Category: news
-
Eivør breaks two-year silence with atmospheric new track Healer, and confirms more tour dates for 2026 and 2027
Faroese artist says her first music since 2024 is a conversation with her younger self, who was full of doubt and didn’t know her own strength -
Album review: Cage Fight – Exuvia
Posted on April 29th 2026, 9:00a.m.
-
Live Review: Party Cannon – Manchester
Live Review: Party Cannon – Rebellion, Manchester
25th April 2026
Support: Gutteral Slug, Internal BleedingWords: Dan Barnes
Photos: Rich PriceFor a short time this evening, this small part of M1 became Slamchester, with three of the scenes most rambunctious bands landing here for night four of their Vomitour trek. From early, even before the doors have opened, it’s clear from the excitable and fancy-dressed queue, that this is going to be a wild one. And, boy, was it!
There’s an electric atmosphere inside Rebellion before Dannish slammers, Guttural Slug, have taken the stage, and when they do it’s like someone has lit the touchpaper for the evening. The Slug is not here to make up the numbers and hit the stage with a fierce intent. Washed with emerald light, it’s as close a recreation of Megalodon’s album cover as can reasonably be attempted, and new vocalist, Alexander Kristensen seems to have found his feet well among the grunts and squeals. His one recorded contribution to date – last year’s Ulcers in the Flesh of Thought EP – is heavily represented tonight, hitting hard with Suspended from a Single Strand of Sanity’s wall of noise assault and battery. We’re into Megalodon for Paranormal Evisceration, which gets a very warm welcome and finds the pit in good early form, serving up the huge beatdown to Manchester on a platter. Mind to the Millstone takes us back to the EP for a more Brutal Death Metal than a Slam vibe; Hacksaw Surgery is a stone cold Slug classic and Rebellion confirms that by sending the first wave of surfers over the top; Psychosomatic Desynchronization keeps the perpetual motion of the pit to a high tempo and it looks wild in there.
Ulcer’s title track is full of infectious grooves and creates a mass of bouncing flesh and a wall of death, leaning heavily into Slam’s hardcore roots. Ending with Isolated Insanity, the Danes have warmed Manchester up nicely, ready for the battering to come. When seasoned veteran Togs like Rich are coming out of the melee with a thousand-yard stare and mild PTSD, you know it’s fierce in there.
Photo Credit: Rich Price PhotographySlam’s fusion of death metal and hardcore was born on New York streets, credited to Suffocation’s Liege of Inveracity’s breakdown; yet the oft-overlooked Internal Bleeding, formed in Long Island at the same time as Suffocation’s explosive debut, is credited as being one of the early pioneers of the sound we know as Slam today.
The ever-present Chris Pervells still marshals his troops and spend much of tonight’s set in the front of the crowd. As this is a no-barrier show, he’s in the thick of it and, though it was insane for Guttural Slug, the Internal Bleeding fans are out in force and relishing a rare opportunity to see the band live. Vocalist Steve Worsley hasn’t made this trip, so his place has been filled by Skinless growler, Sherwood Webber, who’s clearly having a blast tonight.
Photo Credit: Rich Price PhotographyDriven to Conquer’s title track starts the set in a no-nonsense sort of mood. This is deadly serious, full of menace and a little bit dangerous; this is Slam from the source. Newest tune, Crown of Insignificance, comes with a call for a circle pit along with the spat vocal, an uncompromisingly vicious Ruthless Inhumanity arrives with a hard, granite edge and the conclusion that, three songs in and Manchester is already taking the top spot for show of the tour.
A sample of Driven’s Falling Down is some of the nastiest death metal heard tonight; bodies fly all over the place as the beatdown gets big and ugly. Surrounded by tunes from the debut, 2014’s Patterns of Force III: Aftermath feels heavy and grounded, whereas Languish in Despair, Anointed in Sacrifice and closer, Inhuman Suffering, all from 1995’s Voracious Contempt album, are forged from the same rock as New York’s finest and most abrasive hardcore.
Photo Credit: Rich Price PhotographyIt’s an early curfew tonight, so Dunfermline’s premier party slammers, Party Cannon, hit the stage at about nine o’clock for what, for me, will be the first of at least three encounters this calendar year.
Sound check has barely begun and Rebellion is awash with inflatables: beach balls fly everywhere, a couple of what appears to be giraffe/ unicorn hybrids stand high above the crowd, one illuminated from beneath by a phone light. Knowing how Party Cannon shows usually go, and no matter how good Internal Bleeding and Guttural Slug have been – and they have been very good – it’s all mere prologue to the main event.
