Category: news

  • Gradience Premiere New Single & Music Video “Undone” From Upcoming Debut Album “Anomaly”

    Danish blackened rap metal duo Gradience have premiered their new single “Undone” online. The track, taken from the band’s forthcoming debut album “Anomaly“, arrives alongside the below music video. Metal Blade will release the band’s debut album “Anomaly” on September 04th. Gavin Mistry, vocalist for the outfit, commented on the sin… Read More/Discuss on Metal Underground.com
  • Big Country Redux guitarist Bruce Watson picks the soundtrack of his life. “The Rolling Stones are the quietest band on stage I’ve heard in my life. You can actually talk over the top of them playing”

    Back in 1981, when guitarist Stuart Adamson quit The Skids to form Big Country with guitarist Bruce Watson, neither man knew they had just set in motion one of the great Scottish rock bands.

    “To be honest, I’d have been happy just to put out one single, or get a Peel Session – that was my ambition,” Watson reflects today. “But it went a lot further.”

    Adamson’s suicide in 2001 – at the horribly early age of 43 – ended their first run. But Watson has kept the fires burning, and this year’s burst of activity includes an acclaimed biography of the late frontman (by Classic Rock’s Scott Rowley), and a new album, Eastworld, drawing on material from the vaults that the classic line-up never got around to recording.

    “There was unfinished business,” Watson says as he prepares to share the musical things that forged him.

    Lightning bolt page divider

    The first music I remember hearing

    A Hard Day’s Night. I was probably five years old. That chord at the start – I think it’s two guitars, a bass and a piano – is one of the greatest intros ever. I’d got a plastic guitar for Christmas, and when The Beatles were on TV, and they’d all take a bow at the end, I’d stand in front of the TV and take a bow too.

    The first song I performed live

    I had this punk band called The Delinquents, and the first song we played was Wild Thing. In that band we supported The Skids, and at the first gig, in Dunfermline, we were trying to make a big production. I had this shitty little practice amp, but I made this big, fuckoff Marshall stack out of cardboard boxes, cut to size and painted black, with volume knobs made out of beer bottle lids. I set it up on stage, but somebody opened the fire exit and the fucking thing blew away!

    The greatest album of all time

    The one I keep going back to is Marquee Moon by Television. Before covid, I was doing a show in New York. I was sitting in the dressing room, and the band supporting us were soundchecking, and I could hear them playing Marquee Moon. And I’m going: “That guitar player is really spot-on.” As I walked in, I realised: “That’s Richard Lloyd!” The promoter told me: “Yeah, he’s your support for the night.” I went: “You fucking what?!’”

    The guitar hero

    Probably not from a technical point of view, but I would say Mick Jones. He looked so brilliant with a guitar. I loved everything about The Clash – the songs, the energy, and then what he did in Big Audio Dynamite, embracing new technology and sampling.

    The singer

    Alex Harvey, because he’s got the most dangerous vocal delivery of all time. I remember going into a record shop to hear The Impossible Dream [1974]. The girl in the shop was laughing at me, but I came out of the booth and thought: “Right, I want that.” If I saved up from my paper round, after three weeks I could afford to buy an album.

    The songwriter

    I’m going back to The Clash, and Joe Strummer. He’s my favourite lyricist. My favourite line, in any song, is at the end of (White Man) In Hammersmith Palais: ‘I’m the all-night drug-prowling wolf who looks so sick in the sun.’ It conjures up so many images. If I was ever to get a tattoo done, I’d have those lyrics tattooed somewhere.

    The best live band I’ve seen

    The Rolling Stones. I did two tours with them back in the nineties. I used to watch them every night. I’d often stand behind Charlie Watts. And they are the quietest band on stage I’ve heard in my life. You can actually talk over the top of them playing. They play through these little Fender amps. It sounds like they’re playing in a local pub. Backstage it’s such a great vibe. One time, during Sympathy For The Devil, the backing vocalists brought back a microphone, and anybody who was there got to sing the ‘ooh-ooh’s.

    My guilty pleasure

    Love Grows (Where My Rosemary Goes) by Edison Lighthouse. You can imagine going to a wedding and watching your aunties and uncles dance to that. I hate songs that have key changes, but that’s got a brilliant key change near the end, and they get away with it.

    My Saturday night party song

    Brown Sugar. It’s instantly danceable. If you’ve had a few pints, and you want to jump about stupidly, that’s the one to do it to.

    The song that makes me cry

    Anything that Richard Manuel sang for The Band. Levon Helm and Rick Danko have beautiful voices as well, but Tears Of Rage, I Shall Be Released, Whispering Pines… those will make you reach for the tissues.

