Computer – Bed Song
If you’re on the hunt for a track that captures the raw essence of the underground while maintaining a sophisticated edge, My Computer has delivered a massive statement with “Bed Song.” This is an incredible piece of music that refuses to be pinned down to just one subgenre. Instead, it expertly bleeds the lines between […] -
My Computer – Bed Song
If you’re on the hunt for a track that captures the raw essence of the underground while maintaining a sophisticated edge, My Computer has delivered a massive statement with “Bed Song.” This is an incredible piece of music that refuses to be pinned down to just one subgenre. Instead, it expertly bleeds the lines between […] -
Reviews: Ponte Del Diavolo, De L’Abime Naît L’Aube, Slaughterday, Bloodred (Spike)
Ponte Del Diavolo – De Venom Natura (Season Of Mist)There is a specific, cold-blooded elegance to the way the Italian occult scene handles its darkness. It’s never just about the noise; it’s about the theatre, the grime, and the lingering scent of incense in a room that hasn’t seen the sun in decades.Ponte Del Diavolo emerged from Turin with a tag they call “blackened post-punk,” but their second full-length, De Venom Natura, proves that they are far more interested in the “blackened” side of the equation than most of their contemporaries. Following a relentless two-year stint on the road that saw them haunt stages from Roadburn to Inferno, this new record feels like a band finally realizing that their uncommon architecture, specifically that dual-bass setup is their greatest weapon.
The record opens with Every Tongue Has Its Thorns, and the intent is clear from the first vibration. It’s a six-minute immersion in tension, where Erba del Diavolo’s wave-tinged vocals act as a flickering candle in a very large, very dark room. The dual-bass assault of Khrura Abro and Kratom creates a low-end frequency that feels properly tectonic, allowing the guitars of Nerium to dart around like shadows. The addition of Sergio Bertani’s theremin and Andrea l’Abbate’s programming adds a layer of sci-fi dread to the gothic grime, making the whole thing feel like a transmission from a different, bleaker dimension.
The collaborative spirit of the record is where it truly finds its teeth. Spirit, Blood, Poison, Ferment! features a guest trombone spot from Francesco Bucci (Ottone Pesante) that provides a brassy, apocalyptic funeral march energy. It’s a masterclass in building a “flaming core” of sound without ever losing the rhythmic pulse provided by Segale Cornuta.
You can hear the growth in the songwriting on the Italian-language tracks Lunga Vita Alla Necrosi and Il Vleno Della Natura. There is a raw, dynamic pulse here that refuses to settle into a standard doom-crawl. Instead, it moves with the nervous energy of early 80s post-punk, but with the vocal delivery of someone who has spent far too much time reading the darker corners of the Necronomicon.
The centrepiece of the record is the sprawling, near-nine-minute Delta-9 (Δ9). It’s a monolithic bit of songwriting that features Vittorio Sabelli on bass clarinet, adding a woody, subterranean texture to the usual blackened churn. It’s dense, immersive, and allows the specific “venom” of the instruments to breathe without becoming a muddy mess. It’s interesting that the addition of instruments you don’t associate with this genre really takes it up a level.
Silence Walk With Me brings in Gionata Potenti (Omega/Nubivagant) for a bit of acoustic guitar and vocal support, offering a moment of fragile, atmospheric beauty before the record hits its final, surprising threshold. The closer is a cover of Bauhaus’s In The Flat Field, and it’s a stroke of genius. It’s the sound of the band acknowledging their lineage while simultaneously dragging Peter Murphy’s ghost through a black metal furnace. It’s aggressive, disrespectful in all the right ways, and a perfect final shrug toward the light.
Is it a comfortable listen? Not even slightly. De Venom Natura is a record that demands you inhabit its shadows. It’s delivered with a level of professional, blackened confidence that suggests Ponte Del Diavolo are no longer just a “cult” secret. They are the new architects of the Italian gloom. 9/10
De L’Abîme Naît L’Aube – Rituel: Initiation (Hypnotic Dirge Records)
This took a couple of listens to dial my thoughts into what’s actually happening here. There is a lot going on. So let’s get after it.
