Category: news
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Architects Premiere Remixes For “Broken Mirror” & “Everything Ends”
British metalcore band Architects have released a pair of remixes from their latest album “The Sky, the Earth & All Between.” The tracks “Everything Ends” and “Broken Mirror” have both been reworked by Daniel Joseph. In addition to being available to stream, these remixes are also being offered on a limited 7? vinyl pressing. … Read More/Discuss on Metal Underground.com -
Portrayal Of Guilt – …Beginning Of The End (Review)
Bands: Portrayal Of Guilt Release: … Beginning Of The End Genre: Screamo, Black Metal, Sludge Country: USA Release Date: 24th of April, 2026 Released via Run For Cover Records Portrayal Of Guilt are a hard band to categorize. The Texas three-piece are notorious shapeshifters and have never shied away from expanding and shifting their sonic palette. Be it the eerie Devil Music in 2023, which basically contained the same songs as the record’s first half but transformed into an impending doom soundtrack of claustrophobic string instrumentation, or the wild remix edition of Christfucker—these guys know how to throw some curveballs. With their fifth record, …Beginning Of The End, the obvious question is: which incarnation of the band are we getting this time?
After making a name for themselves with Let Pain Be Your Guide and fan favorite We Are Always Alone, the screamo-meets-black-metal punkers quickly gained a lot of attention due to their unconventional ability to blend several genres into one cohesive piece of sound. And with their latest record, they manage to dig even further into unknown territory. “Backstabber” opens with familiar dissonant and haunting chords that serve as a brief tone-setting introduction to the wild ride that is …Beginning Of The End. Pre-released “Human Terror” directly shifts the tone with its rumbling bassline and distant guitar notes that culminate in a Korn-esque, bouncy chorus. Accompanied by Matt King’s nasty screams, we’ve got the first hit in the books.
Following up the massive opener are “Heaven’s Gate” and the punky “Under Siege”, which amp up the chaos with blast beats, more dissonance, and rapid tempo switches. “Ecstasy” sounds like a messed-up version of grunge meets trip hop, but actually works well as a more pop-structured, bleak dance song. In general, Portrayal Of Guilt’s latest offering demonstrates a clear shift towards a more accessible direction. Thankfully, they still manage to keep their signature sound as the foundation for all these stylistic tweaks and turns.
“Chamber of Misery IV” even features rapper Slim Guerilla and comes across as a total oddball feature that pretty accurately demonstrates that the Texans don’t give a flying fuck when it comes to musical genre boundaries. On paper, this shouldn’t work, but somehow it does and even emphasizes the haunting atmosphere of the record.
The biggest asset of …Beginning Of The End, though, is its constantly dynamic flow that keeps surprising the listener with interesting changes of pace and mood. While the songs are drastically different from each other, nothing feels out of place or randomly attached. This is also evident in the record’s final moments. The one-two punch of the hauntingly beautiful “Object of Pain”, which wouldn’t feel out of place on a Nine Inch Nails record, and the closer “The Last Judgement” is a magnificent display of building and releasing tension. The latter serves as a perfect climax to the build-up of its immediate predecessor, with its blistering black metal aura cleverly juxtaposed by post-rock motifs before abruptly ending with an emotional gut punch.
…Beginning Of The End is a diverse and hard-hitting record that offers a unique blend of genres, all held together by the overarching bleak and menacing atmosphere Portrayal Of Guilt are known for. By adding new tricks to their book, the Texan three-piece have created a hauntingly beautiful and hard-hitting record full of interesting dynamics and gripping songs that function as a cohesive, dark whole—resulting in the band’s best record to date.
