Posted on May 10th 2026, 6:13p.m.
Category: news
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Album Review: Acid Reign – Daze Of the Week
Album Review: Acid Reign – Daze Of the Week
Reviewed by Dan Barnes
Long before Municipal Waste took the crown for being the world’s premier Party Thrashers, that title was firmly held by Harrogate’s Acid Reign who, alongside Onslaught Sabbat and Xentrix, made up the ‘Big Four’ of British thrash metal.
Sadly for Acid Reign, two EPs and two full-lengths were all that the original incarnation of the band could muster between Moshkinstein in 1988 and Obnoxious in 1990 – the latter being in line for Worst Album Cover Ever – before splitting in 1991, but not before opening for such genre juggernauts as Flotsam and Jetsam, Exodus, Dark Angel and Nuclear Assault.
The band rebooted in 2015, headlined Bloodstock Open Air’s S.O.P.H.I.E. stage the following year and issued album number three, the Age of Entitlement in 2019. Now, seven years after that comes Acid Reign’s fourth album, with a sixty-percent new line up from the previous record, including guitarists Matt Smith and Darren McGillivary and ex- Shrapnel drummer Johnny Grimley, who join bassist Pete Dee and Mr Acid Reign himself, Howard H Smith, as ever on vocals, for Daze of the Week.
The first thing you’ll notice about the album – other than it’s Script for a Jester’s Tear parody cover art – is just how angry it is from the outset. The Who of You crashes in with a big statement opening and dense, dark old school thrash riffs, showing there is a seriousness about Acid Reign c.2026. Crunching riffs and a frantic pace match with H’s bile-spitting vocals and, in truth, I can’t recall ever hearing the frontman in such confrontational mood.
The title track comes with those Eighties thrash guitar tones and blends them with a snotty punk attitude and dissonant riffs all liberally sprinkled with classic Anthrax vibes. Alonely and No Truth are crunchy-riffed dancefloor fillers, full of driving rhythms and whiplash guitars, making you wonderwhere those high-tops trainers were stored and whether you can squeeze into those Bermuda shorts one last time. If you wore them the first time around, then the answer is No, you can’t and you’ll thank me for guiding you away from the inevitable injuries which would surely ensue.
Don’t just take my word for it; listen to the band’s dire warning on Old Young Man, the central part of the unashamed thrash trilogy that dominates the second half of Daze of the Week, beginning with Sorrowsworn’s frenzy and ending with Fantastic Passion’s break-neck speed, it feels like getting mugged from an old friend.
Acid Reign have built a reputation for being a good-time band, guaranteed to get any party started, and with H at the microphone they have a pocket-rocket frontman who can whip any crowd into a frenzy. What is often overlooked is their emotional depth, which Daze of the Week has in spades,and which gives this record a mature and, sometimes, introspective feel. Conniption King seems aimed at modern sensibilities and the obnoxious point of view they can engender. Slower and harder hitting than anything we’ve heard so far, it’s no less aggrieved in its position and allows the band to explore the limits of the genre.
Blind Lies starts like a Morbid Angel track and develops into a hardcore thrasher, possibly the most brutal I’ve ever heard Acid Reign; dark and confrontational, it’s the album’s longest tune, yet one that feels as though there’s more to be said on the subject. Closing tune, Centre of Everything opens with running water and a liquid guitar tone; H sings clean and when he does turn angry is does so with an intensity rather than with speed.
The whole band sound on top form throughout Daze of the Week; guitarists Matt and Darren give a masterful display of how to thrash in 2026, Johnny and Pete provide the engine that purrs like a kitten, but it’s H’s contribution to the album that is the icing on the cake. I can honestly say that I have never heard him deliver such a performance, exploring the ranges of his vocals and hitting every point with laser-sharp accuracy.
Production is crystal clear, dirty when it needs to be, but never muddy.
Next month I’ll be continuing my tradition of seeing Acid Reign at every Preston show they play, going back as far as 1988, when they opened for Nuclear Assault at the Chater Theatre one Friday night in October. Sounds impressive, until you realise it took them thirty-six years to make it back to town on Good Friday in 2024, but facts are facts.