Most “atmospheric” bands treat the term as an excuse to hide a lack of ideas behind a wall of reverb. De L’Abîme Naît L’Aube (DANA), however, uses atmosphere as a physical medium. Emerging from the Valais region of Switzerland, this six-piece has spent the last few years refining a sound that they describe, quite accurately, as a “mystical initiation.” Their debut full-length, Rituel: Initiation, is a 52-minute journey that blends an essence of folk, bits of tribal rituals and other levels of transcendental vocals with more aggressive margins of post-black metal.
The record is structured around five expansive movements, and it doesn’t bother with a polite introduction. Une Pleine Absence clocks in at nearly twelve minutes, establishing a progressive blueprint of suspended calms and sudden, violent tempo shifts. The vocal interplay here is nothing short of extraordinary; you have the high-pitched, blackened screams of Sébastien Defabiani clashing against shamanic throat singing.While Fantine Schütz provides a folkloric, enchanting female counterpoint. It shouldn’t work, it sounds like three different centuries fighting for space but under the direction of DANA, it feels like a cohesive, ancient dialect. The vocals for me were the parts that just made this album, this is like a blender of genres producing something greater than it’s parts.
The guitars of Dominique Blanc and Kilian Caddoux are heavily indebted to post-rock, layering airy textures and soaring leads that elevate the compositions out of the “abyss” promised in the band’s name. On Un Sanctuaire De Cendres, the 13-minute centrepiece, the rhythm section maintains a minimalistic, hypnotic pulse that allows the “theatre” of the song to breathe. It’s here that the band’s signature gong punctuates the key moments, sealing the ritualistic aspect of the music with a metallic resonance that lingers long after the note has passed.
It’s a record that understands the value of silence just as much as it understands the power of the blast beat.Le Vertige D’une Descendance continues this trend of “long-form” storytelling, moving through a series of crescendos that feel genuinely earned rather than just mathematically calculated. After the brief, four-minute respite of Une Première Epiphanie, the record reaches its climax with Une Absolue Présence. It’s a final, 11-minute shrug toward the light, a track that manages to feel both transcendent and grounded. It successfully navigates the “Abyss to Dawn” transition of the band’s name, leaving the listener in a state of captivated trance.
Is it a demanding listen? Hell Yes it is, I think I listened to this at least 4 times just to level set. Rituel: Initiation requires you to commit to its pace and its unconventional vocal palette (again the vocals are amazing). But for those willing to step into the circle, it offers one of the most unique and immersive experiences in modern post-metal. This isn’t just a debut; it’s a fully formed vision from a band that clearly understands that the best music is often a ceremony. 9/10
Slaughterday – Dread Emperor (Testimony Records)
There is something deeply reassuring about the way Slaughterday approaches death metal. While the rest of the world is busy arguing over sub-genre prefixes and technical wizardry, this duo from Leer has spent sixteen years perfecting the art of the morbid, mid-paced chug.Dread Emperor, their sixth full-length, arrives with the kind of “death metal nobility” pedigree that you only get from veterans like Jens Finger (ex-Obscenity, Temple of Dread) and Bernd Reiners. It’s an album that understands that the real power of the genre doesn’t come from speed alone, but from the friction between a crushing doom-crawl and an outbreak of total, unadulterated brutality.
The record opens with Enthroned, and immediately makes its presence felt. It’s thick, gritty, and possesses that “no triggers” honesty that acts as a healthy antidote to the over-polished state of modern deathcore. By the time the record moves into Obliteration Crusade and Rapture Of Rot, you realize that Slaughterday haven’t just stuck to their Autopsy and Massacre-worshipping roots; they’ve refined them. There’s a melodic sensibility lurking beneath the filth, haunting choruses that stick in your brain long after the last blast beat has subsided.
