Category: news
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Tom Leonard – What Has Been And What Will Be
If you paid attention to what’s happening on the music scene nowadays, you probably stumbled upon many excellent shoegaze artists and bands delivering some of the finest works ever created. The scene thrives like never before, yet there’s always a certain feeling like many of those music outlets try to mimic something the greats have […] -
Reviews: Rotting Christ, Full House Brew Crew, Abstruse, XenoVenous (Matt Bladen)
Rotting Christ – Aealo: Re-Recorded (Season Of Mist)
Where the modern incarnation of Rotting Christ begins I’m sure we’ll be up for debate all over every forum you’ve ever read about black metal.
For me though it begins with their tenth album Aealo (catastrophe or destruction), this is the record where they came out of the Greek black metal underground and established themselves as the world conquering act they are today. Aealo is the record where they fully leaned toward the more groove driven sound they continue with in their most recent efforts. The band have managed to gain more of a significant following than perhaps they would have had they stuck to the raw black metal sound they began with.
That being said they have never shied away from their links to the underground and are probably the most successful extreme metal band from Greece however they have achieved this partly by adopting the style that is featured prominently on their 2010 concept record. By increasing the orchestral/symphonic elements, traditional instrumentation and taking their music into a more melodic route by slowing down into heavy chugs with anthemic choruses, they reinvented themselves with album ten, charting a course to where they rightfully stand today.
So in-keeping with Sakis Tolis’ drive to make sure everything he release is of the best audio quality and a true example of what they wanted to achieve, Aealo now returns re-recorded with the vocals and musical parts fully re-done by the current iteration of the band; Sakis Tolis (vocals/guitar), Themis Tolis (drums), Kostas “Spades” Heliotis (bass) and Kostis Fouk (guitar).Musically it doesn’t vary too much from the original, perhaps given a bit more of bite and wider scale, however it’s in the production/mixing that adds that potency, that was maybe missing from the original. Whereas in 2010 this was an underground band, taking a shot towards the mainstream, here it’s a rediscovery of an album, which is very influential in the way the band would continue from there, but still had the production techniques/flaws of a band from the underground.
With all of the skill and the experience they, I mean Sakis, has now, Aealo now is a production sound and final mix more akin to the way they produce albums in 2026. It makes Aealo, which was already a theatrical, cinematic record, more cinematic, more imposing and allows you to not only hear the power and complexity of these compositions. Also the talents of the featured artists such as Diamanda Galás, who performs on the cover of her song Orders From The Dead, the traditional Greek/Balkan instruments, guest vocalists like Alan A. Nemtheanga (Primordial), and the Pleiades choir are all heightened.
Did Aealo need to be re-recorded? Well clearly the band think so and what they have done is make a brilliant record, sound as it should have the first time around. Leaving you in no doubt that this is the turning point where Rotting Christ became ‘the’ Hellenic extreme metal band. 10/10
Full House Brew Crew – Glasgow Grin (ROAR)
Vangelis Karzis (Wolfheart/ex-Rotting Christ) once again revs up the engine of his groove metal machine Full House Brew Crew. This hard drinking, heavy riffing mob, have turned their sights towards the rough and rowdy streets of Glasgow with the title for their fifth record. Full House Brew Crew are band who have always played tough bloody knuckled heavy metal that swaggers in with attitude and its fists clenched in anger. Along with Karzis (vocals/guitar), FHBC comprises Spiros Dafalias (bass), Giorgios Tzatzakis (guitar) and Chris Borméy (drums), teaming with Saku Moilanen to give Glasgow Grin its meaty mix and master.This rawness is deliberate as Glasgow Grin comes from a place of anger. Inspired by injustice and the struggles of life, they’re quick to make a statement with the punishing title track which beats you down with a heavy crush that plays with the stereo sound moving the guitars between left and right fidelity. The likes Lamb Of God and Pantera are the clear influences to the band but there’s also the ruthless aggression of Soulfly (No Gods, No Chains) some of the gigantic grooves of Gojira in there (Crawling) and plenty of the NWOAHM on the technical The Tear and The Other Side.With the use of melodies and atmospheres against these throat ripping groove metal anthems, Full House Brew Crew prove they aren’t a blunt instrument but a sharpened axe ready to decapitate with riffs, the electronics make their way in on Free Fall and Rain, as the mechanical power of Fear Factory creeps in. Coming toward the end of the record they start to bring the djent style that came partly from the groove scene as clean and harsh clash on Distant Star. Vangelis and co play groove metal sure, but they borrow from other similar styles to make sure that Glasgow Grin stays with you after that final chug. 8/10
Abstruse – Meninx: Piercing Through The Mind (Self Released)
Experimental music when done correctly can be a transcendent experience, Abstruse is an experimental metal project from Athens, it’s a precursor to a much full length record that is coming later this year called Horror Endemic. Only two of these tracks will feature there, so this is a stopgap but not in a kitchy, money grabbing sort of way they usually are, this is an intermezzo, a way to link albums though a musical bridge.
