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On digital, vinyl and CD formats.

The post Brutal Truth’s “Kill Trend Suicide” & “Sounds Of The Animal Kingdom” Set For Newly Remastered Reissues appeared first on Theprp.com.

Hard rockers from Switzerland, CoreLeoni, are streaming a new single/video titled “Howling At The Moon”. The latter appears on the group’s next studio album, Generection.
Read more…

I was surprised to learn that we’ve never reviewed Xandria here. The German project of one Marco Heubaum (who covers guitars, keys, and the odd vocal spot), Xandria released their first full-length in 2003, performing gothic and, eventually, symphonic power metal. They first grabbed me with 2012’s Neverworld’s End, a fantastic orchestral metal album that I still enjoy today. But consistency has never been Xandria’s strong suit—apart from Heubaum, the entire lineup changed in 2022, with Ambre Vourvahis being the latest of six lead vocalists, several of whom left on unpleasant terms. There’s a lot going on there—but inconsistent doesn’t necessarily mean bad (or, more accurately, doesn’t mean always bad), so I’m opting to approach Eclipse, Xandria’s ninth full-length release, with fresh eyes.

Or rather, I tried to approach Eclipse with fresh eyes, but the truth is that it sounds so much like a Nightwish record that I can’t. The thesis statement of Eclipse seems to be “what if Imaginaerum had breakdowns?” and the result is an album familiar, grandiose, and surprisingly heavy for its style. Throughout, huge choruses, grand orchestrations, and unintelligible chants set the scenes for standard symphonic power metal showdowns, with guest spots for violin (“Lore”), tin whistles (most prominently on “The Shannon’s Home”), and, yes, a children’s choir (“The Last Generation”) as needed for dramatic or nostalgic effect. Even lyrically, the comparison fits; Eclipse focuses on social issues with heavy-handed poetry that stretches authenticity (“The Poetry of the Real World”). Alongside the symphonic, there is also a genuine heaviness to Eclipse that albums in this style often lack. Most songs feature a metalcore-style breakdown at some point, occasionally accompanied by Heubaum’s hoarse shouting (“Eclipse,” “Colours”), and drummer Dimitrios Gatsios puts in an exceptional and lively performance throughout. Admittedly, said breakdowns don’t always feel natural, but they do highlight that Heubaum and Rob Klawonn’s guitars are not neglected, creating a general sense of balance between bombastic orchestration and genuinely heavy metal.

The result—unfortunately or fortunately, depending on your preferences—is that Eclipse’s strongest moments come as it best imitates its idols. “The Shannon’s Home” is the best example: a folky, mid-tempo song brimming with saccharine nostalgic wonder that I had to double-check isn’t a Nightwish cover. It really shouldn’t work, but Xandria’s earnest performance pulls it off. “Eclipse” is fast-paced and fun, with orchestral hits and a huge, catchy chorus that remind me of Within Temptation too. The heavier moments are a great counterbalance, and I love the guitar solo partway through. On the heavier side. “Masquerade” delivers with riffs, despite a whimsical chorus that, lyrically, evokes—yes, I’m name-dropping them again—Nightwish. Throughout Eclipse, Xandria confidently emulate a sound that, for better or worse, has massively influenced the genre they compose in.

Is that surprising? I’m not sure—but it is a little disappointing that nine albums and twenty-three years in, Xandria still seem like they’d rather emulate others than define their own sound. Maybe that’s a harsh read, but Eclipse feels predictable and restrained precisely because it’s so standard. “The Grand Delusion,” for example, is the cheeriest song about abuse of power I’ve heard in some time because, despite its grim lyrical content, Xandria maintain a genre-standard tempo and bombastic chorus. “Wave of Tanis” has my favorite chorus on the album, but I can’t honestly remember the rest of the song because it’s so over-the-top. None of this is a mark on the band’s talent or skill—on the contrary, everything sounds great—but it does make Eclipse feel repetitive. When Xandria needs drama, a choir starts chanting, most songs end on a modulated final chorus, and even the serious songs are upbeat and catchy. “The Last Generation” is the only exception, but it’s so heavy-handed as it does so that its meaning gets lost. Well before the twelve tracks clock the hour, you’ve figured out what you’re getting and are never challenged on the assumption.