Lyrically, the band has pivoted away from simple tentacle-horror tropes. While the Great Old Ones still haunt the periphery, these monsters have been repurposed as metaphorical ciphers for the hardening of modern society. It gives tracks like Astral Carnage and Subconscious Pandemonium a weight that goes beyond the typical gore-obsessed tropes. It’s “intellectual” death metal that still manages to sound like it was recorded in a damp cellar during a thunderstorm.
The title track, Dread Emperor, is the record’s tectonic heart. It’s a monolith of tension-building, where the guitar work switches between soaring, cosmic leads and the kind of bone-shaking riffs that anchor the entire Northwestern German scene. It’s a stark, effective reminder that you don’t need a nineteen-minute concept piece to describe the end of the world, you just need the right frequency of fuzz.
The back half of the record, The Forsaken Ones, Necrocide, and the aptly titled Dethroned maintains a relentless momentum, refusing to offer a single moment of respite. The experience is then capped off with a cover of Protector’s Golem. It’s a brilliant final nod to their heritage, delivered with a level of aggression that proves the duo still has plenty of venom left in the tank.
Is it a revolutionary departure? No. It’s exactly what the fans want: perfectly executed old-school death metal with a wicked, cosmic twist. Dread Emperor is an essential document of survival for anyone who still values a beating death metal heart. 8/10
Bloodred – Colours Of Pain (Massacre Records)
There is a persistent, hardening shell forming around modern society, a shifting of truth until it becomes as malleable as clay, and it is exactly this friction that this album documents.Bloodred has always been a project defined by a singular vision, but Colours Of Pain feels like the moment that vision finally stopped looking at the genre’s horizon and started looking inward. Self-released and unapologetically nonconformist, this is a record that uses the vocabulary of blackened death metal to write a very personal, very uncomfortable letter about the state of the world in 2026.
The collaboration with Alexander Krull at Mastersound Studio remains the structural backbone here, but there is a noticeable grit to the guitars and bass, that prevents the production from becoming too “polite.”
The record begins with Ashes, a track that serves as a smouldering preamble to the title track, Colours Of Pain. It’s here that you notice the return of Joris Nijenhuis on the drums; his precision provides a mechanical, almost industrial heartbeat that allows the riffs to sprawl. The title track isn’t just a display of force; it’s a canvas for the lyrical themes of shifting boundaries and the “enemy-making” machine of modern discourse.
The centrepiece, Mindvirus, is where the record truly flexes its muscles. There’s a blistering solo that cuts through the thick, rhythmic churn like a lightning strike.
The band’s decision to move toward more personal lyrics pays dividends on Heretics and A New Dark Age. These aren’t just fantasy tropes; they are reflections on a society that is accelerating toward an uncertain conclusion while its empathy hardens into something unrecognizable. The music matches this intensity, moving between high-velocity blackened thrash and the kind of mid-paced, crushing weight found on Death Machine.
By the time the record closes with Resist, the intent is clear. Bloodred hasn’t just made a death metal album; they’ve made a document of defiance. It’s an honest, unvarnished look at the “flexible truths” of our era, delivered with a level of professional craft that justifies its place in the upper echelons of the independent scene. It’s a heavy, thoughtful, and ultimately necessary bit of noise for anyone who feels the same hardening of the world that they describe. 8/10 -
Erja Lyytinen Celebrates 50th Anniversary Rock & Blues Birthday UK Tour in October 2026
Award-winning Finnish guitarist and blues artist extraordinaire Erja Lyytinen is pleased to announce her 50th Anniversary Rock Blues Birthday UK Tour in October 2026. Tickets now on sale – here. Lyytinen will celebrate her 50th Birthday by embarking on a special tour around the UK and Europe with a special celebratory setlist that will feature gems […]
The post Erja Lyytinen Celebrates 50th Anniversary Rock & Blues Birthday UK Tour in October 2026 appeared first on ROCKPOSER DOT COM!.
