PROX Intake

Category: news

  • Live Gallery: Hypocrisy – Manchester

    Live Gallery: Hypocrisy – Academy 2, Manchester

    1st May 2025
    Support: Vreid, Vomitory

    Photos: Rich Price

    We look back at the epic Hypocrisy show through the eyes of our photographer Rich Price!

    Hypocrisy

    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography

    Vomitory

    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography

    Vreid

    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography

    Fans

    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Check out our review of the show here!

    All photo credits: Rich Price Photography

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

    The post Live Gallery: Hypocrisy – Manchester appeared first on The Razor's Edge.

  • Live Review: Dragged Into Sunlight – Manchester

    Live Review: Dragged Into Sunlight – Club Academy, Manchester

    30th April 2026
    Support: Vacuous, Plague Pit

    Words: Dan Barnes
    Photos: Rich Price

    It’s a lovely spring evening in Manchester tonight, the perfect end to a warm, sunny day. However, those heading into the bowels of the Academy complex are walking into a world of sonic misanthropy and musical chaos. Liverpool’s most nihilist sons, Dragged Into Sunlight, is beginning this short series of UK dates with a Thursday in town, before trekking of the Birmingham, London’s Incineration Festival and ending in Glasgow.

    It’s a rare opportunity to see this homegrown band, and the first since their Damnation headlining slot in 2024 and, as with that performance, the anticipation is matched only by the length of the queue for DIS merchandise.

    It’s up to west country pessimists, Plague Pit to open the show, with a sound that rattles the foundations of the venue; fat drums and tortured rasps fill the room with the kind of echo usually heard in ancient stone corridors. There’s no killing-with-speed from this Bristol collective, instead theirs is an oozing, morbid melancholy, sketched out against rumbling bass and filth chugs. Riffs hypnotise as much as they blister, with every note seemingly intended to shake the very ground upon which this building stands. There’s moment during Plague Pit’s set when the tempo rises and it offers something thrashy, merely a respite from the unflinching vision of the heart of human suffering. That said, I loved every minute of their set, it was the perfect way to get the ball rolling on such an evening.

    Photo Credit: Rich Price Photography

    London’s Vacuous take a different approach to their set; the same nihilistic attitude is accompanied by an up tempo, deathier vibe, taking the uncompromising nature of the music and running it through with a dose of blackened grind. Ghostly vocals come and go, as do dissonant, punchy riffs and the occasional groove, but Vacuous seem to thrive in the delivery of angular lines, twisted out of shape and forced through distortion.

    Both support bands fit the headliner’s aesthetic perfectly, and both play under blood red lights, burning constantly and unblinking, giving a hellish appearance and being a nightmare to photograph (apparently). Nor is there much audience interaction from any band on this bill, it would spoil the overall atmosphere of the show, leaving each person present to digest the music in whatever they chose.

    Photo Credit: Rich Price Photography

    I’ve seen some big bands in this venue: Obituary, Suffocation, Enslaved – heck, I’ve even seen Gorjira in this room – admittedly that was back in 2006 – but I don’t think I’ve seen a queue for merchandise in this room even close to the line waiting to buy Dragged Into Sunlight goodies tonight. From the very beginning, before Plague Pit have taken the stage, there’s line at the merch stand, and it remains so for a couple of hours until DIS themselves take the stage.

    Where the stage lighting had previously been a stable red wash, for the headliner it’s a series of retina-searing white lights, as harsh visually as the band’s music is sonically. More of ritual than a run-of-the-mill concert, a Dragged Into Sunlight show is to be experienced as much as anything. Existing in the similar area as Portal, Primitive Man, Anaal Nathrakh and Gnaw Their Tongues, where the human condition is to be sneered at, these scousers have their 2009 debut full-length, Hatred for Mankind, locked and loaded, just like the last time they played in town.

    Photo Credit: Rich Price Photography

    Widely considered one of Damnation’s best ever sets, this is a chance for those absent to witness such a shocking live experience, or for those of us who were there that night, to confirm that we did actually see this happen.