The post Album Review: Acid Reign – Daze Of the Week appeared first on The Razor's Edge.
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Lou Gramm Kicks Off 2026 Solo Tour: Set List and Video
The frontman is fresh off a handful of reunion dates with his former band. Continue reading… -
Event Horizon! BMTH take it to the NEx LeVeL as they being their enormo-show to Welcome To Rockville 2026
Posted on May 10th 2026, 5:47p.m.
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FIVE FINGER DEATH PUNCH 20th Anniversary World Tour 2027 – UK & Europe | Lamb Of God & Bleed Within Support ~ Dates, Cities & Venues Posted
WITH SPECIAL GUESTS:
LAMB OF GOD
AND BLEED FROM WITHIN21 DATES IN 21 CITIES
20TH ANNIVERSARY WORLD TOUR 2027 – UK & EUROPE TOUR DATES:
16th Jan 2027 – Manchester UK – AO Arena
17th Jan 2027 – Glasgow, UK – OVO Hydro Arena
19th Jan 2027 – Dublin, IE – 3Arena
22nd Jan 2027 – Birmingham, UK – BP Pulse Arena
23rd Jan 2027 – London, UK – O2 Arena
26th Jan 2027 – Düsseldorf, DE – PSD Arena
27th Jan 2027 – Hamburg, DE – Barclays Arena
29th Jan 2027 – Lodz, PL – Atlas Arena
31st Jan 2027 – Prague, CZ – O2 Arena *^
2nd Feb 2027 – Munich, DE – Olympiahalle
4th Feb 2027 – Stuttgart, DE – Hans-Martin-Schleyer-Halle
7th Feb 2027 – Amsterdam, NL – AFAS Arena
8th Feb 2027 – Brussels, BE – Vorst National
10th Feb 2027 – Paris, FR – Accor Arena
12th Feb 2027 – Zurich, CH – Hallenstadion
14th Feb 2027 – Vienna, AT – Stadthalle
16th Feb 2027 – Berlin, DE – Uber Arena
17th Feb 2027 – Copenhagen, DK – Royal Arena*
19th Feb 2027 – Oslo, NO – Unity Arena
20th Feb 2027 – Stockholm, SE – Avicii Arena
22nd Feb 2027 – Helsinki, FI – Veikkaus Arena
*without Lamb of God / ^with Dymytry
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CONCERT REVIEW: GARY MULLEN & THE WORKS Delivered A QUEEN Experience That Fort Lauderdale Will Not Forget
For one night, The Parker Playhouse transformed into a full celebration of Queen’s legendary catalog as Gary Mullen & The Works brought One Night of Queen to Fort Lauderdale. More than just a tribute performance, the two-hour production captured the energy, theatricality, and communal spirit that made Queen one of the greatest live bands in music history.
From the moment the opening notes of “One Vision” filled the theater, the audience—spanning multiple generations—was fully engaged. Families, longtime Queen fans, and younger listeners shared the same excitement, singing along from the very beginning. The atmosphere felt celebratory throughout the night, less like a seated theater show and more like a full arena-rock experience condensed into an intimate venue.
Gary Mullen’s performance anchored the evening. His energy never faded, constantly interacting with the audience while balancing humor, charisma, and vocal power. That enthusiasm spread through the entire room—even staff members working throughout the venue could be seen smiling, singing along, and enjoying the performance. Rather than simply imitating Freddie Mercury, Mullen focused on channeling the joy and theatrical presence that defined Queen’s live shows.
The first set moved through classics like “Tie Your Mother Down,” “A Kind of Magic,” and “Another One Bites the Dust,” while “Under Pressure” and “Who Wants to Live Forever” brought a more emotional dynamic to the night. “Killer Queen” and “I Want to Break Free” kept the crowd fully engaged before the band closed the first half with “Now I’m Here.” After a 20-minute intermission, the second set raised the energy even further.
