Category: news

  • Album Review: Sleepbomb – Songs in the Key of Conan

    Album Review: Sleepbomb – Songs in the Key of Conan

    Reviewed by Matthew Williams

    Coming out of San Francisco, Sleepbomb are a cinematic doom act who craft full, original scores for genre films, whilst adding their own personal touches along the way. For this album, as you may have already guessed, they are delving into the world of John Milius` 1983 classic Conan the Barbarian and it’s enthralling from start to finish.

    The group consists of guitarist Charles Hernandez, Robert Johnson on drums/percussion and bassist Tim Gotch who also plays synths. As if their own input wasn’t majestic enough, they have a trio of contributing musicians who elevate the compositions to a level of sheer genius. With Claire Hamard on vocals, clarinet and keyboards, Matt Pankuch on horns and percussion and K.R. Morrison also on percussion, it would be remiss of me to understate their valuable contribution to this amazing record.

    There are 16 tracks for your audible pleasure, starting with “Forged in Steel” which sets the tone for what follows, with a hypnotic drum beat immersing you in their interpretation of the film score. There is a lovely ebb and flow to the soundscapes as they all join and work in perfect harmony, particularly on “My Father’s Sword” followed by “Wheel of Pain” which left me quite speechless when I first heard them one after the other, as the instrumentation is an audible treat.

    Album Review: Sleepbomb - Songs in the Key of Conan

    With varying tempos across the album, the slow build up across “A Gift of Crom” takes you deeper into their mindset, almost as if the music is taking you by the hand and taking you on their journey of discovery. The group mix elements of heavy doom riffs with dreamy shoegaze and then in the next break, it passes the baton over to imposing classical pieces and dynamic guitars, and when listening to songs like “Two Fools who Laugh at Death” you can’t fail to be impressed.

    “All The Gods Cannot Save Us” and “The Tree of Woe”, which has a captivating sax solo, are wonderful examples of their inspired musicianship and all this is a culmination of an 11-year journey for the band. However, the group are constantly evolving, and although Claire Hamard amicably left the band last year, her work remains integral to the music.

    “The Pyre” is a short, shimmering section of this score, with percussion and horns bringing it to life, as it leads into “Live Forever” and the final track, “Temple on Fire”. They have captured my imagination and brought to life music that was over 40 years old, and given it a truly modern twist in the most innovative of ways.

    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: Sleepbomb – Songs in the Key of Conan appeared first on The Razor's Edge.

  • EP Review: Gurt – Survival of the Shittest

    EP Review: Gurt – Survival of the Shittest

    Reviewed by Tim Finch

    When it comes to modern day British sludge outfits, there are three outfits that lead the way – Raging Speedhorn, Mastiff and Gurt. This weeks see’s the latter of the those three names release their latest offering with Gurt dropping their ‘Survival of the Shittest’ EP.

    Many bands offer an EP as a gateway between albums, filling the void in the release/touring cycles. For Gurt, as the band confirmed to us last week, this release is more to get their heavy drone on the airwaves in readiness for the bands summer festival runs which includes Uprising, Mangatta and Bloodstock Festivals.

    The three track offering opens with ‘Live Nation, Dead Scene’ a scathing attack on the company that has single handedly taken money out of the pockets of venues and bands for their share holders personal benefit. A topic that, quite rightly, should be shouted from the rooftops in order to topple the monopoly the company holds. Lyrical musings aside, the song is a sludge banger. A glorious opening riff, and drum beat that have the listener banging the head along from the off.

    EP Review: Gurt - Survival of the Shittest

    Title track, ‘Survival of the Shittest’ lyrically takes a swipe at those in power who seem intent to destroy the world for their own personal gain. Whilst musically this is a down and dirty tune, gritty guitars and a sickening bass line keep the sludge tones low and the pace slow. Gareth Kelly’s vocal screams layering menace atop of already angst-ridden tune.

    The first two tracks see Gurt at their most serious from a content perspective, far removed from their classics ‘Bongs of Praise’, ‘Weed It And Weep’ and ‘Jazz Cabbage’. However, the power in the delivery sees the band set off on a trajectory that could catapult them onto bigger stages.