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Northlane Premiere New Single & Music Video “Evian”
Australian progressive metalcore band Northlane have premiered their new independently released single “Evian,” accompanied by a music video directed by Colin Jeffs. Exploring the song’s lyrical themes, frontman Marcus Bridge shared: Read More/Discuss on Metal Underground.com -
“I was going to step out into the water and pretend to be the Son of God!” The story of the day Steve Harley’s Jesus trip was spoiled by overheated fans
With a number one single under their belt, Steve Harley and Cockney Rebel booked their biggest headline show – it did not go according to plan -
“He said, ‘The music is one thing, but we’re here to put on a show.’ And that’s what he did”: Keith Emerson’s manager wanted to ditch plans for a flying piano. Emerson proved him wrong
Backstage boss Stewart Young took one look at the prototype in 1974 and decided to walk away – but the keyboard maestro wouldn’t have it -
Reviews: Spirit Adrift, Slomosa, Demons My Friends, Occult Hand Order (Rich Piva)
Spirit Adrift – Infinite Illumination (20 Buck Spin)I can be certain that I am reviewing the final album from a band with this one…
Spirit Adrift “surprised” dropped their sixth and final record, Infinite Illumination, confirming that it will be the last trek in the journey of the beloved Texas metal band. Let’s not get into why, let’s just bask in the glory that is the swansong for a band who has pretty much done no wrong in their recording career. This continues with the eight killer tracks that make up Infinite Illumination.
There is both an urgency and a sadness to Infinite Illumination. Those who know some of the stuff surrounding Nathan Garrett may have some idea why. There is also a light of hope as well that comes through on these songs, creating a contrast that puts this record on another plane. Of course the riffs are there, like on the opening title track, which also has a killer mid tempo gallop to it, seemingly referencing all of the classics in under eight minutes.The layered vocals when the pace slows stops you in your tracks, as the emotion coming from this one is palpable. More riffs start Widow Within, keeping the tempo the same but bringing more ferocity in the guitar and the vocals. There is a grungy feel to this one, paired with the dual metal guitars, creating this excellent mash up of genres that does not always work, but sure does here.The vocals stand out on You Will Never Hold The Key, as the urgency/anguish comes through hard. We know Garrett is a big Type O fan, and it is pretty evident with this song. Riffs come spilling out of Born In A Bad Way, a three minute stomp that may be my favourite track on the record. Buried In The Shadow Of The Cross has my favourite riff on the record and is the most trad doom track on her, executed perfectly.White Death has this cool, old school thrash metal feel to it, in vibe if not in velocity, while I Am Sustained continues the Type O/trad doom approach that works so well on Infinite Illumination. Then there is Where Once There Was An Ocean to close out the journey of Spirit Adrift. Big, heavy, emotional, and exactly the way this record and this band should have come to an end.
A lot of people will miss Spirit Adrift. I know I will. Sometimes life brings things more important than what us fans care about, but for Garrett and company to go out giving us the gift of Infinite Illumination is more than anyone could ask for. 9/10
Slomosa – Live In Bergen (Apollon Records) [Rich Piva]
We don’t get enough good live records these days. Norwegian Tundra Rock band Slomosa is here to change that, with an exclusive Record Store Day release of Live In Bergren, a double live album capturing the band’s sold-out hometown show in December 2024 at Verftet in all of their wonderful, heavy, and harmonious glory.
Slomosa is one of the real breakout bands in the “heavy underground rock” arena, which here in the USA is not so easy to do for “stoner rock” or whatever you want to call it. But some cool opening tour spots, like the trek they did with Helmet, gave the band some next level exposure that has them quite the trendy name to mention in certain circles. They deserve it too, because their two studio records are both awesome, and they sure do bring the energy live if Live In Bergen is what they deliver in that setting.
We get 15 great songs from Slomosa, which is most of their catalog, considering they have only been a band for a short amount of time, relatively speaking. The band sounds great, seem happy to be playing to their hometown crowd, and really brings it across the 15 tracks. Highlights include Psykonaut, Red Thundra, and a seven-plus minute version of Scavengers, which closes out the set perfectly, but really the whole thing is killer and absolutely worth your time.
I have not been lucky enough to see Slomosa live, but if Live In Bergen is any indication, I really need to figure out a way to ASAP. Go order the limited vinyl and blast some live Tundra Rock to keep cool during the upcoming summer months. Don’t tell me there are no good live albums when we have Live In Bergen. 8/10
Demons My Friends – Survive/Yourself (Ripple Music)
Ripple Music picked up the debut record from Austin/Mexico City band Demons My Friends and gave it a much warranted and appreciated wider release, given the debut from the band is a killer blend of stoner, grunge, doom, and some other heavy surprises, Todd was left with no choice but to bring it to more ears. Not long after, we get the new record from DMF, titled Survive/Yourself, where the band doubles down on leveraging the 90s Seattle sound combined with their own interpretation of heavy, which comes across great over the eight tracks.
