Swedish hard-rock risers Velveteen Queen’s ‘Talk or Walk’ is the fourth single from their eagerly anticipated sophomore album, ‘The Greater Good‘, due for release this Friday, September 18th via Silver Lining Music. Pre-orders are available – here. ‘Talk or Walk’ is a snarling rock ‘n’ roll track packed with attitude, grit and zero interest in […]
The post Velveteen Queen Release New Single & Video ‘Talk or Walk’ appeared first on ROCKPOSER DOT COM.
Welcome to this weeks edition of Devil’s Island! Every week we maroon a band or artist on the island and see what they get up to, how they cope with being all alone on a small island in the middle of the ocean. It’s not your average desert island and we’ll see just how each person copes with the extreme conditions.
This week when we arrived at Devil’s Island we find Eternal sat on the beach. The island is far from their home, so how did they end up here and how did they cope with life on Devil’s Island?
Find out now…
Welcome to The Razors’e Edge and our somewhat lovely, warm desert island. Don’t worry about it’s name I’m sure it’s not as bad as that would suggest.
You’re marooned here on this island, but before you ended up shipwrecked you chose one album that you couldn’t live without. Which album did you each chose and why?
We chose Master of Puppets by Metallica. It’s an all time classic, and with that album alone you can learn everything you need to know about tasteful metal. It really is the epitome of thrash metal. With its blistering riffs and forward thinking approach, it was ahead of its time and helped redefine the whole genre.
Just behind that palm tree is a shack for each of you to sleep in, with enough space for you to put up a poster on the wall of one album cover. What album cover do you each chose and why?
Spyros Pexos, lead guitarist: Rust in Peace by Megadeth.
Nick Pogas, singer and guitarist: Dio’s The Last in Line.
Alex Archaniotis, drums: Basically any Pantera poster.
Nick Tsaousis, bass: Any Dimebag Darrell poster.
There’s also a bar on this here island. But alas each of you only get to choose one drink for the entirety of your stay. What’s your tipple of choice?
Spyros: Beer.
Nick P: Paloma.
Alex: Gin and lemon juice.
Nick T: Beer.
Your suitcases were lost when your ship sank, but you each managed to salvage one item of band merch. What’s the merch and for what band?
Spyros: Guilt Trip hoodie.
Nick P: Malevolence bucket hat.
Alex: Anthrax long sleeve shirt.
Nick T: Mono Thrash T shirt.
You’re sat on the island thinking “I’m stuck here on this island with my bandmates for eternity”… who would you rather have been shipwrecked with?
We can all agree that the correct and only answer to that question is James Hetfield.
There’s a walkman in your pocket, on the tape inside is the recording of the one live show that stands out for you. It could be any show, from any band, anywhere in the world. What show is on that walkman?
Metallica, Toronto, 1986.
You’re getting desperate, you decide the only course of action is to put a message in a bottle and hope someone finds it. Your message could be to any member of any band, but should be the most suitable for a rescue attempt. Who is it?
That someone is Spyros, for sure. He’s just got the skills.
You’ve been stuck here a while and food supplies are running low. There’s only one thing for it… which fellow band member gets sacrificed to help the others survive?
Definitely the bassist. Nick is getting eaten.
Finally, when the ship sank you each managed to save one person from the wreckage. That person is the one musician that has influenced your career the most, shaped your way of thinking and your outlook on life. Who did you save?
Spyros: Ronnie James Dio.
Nick P: Eddie Van Halen.
Alex: Nicko McBrain.
Nick T: Cliff Burton.
For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.
The post DEVIL’S ISLAND featuring Eternal appeared first on The Razor's Edge.
Reviewed by Dan Barnes
Our good friends, MC16, popped out their second album, We’re Gonna Need a Milkman, at the end of August, a mere eighteen months after debut, Machine Code, hit the racks. This sophomore release sees the punk trio picking up where Machine Code ended, with the band sharpening their trenchant and insightful views of modernity against a now-fifty-year-old musical genre.