    Closing out the EP there is a more upbeat ditty. A reworking of 2 Unlimited’s classic dance number ‘No Limit’. A riff that we all know so well from our youth (even if you think you are too cool to admit it, we know you love the original tune) yet it’s dripping in sludgy fuzz goodness. The traditional vocal roles of Ray Slijngaard and Anita Doth replaced by Kelly’s growls and Black Mist, vocalist of hardcore band The Hell, rasping howl. If you thought this dance classic couldn’t get any better you were wrong, they prove that switching any tune up and giving it a Gurt make-over is just what the doctor ordered!

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post EP Review: Gurt – Survival of the Shittest appeared first on The Razor's Edge.

  • The Metal Bands Soundgarden’s Kim Thayil Listened to in the ‘80s

    During a new interview, Soundgarden's Kim Thayil named the metal bands he listened to in the '80s when his band was first starting out. Continue reading…
  • How Sharon Osbourne Confronted Mötley Crüe’s Partying Habits

    Motley Crue sought revenge after being reprimanded for their hard partying backstage while on tour with Ozzy. Continue reading…
  • X-ANONYMOUS CLAIM IT ALL Review

    X-ANONYMOUS CLAIM IT ALL Review

    The beginning of “CLAIM IT ALL” is electric and futuristic, resembling a connection to the future. Initially, it feels like there is a struggle to establish this connection, but once the music finally plugs in, the listener is overwhelmed by an intense surge of adrenaline. The rhythm is extraordinarily powerful. The snare hits sound like a blacksmith striking an anvil, creating an epic and powerful distortion that jolts the listener awake. This sound has an incredible primal energy that elevates the entire experience.

    X-ANONYMOUS CLAIM IT ALL

    The production quality of “CLAIM IT ALL” recalls the raw, industrial elements characteristic of the band Rammstein, blended with a more futuristic vision. The song flexibly navigates through various tempo changes and effects, truly managing to astonish the listener. Themes of identity, control, and resistance permeate the song. It charts a journey from psychological confinement to an empowering sense of self-reclamation, making it rich in lyrical depth.

    After the two-minute and fifteen-second mark, the bridge serves as a high point in the track. At this moment, listeners will appreciate how this visionary production unites electronic elements, nearly resembling EDM, with industrial and metal influences. The transitions within the song are so rich that they take the breath away, leaving a lasting impact on anyone who hears them.

    CLAIM IT ALL – Sound and Atmosphere

    The juxtaposition of growling vocals and melodic elements creates an explosive energy that springs forth like a tightly coiled spring. This dynamic range draws listeners into the emotional core of the narrative.

    “CLAIM IT ALL” showcases the impressive capabilities and artistic vision of X-ANONYMOUS. It is not merely a song; it is an invitation to delve deeper into a powerful narrative that resonates with our 21st-century struggles. It asks listeners to confront their limitations and rise above them, embodying a forward-thinking stance that is vital in today’s world.

    CLAIM IT ALL – Performance and Production

    This single is an integral part of the album “MASKED EXISTENCE, Vol. 3.” It solidifies X-ANONYMOUS’s position within the contemporary music scene. The album as a whole promises an equally engaging journey.

    “CLAIM IT ALL” is a fantastic work that deserves full immersion. The sonic adventure presented within its framework provides an experience that is engaging and energizing. The combination of powerful lyrics and electrifying instrumentals encapsulates the essence of modern metal while paying homage to its roots.

    The uniqueness of “CLAIM IT ALL” invites repeated listens, as each run-through reveals more of its layered complexity. It is designed for those who seek not just to hear music but to feel it on an intrinsic level.



    Futuristic

    🔥 If you love this music: Discover More


    Find X-ANONYMOUS here:
    Spotify | Youtube

    For fans of:

    Rammstein


    The post X-ANONYMOUS CLAIM IT ALL Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Ocularis Infernum Strife and Ascendance Review

    Ocularis Infernum Strife and Ascendance Review

    From the very beginning, Ocularis Infernum demonstrates a solid and unique vision with their single “Strife and Ascendance.” The refined sounds of the introduction create an atmosphere that leaves listeners uncertain of where this musical experience will lead them. Following this atmospheric intro, the deep, rough, and instinctive growls enter. This vocal style is complemented by distorted guitars that emphasize treble frequencies, reminiscent of the Norwegian black metal scene of the 1990s.