The opener, The Theory Of Change, has all of that above including the riffs, the layered, AIC styled vocals, and even a creepy child at the end of the track to keep up the Demon vibe. There is a messy quality to DMF which is meant as a complement. They seem to not strive for the perfect sound or take, but for the one that feels the best. I hear that on Last Dance, where you get some 90s, dark alt rock with harmonized vocals and a big Rain When I Die kind of bridge. Cool stuff.The opening riff rules on Star Child, and I love the addition of the aggressive vocals to the mix. There is an STP but heavier vibe to this one. Kalorma doubles down on the layered, harmonized vocals, creating their biggest sounding song on the album, and probably my favourite. Starting off slow then getting chunky, We All End Up Here is another stand out on this one.Brain Holographics is an interesting one, that shows you can be heavy, catchy, have harmonized whoos, then break into a black mental scream from hell while the band rips it up around you. Smile is Soundgarden worship to start, think Face Pollution, until you get dragged to hell, then pop your head back up. This one is all over the place and that is fine by me. Isolate closes with another killer riff and is a dark heavy rocker that fits its name and closes out the record nicely.
Demons My Friends seem to really be starting to get their sound, Big riffs, harmonized vocals, Seattle worship, and some parts that bring the ultra heavy when you least expect it. Survive/Yourself is an excellent sophomore effort that shows even more promise from the band. 8/10
Occult Hand Order – Meaningless Monuments (Totem Cat Records)
Heavy, atmospheric post rock psych is what the new record from Occult Hand Order is about. There are stoner and grunge elements as well, but the first word I think of when I hear Meaningless Monuments is big. The Second is atmospheric. The third is excellent.
Over the five tracks, you get excellent vocals, killer, wall of sound, heavy shoegaze guitar, and a super tight rhythm section that drives the songs. Błędów, the opener, is all of this, and even some screams from hell about half way through, before everything chills out again. This one goes in a bunch of directions, with surprises around every turn.Brno starts out menacingly, like a horror movie where, at some point, someone is getting murdered, but just not yet. The vocals are great and the build up to the heavy is excellent. OHO understands the build, that is for sure. Lots of twists and turns in the one too, which is a theme for Meaningless Monuments. I like how it gets chunky at the end and that post rock guitar kicks in.The quiet to loud build rules the day on Mollerussa, and they certainly get it, saving that killer psych guitar and heaviest parts for the back end of the track. Novo Mesto continues the overall vibe, but the post rock heaviness and screams are a bit more prevalent. Also when they almost go all black metal on us, just for a minute though. Gerlach is the closer, and the most straightforward (for them) track on the record, but there is nothing predictable about Occult Hand Order, so you know it still has some cool twists and turns.
The songs are long and not so straight forward, so be in for a journey on the new Occult Hand Order album. If you do, you will be rewarded with a tight sounding, soft to heavy, quiet to loud and back again experience driven by great vocals and killer psych/shoegaze guitar work. Meaningless Monuments takes you all over but never anywhere you don’t want to be. 8/10 -
Reviews: Spirit Adrift, Slomosa, Demons My Friends, Occult Hand Order (Rich Piva)
Spirit Adrift – Infinite Illumination (20 Buck Spin)I can be certain that I am reviewing the final album from a band with this one…
Spirit Adrift “surprised” dropped their sixth and final record, Infinite Illumination, confirming that it will be the last trek in the journey of the beloved Texas metal band. Let’s not get into why, let’s just bask in the glory that is the swansong for a band who has pretty much done no wrong in their recording career. This continues with the eight killer tracks that make up Infinite Illumination.