Running at about twenty-seven minutes, MC16 spend the first eleven-and-a-half – or the record’s first five tracks – warming the listener up with some classic MC16 tunes and caustic observations. Standard Class acts like a sibling to No Blood No Guilt’s United States of Generica, only this time the homogenised town centres are replaced by artists and dreamers, who yearn to push the boundaries, only for their creativity to be sacrificed on the altars of commercialism. The rhythm section of bassist Quinn and drummer, Duffy, lay a solid platform upon which guitarist/ vocalist, Carson, can spit raw proclamations, conjuring those old-school punk vibes of yester-year.
Cheerful addresses the idea of mental health and depression in particular, a jolly drum pattern reflecting the less-than-useless advice to cheer up or, in the context of this song, to pull your socks up. The band turn up the Oi! feel to this and to great effect. Addiction and substance abuse are the subject under Trooper’s discussion, arriving with a fat, stomping progression and crunching guitars; the alternative-sounding mid-section plays on the idea of becoming a Jekyll and Hyde character while under the influence, and the dangers of what happens when it takes hold.
The theme of mental health rear its head on Help Deak, through stabbing guitars and a snotty punk attitude, and Rubble Walker takes the earliest sound of the punk genre and paints a picture of its protagonist making their way through war ravaged streets.
At this point we’re five songs in and it feels like there’s been barely time to breathe. The reggae rhythms of Last Card arrive like a cold water shock, the easy, laid-back grooves acting like a complete one-hundred-and-eighty turn following the rampant opening to We’re Gonna Need a Milkman; I think Carson may have made a rod for his own back with Red Lorry Yellow Lorry, its tongue-twister title is going to be a nightmare to deliver live, but the Stiff Little Finger’s adjacent riff and classic punk working class ire probably means it’s something he’s going to have to get used to.
The only song on the record to break the three-minute mark is the album highlight, Descended from Our Victims, from the heavy opening and pumping rhythms to the classic sixties-era pre-chorus, it’s driving and dangerous, introducing ideas of environmental responsibility in the most ambitious of …Milkman’s dozen. That’s Progress clocks in at less than a minute, arriving with the kind of Rock & Roll vibes you’d expect from Elvis; if The King had ever decided to try his hand at punk, that is.
The environment is considered again on Mars, a savage attack on the consumerist model that has strip-mined the Earth and is ready to do the same to the Red Planet; blending aggressive classic punk with a more poppy version, this is sure to become another live favourite. My Mind is Obsolete comes in with fuzzy bass and a rambunctious rhythm, and closing tune, End on a High, is part torch-song confessional and part upbeat, bouncing So Cal anthem.
We’re Gonna Need a Milkman is short but it’s an absolute blast of an album. It embodies the spirit of punk by three fellas who are probably old enough to know better but just don’t care. What’s more punk rock that that?
And I bet you’re wondering about that title? Well, funny you should ask… when humans do eventually colonise Mars, and houses are built, there’s going to have to be some way to get fresh milk on your cereals and in your tea. Urban planners will have come up with a fantastic solution: We’re Gonna Need a Milkman!
For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.
The post Album Review: MC16 – We’re Gonna Need a Milkman appeared first on The Razor's Edge.
Def Leppard, one of Britain’s greatest arena rock bands, release ‘Volume 4‘, the fourth of six volumes showcasing the band’s complete recorded output. Available on both 180g vinyl and limited-edition CD box sets via UMR, it features all studio recordings from 2015 to 2023, including ‘Def Leppard‘, ‘Diamond Star Halos‘, and ‘Drastic Symphonies‘, presented in […]
The post Def Leppard Announce Box Set ‘Volume 4’ Out November 13th Via UMR appeared first on ROCKPOSER DOT COM.
