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  • EP Review: Party Cannon – Subjected To A Partying

    EP Review: Party Cannon – Subjected To A Partying

    Reviewed by Dan Barnes

    Dunfermline’s ultimate party package, the slamtastic Party Cannon is to release their new extended player, Subjected to a Partying, at the end of the month. It being the first recordings of the band with new vocalist, Daryl Boyce of Scordatura, this disc collects the three singles that were released in 2025, a new tune not previously available, and a series of remixes and live material, all contained within half-an-hour or so.

    The as-yet unreleased Parisian Bedbug opens things up with some serious bounce and Daryl hits the ground running matching the face-ripping tune with his own savage voice. There’re squeals and grunts aplenty and, if I’m not mistaken, a little bit of the froggy going on in there too. Chris Ryan has been providing the low-end for Party Cannon since their inception, and there’s no mistaking his earth-splitting bass amid the massive beatdown.

    Issued between May and November last year, the singles Thirst Trap, High Tariff Behaviour, and Improper Use of a Speculum show the many faces of the band’s extremity. Thirst Trap ups the tempo with some whiplash riffing courtesy of Craig and Mike, and drummer Martin provides a piercing snare. High Tariff Behaviour is a dense, nay impenetrable, wall of sound built on rampaging musical chaos and huge slamming beatdowns, it’s Party Cannon doing what all great party slam bands need to do.

    Improper Use of a Speculum seems to take everything we’ve heard so far and throws it into the pot over a high heat. The measured pace of Parisian Bedbug is set up against rampant tempos; Daryl’s range is laid bare through grunts, squeals, ribbets and possibly even coughing, and choppy guitars lead into some of the most tailor-made pit destroying music you’ll hear this year.

    EP Review: Party Cannon - Subjected To A Partying

    The second part of the EP is a collection of Remixes and live material, recorded in Glasgow as the band supported Nekrogoblikon last Autumn. Both High Tariff Behaviour and Human Slime show Party Cannon is a band who know how to conduct themselves when curating a shindig. High energy performance and uncompromising delivery make any and every one of their shows a must-attend event.

    Between the recorded and live material are three remixes: including a heavy electronic dance version of Thirst Trap from Kmac 2021 that takes the original’s high tempo approach and drops a tab to party until dawn. Just to mess with your head, there’s a piano pop up, like this is an Igorrr album, or something. High Tariff Overture by Ritual, which turns this brutal slammer into an impressively grandiose soundtrack from an epic not yet filmed.

    Party Cannon have a busy 2026 in store. Not only will they be Bloodstock guests both in the summer at Catton Park, but also at the Winter Gathering at KK’s alongside Rotting Christ, 1914 and others. Before either of those there’s the small matter of April’s tour with Long Island legends, Internal Bleeding, destroying a town near you into May.

    As the world gets more and more – well, shit – we need to find any excuse to party like there’s no tomorrow as, looking at the state of things, that might not be too far from the truth. I’m no medical expert, but I think it’s reasonable to suggest anyone not ready to party with the Cannon might well be dead on the inside, and should seek the advice of a physician as soon as possible.

    Everyone else should blow up those inflatables, prepare to be partied in half and remember that injuries are inevitable, as are volumes of vomit.

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

    The post EP Review: Party Cannon – Subjected To A Partying appeared first on The Razor's Edge.

  • Review MYRATH “Wilderness of Mirrors”

    Myrath have stood as a defining force in Tunisian metal since 2006, though their story reaches further back to their early days as Xtasy, formed in 2001. With “Wilderness of Mirrors,” the five-piece unveils their latest studio effort—a ten-track album that reinforces both their identity and their evolution. True to their roots, Myrath continue to… Continue Reading →

  • Who Will Rise as This Week’s Champion on the MDR Battle Of The Bands?? 03/23/26 – 03/27/26 – @thebeast