The first thing you notice about Abstruse is that they are band who dwell in the formless, using jazz timings to propel avant garde musical experiments which has the weirdness of Mr Bungle and Primus though some desert rock and doomy wooziness. Meninx: Piercing Through The Mind is a four tracker of strange but intriguing music, worth checking out if you like music to be a journey. 7/10
XenoVenous – Face Of War (Self Released)
Back to Athens now for some heavy/speed/thrash metal from XenoVenous, a band who have some skilled guitar players, as the leads and solos here are extremely satisfying if you love bands such as Megadeth, Annhilator or Testament, who have shit hot guitar players and love to show that off. The neo-classical intro Nightmare’s Dream is just a guitar solo, a good one obviously and does the job to begin the record, displaying the virtuosity on offer here. First track proper Gods Bleed, gets down into a bass-heavy and blast-beating gallops, rattling through at warp speed, from verse to chorus, delivered with vocals that take from the trad metal scene.
The bass playing is just as skilled as the six string guitars, the flourishes and runs coming all the way through the parts where they get their riff on, but it’s almost like they’re fighting to get to another set of solos with every track, the guitarists wanting to double tap, dive and twin harmony on every song. XenoVenous slow into some anthemic classic metal on Slaughter Is Near and Wolfheart, both going down the route of bands such as Mercyful Fate or Accept. You could definitely see XenoVenous in the same kind of festival as NWOTHM bands such as Enforcer, Haunt and Cauldron, they blend those traditional trappings with the thrash styles on tracks such as Exterminatus, the vocals also showcasing a lot of grit as they embrace both the thrash snarl and soaring classic metal.
Face Of War is an old school metal record from XenoVenous, if your love of music ended when bullet belts were traded for plaid shirts and guitar solos for emotional angst, then this throwback to simpler times will get you breaking out the air guitar. 7/10 -
Numbers is Melodic Intifada’s Single Out Now
Good Day Noir Family,
Listening to Melodic Intifada and their single Numbers is an experience that signals intention.Numbers is Melodic Intifada’s Single Out Now
This is not a track designed to sit quietly in the background. It asks for attention, and it earns it through bold choices and a clear artistic stance.
The song opens with a piercing, high-frequency tone that recalls the sound of an old modem trying to connect to something unknown. It feels futuristic, slightly unsettling. Soon after, distorted guitars crash in, dark and abrasive, setting a raw emotional frame. The impact is direct, yet controlled. Then, just as the intensity settles, the arrangement pulls back. The verse strips itself down, allowing bass and voice to take center stage.
The vocal delivery is striking. There is a theatrical edge to the performance, almost ritualistic, as if the singer is narrating truths rather than simply singing lines. The phrasing carries weight, and the interpretation leans toward a classic approach while still sounding urgent. Because of this contrast, the track breathes. Loud moments feel heavier, and quiet moments feel more exposed.
Stylistically, Numbers carries echoes of The Velvet Underground in its willingness to embrace rough textures and repetition. There are shades of Radiohead in the way atmosphere and restraint shape the structure. Still, Melodic Intifada never loses its own identity. The band uses these references as tools, not templates.
Lyrically, the song looks outward. It reflects on the world we live in, touching on systems, pressures, and the cold logic of numbers that often define modern existence. Yet, rather than sounding preachy, the message feels observational. The track behaves like an oracle offering questions instead of answers. Because of this, the listener is invited to pause, reflect, and find personal meaning.
Production choices reinforce the mood. Every element has space, and transitions feel intentional. The bass work grounds the track, while guitars move between aggression and restraint. The song maintains tension without exhausting the listener.
Numbers stands as a strong statement from a band unafraid to challenge expectations. It is thoughtful, intense, and distinct.
Numbers is Melodic Intifada’s Single Out Now!
Intense!
Melodic Intifada is an anonymous three-piece from the City of Dreams, United States, focused on reviving strong rock melodies with direct, meaningful lyrics rooted in genuine, soul-driven artistry.