Never has an album title and consequences be so in-tuned as 2024’s Injuries are Inevitable, and the Scotsmen deliver their opening salvo with two hard-partying anthems in the shape of Weird, But Not Illegal and the tribute to Alice in Chains fallen front-man, Layne Stayley Went Down the Slip and Slide, showing even heroin addicts can enjoy a waterpark now and again. Grunts and growls and a masked sign-bearer fill the stage, as vocalist Daryl Boyce takes a break to welcome everyone to the show with: “Hello Manchester, we are Malevolence.”
Photo Credit: Rich Price PhotographyAll four new tunes from this year’s Subjected to a Partying EP get played, with the first, Improper Use of a Speculum, being introduced as being a song about “having your arse stretched wide open.” It may be unseasonably hot inside Rebellion tonight, but that doesn’t stop a whole load of punters being suitably inspired to crowd surf and stage dive for this one.
It seems shoes and watches are being lost at an alarming rate, no wonder as the stage is packed with both the band and paying guests for Thirst Trap; the cyber-grinding beats of There’s a Reason You’re Single, from the Bong Hit Hospital debut full length shows the band’s progression, yet still coxes journeys from pit to stage and back to pit from a shark, a cardinal (could be a bishop, it’s someone in a mitre), and Jesus himself.
It’s widespread chaos in there and I’m fearing for Rich’s safety as bodies fly and fall and feet flail and flap. If ever they decided to make Mad Max Fury Road: The Musical, I imagine it would look a lot like this. Oh, a killer whale has just gone over my head; don’t recall seeing one of those in the Wasteland.
Photo Credit: Rich Price PhotographySoft, White, Gelatinous Body from 2017’s Perverse Party Platter, feeling like a warning about the limits of the human body; Sherman from Internal Bleeding comes out to join in on High Tariff Behaviour and covers the vocal duties while Daryl heads off over the crowd. There’s a Braveheart-inspired ‘hold’ moment during the night’s biggest wall of death, squeals and grunts from the scatological focus of Nauseating and Unpalatable, the room is fetid and sweat-drenched by the time Duct Taped to a Flag-Pole is played and it all comes (sorry about the pun) to an climax (again, so, so sorry) with Human Slime, which finds almost the whole tour party on stage as the front of the crowd drop for press-ups.
The houselights come on for a photo opportunity, and the floor of Rebellion looks like the aftermath of a battle, the walking wounded wondering if they’ll ever be the same again, those lucky enough to have escaped injury helping their comrades to a place of safety. The warnings were there, the inevitable injuries are collateral damage after an evening of sheer slamming brutality.
One can only imagine what will happen when Party Cannon take the mainstage at Bloodstock in August, on a bill that includes Biohazard, Municipal Waste, Sepultura and Lamb of God. I think you may need to look again at any personal insurance policies you might have.
Photo Credit: Rich Price Photography
Photo Credit: Rich Price Photography
Photo Credit: Rich Price PhotographyPhoto Credits: Rich Price Photography
The post Live Review: Party Cannon – Manchester appeared first on The Razor's Edge.
-
Live Gallery: Party Cannon – Manchester
Live Gallery: Party Cannon – Rebellion, Manchester
25th April 2025
Support: Gutteral Slug, Internal Bleeding
Photos: Rich PriceWe look back at the epic Party Cannon show through the eyes of our photographer Rich Price!
Party Cannon
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 PhotographyInternal Bleeding
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 PhotographyGutteral Slug
Photo Credit: Rich Price Photography
Photo Credit: Rich Price Photography
Photo Credit: Rich Price Photography
Photo Credit: Rich Price Photography
Photo Credit: Rich Price PhotographyFans
Photo Credit: Rich Price Photography
Photo Credit: Rich Price Photography
Photo Credit: Rich Price Photography
Photo Credit: Rich Price Photography
Photo Credit: Rich Price PhotographyAll photo credits: Rich Price Photography
The post Live Gallery: Party Cannon – Manchester appeared first on The Razor's Edge.
-
Reviews: At The Gates, Sepultura, Draken, White Tundra (Mark Young & Matt Bladen)
At The Gates – The Ghost Of A Future Dead (Century Media) [Mark Young]
The Ghost Of A Future Dead is the kind of album where the sum of its parts come together and just click. Returning members and a renewed sense of energy meant that this had so much going for it. And then, life does something unexpected and incredibly wicked, Tomas Lindbergh was taken prior to its release.Now, please bear in mind that At The Gates wrote the book on what melodic death metal should sound like. In the same way that The Bleeding by Cannibal Corpse is considered a pinnacle that others aspire to, Slaughter Of The Soul is the same and I don’t think its ever been topped. Can I say that this is my truth, and if you want to tell me I’m wrong, go right ahead.
