Category: news

Bloodstock Bound: Redeemon

As Bloodstock gets closer, we delve deep into the line up to find out more about some of the bands playing the New Blood and EMP stages at this years event.

Today we chat with Redeemon

Please introduce yourselves.

Hey guys were Redeemon a 7-piece Ska Metal band from London and Manchester, two cities’ miles apart, but we still make it happen. We’ve got 
Aled- Guitar and Backing Vocals
Mike- Bass and Backing Vocals
Ben- Drums
Then in the powerhouse horn section we’ve got 
Eve- Tenor and Baritone Sax
Seb- Alto Sax
Sam – Trumpet
And me Pook on Vocals and Trombone

How would you describe your sound?

We call our sound either ‘Metalliska’ or ‘Brash’ which is (brass and thrash) put together. Some people will basically describe us as Skacore which I guess we pretty much are, but I feel we’re a lot heavier than Skacore. We have our feet firmly in the Metal camp as well as the Ska Punk/ Skacore camp.

How did you land your spot on the Bloodstock bill?

We were offered this opportunity of a life time by competing against 24 other bands in the Oxford region Metal 2 The Masses. Man, there were so many amazing bands competing and we also got to make so many new and amazing pals. It was an absolute blast. Huge love and respect to all the bands and Greg and Sam at 2 Face Promotions for putting on and organising such a fun run of shows.

How tough was the competition this year?

Oh, Christ it was super tough. As I said, there were so many incredible bands we got to play with, each as diverse as the next and with their own sound. Genuinely any of the bands that participated would have gone down well at Bloodstock. So, it was super tough. Last year we got as far as the semifinals but had to bail as the final round clashed with some of the guy’s other life commitments, but to be able to return and get through means the absolute world!!

What does playing at Bloodstock mean to you?

It means more than anything in the world for the band. Theirs always been I feel a bit of a parting back in the day between genres of music. You could only like one genre and if you liked anything else you were WRONG!! So, to be able to bridge that gap and be one of the first bands to bring a horn section to Bloodstock to me is pretty awesome!! Our mission is to try and prove to people that horns aren’t or have to be a band nerd, goofy instrument. It gets such hard press, I remember reading the descriptions in Kerrang back in the day. So, to be able to play this festival with a full horn section and prove the gatekeepers wrong is pretty special.

For people who’ve never seen you live, what can they expect at Bloodstock?

Expect seven Brass holes giving it 10000% throwing down, Skanking and Moshing all at the same time and making your weekend the best it can be! Riffey guitars, Skanking Rhythms, Windmill pitting with horns sprinkled all on top! 

What day are you performing?

We are playing on Friday 7th Aug, and we cannot wait for it.
No idea what time yet but soon as we know, you know where to look.

What other bands are you looking forward to watching at Bloodstock this year?

Some of my buddies are in Inhuman Nature so looking forward to catching up with those guys, also Stamping Ground, Municipal Waste, Testament, Lamb Of God, Judas Priest, Sepultura, Biohazard, it’s going to be an insane weekend.

Playing the New Blood Stage is just the first steppingstone in a bands journey. What’s next in your plans for world domination?

Well, we’ve got nearly two hours worth of demos to create the ultimate next release, maybe with the leftovers we can do a split with another band? I’m a sucker for a split release. We’ve got a few shows with our buddies in Collapser as well as the Blade Itself who are absolutely awesome.

Are you camping with the fans? Which campsite are you heading for?

I’m an old man and nearly in my 40’s, I need to look after my back so in the van I have a lovely memory foam mattress where I will be sleeping and resting.

You’ve gotta keep hydrated at Bloodstock, what is your drink of choice for the weekend?

Well, before the show, I’ll be predominantly drinking water, hot vocal zone teas and looking after my throat. After the show, I’ll be no doubt knocking back all the ‘Plobs’ and ‘Skittles Bombs’ ha ha ha ha

See you at Bloodstock in a few weeks!

Cannot wait, fun times lay ahead!

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The post Bloodstock Bound: Redeemon appeared first on The Razor's Edge.

Olivia Rodrigo has added another legend to her list of collaborations, as she joined The Smashing Pumpkins on stage during their headline set at Lollapalooza.

The performance was of ‘Thirty-Three’, which first appeared on the band’s 1995 album ‘Mellon Collie and the Infinite Sadness’. Stripped back even further than it already is, taking on the form of an acoustic ballad, Olivia embodies the sullen melodies beautifully. She is also unable to take her eyes off Billy Corgan between croons, as if the whole situation is as brilliantly surreal as it looks.

It’s a display that showcases a different side to a classic song, whilst once again allowing the band to demonstrate their support and appreciation for the newer artists who are taking over at the moment. Cultures and generations colliding, it doesn’t get better than that.