    Beginning with the kind of droning intro usually heard at a Sunn O))) show, the set opens with a series of foreboding frequencies, stirring the most primitive parts of the ancient brain with a sense of huge cosmic forces coming together.

    Between harsh flashes of light, candles flicker, softening the image but not the sound as the opening bars of Boiled Angel / Buried with Leeches take flight. The soundbites of serial killers punctuate the performance, but you’re never really sure which is more unsettling: the words of some of history’s most infamous monsters, or the crazed creatives who conjured this hellish soundscape into existence. It’s a close call.

    Photo Credit: Rich Price Photography

    Every one of the musical aspects is pushed to the absolute limit on Hatred… and Dragged… seem to relish applying a little more pressure when playing the likes of Lashed to the Grinder and Stoned to Death and I, Aurora to a crowd, filling each with even more anguished hatred and undisguised loathing.

    Evil guitar tones bleed dirty riffs into the PA, the blackest of doom loops through the speakers to cast its repugnance across the room. No respite is offered as the band ooze their way through Volcanic Birth and the brief To Hieron. There’s is the ruthless efficiency of Inquisitors, showing much the same disregard for human life. By the time Totem of Skulls draws to a close all present know that they have just witnesses something special.

    By the time we exit the Academy building the warmth of the day has given way to a chill night, and the dark now seems a little more ominous than it might otherwise have done.

    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Photo Credit: Rich Price Photography
    Full Gallery Here!

    Photo Credits: Rich Price Photography

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

    The post Live Review: Dragged Into Sunlight – Manchester appeared first on The Razor's Edge.

  • Live Review: Incineration Festival – London

    Live Review: Incineration Festival – London

    2nd May 2024

    Words: Oli Gonzalez

    With every year that passes, Incineration Festival upholds its reputation for delivering the finest of extreme metal bands from across the globe, all descending upon the deepest darkest corner of London for a day of black, thrash, death, and everything and anything in between. This year would be no exception, with the likes of Internal Bleeding, Hypocrisy, Grave, and a rare Dragged Into Sunlight appearance taking rightful places high up the card. Whilst topping the bill would be a special set from Blood Fire Death; A tribute to Quorthon and Bathory.

    Some residual anxieties from the year prior still could not be shaken off, especially with the memories of watching Spectral Wound in an uncomfortably crowded Electric Ballroom (EBR) still fresh. Though it seemed that issues like this were taken on board by the venue as venue specific tickets had not been available, and an earlier opening for the Roundhouse main stage had been confirmed. Two measures to manage the nearly sold out crowd. Still, some tough decisions would have to be made in order to navigate the five venues and a ridiculously stacked line up.

    After acquiring wristbands, we would compare thoughts and schedules over a pint. Then it was time to make our way to the EBR to catch Afsk…oh, hold that thought! Afsky unfortunately had to withdraw due to medical reasons; a very late withdrawal! So late that the festival had no time to source a replacement (very much understandable). Instead, this meant our day started in the darkened depths of the Underworld…

    The Underworld was packed. Very packed. Whether Afsky pulling out late meant that more people chose to pile in here or they were on many people’s lists anyway. Judging by the fact that the pits erupted merely seconds into Mutagenic Host‘s set suggests the latter. It’s no wonder! Their bruising brand of death metal was guaranteed to get bodies moving no matter what stage they were on. Circle pits, crowd surfers and spilled pints; all before 2pm! Clearly the Incineration collective had no intention of taking it easy, or trying to pace themselves! It’s often said that the opening band is the most important of the day and sets the tone for the day. Mutagenic Host understood this and set a high standard for the festival.

