Category: news

  • Review H_BLOCKX “Fillin the Blank”

    Holding a new H-Blockx album in your hands is something I once would have looked at with real doubt. After releasing “HBLX” in 2012, the band seemed to slip into radio silence. There were a few shows here and there, but not much activity showed up on the rock ‘n’ roll seismograph. Things slowly began… Continue Reading →
  • GIANT – Stand And Deliver (Album Review)

    GIANT, or Euro-Giant as I prefer to call this incarnation deliver the second album to feature Perfect Plan frontman Kent Hilli – a natural choice given to tone of his voice and the unavailability of the band’s founder and creative heart Dann Huff.   David Huff (drums) and Mike Brignardello (bass) remain, but creative control on this album goes to One Desire guitarist/main man Jimmy Westerlund. Alessandro Del Vecchio stepped back halfway after parting ways with the Frontiers production house.   So this is a very good, almost great slice of melodic rock, but it still isn’t Giant. I think it’s even a step up from the last album, but here’s what confuses me – if some songs have a real traditional Giant feel to them, with Westerlund putting in a very credible Dann Huff imitation – then why do others sound like the standard personality void Euro-AOR Frontiers keeps churning out?   The touches of old Giant add to the album’s appeal while the other tunes can be appreciated for what they are.   Oh, and the guys cover two of Van Stephenson’s unreleased co-writes with Dann Huff which I uncovered in Van’s vaults and released in 2024 (‘Holdin’ On For Dear Life’ and the wondrous ballad ‘Paradise Found’). Did they ask permission to use? Of course not, but you’re welcome guys, it does help this record sound more authentic.   Now they’re coming to Italy in 2026 to perform with Dann, but without Kent. Makes as much sense as anything else they’ve done I guess.  
    Categories: 
    Reviews
  • GIANT – Stand And Deliver (Album Review)

    GIANT, or Euro-Giant as I prefer to call this incarnation deliver the second album to feature Perfect Plan frontman Kent Hilli – a natural choice given to tone of his voice and the unavailability of the band’s founder and creative heart Dann Huff.   David Huff (drums) and Mike Brignardello (bass) remain, but creative control on this album goes to One Desire guitarist/main man Jimmy Westerlund. Alessandro Del Vecchio stepped back halfway after parting ways with the Frontiers production house.   So this is a very good, almost great slice of melodic rock, but it still isn’t Giant. I think it’s even a step up from the last album, but here’s what confuses me – if some songs have a real traditional Giant feel to them, with Westerlund putting in a very credible Dann Huff imitation – then why do others sound like the standard personality void Euro-AOR Frontiers keeps churning out?   The touches of old Giant add to the album’s appeal while the other tunes can be appreciated for what they are.   Oh, and the guys cover two of Van Stephenson’s unreleased co-writes with Dann Huff which I uncovered in Van’s vaults and released in 2024 (‘Holdin’ On For Dear Life’ and the wondrous ballad ‘Paradise Found’). Did they ask permission to use? Of course not, but you’re welcome guys, it does help this record sound more authentic.   Now they’re coming to Italy in 2026 to perform with Dann, but without Kent. Makes as much sense as anything else they’ve done I guess.  
    Categories: 
    Reviews
  • Album Review: Lost Society – Hell Is A State Of Mind

    Album Review: Lost Society – Hell Is A State Of Mind

    Reviewed by Matthew Williams

    After playing this promo a few times, I’m still left scratching my head as to what the hell I’ve just been listening to. On one hand, it’s utterly bonkers, but on the other hand, it’s utterly brilliant and my mind is buzzing. As the band say, “this is modern metal without equals and without apologies” and from the word go, I’ve got no idea what’s coming next, and it’s that unpredictability that most admire.

    It’s been four years since Lost Society released their last album, but now the Finnish quartet are back with a vengeance and one thing is certain, I haven’t heard an album quite like this is a while. It’s a refreshing approach that will leave listeners wanting more and as vocalis/guitarist Samy Elbanna comments, “what we can do is something no one else can, we are us”.