Reviewed by Rich Oliver
Forging away in the metal underground for three and a half decades, Runemagick may not be the most well known acts in Swedish metal but they are one of the most consistent and well respected especially amongst death doom metal fans. Runemagick these days is the solo work of founding member Nicklas Rudolfsson termed ‘Era VI’ of the band but since Runemagick became a one-man project in 2024 the music has flowed freely with the new album “After Chaos: Nocturnal Vigil” being the second of this era of Runemagick and the fifteenth album in total.
“After Chaos: Nocturnal Vigil” follows on from the themes presented in previous album “Cycle Of The Dying Sun (Dawn Of Ashen Realms)” with this album not focusing “on destruction itself, but on what remains when the noise has faded and the dust has settled”. The album is split into eight interconnected movements and “each linked to a rune of the Elder Futhark”. The music is of the death doom metal variety that Runemagick is known for but very much focused on the atmospheric aesthetics of the genre with ritualistic passages, meditative sections and the use of Shamanic trance vocals provided by special guest Dísa Draugurinn. All other vocals and instruments on the album are performed by Nicklas Rudolfsson.
With a focus on atmosphere, ritualism, meditation and trances, this is an album that really takes its time and one that requires patience with it being a double LP and CD set coming to just over 86 minutes in total. There is no immediacy to this music with each movement taking its time to create a mood and atmosphere through some great riffs and melodies as well as drawn out sections. This means you have to be in a certain mindspace to appreciate this album so if you are looking for instant gratification, this is not the album for you. There are plenty of memorable riffs and gorgeous folk melodies throughout “After Chaos: Nocturnal Vigil” but it definitely takes its time to reach those moments. Highlights for me included ‘Rune Magick Unbound’, ‘Urðr’s Cosmic Weave’ and ‘The Vast That Knows No Shape’.
When it comes to death doom metal, you get a lot of variation in the genre from the more melodic side to the more crushing and aggressive side and as presented on “After Chaos: Nocturnal Vigil” the atmospheric and ambient side which is not for everyone. There were moments I loved on this album and moments I struggled with but you cannot deny the mood throughout.
For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.
The post Album Review: Runemagick – After Chaos: Nocturnal Vigil appeared first on The Razor's Edge.
Indiana-born, Nashville-based rising star Stephen Wilson Jr. commemorates the third anniversary of his debut double album ‘søn of dad‘ with the release of ‘Cørnerman’, a deeply personal tribute to his father on the eight-year anniversary of his passing. Listen to ‘Cørnerman‘ – here Last week, Wilson Jr. earned four nominations at the 60th Annual CMA […]
The post Stephen Wilson Jr. Releases New Single ‘Cørnerman’ Ahead Of UK Tour appeared first on ROCKPOSER DOT COM.
The album begins with “What Are You Looking For?” This track features beautiful strumming that hooks the listener. John Michael Hersey’s powerful vocals greet listeners with the thought-provoking question, sparking reflections on aspirations and desires. The classic rock influences are evident through the intriguing lyrics and melodic structure.
Following this is “Aegean.” This song takes a darker turn, exhibiting an intriguing melodic progression. It introduces a profound emotional depth that pulls the listener in. Hersey demonstrates a remarkable ability to convey mood and atmosphere through his music.
Next, “Pelham” emerges as a theatrical piece. It showcases the various facets of Hersey’s artistry. The retro rhythm evokes a sense of nostalgia, reminiscent of a Broadway musical number. This song adds a layer of theatricality to the album, marking a distinct shift in style.
“A Walk in the Park” presents refreshing vibes similar to those of Elton John. It conjures up imagery of strolling through a sunlit park, enhancing the listening experience. I particularly appreciated the guitar work in this track, especially the solo. It’s an elegantly crafted piece that resonates with listeners on many levels.
“Speechless” continues this thematic connection, drawing further inspiration from Elton John. The song is beautifully composed, guiding listeners into a heartfelt narrative. Its emotional resonance is palpable, making it one of the album’s standout tracks.
“One Cup of Coffee” channels the energy of classic blues, reminiscent of the vibe created by the Blues Brothers. Its upbeat rhythm makes it a track that invites dancing. Hersey effectively transitions between genres, keeping the listener engaged and intrigued by his versatility.