There is both an urgency and a sadness to Infinite Illumination. Those who know some of the stuff surrounding Nathan Garrett may have some idea why. There is also a light of hope as well that comes through on these songs, creating a contrast that puts this record on another plane. Of course the riffs are there, like on the opening title track, which also has a killer mid tempo gallop to it, seemingly referencing all of the classics in under eight minutes.The layered vocals when the pace slows stops you in your tracks, as the emotion coming from this one is palpable. More riffs start Widow Within, keeping the tempo the same but bringing more ferocity in the guitar and the vocals. There is a grungy feel to this one, paired with the dual metal guitars, creating this excellent mash up of genres that does not always work, but sure does here.The vocals stand out on You Will Never Hold The Key, as the urgency/anguish comes through hard. We know Garrett is a big Type O fan, and it is pretty evident with this song. Riffs come spilling out of Born In A Bad Way, a three minute stomp that may be my favourite track on the record. Buried In The Shadow Of The Cross has my favourite riff on the record and is the most trad doom track on her, executed perfectly.White Death has this cool, old school thrash metal feel to it, in vibe if not in velocity, while I Am Sustained continues the Type O/trad doom approach that works so well on Infinite Illumination. Then there is Where Once There Was An Ocean to close out the journey of Spirit Adrift. Big, heavy, emotional, and exactly the way this record and this band should have come to an end.
A lot of people will miss Spirit Adrift. I know I will. Sometimes life brings things more important than what us fans care about, but for Garrett and company to go out giving us the gift of Infinite Illumination is more than anyone could ask for. 9/10
Slomosa – Live In Bergen (Apollon Records) [Rich Piva]
We don’t get enough good live records these days. Norwegian Tundra Rock band Slomosa is here to change that, with an exclusive Record Store Day release of Live In Bergren, a double live album capturing the band’s sold-out hometown show in December 2024 at Verftet in all of their wonderful, heavy, and harmonious glory.
Slomosa is one of the real breakout bands in the “heavy underground rock” arena, which here in the USA is not so easy to do for “stoner rock” or whatever you want to call it. But some cool opening tour spots, like the trek they did with Helmet, gave the band some next level exposure that has them quite the trendy name to mention in certain circles. They deserve it too, because their two studio records are both awesome, and they sure do bring the energy live if Live In Bergen is what they deliver in that setting.
We get 15 great songs from Slomosa, which is most of their catalog, considering they have only been a band for a short amount of time, relatively speaking. The band sounds great, seem happy to be playing to their hometown crowd, and really brings it across the 15 tracks. Highlights include Psykonaut, Red Thundra, and a seven-plus minute version of Scavengers, which closes out the set perfectly, but really the whole thing is killer and absolutely worth your time.
I have not been lucky enough to see Slomosa live, but if Live In Bergen is any indication, I really need to figure out a way to ASAP. Go order the limited vinyl and blast some live Tundra Rock to keep cool during the upcoming summer months. Don’t tell me there are no good live albums when we have Live In Bergen. 8/10
Demons My Friends – Survive/Yourself (Ripple Music)
Ripple Music picked up the debut record from Austin/Mexico City band Demons My Friends and gave it a much warranted and appreciated wider release, given the debut from the band is a killer blend of stoner, grunge, doom, and some other heavy surprises, Todd was left with no choice but to bring it to more ears. Not long after, we get the new record from DMF, titled Survive/Yourself, where the band doubles down on leveraging the 90s Seattle sound combined with their own interpretation of heavy, which comes across great over the eight tracks.
The opener, The Theory Of Change, has all of that above including the riffs, the layered, AIC styled vocals, and even a creepy child at the end of the track to keep up the Demon vibe. There is a messy quality to DMF which is meant as a complement. They seem to not strive for the perfect sound or take, but for the one that feels the best. I hear that on Last Dance, where you get some 90s, dark alt rock with harmonized vocals and a big Rain When I Die kind of bridge. Cool stuff.The opening riff rules on Star Child, and I love the addition of the aggressive vocals to the mix. There is an STP but heavier vibe to this one. Kalorma doubles down on the layered, harmonized vocals, creating their biggest sounding song on the album, and probably my favourite. Starting off slow then getting chunky, We All End Up Here is another stand out on this one.Brain Holographics is an interesting one, that shows you can be heavy, catchy, have harmonized whoos, then break into a black mental scream from hell while the band rips it up around you. Smile is Soundgarden worship to start, think Face Pollution, until you get dragged to hell, then pop your head back up. This one is all over the place and that is fine by me. Isolate closes with another killer riff and is a dark heavy rocker that fits its name and closes out the record nicely.
Demons My Friends seem to really be starting to get their sound, Big riffs, harmonized vocals, Seattle worship, and some parts that bring the ultra heavy when you least expect it. Survive/Yourself is an excellent sophomore effort that shows even more promise from the band. 8/10
Occult Hand Order – Meaningless Monuments (Totem Cat Records)
Heavy, atmospheric post rock psych is what the new record from Occult Hand Order is about. There are stoner and grunge elements as well, but the first word I think of when I hear Meaningless Monuments is big. The Second is atmospheric. The third is excellent.