    Ocularis Infernum Strife and Ascendance

    The song develops an episodic quality, establishing a more atmospheric setting rather than a purely sinister one. This approach allows the listener to become immersed in a landscape that blends darkness with beauty. As the chorus arrives, the band introduces epic orchestral arrangements. These additions elevate the song to a grand level without losing the essential drive that characterizes black metal. The transitions in tempo are executed with precision, launching into classic black metal patterns as the drums accelerate, enhancing the intensity of the piece while maintaining atmospheric interludes.

    At around the one-minute-forty-second mark, listeners experience a moment that feels like a descent into the depths. This section captures a significant turning point in the composition. A little after the two-minute mark, it becomes apparent how innovative the band’s vision truly is. The music empties, transforming into a sound that is almost fantastical. The atmospheric shifts take on a slightly medieval quality, evoking a pastoral moment that lends a cinematic feel to the music.

    Strife and Ascendance – Sound and Atmosphere

    This dynamic quality — the shifts in harmonies, timbres, and atmospheres — makes “Strife and Ascendance” an extraordinary musical journey. At certain moments, it instills hope in the listener, while at others, it propels them into the abyss. This interplay between light and darkness is skillfully executed. The richness of the composition ensures that listeners are not just passive spectators but active participants in the unfolding narrative.

    Ocularis Infernum successfully creates a multifaceted experience through the masterful manipulation of their sound. Each musical shift invites listeners deeper into their intricate world, ensuring that the song remains engaging throughout its duration.

    Strife and Ascendance – Performance and Production

    In terms of production, the mix effectively captures the complexities of the arrangement. Every element is given ample space to breathe, allowing the listener to appreciate the intricacies of each layer. The overall clarity ensures that no part of the composition is overshadowed, showcasing the band’s meticulous attention to detail.

    “Strife and Ascendance” is a remarkable work that transcends genre boundaries. It intertwines elements of black metal with orchestral grandeur, creating a fresh perspective on a well-established genre. I wholeheartedly recommend it to anyone interested in exploring innovative music that challenges conventions.

    A singular piece like this deserves to be experienced in its entirety. It invites repeated listens, each revealing new layers and depths. Ocularis Infernum has carved out a unique niche for themselves with this single, and I eagerly anticipate their future projects.



    Unique

    🔥 If you love this music: Discover More


    Find Ocularis Infernum here:
    Spotify | Instagram

    The post Ocularis Infernum Strife and Ascendance Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Susan Boyle & Franz Ferdinand’s Alex Kapranos Link Up For Irn-Bru

    The Scottish are really celebrating their World Cup win. Belle And Sebastian did so by releasing the victorious anthem “It Only Takes One Lion” yesterday, and now Susan Boyle and Franz Ferdinand’s Alex Kapranos have linked up for a triumphant Irn-Bru ad.

    The post Susan Boyle & Franz Ferdinand’s Alex Kapranos Link Up For Irn-Bru appeared first on Stereogum.

  • Colin Edwin & John Wesley’s Voyage 35 shares new version of Porcupine Tree classic “Even Less”

    Voyage 35, the Porcupine Tree-inspired project led by former bassist Colin Edwin and longtime live guitarist John Wesley, have released a new video featuring their interpretation of “Even Less,” the track originally featured on Porcupine Tree’s 1999 album Lightbulb Sun. The band first released the reimagined version of “The Nostalgia Factory”.

    Check out the interview with Edwin and Wesley of Voyage 35 here.

    “There’s a fine line between respecting an original source but taking it somewhere different and making something your own, we like to think we’ve managed to do just that. Hopefully, you’ll agree and the chemistry of all four participants, Colin Edwin, John Wesley, Lorenzo Esposito Fornasari and Alessandro Vagnoni, is on display in a blindingly obvious manner. The video footage comes from our rehearsal sessions, but we can’t wait to do this for real in front of those who have been waiting a long time to see this music performed again.”