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PRIMAL FEAR – Release Impelling New Single & Video “One”
While the world remains being a restless place, metal commando PRIMAL FEAR is among the most reliable constants in these insecure times. Supporting their 2025 successful album Domination on stages worldwide, with a second European leg kicking off in London, UK on March 11, the band warm-up their engines with a new track called “One” today.
The straight-forward anthem calls upon mankind to stand together instead of feuding with each other, and was recorded during the Domination sessions. Combining hard-hitting riffs and the group’s melodic trademark approach masterfully, the single is in no way inferior to PRIMAL FEAR’s celebrated current opus!
L-R:
André Hilgers (drums), Magnus Karlsson (guitars), Ralf Scheepers (vocals),
Thalìa Bellazecca (guitars), Mat Sinner (bass, vocals)Bassist/vocalist Mat Sinner states: “‘One’ is a continuation of the Domination atmosphere. A massive riff, true Primal Fear melodies, a driving groove, and Ralf’s characteristic vocals. It’s like a teaser for the second leg of our European tour as well as our upcoming South American run. Our cover artist, Death.Milk.Designs, has created a killer video clip with a collection of awesome scenes. Enjoy listening & watching the video, we’re incredibly excited for the next part of the tour!”
Watch the official music video: https://www.youtube.com/watch?v=Q4jtL2i9EwY
Stream the single: https://primalfear.rpm.link/onePR
Order Domination (ltd. CD earbook, digipak-CD, jewel case-CD & various vinyl variants) & stream it here: https://primalfear.rpm.link/dominationPR
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More on PRIMAL FEAR:
primalfear.de | Facebook | Instagram | TikTok | RPMMore on RPM:
reigningphoenixmusic.com | Facebook | Instagram | TikTok | YouTube
Source: C Squared Music
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David Raine – Pollack Splash
If you’ve been following Thoughts Words Action for any amount of time, you know I’m a sucker for a track that can create a world within a few minutes. David Raine has done exactly that with “Pollack Splash,” a marvelous piece of indie folk that feels like a breath of fresh air in an often […] -
David Raine – Pollack Splash
If you’ve been following Thoughts Words Action for any amount of time, you know I’m a sucker for a track that can create a world within a few minutes. David Raine has done exactly that with “Pollack Splash,” a marvelous piece of indie folk that feels like a breath of fresh air in an often […] -
One of the most celebrated metal bands of the last decade have just announced their biggest headline shows ever, including a stop-off at London’s iconic Wembley Arena
Canadian metalcore heavyweights Spiritbox will hit arenas across the UK and Europe this autumn -
Rush Announce 2027 Tour of UK and Europe
Rush Announce 2027 Tour of UK and Europe
In 2025 Rock & Roll Hall of Fame® Inductees, GRAMMY® Award-nominated icons, and RUSH Co-Founders Geddy Lee [bass, keys, vocals] and Alex Lifeson [guitar, vocals] announced their return to the stage for a very special FIFTY SOMETHING TOUR in Canada, USA and Mexico in 2026 in celebration of RUSH’s music, legacy, and the life of late drummer and lyricist Neil Peart. The response was overwhelming with the initial 22 dates selling out immediately, which encouraged additional shows, resulting in a total of 58 shows in 24 cities and over half a million tickets sold for 2026.
Today the band are ecstatic to announce the addition of South America, the United Kingdom and Europe tour dates to the Fifty Something tour, in early 2027. The dates will be the first time the band has played in Europe since 2013 and 17 years since visiting South America.
Performing 24 shows across 13 countries, these special “evening with” shows will find the band playing two sets each night. Each show will feature a distinct selection of songs and RUSH will build each night’s setlist from a catalogue of 40+ songs including their greatest hits and fan favorites.
For Fifty Something, Lee and Lifeson will be accompanied by German drummer, composer, and producer Anika Nilles, who has performed as Jeff Beck’s drummer for over 60 shows and has released four solo albums. The band will also be joined by keyboard player Loren Gold (The Who, Roger Daltrey).