    A quick turn around and dart towards the EBR for a change of scenery and replacing death metal for avant-garde black metal. The year prior, the queues for the EBR seemed to be poorly managed with painfully slow admissions. To the credit of the door staff, things were much quicker now whilst ensuring nobody piled in like a herd of elephants and making things unsafe. This meant more time for the first EBR band of the day…

    Having seen Der Weg Einer Freiheit perform in Belgium four weeks prior, this provided an interesting frame of reference. With the intricate atmospheric elements and the savagely complex mix, one note out of place or a slightly sub-par mix can turn the band into a puddle of atmospheric gloop. Though they were tight. Mechanically tight, with vocalist Nikita pouring every ounce of emotion into this set. A set almost entirely comprised of tracks from their latest release “Innern”. A set that sadly meant was watched from the fringes of the EBR due to the sheer quantity of bodies amassed for a rare UK appearance for the German’s. Though some understood that in order to see their next band, an early exit was necessary. This meant getting inside for arguably the band’s magnum opus. Slayer has ‘Reigning Blood’. Metallica has ‘Enter Sandman’. Der Weg Einer Freiheit has ‘Aufbruch’. A blistering emotional rollercoaster dragging through all ends of the blackened atmospheric continuum of metal. A gripping emotional ride and ending to a set that felt too short and had only just begun.

    Choices. You’re always going to have them. Wrestling through the Camden crowds for nearly quarter of an hour to get to see 20 minutes of Grave Miasma’s set, at best? Then having to do the same to get a sub-par spot to see the next band in the EBR? It didn’t seem worth it. Which feels like a disservice to a band like Grave Miasma. Surely scheduling in 10 minute gaps throughout the day would seem like a more logical decision? A point to return to later. Until then, more drinks consumed and a prime spot assumed for a bit of Sognametal…

    The eerie and haunting soundtrack to the movie ‘Kraken’ opened up proceedings, a soundtrack Vreid had written as part of their latest album released a few weeks prior. As such, we knew we were going to be in for one of the more unique acts of the day. An act so unique that no black metal cliches could possibly exist within expansive genre-fluid sound, blending everything from psychedelic progressive rock to classic heavy metal. All of which was built on that solid black metal spine. As this was Vreid’s final show on a gruelling tour across Europe, you could forgive the band for showing a bit of fatigue. Though it may not have satiated those who wish for more blunt force extreme metal, this felt like a professional and robust performance.

    Fuming Mouth are no strangers to the UK after an appearance at Damnation Festival 2024 that appeased many. They represent a fresh modern twist on death metal that incorporates hardcore elements. Unfortunately, competition from the other venues resulted in a much thinner yet still respectable crowd. Though it felt awkward asking for the band to demand a pit with only a small handful engaging. This made you think they would be have been more at home at a smaller more intimate venue that day.

    All heads are gonna roll! Heads did roll. Vomitory was carnage. Unmitigated carnage! It’s rare I ever get into the pit but with a few pints in me now, this meant I watched the majority of this set whist crashing into strangers like a dodgems. Not sure if I REALLY should be admitting this, plus the word ‘watched’ seems a bit lose too. In either case, this just sums the impact the death metal veterans had. No need to ask nor plea for a pit. It was an inevitability even before the first note had been struck! Another inevitability was the set being packed full of bangers from their critically acclaimed “In Death Throes” album that landed only a few weeks prior. No gimmicks, bells nor whistles. Just good old fashioned death metal from the 1980s, a sound and movement Vomitory had a hand in starting. A genuine privileges to see one of the genre’s unsung yet seminal acts.

    Representing the progressive death side of metal, Tomb Mold took a rightful place on the Roundhouse ‘main’ stage as a major draw for many this year. Combining straight up brutal death metal with technically proficient progressive rock with a psychedelic spice demonstrates the fluid and unique approach Tomb Mold offer to the world of extreme metal. Speaking of unique, how many extreme metal drummers can hold down a blistering blast beat whilst knocking out consistently fierce and gnarly gutturals vocals from behind the kit? Max Klebanoff did on this night, even if his vocals seemed to get drowned out in the mix sometimes! Whether you were marvelling at the beard-stroking progressive patches or banging your head violently to a mercilessly heavy breakdown, Tomb Mold’s set had it all. Our only regret? Having to miss the start due to travel time from the end of Vomitory’s set.