    Created with the goal of bringing lesser-performed Porcupine Tree material back to the stage, the group is set to tour the UK and Europe this September. Recently, Edwin and Wesley revealed the full lineup, adding keyboardist Lorenzo Esposito Fornasari, known as “Lef” from O.R.k., along with drummer Alessandro Vagnoni, another O.R.k. collaborator who has occasionally stepped in for Pat Mastelotto.

    Reunited with that original visual magic, Voyage 35 will head out on a short tour of Italy, Germany, the Netherlands, and the UK in September 2026. Fans can also look forward to some very special guests at the London show.

    Tour Dates:

    Fri 4 Sep Revislate, Italy Campo Sportivo
    Tue 8 Sep Aschaffenburg, Germany Colos-Saal
    Thu 10 Sep Utrecht, Netherlands TivoliVredenburg
    Fri 11 Sep Uden, Netherlands De Pul
    Sat 12 Sep Zoetermeer, Netherlands Boerderij
    Tue 15 Sep Bristol, UK O2 Academy Bristol
    Wed 16 Sep London, UK O2 Shepherd’s Bush Empire
    Thu 17 Sep Manchester, UK O2 Ritz
    Fri 18 Sep Newcastle, UK The Grove
    Sat 19 Sep Glasgow, UK The Classic Grand

    The post Colin Edwin & John Wesley’s Voyage 35 shares new version of Porcupine Tree classic “Even Less” appeared first on The Prog Report.

  • Richard Green Sad but Beautiful Review

    Richard Green Sad but Beautiful Review

    Upon hearing the first piano chords of “Sad but Beautiful,” silent film imagery from the 1930s immediately came to mind. The music resonates deeply, reaching the soul with its sophistication. This neoclassical project showcases Richard Green’s collaboration with talented classical musicians, notably Irene Veneziano on piano and Archimia, a string quartet. This combination of influences prompts listeners to close their eyes. It allows them to envision themselves within a beautifully nostalgic scene.

    Richard Green Sad but Beautiful

    Listening to this exquisite instrumental piece transports one on a delicate and intense auditory journey. Green’s compositional abilities shine through, revealing a rare talent in crafting melodies that evoke profound emotions. In a world that constantly moves at a rapid pace, this song compels the listener to pause. It invokes a feeling akin to watching raindrops fall and appreciating the little things often overlooked from a window.

    “Sad but Beautiful” is a piece that inspires reflection, serving as a refined journey where instruments converse sublimely. The interplay among the piano and strings creates an atmosphere that invites deep contemplation. Each note carries weight, allowing listeners to immerse themselves in this beauty. The music’s refinement induces a sense of tranquility and introspection.

    Sad but Beautiful – Sound and Atmosphere

    Throughout the song, the arrangement remains consistent in its emotional impact. The harmonious interaction encourages the audience to lose themselves in the moment.

    This journey takes them from serene moments to more intense passages, creating a dynamic experience. The careful arrangement keeps the musical conversation engaging and thought-provoking.

    Green’s ability to blend classical elements with contemporary sensibilities is impressive. The song reflects not only his personal artistry but also the collaborative spirit among the musicians involved.

    Sad but Beautiful – Performance and Production

    By the conclusion of “Sad but Beautiful,” one is left with a profound sense of peace. The journey through sound offers consolation and release. The music’s capacity to evoke introspection serves as a reminder of the beauty found in fragility. In this moment of stillness, one can appreciate the artistry that went into its creation.

    This song stands apart not only for its melodic structure but also for the feelings it elicits. While it paints a picture of nostalgia, it simultaneously encourages an appreciation for the present. Such an inspiring work in the realm of neoclassical music deserves acknowledgment for its artistry and impact.



    Sublime

    🔥 If you love this music: Discover More


    Find Richard Green here:
    Spotify | Instagram

    The post Richard Green Sad but Beautiful Review appeared first on Edgar Allan Poets – Noir Rock Band.