Of the tour, Geddy Lee says: “We can’t wait to get back to all these cities we haven’t played in so long, as well as hitting some new places we’ve yet to play. Both Alex and I are loving the hours of rehearsal time we’re spending with Anika and now Loren, learning around 40 songs which will enable us to keep the shows evolving, playing some different songs on different nights. We are thrilled that many of our longstanding crew have come back to help us design the kind of RUSH show that fans have grown accustomed to expect from us. We dearly hope you will come along and help us celebrate 50 years of Rush music, while giving Neil the long overdue tribute he so richly deserves.”
Carrie Nuttall-Peart and Olivia Peart, Neil’s widow and daughter share:
“We are thrilled to support the Fifty Something tour, celebrating a band whose music has resonated and inspired fans for generations, and to honor Neil’s extraordinary legacy as both a drummer and lyricist. Neil’s musicianship was singular. Compositions of intricacy and power that expanded what rhythm itself could express. As both drummer and lyricist, he was irreplaceable. Inimitable in his artistry, and unmatched in the depth and imagination he brought to the lyrics that inspired and moved so many, he profoundly shaped how fans connected with him and the band, giving voice and meaning to their own lives. As the band enters this new chapter, it promises to be truly unforgettable. We are excited to see how their new vision unfolds, and to hear this legendary music played live once again.”
RUSH invites fans to get closer than ever with elevated ways to experience the tour: a special VIP program with the 2112 Platform Experience, and curated Travel Packages for those journeying in to see the show.
VIP packages could include Meet & Greet access, an autograph signing session and production tour, entry to the Xanadu pre-show VIP lounge, exclusive merch gifts, and more.
Each Travel package includes a 2-night stay at a curated hotel, premium tickets to the show, a limited edition gift, a Rush Welcome Pack, Transportation Pass, and more exclusive goodies.
For VIP: https://superfan.live/rushvip
For Travel: https://superfan.live/rushtravelCheck out the full confirmed 2027 itinerary below:
15 Jan – Buenos Aires, AR – Movistar Arena
22 Jan – Curitiba, BR – Arena da Baixada
24 Jan – São Paulo, BR – Allianz Parque
30 Jan – Rio de Janeiro, BR – Estádio Olímpico Nilton Santos (Engenhão)
01 Feb – Belo Horizonte, BR – Estádio Mineirão
04 Feb – Brasília, BR – Arena BRB
19 Feb – Paris, FR – La Défense Arena
21 Feb – Berlin, DE – Uber Arena
23 Feb – Amsterdam, NL – Ziggo Dome
25 Feb – Munich, DE – Olympiahalle
28 Feb – Cologne, DE – LANXESS Arena
02 Mar – Hamburg, DE – Barclays Arena
04 Mar – Stuttgart, DE – Hanns-Martin-Schleyer-Halle
08 Mar – Glasgow, UK – OVO Hydro
12 Mar – Manchester, UK – Co-op Live
16 Mar – London, UK – O2 Arena
18 Mar – London, UK – O2 Arena
27 Mar – Kraków, PL – TAURON Arena Kraków
30 Mar – Milan, IT – Unipol Dome
01 Apr – Basel, CH – St. Jakobshalle Basel
04 Apr – Copenhagen, DK – Royal Arena
06 Apr – Oslo, NO – Unity Arena
08 Apr – Stockholm, SE – Avicii Arena
10 Apr – Helsinki, FI – Veikkaus ArenaFor UK date ticket sale information please visit:
The post Rush Announce 2027 Tour of UK and Europe appeared first on The Razor's Edge.
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Sweet Crystal – Prisoner, Unbound
If you’ve been following the rock scene for any length of time, you know that the real gems are often found where the classic spirit meets modern precision. Sweet Crystal is a band that understands this balance perfectly, and their latest offering, “Prisoner, Unbound,” exemplifies how to bridge the gap between retro soul and contemporary […]