Over the five tracks, you get excellent vocals, killer, wall of sound, heavy shoegaze guitar, and a super tight rhythm section that drives the songs. Błędów, the opener, is all of this, and even some screams from hell about half way through, before everything chills out again. This one goes in a bunch of directions, with surprises around every turn.Brno starts out menacingly, like a horror movie where, at some point, someone is getting murdered, but just not yet. The vocals are great and the build up to the heavy is excellent. OHO understands the build, that is for sure. Lots of twists and turns in the one too, which is a theme for Meaningless Monuments. I like how it gets chunky at the end and that post rock guitar kicks in.The quiet to loud build rules the day on Mollerussa, and they certainly get it, saving that killer psych guitar and heaviest parts for the back end of the track. Novo Mesto continues the overall vibe, but the post rock heaviness and screams are a bit more prevalent. Also when they almost go all black metal on us, just for a minute though. Gerlach is the closer, and the most straightforward (for them) track on the record, but there is nothing predictable about Occult Hand Order, so you know it still has some cool twists and turns.
The songs are long and not so straight forward, so be in for a journey on the new Occult Hand Order album. If you do, you will be rewarded with a tight sounding, soft to heavy, quiet to loud and back again experience driven by great vocals and killer psych/shoegaze guitar work. Meaningless Monuments takes you all over but never anywhere you don’t want to be. 8/10 -
SANAGA Confirmed For SONUM Fest 2026 (Quebec City) + Unleash Debut Single “The Godslayer’s Oath” ~ Mixed & Mastered by KATAKLYSM’s Jeff Dagenais
Photo Credit – Martin Bouchard
L-R – Dominic Brillant – Guitars, Jean-Francois Durand – Bass, Marc Verreault – Vocals, Frederic Giguere – Drums, Patrick Plourde – GuitarsRising death metal force Sanaga will take the stage at SONUM Fest 2026 on May 16th as part of the three‑day festival running May 15–17. The event, hosted in Quebec City at Studio Sonum (25 Bigaouette), is known for showcasing some of the most intense and innovative acts in heavy music. This performance marks one of Sanaga’s first official live appearances.
Festival details:
Event page:
https://www.facebook.com/events/939013391997631
Sanaga recently unleashed their debut single, “The Godslayer’s Oath”, mixed and mastered by Jeff Dagenais (Kataklysm). The track serves as the band’s explosive introduction to the Canadian metal scene. Formed in late 2026, Sanaga unites long‑time friends and seasoned musicians driven by a shared passion for fast, melodic, aggressive, and evocative metal inspired by Death, Slayer, Amon Amarth, and Dark Tranquillity.
“The Godslayer’s Oath” was the natural choice for Sanaga’s first release. As the earliest song the band fully rehearsed together, it quickly became their most complete and polished composition. Musically, it captures the full spectrum of Sanaga’s sound, death metal fused with thrash energy and sharpened by touches of black metal.
Lyrically, the track introduces listeners to the band’s myth‑driven universe, telling the story of a void‑born entity created for one purpose: to slay gods and annihilate their realms. Whether interpreted as an anti‑religious statement or a brutal fantasy narrative, the single sets the tone for Sanaga’s bold, storytelling focused approach.
Though newly formed, Sanaga’s members are no strangers to the Quebec metal scene, with active roles in projects such as Meet The Mailman, Foxy Queen, Devil’s Trill, and Warriors of the North. Their combined experience fuels a tight, high‑energy sound and a no‑nonsense writing process.
The single’s artwork reflects the band’s name, drawn from the Sanaga River in Cameroon, a symbol of life, death, and myth. Its dark, foreboding landscape and towering god‑slaying figure visually echo the themes explored in the music.
Following their SONUM Fest performance, Sanaga will continue preparing for additional live dates and will return to the studio to record their second release. With a defined sound and a clear creative vision, the band is poised to make a powerful impact on the death metal landscape.