    🔥 Who Will Rise as This Week’s Champion on the MDR Battle Of The Bands? 🔥
    And who will dominate next month as Band of the Month on Metal Devastation Radio?
    Last month’s winners, HETSHEADS , crushed the competition with a staggering 322,430 VOTES , claiming the title of Band of the Month on Metal Devastation Radio! You can check them out HERE !
    This is the weekly championship edition of the Band Of The Month – Battle Of The Bands that we host every month on MDR!
    How does it work?
    Every Monday, we launch a new poll featuring bands that submit music each week on metaldevastationradio.com. Voting runs until Friday at 9PM EST .
    Each Friday night , at the start of The Zach Moonshine Show , I’ll be spinning the Top Six weekly winners , and announcing the #1 band of the week live on air — getting thousands of listens on Mixcloud !
    At the end of the month , all weekly votes are added up, and the band with the highest total votes becomes our Band of the Month !
    Winning Band of the Month gets:
    A featured post on our Facebook page, reaching thousands of fans
    A front-page spotlight on metaldevastationradio.com , which pulls in hundreds of thousands of views every month
    A free PR email blast from Metal Devastation PR, hitting 40,000+ contacts including labels, zines, stations, and more
    Airplay every hour during general rotation
    Tons of social media shares and exposure across our network
    If you want the world to know who your band is, this is the easiest way to make it happen!
    💥 Want in on the next battle?
    Comment below with your band name and we’ll add you to next week’s poll — or email me at zach@metaldevastationradio.com with “Battle Submission” in the subject line.
    Bands can compete as many times as they want , and if you enter multiple weeks in the same month, your votes combine toward the Band of the Month title!
    👇 Click on the bands below to vote as many times as you like, or add your own! Poll closes Friday, March  27th at 9PM EST!






    Who Will Rise as This Week’s Champion on the MDR Battle Of The Bands?? 03/23/26 – 03/27/26

  • “I Don’t Wanna Live Like I’m Told” — Noir Addiction Breaks the Rules in Video for “Serve Me Some Crime”

    Serve me some crime on a regular Sunday
    Are you gonna wait just to say you’d kill me?
    You wanna cross another line, then leave it up to me
    If you want another round, I’ll keep sipping it slowly 

    Noir Addiction’s Serve Me Some Crime comes on like a switchblade grin in the church parking lot, all bad intentions, bright surfaces, and the kind of spiritual smirk that suggests somebody already knows how the evening ends and has decided to enjoy the wreck anyway. There is something deeply pleasurable about a band that understands how absurd modern composure can feel, how daily life can settle over the nerves like office dust, and then answers that condition with a track built around taunt, abrasion, and a wink that lands somewhere between nightclub ritual and petty delinquency.

    Serve Me Some Crime shamelessly toys with its ancestry without turning into a museum piece. You can hear Noir Addiction breathing in the perfume and poison of Depeche Mode, the corroded mechanical lust of Nine Inch Nails, a little of Gary Numan’s chrome-eyed chill, the gothic perfume of Bauhaus. There is also a streak of Stabbing Westward in the way the track lunges at emotional mess with industrial muscle, while the cleaner darkwave contour around the edges may catch the ears of people who have kept Twin Tribes and She Past Away in steady rotation.

    Sonny Lanegan loads the song with thick guitar, synthetic pressure, and a vocal presence that carries the right amount of sleaze and self-amusement, as though he is leaning into the microphone to confess, mock, and provoke in the same breath. Behind him, Nessie Zorba and Roberto Catanzaro keep the whole thing tense and alive, giving the arrangement a hard spine and a nasty little swing. The result has industrial bite, rock ’n’ roll rot, and a pop instinct sharp enough to smuggle all that mischief into your bloodstream before you realize what happened.

    The lyrics swagger through the stale air of a day built for manners and roast dinners, turning domestic routine into a private little riot. The singer toys with temptation, dodges sincerity with barbed humour, and treats emotional confusion like a party favor. Underneath the mischief sits a real hunger to break rank, crack the script, and stop living by somebody else’s rules.

    Lanegan puts the song’s purpose plainly: “The word ‘crime’ in the song isn’t literal, it’s more about breaking small, invisible rules,” he says. “It’s about those moments when you don’t want to behave exactly how you’re expected to. A regular Sunday can feel predictable, almost scripted, and the song plays with the idea of shaking that up adding a bit of danger, irony, or mischief to something ordinary…At its core, the song is about freedom not the peaceful, inspirational kind, but the messy kind. The kind where you allow yourself to be contradictory, to not have it all figured out, to embrace a bit of chaos instead of pretending you’re always in control. It’s me saying: if life insists on being absurd, I might as well play along.”