    Time for Dragged Into Sunlight ? Unfortunately not. Aching bodies and a need to feed meant missing out on one of the hottest draws for this year’s festival! After seeing the reaction on social media, it seemed like we missed out on something special. Having seen the band tear the Manchester Club Academy apart two nights prior, I can understand this sentiment. So it never really felt like missing out. Plus the idea of seeing this in what would surely be a painfully packed out EBR didn’t seem appealing. Refuelling at a kebab house conveniently located across the street from the Roundhouse whilst getting the weight of our feet and comparing thoughts from the day’s event up until now seemed necessary (hey, this happens in your mid 30s!).

    “There’s too many bands”
    “It should be two days”
    “It feels more relaxed than last year”

    This seemed to be the common consensus amongst us and also other festival attendees up until now. The reaction on social media seemed much more positive than the year prior, when complaints about overcrowding in smaller venues that were rife a year prior had seemingly disappeared this year. Which suggests the festival had taken this on board. After being fed, hydrated, it was time to make the pilgrimage to the Roundhouse once again for a special set.

    “Is it really that empty for Grave?”

    It was. Surprisingly. At least early on. There was a scheduled ten minute gap between the end of Dragged Into Sunlight’s set, due to end at 19:35, and the start of Grave. Though the Swedish death metal icons started ten minutes early at dead-on 19:35. Why, we’ll never know.

    Fellow Swede’s Vomitory had set a very high bar as they had laid waste to the EBR stage a few hours prior. Grave were not going to be outshone and right from the first note, we knew they weren’t hear to play games! Every crushing note and sinister lick of the guitar was designed to deliver maximum pain and carnage, sending the Roundhouse collective into a frenzy mere seconds into the set. More and more piled into the venue and the pit got even bigger, with Fuming Mouth vocalist Mark Whelan right at the heart of it! With my stomach full of cider and kebab meat, this meant that any visit to the pit for me would have resulted in said stomach contents being emptied; and nobody wanted that! Instead, I watched and admired from a safe distance. The added addition of pyrotechnics added to the visual spectacle, building upon this already savage sonic foundation. We learnt that this was the first the original line up had ever played in England, making this feel even more special! The Swede’s clearly know how to deliver death metal, clearly!

    Now, some special sets have graced the Roundhouse in the festival’s history. Emperor, Blood Incantation, Triptykon. Just to name a few. Though none really felt as special as Blood Fire Death; a tribute to the life of Thomas ‘Quorthon’ Forsberg. The man and creative force behind Bathory, and arguably the reason why we have black metal in the first place. Should a tribute band be headlining Incineration festival? If it’s amateur musicians your dad plays with in tiny pubs, then no. If said tribute band includes current and ex members of Waitain, Emperor, Mayhem, Enslaved and even original members of Bathory in a who’s who of extreme metal, then that’s a resounding hell yes! This had star power written all over it, with members changing between songs to constantly switch the focus and keep things fresh. Though those who were launching themselves into the pits (pits – plural) would happily crash into one another regardless of what iteration of the act was on stage. Everyone in the Roundhouse witnessed genuine metal history though, whether in the pit, fringes, or the balcony. This is what Bathory would have been if it had ever made it to arenas. The sound raw and primitive yet crystal clear, being pumped out through a good old fashioned wall of tube amplifiers. This is what evil should sound like! No stoned was left unturned in providing the blazing pyro and high end stage production to add the underline for this. Quorthon would have been proud. What a finale!

    There’s no doubt that the festival delivers incredible lineups always! Having it across one day also means that it’s less of a commitment financially for some, and often means no booking precious time off work is needed. Though there really needs to be a better solution to manage the changeovers between stages, especially the EBR and Roundhouse. Surely just having one less band on the EBR and/or an earlier Roundhouse opening to facilitate a ten or fifteen minute between every set – like they did between Hypocrisy and Blood Fire Death – would make more sense? Rather than forcing less mobile and able attendees from making tough decisions. Nonetheless, these seem like fixable issues and so long as the festival keeps delivering lineups like this, then people will still descend on the capital to begin festival season.