This is a tightly wrapped 42 minute belter, where they have come together and wrote music that lives up to their legacy whilst not copying their past endeavours. This isn’t something that is governed by the laws of diminishing returns. They bounce through these songs with a vigour and energy that is true to them. The Fever Mask kicks off in grand style, unmistakable in its arrangement and its sound. In all of the melodic death I’ve reviewed, all have tried to write like these without getting what makes it tick and sets the rest of the album up nicely.Its backed up by The Dissonant Void, it follows that ATG blueprint of staying on the front foot at all times and we are two for two. It’s the kind of start that I love, give me the energy, take those risks and go for the throat. Its not all brutality as they bring the melodic arms to bear, and rightly so. Its that attention to what made them the way they are, it’s the tools at their disposal and the way that they put things together. Its heavy, but doesn’t rely on one method to beat you up.
What’s more, they don’t take forever to do it neither, with one eye on the clock as they charge through the tracks, and as noted they do switch things around, such as In Dark Distortion which takes a restrained path before it gets loud. I appreciate that is an old trick, but in doing it places Tomas’s vocals in the centre, and why not? The album is paced tremendously; latter tracks come in and whip you up to ensure that you aren’t skipping forward (clue – you don’t) with Tomb Of Heaven deploying that patented sound to great effect. Other bands should look to this as the way to go, and it’s the kind of music that inspires you to pick up a guitar and play.
Unfortunately, it has to end. Black Hole Emission pulls the curtain down on the album, and on this incarnation of At The Gates. It reminds me of their back catalogue, bringing the melodic touches into play with a restrained lead break. And then that’s it, all done. I’ve no idea of what the future holds now for them, but if this is their last album then they should be rightfully proud of it because this is not a nostalgia release of a band desperately seeking past glories.This is a band who shows they can still do, are still valid and worthy of your attention. 9/10
Sepultura – The Cloud Of Unknowing (Nuclear Blast) [Mark Young]
Sepultura sign off with a 4 track EP, one that sums up their material post Max. I think its only fair to consider this material against their music released since that parting of the ways because it would be far too easy to hold this up against Beneath The Remains or Arise and then dismiss it out of hand. Too easy, and unfair.I think if you have stayed with them, culminating in Machine Messiah and Quadra as their most recent long players, the material here won’t bring any surprises to you. In some ways, its for the best they dropped an EP this way, there is no expectation on them now to deliver a world beater and just think how outraged you would have been if it had been a live release of Max material.All Souls Rising is blistering enough, a punch to the face delivered over 3 and half minutes, it’s a welcome start, all venom and fury with some A-Level fretwork courtesy of Mr Kisser. Like the rest of the songs here, its played to suit them, no longer having to live up to something they have no hope of doing. Beyond The Dream, is fine, coming through as a version of classic rock played through a number of distorted filters. You can’t fault their endeavours, and it’s the sort of song that live would miss a second guitar to fill out that sound.Sacred Books reverts back to an abrasive edge, and then almost halts itself as a chunky beast. It’s ok as a makeweight, with The Place bringing the EP to an end. If there was ever a song which has an attitude of ‘we will do whatever we want’ its this. Had this band just been Derrick’s I think we would be kinder to them. As their last will and testament, it is in keeping with what Sepultura sounds like now. A band that tried to push itself forward and was desperate not to be shackled to those classic albums. The Place ends with a frenzied attack, one that they could have done with more of.
In any respect, its incredible to think that this is it from them, and I hope that once this mammoth goodbye tour wraps then that is it. Personally, I think that it’s a suitable adios from them with this and your enjoyment will mostly derive from where you sit on the whole ‘No Max, No Sepultura’ fence. For me, I never cared for Roots, sorry and whilst the studio stuff since then had some crackers, live they missed that second guitar and nothing will change my mind on that. Check this out so you can make comments about it online, and in doing so you might actually like their final transmission. 7/10Draken – Here Be Draken (Dark Essence Records) [Matt Bladen]
The Great Deceiver, the opening track from Draken’s album Here Be Draken, can be described as Ozzy Worship over Sabbath Worship as it has more than hint of Perry Mason about it. But you know if you’re going to borrow someone then why not The Prince Of Darkness.
Formed in Oslo in 2019, Draken call themselves True Norwegian Hard Rock and with influences from Grand Magus, High On Fire and Motorhead (on Wrath and Shit Show), I’m not going to correct them.
This is their third album, debut on Dark Essence Records and the trio of Even Hermansen (guitars/vocals), Hallvard Gaardløs (bass/vocals), and André Drage (drums), are belting out the biggest riffs yet on Here Be Draken.
Well biggest and most volatile as Jólablót adds some harsh shouts and grooves as Saturday Night Head Removal bows at the altar of Dimebag (though Damageplan over Pantera), the acoustics begin Crimson Sun as the crushing sludge continues to punish.
Then without warning there’s some power rocking on It Serves You Right that gets the fist pumping again, Draken moving between the myriad of genres with ease; as they bring organs on Shirts Of Black (F.O.A.D), hardcore bounce on Demise And Men while Endtyme brings more apocalyptic doom.