“I Want It All,” “Somebody to Love,” and “Don’t Stop Me Now” turned the theater into a full crowd singalong, while “Love of My Life” and “Bohemian Rhapsody” reminded everyone just how timeless Queen’s songwriting remains. By the encore—featuring “Radio Ga Ga,” “We Will Rock You,” and “We Are the Champions”—the entire venue was on its feet singing together.
What makes One Night of Queen work so well is that it understands the core of Queen’s appeal: the music was always meant to bring people together. Gary Mullen & The Works succeeded in recreating that feeling for two hours, delivering a performance filled with joy, nostalgia, and genuine appreciation for one of rock’s greatest catalogs.
For Queen fans old and new, this show is an easy recommendation.
The post CONCERT REVIEW: GARY MULLEN & THE WORKS Delivered A QUEEN Experience That Fort Lauderdale Will Not Forget appeared first on Sonic Perspectives.
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EsDeeKid Makes Medieval-Themed Rolling Loud Debut With Rico Ace, New Song “Rock Wave”
EsDeeKid stormed the castle at his Rolling Loud debut this weekend at Camping World Stadium in Orlando, FL. The Scouse rapper, who is not Timothée Chalamet despite some strong evidence, gave a striking performance on Friday May 8. He had a castle backdrop, a posse of knights in shining armor, and a flaming sword. He’s come a long way in a short period of time: He played his first headline show less than a year ago and played his first US show less than five months ago.
The post EsDeeKid Makes Medieval-Themed Rolling Loud Debut With Rico Ace, New Song “Rock Wave” appeared first on Stereogum.
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Shadows in the Stanza: How to Write Dark Music Lyrics Like Edgar Allan Poe
Dark Music Lyrics: How to Write Songs Like Edgar Allan Poe
Great lyrics don’t just tell a story; they build a world. If you want to master the art of writing dark music lyrics, look to the master of the macabre, Edgar Allan Poe.
Writing compelling songs is a delicate balance. If you lean too hard into the “gothic” aesthetic, you risk sounding cliché. If you don’t lean in enough, the song feels empty. Poe navigated this balance by treating his poetry not just as text, but as music. For more on his literary influence, you can explore the official history at The Poe Museum.
Here is how to apply Poe’s literary techniques to your own songwriting process.
1. Using Rhythm in Dark Music Lyrics
Poe was obsessed with meter. Think of the driving, hypnotic beat of The Raven. He understood that a consistent, relentless rhythm can mimic the sensation of a racing heartbeat or a ticking clock.
Try this: When you write your next dark song, don’t just focus on the words. Focus on the syllable count. Use trochaic meter (stressed, unstressed) to create urgency.
2. The Power of the Refrain
Poe often used a recurring word or phrase to anchor his themes. A good refrain acts as a haunt—it is the ghost in the room that never leaves.
3. Vocabulary is Atmosphere
Poe didn’t use generic descriptions. He used words that carried a physical weight: sepulcher, pallid, rustling, melancholy, velvet.
When writing your lyrics, replace your “adjective-heavy” lines with specific, evocative nouns. Describe the shadows, the silence, or the texture of the air.
Dig deeper into Poe’s techniques in our Archive
4. Lean Into the Obsession
Most songwriters write about love or loss. Poe wrote about the aftermath of loss. Write from the perspective of someone who cannot look away, who cannot stop thinking, and who cannot find peace.
Listen to Edgar Allan Poets, The Noir Rock Band, inspired by Poe
The Takeaway
Writing dark lyrics isn’t about being “edgy.” It is about being honest about the shadows that exist in every human life. When you use Poe’s techniques—meter, refrain, and obsessive focus—you aren’t just writing a song. You are crafting a legacy.
Wear your inspiration: Check out our dark art apparelExplore More
Words are the shadows we leave behind.
The post Shadows in the Stanza: How to Write Dark Music Lyrics Like Edgar Allan Poe appeared first on Edgar Allan Poets – Noir Rock Band.
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“Originally, Metallica had a dreadful tape as our intro. Then our manager came up with the idea of replacing it with The Ecstasy Of Gold”: How metal’s biggest band turned a song from a Clint Eastwood movie into the greatest intro music in history
No Metallica show is complete without The Ecstasy Of Gold as its intro tape