    “Hell is a State of Mind” begins with an eeriness on opening track “Afterlife” as rap style vocals breakthrough, before the first orchestral strains appear alongside layered, traditional style metal riffs. I get a hint of Cypress Hill’s “(Rap) Superstar” at the beginning of “Blood Diamond”, a song that evolved from one of Samy’s random melodies over a hip hop beat, which added a rousing string element to create something theatrical. This is the moment my body woke up as the song is made up of so many sections, all juxtaposed for the greater good.

    Album Review: Lost Society - Hell Is A State Of Mind

    There’s a more progressive sound on “Synthetic” as my mind travels back to 00’s nu-metal, but the guitar parts from Elbanna and Arttu Lesonen are impressive. There are more classical musings on the softer “Is This what you Wanted” which shows the vulnerable and emotional side of the band, however, they return to form with “L’appel Du Vide” where you can hear the bass from Mirko Lehtinen on this dramatic soundscape.

    Across the album, there are sweeping solos, that work so well with the orchestral foundations and when combined with demonic screams and angelic falsettos, you can now see why my mind was all over the place. “Kill The Light” is a perfect example of this as the arrangement took me completely by surprise and it develops into a huge, metal masterpiece. They are taking their music to new areas, creating “dramatic, theatrical orchestration” which collides “with the spirit of their metal heroes” as they succinctly put it.

    There’s a more soulful approach on “No Longer Human” having discovered a new structural weapon, the C-section, and it allows the song to be dramatic and commanding before they fire back with “Dead People Scare Me…Living Make Me Sick”, as the rap inspired vocals are back with purpose and venom, and the solos are purposeful and hard hitting. Penultimate track “Personal Judas” feels different once again, as if all the pent-up madness has been released in one fireball moment, crunchy riffs, techno melodies and then a brooding solo.

    With final track, “Hell is a State of Mind” they take you on a journey, with suspenseful classical string sections, pop inspired vocals, black metal darkness, all encapsulated in a meandering composition which feels apocalyptic. As Samy mentioned, they aimed “for a timeless sound” and they’ve created music that is thought-provoking and will keep people second guessing for quite some time.

    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: Lost Society – Hell Is A State Of Mind appeared first on The Razor's Edge.

  • Distant Unveils “Spirit” Music Video Featuring Tyler Beam Of The Last Ten Seconds Of Life

    "Spirit" is one of Distant’s most personal releases to date. The band elaborates: "Inspired by a real life stabbing of a family member at a clinic called Spirit, the track channels grief, shock, and the uncomfortable human surge of rage and revenge that follows trauma. It is raw emotion turned into relentless sound and not supposed to glorify viol… Read More/Discuss on Metal Underground.com
  • Anthea Debuts New Lyric Video “Awakening (Song For Spring)

    Los Angeles symphonic metal band Anthea has unveiled "Awakening (Song For Spring)," the second single from their upcoming third studio album, "Beyond The Dawn." In contrast to the shadowed theatrical tension of "Phantom In The Masquerade," this new release opens a different chapter, measured, luminous, and deliberately forward-facing. Rather tha… Read More/Discuss on Metal Underground.com
  • HEARTS OF FIRE – Signs & Wonders (Album Review)

    HEARTS ON FIRE return with album number two, the band formed by Honduras residents Jean Funes (guitarist, songwriter and producer) and Joel Mejia (drums) are joined again by the great Eric Ragno who makes an important contribution with his keyboard wizardry and former Yngwie/Ring Of Fire vocalist Mark Boals, stepping in for Rian frontman Richard Andermyr who helmed the debut.   My label released that debut, so you can call me bias when it comes to these guys, but it cannot be denied that Jean writes quality songs. This is another collection of anthemic in nature, warm and melodic mid-paced AOR numbers. Very familiar melodic rock to most, but undeniably catchy and consistent, where as many other albums become stale and predictable after a few songs.   I will say I prefer the more engaging vocals of Richard, but it has to be said that ‘metal’ man Mark turns in a surprisingly strong AOR performance here, fitting in with the band’s style and sound perfectly.   For those that know what to expect, but original and fresh enough to set itself apart from many competitors.
    Categories: 
    Reviews
  • HEARTS OF FIRE – Signs & Wonders (Album Review)