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

    The post Live Review: Incineration Festival – London appeared first on The Razor's Edge.

  • Grind After Death – The End of an Era

    Grind After Death – The End of an Era

    Words: Dan Barnes

    Just after submitting my preview of this year’s Grind After Death festival’s fifth anniversary show, it was announced that 2026 would be the last GAD event. The stresses of pretty-much single-handedly organising any show of this nature have finally caught up, meaning Doc has had to bring the curtain down on one of the region’s best events.

    As promoters, Eat the Rude have been bringing the extremity to the north-west for some time before the advent of Grind After Death, and the first event under that name happened on 1st October 2022, at Bolton’s Alma Inn.

    Cast your mind back to that crazy time; lockdowns were still a painful recent memory, but the live music scene had been back in some sort of normal operation for about twelve-months. I can’t recall whether we were still having to show personal medical information to event security – was never one-hundred percent sure that wasn’t breeching the General Date Protection Regulations 2018 – at that stage but just being away from de-facto house arrest was a bonus.

    The first event was a smaller affair, bringing together a host of UK bands to rage and blast away on a Saturday afternoon. Headliners that day were Basement Torture Killings, who were festival veterans by 2022, Leeds’ grinders, Gets Worse and Preston’s All Consumed, alongside a supporting cast that included Nothing Clean, Pteroglyph, Skabs and Carnal Rot.

    At a mere five of the King’s own pounds – Her Majesty having passed away the month before – it was a bargain in anyone’s book.

    Photo Credit: Tim Finch Photography

    Less than a year later and Grind After Death went for a summer date of 1st July 2023, with a promo around Christmas time to grab yourself a ticket for £6.66 if I remember correctly. Buoyed by the success of the 2022 show – and anticipating a bit of sun-stroke – in Bolton, I know! GAD expanded to fourteen bands and running for the better part of eleven hours.

    Early bands that day were Nottingham slammers, Black Mass, Rugby grinders, Grunk, and everyone’s favourite Yorkshire cyber-grinding bakers, Grindcore Cake Makers. This year’s openers, OmegaThone, played mid-bill in 2023, with Penny Coffin and Casket Feeder, heading into the evening and Coprocephalic Mutation, Boycott the Baptist and Suffer (UK), leading to a headlining set from Crepitation, who’d already played the second stage at Bloodstock Open Air 2022 alongside Party Cannon and Discharge on a blistering Friday afternoon, and would be appearing in the autumn at Damnation with Anaal Nathrackh, Rotten Sound and Undeath.

    Also on Grind After Death’s 2023 roster were grinders Krupskaya, the feral Priest Crippler, Public Execution, and Xenomyiasis.

    Photo Credit: Tim Finch Photography

    A happy medium was stuck with a nice-round dozen bands booked for 2024; headlined by east midland agitators, Atomçk, with old school death metal outfit, Malediction, and Austrian porno grind troupe, VxPxOxAxAxWxAxMxC, topping the poster. The poster itself being a gruesome work of art, featuring a chain saw wielding, pig-masked – I’m not jumping to the conclusion that this figure is a n’er-do-well but there’s a few distressed looking folk off to the right of the image. Down at the bottom there’s a chap going about the business of slaughtering his second female victim, so maybe Piggy is up to no good, after all.

    Embodiment played it technical and mellow – relatively speaking, of course; Frenchmen AxDxT took the day’s Crazy-Bastards slot and Brummie bruisers, Spawned from Hate, featured one-time Razor’s Edge scribe, Dan Phipps, and blasted some torturous tunes from their short but oh-so brutal discography.