You can check out fan-shot footage of the performance below:

The Smashing Pumpkins are set to head out on a special 30th anniversary tour for ‘Mellon Collie’ later this year, which sounds like it is going to be quite the spectacle.

Here are the dates:

SEPTEMBER

30 – COLUMBUS Schottenstein Center

OCTOBER

02 – BOSTON TD Garden
03 – BALTIMORE CFG Bank Arena
04 – BROOKLYN Barclays Center
06 – PITTSBURGH PPG Paints Arena
07 – HAMILTON TD Coliseum
09 – MONTREAL Bell Centre
11 – MADISON Kohl Center
13 – ST PAUL Grand Casino Arena
14 – CHICAGO United Center
16 – CHARLOTTE Spectrum Center
17 – JACKSONVILLE VyStar Veterans Memorial Arena
18 – TAMPA Benchmark International Arena
20 – INDIANAPOLIS Gainbridge Fieldhouse
22 – NASHVILLE The Truth
24 – OKLAHOMA CITY Paycom Center
25 – AUSTIN Moody Center
27 – DENVER Ball Arena
29 – SALT LAKE CITY Delta Center
30 – LAS VEGAS MGM Grand Garden Arena

NOVEMBER

01 – PORTLAND Moda Center
03 – CALGARY Scotiabank Saddledome
05 – VANCOUVER Rogers Arena
06 – SEATTLE Climate Pledge Arena
08 – SAN JOSE SAP Center
11 – PHOENIX Mortgage Matchup Center
12 – LOS ANGELES Kia Forum

Olivia recently released her album ‘‘you seem pretty sad for a girl so in love’ in June, featuring a stunning collaboration with The Cure’s Robert Smith.

Here is that very collaboration:

The post WATCH: Olivia Rodrigo Perform ‘Thirty-Three’ With The Smashing Pumpkins At Lollapalooza appeared first on Rock Sound.

The United Kingdom has a legacy of bands that push back on their government. From the earliest incarnations of bands like the Clash and the Sex Pistols to bands like Crass and the Subhumans, the pedigree is definitely there. The long-established The Mistakes from Poole, UK, carry that torch and dust off the trails blazed by these earlier bands. Their new album, Die Laughing, is evidence of that.

Die Laughing opens with the song “Battle,” with a riffy intro that signals back to East Bay Ray’s better days. This song is full of the piss and vinegar needed to set off an album with this much angst. While there are a few softer moments, a term I use loosely, “Battle” immediately shows that The Mistakes took the lessons these previous bands taught us seriously and presents them in a great opening track with enough political bite to make Joe Strummer proud. It’s loud and fast, and it gives the finger to the proper authorities. It’s a battle cry for the oppressed and a warning to the oppressors.

While there’s no shortage of shitty politicians in the world, The Mistakes target the world’s douchiest billionaire, Elon Musk, in a ska punk song that hits all the marks. Symbolically, Musk is a good replacement for Margaret Thatcher and the Queen as someone completely out of touch with a normal person. This leads into the anthemic one of the poppier moments on the album, “Life’s Too Short.” While this doesn’t lessen the ire in the song, it is a contrast from most of the tracks on Die Laughing.

Some moments feel very symbiotic with American punk rock, especially some of the ’90s Epitaph punk rock. The songs “The Pit” and “Sons” are fantastic examples of this. You could throw this song on a late ’90s Punk-O-Rama. Fast punk in the vein of Pulley or Straight Faced, with bass lines clearly influenced by Rancid’s Matt Freeman on some songs.

Then you get to a song like “Get Cancelled” that feels like a TSOL song in the melodic phrasing and the vocal delivery of the chorus. I feel like I’ve heard about some of the British influence on some of the street punk bands, but you never hear about it the other way around. This record feels like the product of that. While early American punk had the art part of it down, British punk brought a lot of the attitude and pushback regarding social issues. The Mistakes do a great job of continuing this sentiment.

My only complaint would be that this album sounds too bright in spots. While it’s clear that the Mistakes put a lot of heart into this record, it just sounds a smidge too polished for me. I’m not saying it’s not a valid piece of punk rock because it wasn’t recorded through a tin can; it’s just a bit smoother than I would like. The mastering gives this record a shine it doesn’t necessarily need.

Overall, this is a phenomenal record. I keep saying I wish that these types of songs and lyrics weren’t still relevant, but unfortunately we live in a world where they’re still necessary. The Mistakes have put together thirteen songs that get you ready for the fight. Influenced by bands from both sides of the pond, there’s something for everyone on Die Laughing. While this would be the perfect place to drop a pun about how not getting this album would be a mistake, I will say Die Laughing is one of the better punk records I’ve heard this year. They are able to take these influences and repurpose them in a way that doesn’t sound redundant or like they’re beating a dead horse.