And yet, Xandria do it well—Eclipse is strong symphonic power metal, taking a familiar style and basking triumphantly in its glory days. I like it; it’s a good album, but I wish it were fresher, more ambitious, and more willing to take chances. When I close my eyes and recall a time now a decade past, I think I could be blown away by Eclipse. As is, I just think too many others got there first.

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Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: xandria.bandcamp.com | facebook.com/xandriaofficial
Releases Worldwide: August 7th, 2026

The post Xandria – Eclipse Review appeared first on Angry Metal Guy.

Upstate NY duo Babehoven are releasing their third studio album I See Them, I See Me next month. They’ve already released the singles “Lasagna” and “Blue Around You.” Their new single, which dropped today, chases a different hue. It’s called “Three Reds.”

The post Babehoven – “Three Reds” appeared first on Stereogum.

Dead Poet Society have revealed the details of their new full-length album, the follow-up to 2024’s ‘Fission’.

It’s set to be called ‘Monarch’ and will be released on October 02 via Spinefarm.

The artwork looks like this:

And the tracklisting like this:

1. Hollywood On Fire
2. Roach
3. Die If You Don’t
4. Sinner Systems
5. Lost 
6. Cold
7. Psalm 136
8. Dead On The Inside
9. Miami For The Weekend
10. Get Hot
11. The Park
12. The Art Of Suffering

It will include the already shared ‘Roach’ and ‘Sinner Systems’ as well as the freshly unleashed ‘Cold’. A caustic, building, brilliantly dramatic piece of alt-rock majesty, it shimmers and shakes with decadence and devilishness.

Drummer Will Goodroad had this to say about the track:

“People today are constantly performing for one another, competing for a place in social hierarchy. We slowly reshape ourselves, cutting away parts of who we are to gain acceptance and validation. Over time, we lose touch with our passions, forget why we do what we do, and stop recognizing who we really are – or what we truly believe, if anything at all. ‘Cold’ is about recognizing that reality and choosing to indulge in it anyway.”

The post Dead Poet Society Announce New Album ‘Monarch’ appeared first on Rock Sound.

Douglas McCombs, of bands like Tortoise and Eleventh Dream Day, is also one third of the Chicago trio Black Duck, which also features Bill MacKay and Charles Rumback. Black Duck released their self-titled debut album in 2023, and now they’re teaming up with Basque musician Elena Setién for the collaborative full-length Black Duck With Elena Setién. We’ve already heard lead single “Land Of The Many Eyes,” and now they’ve shared “Funeral In My Brain,” a gorgeous six-minute reverie based on an Emily Dickinson poem. If you can imagine an extremely chill, relaxed version of Horses-era Patti Smith, that’s how this sounds. Check it out below.

The post Black Duck & Elena Setién – “Funeral In My Brain” appeared first on Stereogum.

Live Gallery: Spectral Wound – Gorilla, Manchester

6th August 2025
Support: Final Dose
Photos: Rich Price

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

Spectral Wound

Final Dose

Photo credits: Rich Price

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: Spectral Wound – Manchester appeared first on The Razor's Edge.

Part of this year’s ‘Halloween Horror Nights’ events.

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Live Review: Spectral Wound – Gorilla, Manchester

8th August 2026
Support: Final Dose
Words: Matthew Williams
Photos: Rich Price

As thousands of metal heads headed to Derbyshire for their annual pilgrimage to Bloodstock, I ventured up to Manchester for my first live gig in about 3 weeks. This is a bit of a drought for me, but a night of black metal was calling my name at one of the best live venues in the city, Gorilla.