Their debut single “Numbers,” tackles political control, love, modern life, and the conflict in Israel through a powerful progression and a memorable chorus.
Find Melodic Intifada Here:
Spotify
Instagram
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Listen to more tunes on the Noir Playlist.
The post Numbers is Melodic Intifada’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.
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Playlist: Sirius XM’s “Dark Wave” — hosted by Slicing Up Eyeballs (2/8/26)
This week’s “Dark Wave,” hosted by Matt Sebastian, featured music by Cabaret Voltaire, Siouxsie and the Banshees, Nitzer Ebb, The Cure and more. -
Delusions of February 2026 – Part 2
Every Monday morning, Still in Rock kicks off the week with an article featuring a bunch of new releases. At the end of each month, I dedicate a playlist to the best of these articles (link). Don’t miss out and join Still in Rock on Facebook (here), WhatsApp (here), and Instagram (here). Cheers.***Fruit Tones – “Creature From The Goon Lagoon” (A Z-Grade Short Film)Video, Alien Snatch! Records, 5 February 2026[garage pop]
In one sentence: This almost–short film is Chillerama set against a garage pop backdrop***Teenage Bed – Pause PrintempsLP, Howlin Banana Records, 23 January 2026[pop française]
In one sentence: French lo-fi pop in all its glory, blending quirks, emotional intensity, a voice, and poetry.***CP Westman Orkester – Backpack BabyEP, Goodbye Boozy Digital , 27 January 2026[garage rock]
In one sentence: What if Sweden has just scored one of the best garage rock EPs of the year?***
Welt Star – DoppelLP, Under The Gun Records, 5 December 2025[post-punk]
In one sentence: Welt Star is German post-punk with Vinny Vaguess-style melodies, so it hits hard.The post Delusions of February 2026 – Part 2 appeared first on Still in Rock.
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ROSE TATTOO, WILLIE J’S 6v6S: Photo Gallery, Kings Beach Tavern, Caloundra, 07/02/2026
Photo gallery by: Sarah Gilpin ROSE TATTOO WILLIE J’S 6v6S -
Fossilization – Advent of Wounds (Review)
Fossilization are a Brazilian death metal band and this is their second album. Following on from 2023’s monstrous Leprous Daylight, Fossilization have once more emerged from their ancient slumber with the 36-minute Advent of Wounds. Strap yourself into the slime-covered pain machine, as it’s about to get nasty. Advent of Wounds is a horrid and … Continue reading “Fossilization – Advent of Wounds (Review)” -
ATOMIC ASSASSINS: Damage Control
Out 15 February, 2026 Via Independent Words by: Geoffro O’Leary What a ripper debut E.P! These guys are as brand new as it gets. From Lemgo, North Rhine-Westphalia Germany, they’re definitely a band for Marilyn Manson and Rammstein fans worldwide. Their debut single that has been released on Spotify, Bandcamp etc. Killing Time is a […] -
Now & Then: Natalie Del Carmen’s Pastures and the reach of Our Endless Numbered Days
Los Angeles is not exactly famous for quiet. It’s famous for traffic that hums in B-flat and palm trees that look like they’re always posing for a headshot. So when a 24-year-old songwriter from L.A. drops an Americana record called Pastures, the first surprise is the title. The second surprise is that it actually sounds like one: open air, creaky wood, and time moving at a human speed. -
No Love For The Middle Child – Ash on the Floor
No Love For The Middle Child Tears Through the Darkness with “Ash on the Floor”.
A haunting blend of pop rock and alt-rock that digs deep into emotional desolation and self-reflection. Where many artists chase polish, this track thrives in raw honesty, sketching its narrative with gritty guitar lines, shadow-laden chords, and a vocal delivery that feels lived-in and real to make you get invested.
The music does a grand job of setting a mood that’s both cinematic and cathartic with sparse verses that swell into cathartic, anthemic choruses that hit with emotional weight. The production balances punchy rock energy with atmospheric depth, creating a soundscape that’s as compelling as its lyrical heart questioning purpose, loss, and the ashes left in the wake of life’s hardest moments.
This isn’t just another rock song but a mirror bang reflective, unflinching, and resonant. For fans craving substance with their sound, No Love For The Middle Child delivers a true gripping emotional experience that shows you how powerful music can be when done with care.
Check out No Love For The Middle Child “Ash on the Floor” below and follow them on Instagram. Stay Global my Friends!
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