    The song I want played at my funeral

    (White Man) In Hammersmith Palais is probably the song that touches me most in life. But as a funeral song, Alex Harvey’s Anthem is a lament, so that’s probably the one. It starts off with a high female falsetto voice just humming a melody. Then you’ve got these military snare pipe-band drums, then Alex’s voice comes in, and the band kicks in. Then there are bagpipes. It’s very evocative. And it’s very Scottish.

    Big Country Redux release Eastworld on September 19, and tour the UK in November/December.

  • Saltwound Premiere New Single & Music Video “Pound Of Flesh” – Mugshot Frontman Ringo Waterman Guests

    Saltwound‘s new standalone single “Pound Of Flesh” has arrived online today, August 13th. The Sacramento, CA-based deathcore outfit recruited Mugshot frontman Ringo Waterman for a guest appearance on the track, which is being released through SharpTone Records. The accompanying music video was filmed by Visual-Hype Productions. Saltw… Read More/Discuss on Metal Underground.com
  • thrown Premiere New Single & Music Video “critic”

    Swedish nü-metalcore band thrown‘s new track “critic” received its premiere online, streaming via YouTube and Spotify for you now below. With no commentary from the band, a press release offered the following explanation of the new single: Read More/Discuss on Metal Underground.com
  • Release Round Up – August 14th 2026

    Release Round Up – August 14th 2026

    Every week there is a tidal wave of new music released unto the world. Each Friday we’ll round up some of the best new music available, some we’ve reviewed, some we haven’t, but all worth checking out!

    Theres a lot of new heavy music hitting the airwaves this week, everything from black metal, death metal, gothic metal, Stoner rock, doom, thrash metal and even some of your traditional heavy metal!

    Here’s what we think you should check out today!

    ALBUM OF THE WEEK

    The Kris Barras Band are back and a decade after their debut release album bumber six ‘Monsters We Made’ via Earache Records.
    “A well rounded record that mixes hard hitting tunes with melody and vulnerability that sees the outfit mature into a modern rock beast.”
    Read our full review here.

    Chicago-based instrumental ensemble Afrofuturistics release ‘The Enigmatic’ via Big Bonkey Records.
    “exudes confidence and is a thrilling ride of euphoric sounds”
    Read our full review here.

    Rock

    Grand – Guilty Pleasure (Frontiers Music SRL)
    Buzzed & Loaded – Medication Nation (Bootstrap Records)

    Heavy Metal

    Duckwalk Chuck – 525 (Independent)
    Trench Warfare – Achtung! Destroy The Weak (Conjuring Records)
    Soulgrind – Ad Pulchram Mortem (Inverse Records)
    Ian Parry’s Consortium Project VI – Legacy of Empires (Frontiers Music SRL)
    Ironflame – Worlds To Conquer (High Roller Records)

    Black Metal

    Death. Void. Terror. – To The Great Monolith 2.5 [EP] (Sentient Ruin)

    Death Metal / Death-Doom / Grindcore

    The Absolution Sequence – Dread Cycle (Independent)
    Raunchy – Prisoner (Mighty Music)
    Abyssal Rift – Relics of Great Ash (Transcending Obscurity Records)
    Death Kommander – The Great Offensive (FDA Records)
    Megascavanger – Toxic Noxious Undeath (Xtreem Music)
    My Minds Mine – Between Soothing Consolation and Uncontrollable Madness (Selfmadegod Records)

    Doom / Stoner Rock / Sludge / Psych

    Mean Green – Castle (Independent)
    Observers – The Emerald (Independent)
    Destroy My Brains – Wilt (Independent)

    … and the rest!

    Only Echoes – Born Adrift (Independent) [Post-Metal]
    Holissstik – Chapter 1: This Endless Solitude (Season of Mist) [Dark/Electronic]
    Coyote Man – Prosthetic Memories (Independent) [Progressive Metal]
    Shadowmare – transfiguration (Independent) [Thrash Metal]


    For all the latest newsreviewsinterviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebooktwitter and instagram.

    The post Release Round Up – August 14th 2026 appeared first on The Razor's Edge.

  • Reminitions’ “Hellraiser” Music Video Lands Online

    The Californian deathcore group will have their new EP out this September.

    The post Reminitions’ “Hellraiser” Music Video Lands Online appeared first on Theprp.com.

  • Queen City Rising We the People Review

    Queen City Rising We the People Review

    This song begins in an interesting way, with a chaotic, intense vocal line that overwhelms listeners with its energy. Following this chaotic introduction, the track unfolds with the voice of this talented artist, presenting a nearly epic melody, enriched with generous reverb that makes the voice almost oracle-like. Strong influences of the 1990s are evident in the composition style, reminiscent of an era when music felt genuine. The guitars roar, and the emotions conveyed are raw and instinctive.