Listen to “The Godslayer’s Oath” at the following links:
Add to your Spotify playlist: https://open.spotify.com/track/1rzjY98YzjOizn5gLwmpxO
YouTube: https://www.youtube.com/watch?v=3xU9Vmcpj_Q
More info:
https://www.facebook.com/profile.php?id=61585662054767
https://www.instagram.com/sanaga666/
Source: ASHER MEDIA RELATIONS
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Album Review: Cage Fight – Exuvia
Album Review: Cage Fight – Exuvia
Reviewed by Dan Barnes
Has it really been four-years since the release of Cage Fight’s self-titled debut? Sure looks that way, and checking back through the Secret Archives at Razor’s Edge Towers, I located the parchment upon which I reviewed that particular record. Formed by TesseracT guitarist, James Montieth during those long lockdown days, and channelling the rage and ire we all felt, James recruited drummer Nick Plews, bassist Jon Reid and former Eths vocalist, Rachel Apse, and created a raging beast of a debut that snorted and snarled and generally reflected the mood of the nation perfectly.
Spool forward a few years and Cage Fight have returned, almost intact; Jon is gone, replaced by Will Chain, who has been instrumental in the writing of this sophomore record, and with a whole range of live experiences behind them, the question will be whether the raw power and raging energy will still be there; or has Cage Fight become civilised?
The answer to that question is a resounding No – but with a caveat: the band’s time away from the studio had given them a wider palette and a broader canvas upon which to paint. Sharing stages with some of the genres biggest and most inspirational artists appears to have had a huge influence on Cage Fight as songwriters, something which can be heard across all eleven tracks on Exuvia.
Even the titling of the record is a nod to the band’s development. Meaning the outer skin shed by such creatures as arachnids, crustaceans and insects when it becomes time to grow, Exuvia is Cage Fight shedding the skin in order to develop; the title track itself has development writ-large in its six-minutes as it mixes complex riffing with switching time signatures and an intense delivery. The heaviness blends with ethereal, ghostly moments giving it an introspective feel. When you realise the inspiration for the some came from Rachel’s grandmother who, while battling cancer, also contributed to the lyrics, Exuvia takes on a very different aspect.
The gap between albums means the band have been road-testing some of this material for a while, and those at Bloodstock Open Air 2025 will be familiar with bile-spat, infectious pummelling of Oxygen, the grunting, excoriating slams of Pig, and the more straightforward, death-inspired IHYG (I Hate Your Guts), all of which were given an airing last August.
Not aired at Catton Park, though it would have been apt to do so, would have been The Hammer Crush, which features a bouncing rhythm straight out of the Gojira playbook – if the Frenchmen ever decided to try their hand at a bit of slamming death metal. New boy, Will, wrote the lyrics to Hammer… and to the brutal heavy hardcore that is Deathstalker, which foregoes subtlety and aims directly for the jugular, through fat and furious chugs.
The development comes in those tunes that might not have made it onto the debut, those more experimental moments which may become Exuvia’s defining moments as time progresses. Short piece, Confined is a slow-build intro, strangely subdued but with what sounds like a call to prayer and a heavy bass presence; Le Déni is acoustic and atmospheric but also hides an ominous warning and acts as an elongated precursor to the tile track itself.
Coming way out of leftfield is Pick Your Fighter, featuring Benighted’s Julien Truchan on guest vocals it was inspired by a pop song, ‘Et C’est Parti…’ by French singer, Nâdiya, though I’d be surprised if the experimentalism and squeals were part of the original.
Un Bon Souvenir arrives with a big opening and wears its heavy hardcore heart firmly on its sleeve; Rachel delivers some clean vocals during the chorus and there’s more than a hint of the melodic about the overall vibe of this one. Will seems to be channelling his inner-Steve Harris during the whispered moments, and James serves up his most Metal solo.
Closing Exuvia is Élégie, featuring an acoustic, reverb-heavy intro and more cleans from Rachel, as ghostly rhythms weave their way between sounding like Within Temptation at one moment and Venom Prison the next. This is another composition when personal experience comes to the fore, dealing with bereavement and how one comes to term with losing someone close.
You can hear and feel the maturity from Cage Fight in every moment of Exuvia; much as I still love the debut, this one shows a band can still rage and snort but can do so while addressing adult themes and challenging accepted norms. A long time in the making, but well worth the wait.
The post Album Review: Cage Fight – Exuvia appeared first on The Razor's Edge.