    The performance video, directed by Jack Lucas Laugeni, seals the deal. It catches the band in its natural habitat: lit beautifully, moving with confidence, looking like they mean every grimy joke and every glamorous threat.

    Watch Serve Me Some Crime below:

    Serve Me Some Crime is a strong first cut from Pretty Things Don’t Last: smart, nasty, funny, and built to leave a bruise. Pretty Things Don’t Last album will be released on July 16 via SoulPunx Records.

    Listen to the track below and order the single here.

    Noir Addiction will be touring in support of this EP, beginning with two special shows in Prague. Purchase tickets here.

    Follow Noir Addiction:

    The post “I Don’t Wanna Live Like I’m Told” — Noir Addiction Breaks the Rules in Video for “Serve Me Some Crime” appeared first on Post-Punk.com.

  • Piledriver drop video for new single “Light Years From Here” from album ‘First Nations Rock’

    Piledriver .

    The post Piledriver drop video for new single “Light Years From Here” from album ‘First Nations Rock’ first appeared on Sleaze Roxx.

  • Metal Icon ALISSA WHITE-GLUZ’s BLUE MEDUSA Unveils New Single “Checkmate”

    Photo Credit: Jeremy Saffer

    A BOLD NEW ERA OF EXPRESSION AND ARTISTRY

    Internationally acclaimed vocalist Alissa White-Gluz returns with “Checkmate,” a striking new single that marks a powerful evolution in both sound and creative vision.

    Beloved for her commanding presence in extreme metal, White-Gluz steps forward here with a renewed sense of freedom, fully embracing the breadth of her vocal range and artistic identity. “Checkmate” showcases a dynamic fusion of melody, heaviness, and razor-sharp precision, delivering a track that is as catchy as it is emotionally resonant. The crushing new single was written by Alissa White-Gluz, Alyssa Day and Dani Sophia, and mixed and mastered by Kile Odell.

    “This is a song where everything just clicked,” says White-Gluz. “Checkmate is an extremely cathartic song for me. It was created in one of those flow states where the lyrics and melodies and rhythms just write themselves and you get the feeling that you’re onto something powerful. It’s probably the heaviest thing I’ve written in terms of lyrics, and probably the lightest of what we have cooking in terms of sound. I wanted to share the intensity of these feelings with fans and give them something to hold onto. I’m so happy to see so much support for Blue Medusa already; fans can look forward to more dark, heavy, brutal and haunting music very soon.”

    Beyond the music, “Checkmate” also highlights White-Gluz’s expanding role as a visual storyteller. Co-directing the music video with Vicente Cordero of Industrialism Films – whom she previously collaborated with on high-ranking videos for “The Wolf You Feed” with Nita Strauss and “I Am a Machine” with Kat Von D – she brings a cinematic, detail-driven approach that elevates the track into a fully immersive experience. Built around a unique, outside-the-box concept developed by White-Gluz, the video unfolds within a game of chess, where each move carries deliberate allegory and layered symbolism.

    “CHECKMATE” MUSIC VIDEO: 

    https://www.youtube.com/watch?v=T21hSKREXGk

    “I know what every frame is for,” jokes White-Gluz. “I’ll share that someday, but for now, I welcome fans to dive deeper into the meaning and develop their own interpretations. That’s what makes videos and movies fun and interesting, in my opinion.”

    Fans can stream “Checkmate” now at:
    bluemedusa.com/checkmate

    The result is a release that feels both familiar and refreshingly new, bridging the gap between longtime fans of her work and listeners discovering her for the first time. “Checkmate” balances melody with intensity, offering a thought-provoking and emotionally charged entry point into what promises to be a bold new chapter.

    Blue Medusa will also appear at major U.S. festivals this year, including Louder Than Life and Aftershock Festival.

    With “Checkmate,” Alissa White-Gluz sets the tone for what lies ahead: fearless, expansive, and entirely her own.