     Queen City Rising We the People

    The structure of the song is well-crafted, showcasing the artist’s ability to compose and his considerable experience. The lyrics convey a message of standing up for one’s rights, serving as a bit of a revolutionary anthem that encourages the common people, “we the people,” to unite against forces that aim to keep us under control.

    A beautiful guitar solo emerges after approximately two minutes and five seconds; it is lengthy and intense, leaving listeners breathless. This solo demonstrates technical skill and expressive quality from the artist. It feels as if the solo is speaking directly to the audience, further enhancing the song’s impact.

    We the People – Sound and Atmosphere

    The overall genre can be classified as alternative rock, and it is a track that I highly recommend to everyone. The entire composition reflects a deep passion for music and a strong connection to the themes of empowerment and unity. The intensity of the opening vocal line serves as a perfect prelude to the substantive message contained within the lyrics.

    Each element of the song contributes to a coherent and meaningful experience. The vintage influences elevate the music, ensuring that listeners are not merely passive observers but are drawn into an experience. The raw energy present in the guitars complements the heartfelt performance from the vocalist, creating an emotional atmosphere that resonates with many.

    Throughout the track, listeners can appreciate the skillful transitions between parts, allowing the energy to ebb and flow while maintaining an overarching drive.

    We the People – Performance and Production

    In a time when many songs can feel manufactured or empty, this single stands out as a breath of fresh air. The artist effectively communicates a social message while delivering an engaging musical performance. It feels relevant and timely, urging individuals to gather strength in numbers against those who seek to suppress freedom.

    Queen City Rising’s “We the People” displays a strong connection between musical excellence and substantial lyrical content. Listeners will find themselves moved by the combination of dynamic vocals, powerful instrumentation, and a message that is important and deeply resonant.



    Intense

    🔥 If you love this music: Discover More


    Find Queen City Rising here:
    Soundcloud | Instagram

    The post Queen City Rising We the People Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Gunshots or Fireworks Open Mic Review

    Gunshots or Fireworks Open Mic Review

    The song begins with an impressive guitar riff that creates an intriguing energy, transporting listeners back in time. There are strong vibes reminiscent of Weezer in the sound. This track represents alternative rock infused with the characteristic swagger of the 1990s. The choruses are loaded with hooks that energize, while the verses take a more subdued approach, creating varied dynamics that keep the listener engaged.

    Gunshots or Fireworks Open Mic

    The rhythm remains steady and rhythmic throughout the verses. The guitars introduce bright notes, while the bass and drums are tightly locked in, displaying the musical finesse of this band. The overall sound has a psychedelic edge, further enhanced by beautiful backing vocals that enrich the melodic line and add variation to the main vocals.

    The interplay between instrumentation and vocals becomes more pronounced. The energy shifts between the verses and choruses, skillfully maintaining interest throughout. The band showcases both musical skill and an understanding of balance within their arrangement. This creates a sense of movement and flow that is often missing in contemporary music.

    Open Mic – Sound and Atmosphere

    The rhythmic consistency in the verses allows listeners to connect with the lyrics. It provides a canvas for the vocal lines, which glide across the instrumental backdrop. The bass, while solid, also provides subtle grooves that enhance the overall listening experience. Each instrument plays a vital role in the song’s architecture, building layers that contribute to its richness.

    The recording exhibits a level of polish that complements the raw energy of the performance. The production choices enhance the vibrancy without overshadowing the authentic feel of the instruments. This balance is critical, as it allows the listener to appreciate the artistry while feeling the rhythm that encourages movement.

    Throughout “Open Mic,” the lyrics resonate with themes that are personal and universal. They invite listeners to reflect on their own experiences, eliciting a sense of empathy and connection. The delivery of the vocals, combined with lyrical content, strengthens this connection and invites deeper engagement.

    Open Mic – Performance and Production

    In the chorus, the song reaches a climax that feels rewarding and uplifting. The energetic delivery encourages sing-alongs, likely making it a favorite in live settings. Such moments of unity and shared experience are vital in creating memorable musical moments.

    The backing harmonies complement the main vocals gracefully. They add depth and texture, making the melodic line more complex and enticing.

    Variations in texture between the verses and choruses provide an engaging listening experience. This keeps the audience on their toes, as the predictability often found in other tracks is set aside for creativity and exploration. The interplay of different musical elements showcases the band’s versatility and willingness to innovate.



    Intense

    🔥 If you love this music: Discover More


    Find Gunshots or Fireworks here:
    Spotify | Instagram
    For fans of:
    Weezer

    The post Gunshots or Fireworks Open Mic Review appeared first on Edgar Allan Poets – Noir Rock Band.