    Invited back for this year’s Grind Before Death preshow in February, Vast Slug is always a riotous time and I wear my Slug of Death shirt with a certain amount of shameful pride! Early bands included London duo, Overthrow, Mancunian industrialists, The Machinist, Glaswegians StairMaster, bringing their Fast Buck grindcore to Bolton, with the show being opened by local slammers Strxanded, proving Grind After Death was become a national affair.

    Photo Credit: Tim Finch Photography

    In 2025, GAD adopted the tagline of “A smelly, junky, sausage fest with shit music”, a moniker that attracted much mirth at Bloodstock that year as I walked around the site with it blazoned across the back of a long-sleeved shirt. Chernobyl-obsessed Germans, Cytotoxin’s fifth album, Biographyte was freshly in the shops when they arrived at the Alma to headline and they levelled the place with a combination of brutality and technicality; providing some respite from the grind were The Bleeding, whose set was probably the most accessible of the day and included a cover of Death’s Open Casket.

    Elsewhere, Barren nailed it and almost took the honour of being band of the day; power violence mob Trading Hands brought punk element and humanist stance to Bolton. Unburier twisted minds with their technicality, Corpsing made the trip to BL2 after playing The Black Heart in Camden the night before, with Acid Vat and Accelerated Mutation providing early entertainment.

    After a triumphant show in 2023 it was kind of obvious Grindcore Cake Makers would be invited back and their set of inhuman cybergrind-meets-The Great British Bake Off is a show that will long in the memory.

    I think I speak for all at The Razor’s Edge when I say Grind After Death will be missed. We’ve only been on-board as media partners over the past year but have made some good friends in that short-time. Last year’s show was a blast, so let’s make this one a farewell for the ages.

    Photo Credit: Tim Finch Photography
    BUY 2026 TICKETS HERE
    Photo Credit: Tim Finch Photography

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

    The post Grind After Death – The End of an Era appeared first on The Razor's Edge.

  • Bloodstock Announce Logistical Changes For This Year’s Saturday Line Up for 25th Anniversary Edition

    Bloodstock Announce Logistical Changes For This Year’s Saturday Line Up for 25th Anniversary Edition Due to a few unavoidable logistical issues, Saturday’s line up for […]

    The post Bloodstock Announce Logistical Changes For This Year’s Saturday Line Up for 25th Anniversary Edition appeared first on Metal-Rules.com.

  • Mimi Barks Drops Jericho, Announces Dreamstate Of Fear EP And Tour

    Mimi Barks Drops Jericho, Announces Dreamstate Of Fear EP And US Tour

    Mimi Barks returns with her brand new single and video Jericho, the second track to be revealed from her upcoming EP Dreamstate Of Fear, set for release on July 24.

    Following the release of Dreamstate Of Hell, which opened the door to a darker and more focused new era, Jericho pushes her self-defined DOOM TRAP sound even further. The track collides Alternative Metal, Industrial weight and modern rock with Heavy guitars, dynamic vocals and a hook-driven chorus.

    At its core, the track explores inner collapse, transformation and the breaking apart of everything false to make space for something new. The video, filmed in Bordeaux and Paris by NineNine99 and Phenix Agency, visually reflects this intense shift.

    “What looks like collapse is really release, an undoing of everything that was never truly mine,” Mimi Barks said. “There’s no real enemy unless you choose to become one to yourself. The shift happens when the self remembers itself, when the energy turns inward and transforms.

    “The old world dissolves, making space for something unknown. That’s where freedom begins. What will you choose? Heaven or Hell?”

    From the underground scenes of Berlin and London to her current base in Los Angeles, Mimi Barks has built a unique identity blending Metal, Industrial and Trap influences. Known for emotionally charged performances, she is currently on her debut US tour with Little Miss Nasty and will return to Europe this summer with dates alongside KING 810 and Wargasm.

    Dreamstate of Fear will be released on July 24 via her own imprint DEATHKISS Records and is now available to pre-order on limited edition LP, tape and CD. For more details, visit ffm.to/mimibarks-jericho.