    Follow BLUE MEDUSA:
    Facebook | Instagram | TikTok | X | Youtube

  • Black Ties And Symphonies With BERT McCRACKEN From THE USED

    Interview by Angela Croudace For more than 25 years, The Used have built their legacy on chaos, catharsis and connection, but in 2026, they’re stepping into entirely new territory with a landmark performance at the Sydney Opera House. Taking place on March 29, the one-night-only event, titled A Mid Summer Night’s Symphony, will see the […]

  • 98 Rock Spring Thing with Three Days Grace

    98 rock Baltimore’s best rock station brought their Spring thing to the CFG bank arena with Headliner Three Days grace. Sleep Theory was first act I caught for the night, the Memphis native band hit […]

    The post 98 Rock Spring Thing with Three Days Grace appeared first on INFRARED MAGAZINE.

  • Rainbow | The Temple Of The King 1975 – 1976 – Box Set Review

    When you think or speak about the group Rainbow, legends actually come alive. The brainchild of maestro Deep Purple guitarist Ritchie Blackmore, the dynamic quintet would carry on Purple’s sense of aesthetic bombast while layering in mystical lyrical imagery courtesy of the diminutive yet sprite-like Ronnie James Dio.

    Even before Dio would be extolling the power of “neon knights” with Black Sabbath and patrolling the midnight sea on his eponymous band’s “Holy Diver,” he proved himself a confident, one-of-a-kind frontman. Springboarding off the blues-rock sound of his American band Elf, Dio would dice in wizardry, mysticism, and magic to give Rainbow its own legacy within the annals of hard rock and heavy metal.

    The Temple Of The King 1975 – 1976, a nine-disc set, conveys a band with the power to go toe-to-toe with any contemporary. And it only takes two studio albums. Ritchie Blackmore’s Rainbow lays the groundwork with staples like “Man on the Silver Mountain,” “Still I’m Sad,” and “Catch The Rainbow.” Rising takes the band into the stratosphere as Tony Carey’s synthesizer, Jimmy Bain’s thumping bass, and Cozy Powell’s titanic drumming create a masterwork that the power brokers at Tor Publishing Group would easily salivate over. Songs like “Tarot Woman,” “Stargazer” (complete with orchestra), and “A Light In The Black” emphasize a hard rock renaissance and unveil the talents Dio brings to the musical table by way of lyrics and voice.

    These two albums are also important because they showcase Rainbow at its prime before its sound grows more commercialized and a revolving door of singers (Graham Bonnet, Joe Lynn Turner) sift through following Dio’s departure to join Sabbath in the early 1980s. The box set only spans the years 1975 and 1976 but Rainbow makes sure to pack a wallop in this brief amount of time.

    What also makes this boxset special are the three 1976 German concerts the band performs — Cologne, Düsseldorf, and Nürnberg — over the course of four days. Alternating between soft and hard, beauty and grit, Dio takes Rainbow to the mountaintop with the intent of crumbling its accompanying surroundings. Blackmore’s guitar playing gets its much-deserved workouts, especially on tracks like “Catch the Rainbow.” “Man on the Silver Mountain” takes a blues stroll before the power intensifies, while the behemoth that is “Stargazer” wafts through different musical textures and atmospheres before the glorious climax is achieved. Then there’s the brief moments of tribute — the opening refrain of “Somewhere Over the Rainbow” introducing the group to the stage, and Cozy Powell brazenly playing along to Tchaikovsky’s 1812 Overture during “Still I’m Sad.”

    Even in its rough mixes and rehearsal tracks (showcased on discs eight and nine), Rainbow doesn’t ease back in terms of its musical output. Listening to the rough mix of “Stargazer,” for example, you wonder why the opening synthesizer melodies and underscoring chords were left out on the final result. Ultimately, it doesn’t matter if you’re listening to the same tracks three or four times, The Temple Of The King 1975 – 1976 proves that not only are you “seeing” stars; you’re clearly hearing five of them as well.

    ~ Ira Kantor

    Purchase The Temple Of The King 1975 – 1976

  • Shadow Of Intent’s “Vehement Draconian Vengeance” Video Debuts

    With some vehement live footage.

    The post Shadow Of Intent’s “Vehement Draconian Vengeance” Video Debuts appeared first on Theprp.com.