    HEARTS ON FIRE return with album number two, the band formed by Honduras residents Jean Funes (guitarist, songwriter and producer) and Joel Mejia (drums) are joined again by the great Eric Ragno who makes an important contribution with his keyboard wizardry and former Yngwie/Ring Of Fire vocalist Mark Boals, stepping in for Rian frontman Richard Andermyr who helmed the debut.   My label released that debut, so you can call me bias when it comes to these guys, but it cannot be denied that Jean writes quality songs. This is another collection of anthemic in nature, warm and melodic mid-paced AOR numbers. Very familiar melodic rock to most, but undeniably catchy and consistent, where as many other albums become stale and predictable after a few songs.   I will say I prefer the more engaging vocals of Richard, but it has to be said that ‘metal’ man Mark turns in a surprisingly strong AOR performance here, fitting in with the band’s style and sound perfectly.   For those that know what to expect, but original and fresh enough to set itself apart from many competitors.
    Categories: 
    Reviews
  • New Orleans’ Eddy Benz Shares Video for Cover of Rowland S. Howard’s “(I Know) A Girl Called Jonny”

    I know a girl called JonnyShe’s a bullet, she’s a villainessIn my silver dress, I’m the disasteress

    Eddy Benz, an experimental artist out of New Orleans, has built his reputation the old-fashioned way: loud bars, crooked stages, and the sort of DIY disorder that leaves a room buzzing. His 2024 album Spectacle pushed that sensibility into the open; now Benz returns with a haunting lo-fi video for his cover of Rowland S. Howard’s (I Know) A Girl Called Jonny, and as with much of his work, the piece draws its strange electricity from cinema and literature.

    The song Benz has chosen comes with its own curious pedigree. (I Know) A Girl Called Jonny was written by Howard in the mid-to-late 1990s while he was assembling the material that would become his first solo album, 1999’s Teenage Snuff Film. Howard had already carved out a formidable reputation through his work with The Birthday Party and later These Immortal Souls, but the years leading up to Teenage Snuff Film saw him step back from the band carousel long enough to shape a collection of songs that felt intensely personal.

    (I Know) A Girl Called Jonny fits neatly into that record’s gallery of decadent figures and doomed attachments. Both Benz’s and Howard’s version unfold at a deliberate pace, guided by a tremolo guitar and a restrained rhythm section that leaves plenty of room for a worn, romantic voice. The proverbial Jonny drifts through the lyrics like a rumour whispered across a bar counter, surrounded by desire, addiction, and the faint scent of self-destruction. Howard’s fondness for decadent literature and bleak blues fatalism hangs over the piece, lending it the atmosphere of a noir vignette unfolding somewhere between romance and ruin.

    Benz approaches the song with a kind of crooked reverence. Through the warped lo-fi lens of his video: grainy images, strange gestures, and a parade of performers who seem to have wandered in from another dream, Howard’s doomed heroine finds herself recast inside a different midnight theatre, Jonny still roaming the edges of the story while the lights stutter and the camera keeps rolling.

    Directed by Matt Jones and produced by Benz with Louie Shades, the video carries a distinctly Lynchian air: uneasy, off-kilter, and slightly surreal, as though the camera itself has begun to question what it’s seeing. Spastic camera movements jerk across the frame, the images shot on an old DV camera and streaked with the grain of Super 8 film. Two cross-dressing performers take center stage with a sly theatrical presence, while Benz himself hangs back in the dim edge of the room playing bass, half-hidden, like the Great Oz himself.

    Watch below:

    Follow Eddy Benz:

    The post New Orleans’ Eddy Benz Shares Video for Cover of Rowland S. Howard’s “(I Know) A Girl Called Jonny” appeared first on Post-Punk.com.

  • Justin Broadrick Announces The End Of Godflesh Live Performances; Band Will Release Two More Studio Albums

    Justin K. Broadrick, the vocalist and guitarist of industrial metal pioneers Godflesh, has announced that the band will no longer perform live. This follows a recent major surgery, which has left the musician feeling that he can no longer perform the vocal style Godflesh requires. He also confirmed that a new album, "Decay," will be released later … Read More/Discuss on Metal Underground.com