    With her debut US tour with Little Miss Nasty taking place now, Mimi Barks returns to Europe this summer with dates in the UK in September with Swarm6ix.

    September

    09sep7:30 pmMimi Barks, BournemouthThe Bear Cave

    10sep7:30 pmMimi Barks, SwanseaThe Bunkhouse

    11sep7:30 pmMimi Barks, PlymouthThe Junction

    12sep7:30 pmMimi Barks, LondonAcademy 2

    13sep7:30 pmMimi Barks, NottinghamRough Trade

    14sep7:30 pmMimi Barks, ManchesterStar & Garter

    15sep7:30 pmMimi Barks, GlasgowGarage Attic

    16sep7:30 pmMimi Barks, NewcastleZerox

    17sep7:30 pmMimi Barks, SheffieldCorporation

    18sep7:30 pmMimi Barks, Milton KeynesCraufurd Arms

    Mimi Barks UK Tour 2026 Poster
    Mimi Barks UK Tour 2026 Poster
    The post Mimi Barks Drops Jericho, Announces Dreamstate Of Fear EP And Tour first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

  • Tygers Of Pan Tang Release New Single Electrifyed

    Tygers Of Pan Tang Release New Single Electrifyed

    Tygers Of Pan Tang have released their brand new single and video Electrifyed, marking the start of a new chapter for the legendary heavy rock band. Built around a razor-sharp riff-driven core, Electrifyed delivers urgency and power, combining classic Tygers grit with a modern punch.

    With driving rhythms, an electrifying twin-guitar attack and an anthemic chorus, this is all designed for maximum impact and is a very tasty opening for the bands new album.

    “In Tyger’s history, rarely has a song title suggested the album title,” vocalist Jack Meille said, “but this time it was clear for all of us that Electrified was the one. It’s another ‘Robb riff-based song’ which will keep you headbanging all the way through.”

    And the new album and single news had Robb Weir celebrating. “I’m shocked,” he said. “The last Tygers single was released on 21 April 2023. Can you believe that? 2023?

    “I’ll tell you something even more shocking, Electrifyed, the brand new single from the big cats, is out on the 4 of May. If this doesn’t blow the door off your fuse box, nothing will.”

    With over 40 years of history, Tygers Of Pan Tang continue to evolve, delivering fresh energy while staying true to their roots in Heavy Rock and Metal. Electrifyed proves the band are still pushing forward at full throttle.

    The single is available now on all major streaming platforms, with the official video also released. For more details, visit bfan.link/topt-elec.

    The post Tygers Of Pan Tang Release New Single Electrifyed first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

  • Listening Now : Chaton – We Are Invincible

    Chaton pushes forward with We Are Invincible, a driving techno cut built on momentum and forward motion. As a rising electronic artist exploring futurist themes, Chaton leans into pulsing rhythms and clean, hard-hitting production to create a track that feels both uplifting and club-ready. There is a sense of purpose in its progression, where repetition becomes power and energy steadily builds without distraction.

    We Are Invincible thrives on its simplicity and intent, delivering a focused, high-impact listen designed for late nights, movement, and collective release on the dancefloor.

    Connect:

    Instagram

  • Cerebus Premiere New Single & Music Video “Flower of Flesh”

    Richmond/Virginia Beach, Virginia-based slamming deathcore/brutal death metal trio Cerebus premiere a new single and music video by the name of "Flower of Flesh", streaming via YouTube and Spotify for you now below. Damonteal Harris of PeelingFlesh guests on this particular track. Read More/Discuss on Metal Underground.com

  • Code Orange & Pain Clinic Members To Join Forces In New Project Single Print Index

    Single Print Index are set to make their live debut on June 20th at Preserving Underground in New Kensington, Pennsylvania. The project—self-described as “Pittsburgh murder music”—is said to feature members of the currently dormant Code Orange alongside contributors from hardcore band Pain Clinic. The show will be headlined by Pain Clinic in… Read More/Discuss on Metal Underground.com