Check it out now on Sell the Heart Records.

What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.

Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.¹ It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.

Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.

And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.² Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.

What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.

---

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026

The post Altarage – Cogwheel Review appeared first on Angry Metal Guy.

German melodic black/folk metal bringers Munarheim have premiered a brand new single, “Wanderer”, together with an official music video.
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Hailing from Red Deer, Alberta, The Offsailors are the ultimate definition of fiery party punk. Splitting the difference

German power metal machine Iron Savior is ready to unleash their new studio album, Deathbringer, on November 13th 2026 via Frontiers Music Srl. Additional details can be found below.
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Queensrÿche, Fates Warning and Voivod dominated the decade! Continue reading…

Hungarian modern alternative metal band Nightside Remedy have released their debut single, “Peace Of Mind,” marking the first

A summer programme celebrating David Bowie at Lightroom in King’s Cross will feature live performances, pitch-black album listening sessions, an outdoor concert and a book launch exploring the artist’s record collection.

The events run alongside David Bowie: You’re Not Alone, Lightroom’s immersive production built around landmark Bowie performances. The show is scheduled daily until October, with evening screenings extended into January and a special celebration planned for 8 January 2027, which would have been Bowie’s 80th birthday.

Peter Gregson Responds To Bowie’s Berlin Era

Cellist and composer Peter Gregson will present six concerts at Lightroom on 3, 4 and 5 September, with performances at 7pm and 9pm each evening. Created as a response to the work of Bowie, Brian Eno and their contemporaries during the Berlin era, the shows will combine live music with bespoke visuals drawn from David Bowie: You’re Not Alone and live camera work.

Using Lightroom’s HOLOPLOT spatial audio system, Gregson’s programme will include a new arrangement of Steve Reich’s Electric Counterpoint for electric cello, Brian Eno’s Music for Airports, Gregson’s recomposed Bach Prelude and newly written pieces. Each concert will also feature a different selection of Bowie covers.

Pitch-Black Bowie Album Listening Sessions

Pitchblack Playback will stage two remaining sessions in complete darkness: Let’s Dance on 4 August and Earthling on 11 August, both at 7pm. Each album will be played in full through the venue’s spatial audio system, followed by a screening of David Bowie: You’re Not Alone.

Free King’s Cross Summer Sounds Concert

On 13 August, Bowie Nights will open King’s Cross Summer Sounds with a free outdoor concert at Coal Drops Yard from 6.30pm to 8.30pm.

The line-up includes Ashaine White, Jack Kaye, formerly of The Magic Gang, and a surprise headliner. Each artist will include a Bowie cover in their set, reflecting his continuing influence on contemporary music.

White blends alternative rock with soulful vocals and emotive songwriting, while Kaye has returned with new solo material six years after The Magic Gang.

David Bowie Music Lover Book Launch

On 25 September, former Bowie publicist Alan Edwards will interview Bowie’s friend and collaborator Geoff MacCormack and co-author Jérôme Soligny about their new book, David Bowie Music Lover.

The book explores Bowie’s inspirations through his personal record collection. The event will also discuss Heritage of London Trust’s project to restore Bowie’s childhood home at 4 Plaistow Grove, a house MacCormack knew during his own childhood.

David Bowie: You’re Not Alone

Written and directed by Mark Grimmer and Tom Wexler, the immersive production uses footage selected from the David Bowie Archive in New York to revisit performances spanning Space Oddity, Diamond Dogs, Let’s Dance and Blackstar.

The soundtrack has been reconfigured for Lightroom’s spatial audio system by sound designer Gareth Fry. The production is fully authorised by the David Bowie Estate. Tickets and further information are available from Lightroom in King’s Cross.

“Celebrating the multifaceted nature of art and artists is one of Lightroom’s central missions.” Lightroom chief executive Richard Slaney said. “That’s what these Bowie Nights are aiming to do.

“Peter Gregson’s live shows in September will be a fantastic and truly unique opportunity to see a brilliant musician play a show that will feel completely new, just as with our Yuja Wang x Hockney concerts in 2023 and 2024, but this time celebrating the influence of David Bowie and his contemporaries.

“There’s also the chance to listen to Bowie’s own classic recordings in three pitch-black album listening evenings, which will be very special and a totally new format for Lightroom.”

Bowie Nights tickets are available from lightroom.uk/bowie-nights and David Bowie: You’re Not Alone tickets are available from lightroom.uk/whats-on/david-bowie-youre-not-alone

The post David Bowie Nights Bring Peter Gregson, Pitchblack Playback And Summer Sounds To King’s Cross first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.