Next comes the energetic “You Were There.” This song is driven by an infectious rhythm that evokes a sense of adventure. It inspires the desire to grab the keys and go cruising with friends. Once again, the elegance of Hersey’s composition shines through, making this track a perfect anthem for freedom and spontaneity.
The album concludes with “We’ve Got Each Other.” This song features a captivating piano melody and a steady rhythm that envelops the listener immediately. It encapsulates the eclectic style of Hersey. The combination of Elton John-inspired vibes and Hersey’s unique vision marks a fitting end to the album.
Overall, the arrangements throughout “Quixote” are solid and sophisticated. There are hints of theatricality, which further enrich the album’s appeal. Hersey has successfully united diverse influences, creating an impressive body of work. Each track stands out while contributing to an overarching theme of exploration and reflection.
John Michael Hersey’s “Quixote” is an album that effectively blends various musical styles. Hersey’s vocal delivery combined with thoughtful instrumentation creates an enjoyable listening experience. The album is timeless and contemporary, making it resonate with a broad audience.
Refined
If you love this music: Discover MoreFor fans of:
Elton John
The post John Michael Hersey Quixote Review appeared first on Edgar Allan Poets – Noir Rock Band.
The song hits hard with a powerful snare drum, instantly hooking you in. Distorted guitars follow, unleashing a raw and intense energy. An effective, simple guitar solo pierces through the mix, adding depth. When the vocals enter, they have an edgy quality that resonates sharply. This track gives the middle finger to the overly polished music often produced by artificial intelligence.
The song evokes the feeling of being in a basement filled with energetic crowds, where the air is thick with sweat and spilled beer. It presents a raw and instinctive approach to music. This band does not shy away from authenticity and presents their sound with striking confidence. They clearly have a strong chemistry among themselves, creating energy that reverberates throughout the track.
The overall sound is edgy, intense, and saturated with emotion. The song pushes forward relentlessly, channeling the spirit of pure punk music. It captures a sense of urgency and excitement that is often missing in the current music scene. Without a doubt, this type of energy is essential for the revival of authentic punk. The listener feels an urge to engage, to move, as the track progresses.
Musically, the song stays true to its roots. It embraces a rawness that feels refreshing in a world dominated by artificial sounds. The guitar riffs are tight and paired perfectly with the steady rhythm, enhancing the track’s driving force. This blend showcases the band’s musical abilities while fostering a vibrant atmosphere.
Vocally, the lead engages listeners, evoking emotion without over-polishing the delivery. The rough edges are intentional, adding to the track’s character. The way the vocalist interacts with the instrumentation is fantastic. It establishes a connection that resonates deeply with the audience.
The song excels in creating a sense of camaraderie among listeners. It feels like a call to arms for anyone who identifies with the punk ethos. The raw and unfiltered energy encourages people to come together, to share in the experience.
“I’m Not Dead” is a celebration of authenticity. It stands out as a fierce declaration against superficiality in music. This track will likely resonate with anyone craving realness in a genre that has become overcrowded. As the final chords ring out, it leaves listeners eager for more, renewing hope for the punk scene.
IDK’s single strikes an emotional core. It champions the vital essence of punk music and keeps the spirit alive. The combination of skillful musicianship and genuine emotion creates a potent mix. This single is a much-needed reminder of why punk music remains relevant and powerful.
Rebellious
If you love this music: Discover MoreThe post IDKs I’m not dead Review appeared first on Edgar Allan Poets – Noir Rock Band.
Album Review: Diamond Rain – Chapter One Pride & Joy Music – October 23rd, 2026 Reviewer – Jason Hopper There’s been a strange, but not uncommon, phenomenon happening with bands lately. It’s the Ghost effect. Seeing how successful that band has become internationally, other bands have followed suit with band members obscuring their faces and identity. […]
The post Album Review: Diamond Rain – Chapter One appeared first on ROCKPOSER DOT COM.