Heavy, groovy, rocky and raging, Here Be Draken . 7/10White Tundra – Stories From The Dark (Octopus Rising/Argonauta Records) [Matt Bladen]Over to Norway again for the fat riffs of White Tundra, inspired by their native folklore and the huge stoner doom grooves of Red Fang, The Sword, 1000mods, the band have been to levelling ice covered mountains since 2023, driven by fuzzy grooves and psychedelic atmosphere, their second album Stories From The Dark is the sound of a band who have had to rebuild.
However with lead guitarist Kjell Andres Nilsen and bassist Øyvind Persvik joining the band and giving White Tundra a more sprawling sound, as the bass grooves locking everything down with the drums, guitar bringing the desert rock chops, sung by a vocalist with rawness in his throat.
It’s a record linked to their debut with lyrics a about exploring the unknown, going into the wilds away from the rat race and their music has enough heads down determination and wide-screen escapism to reflect the inspirations in the lyrics. The double opener of Healer and Huset crank up the volume early as the psychedelic doom lumbers in on Riderless Horse.
Slowing things down in the middle works well as it means that a track like The Lake which is a bluesy and grungy doesn’t feel odd as the pace has shifted, towards the epic closer White Tundra where all the skills are on display. If you wondered what The Sword would sound like with Andrew W.K on vocals, or if your just a fan of big Scandi riffs then check out Stories From The Dark. 7/10 -
Chicago’s DITHEIST Return from the Void with ‘Cosmic Liar’ on June 6
After a decade in the void, Ditheist return with Cosmic Liar—a relentless, blasphemous onslaught of precision riffing, feral intensity, and abyssal atmosphere that proves some forces only grow darker with time. Cosmic Liar will be released June 6 on all digital platforms. Videos for the album’s first two singles are out now. Dive right in at the links that follow! “Evil […] -
Austria’s DEATHSTORM premiere new track at “Rock Hard” magazine’s website
Today, Austrian deathrashers Deathstorm premiere the new track “Body in a Barrel” at Rock Hard Germany’s website. The track is the third to be revealed from the band’s highly anticipated fifth album, Cascophonies, set for international release on May 22nd via Dying Victims Productions. Hear Deathstorm‘s “Body in a Barrel” in its entirety exclusively HERE. A veritable institution by now, Austria’s Deathstorm have been flying the flag of hate since 2010, releasing albums on […] -
Album Review: Sevendust – One
Album Review: Sevendust – One
Reviewed by Tim Finch
It’s a sure sign that we’re all getting old when a band we’ve followed since the beginning is now hitting the 30+ year career mark and releasing their fifteenth studio album. It’s as if it were yesterday that Sevendust were the new kids on the block, giving the more established acts a run for their money. This week they release ‘One’ and find themselves as the established act having continued their glittering career for more than three decades.
The album opens with its title track, an alarm bell of an intro brings you to attention, alerting the listener to the oncoming aural assault. ‘Unbreakable’ has a softer intro, complete with keys before the unmistakable vocals of Lajon Witherspoon kick in, the passion in his voice oozes through, hooking you from the off.
The album sees Sevendust thrive with a new lease of life, ‘Is This The Real You’ and ‘We Won’ have an upbeat feel with their ever-so-catchy riffs, whilst ‘Construct’ will have the listener headbanging to the explosive beat, the bands power at full throttle by this point.
A lot of the songs on the album have a jarring, abrasive intro, almost industrial in nature, but as those opening seconds fade the songs explode into life. This is evident on ‘The Drop’ where the intro fades into another burst of energy accompanied by Witherspoons silky smooth vocal style. As we enter the latter part of the album ‘Blood Price’ has a battering ram of a riff that hits from the off, it feels like your head is strapped to a firing Gatling gun as it explodes into life. Whilst album closer ‘Misdirection’ lives up to its name, averting us from the chaos we have just witnessed with a mellowed, come down feel.
Sevendust stepped up to the plate on their recent UK run with Alter Bridge and the album ‘One’ builds on their momentum. It shows a band growing into a beast and heightens anticipation for their first UK headline tour in eight years, coming this December.
The post Album Review: Sevendust – One appeared first on The Razor's Edge.
-
IRON MAIDEN: BURNING AMBITION
Review by Kris Peters Universal Pictures Release date: May 7 Music documentaries are generally designed as promotion for a band and therefore highlight the good and gloss over the bad. It is an understandable approach, but also one that has left me a touch reticant to sit down to watch a full documentary because, lets […] -
“When I sing Twisted Sister music, I’m like a steamroller. I’ma beast. I’m out of control.” Twisted Sister’s Sebastian Bach and Jay Jay French on life after Dee Snider
Sebastian Bach and Jay Jay French are interviewed in the new issue of Classic Rock, out today