I’d missed Spectral Wound on their last trip to Manchester and was intrigued to see what they would sound like live. Playing several songs off their excellent 2024 release, “Songs of Blood and More” my ear plugs were firmly in place, but before them, Londoners Final Dose brought their own sinister take on the black metal genre.

Laden with punk influence, and with a stage draped in red lighting, the quintet begins with “Eternal Winter” as hooded/masked vocalist Bruno Fusco is joined by bassist Jack Thompson on terrifying vocals. They rip into “Weathered Axe” as the rapid drums from Filipe Simoes start to pummel away at your mind, body and soul. “Song 5” was written on the set list, and is a savage number, with a mental tempo and blood curdling screams.

They have an awesome intro riff for “Wretched” as the pace and intensity increases before “Golden Chalice” introduces more oomph and headbanging chaos on stage. The rumbling bass stands out on the slow and menacingly evil “Vampyric Drain” which leads into a raucous sounding “Rites of Spring”. A sound reminiscent of an alarm bell rings out during “Song 6” before the deathly screams return on “Forsaken Armor” accompanied by some shit hot solos, and they end with the brutal “Dark Paradise”.

As AC/DC’s “Whole Lotta Rosie” comes to an end, the Spectral Wound logo appears on the screen behind, as an icy, wintery intro beckons the Canadians onto the stage. There are no airs or graces about this lot, and with very little interaction with the crowd, their performance is intensely focused as they begin with “Fevers and Suffering”. The dual vocals between singer Jonah and bassist Sam, are powerful as the huge drum sound accompanies the blistering rhythm.

With fists in the air, and heads now rocking in the crowd, they play the stunning “Aristocratic Suicidal Black Metal” which is like a relentless battering brain to your skull. They have tempo changes galore, and the two guitarists, Patrick and A.A. just get on with their job of mercilessly ripping at your flesh with their solos. It’s moody and atmospheric before “Black Satanic Glamour” which sounds more demonic and fearsome, with the vocals being particularly enjoyable.

There’s no let up in the blistering pace, and they continue with “A Coin Upon the Tongue” which is very catchy, before “Less and Less Human, O Savage Spirit” and “The Horn Marauding”. They aren’t reinventing a genre here, but what they are doing is creating potent and all-consuming songs, that leave the crowd transfixed by the array of vicious vocals, towering solos and ruthless sounds that are coming from the stage.

After being blown away, they play my favourite song, “Frigid and Spellbound” which is nothing short of brilliant, as it’s wonderfully frantic yet beautifully controlled in the most manic of ways. They end with “Twelve Moons in Hell” which sees more speed and barbaric sounds with a more animated frontman giving every bit of energy to the masses gathered inside the venue, to conclude a fascinating performance.

Photo credits: Rich Price

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: Spectral Wound – Manchester appeared first on The Razor's Edge.

Finnish sludge sommeliers Black Royal are primed and ready to rumble with their new album, Abyssian, on October 30 and they’re offering the first taste in the form of “Drown the Seaweed.”

If you’re not familiar with the Finnish quintet, Black Royal aren’t too sonically distant from bands like High on Fire, Crowbar and Mastodon… if those bands were stoned on Entombed and their Scandinavian cousins. “Drown the Seaweed” is on a similar vibe to “Water of the Crow,”  a single Black Royal released earlier this year.

“‘Drown The Seaweed’ was born from the idea of crafting something ethereal and weightless—a sonic landscape that drifts like morning mist over a quiet summer lake,” Black Royal tell Decibel. “As the track unfolds, it dives deeper, with the C section and solos pulling the listener beneath the surface into darker, more immersive waters. The result is a beautifully melancholic piece, balancing atmosphere with a memorable, hook-driven chorus that lingers long after the song fades.”

Hear it for yourself below and head to M-Theory Audio for info on pre-orders.

The post Track Premiere: Black Royal – ‘Drown the Seaweed’ appeared first on Decibel Magazine.