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Album Review: Big Country Redux – Eastworld

Reviewed by Gareth Pugh

I’ve always had a massive soft spot for Big Country and their 1983 debut, “The Crossing”, was one of the very first albums I ever bought and still gets a regular spin to this day. The year 2026 marks 25 years since we tragically lost the band’s founder, vocalist, guitarist, and main songwriter, Stuart Adamson. Coincidentally, it is also the 40th anniversary of their third album, The Seer. To celebrate Stuart’s fantastic musical legacy, the remaining members of Big Country (now performing as Big Country-Redux) are releasing a brand-new album “Eastworld”. Led by co-founder Bruce Watson, the record features reworked and reimagined versions of some of Stuart’s less well-known songs, including tracks he co-wrote with Bruce and former bassist Tony Butler.

The album features ten new recordings delivered with vigour and passion by the band’s current line-up, and alongside Bruce, the band includes his son Jamie Watson (guitar/vocals), Chris Stones (bass), and temporary members Tommie Paxton (vocals/guitar) and Reece Dobbin (drums), the last two borrowed for a year from the tribute band Restless Natives, Paxton faces the impossible task of emulating original frontman Stuart Adamsona and has succeeded admirably, especially on rousing tracks like “Kiss the Girl Goodbye” and “The Hostage Speaks,” which successfully revive the band’s signature E-bow, bagpipe-guitar sound.

While diehard fans will recognize these tracks, Bruce fleshes out more obscure cuts like “Normal” and the closer, “Pan-American Irish Girl,” and leans into a more jovial, late-career aesthetic. The band also takes bold risks with deeper cuts; “Winter Sky”, originally a stripped-back Celtic inspired B-side to “Just a Shadow”) is reimagined as a rootsy, Cajun-tinged track complete with accordion and violins. The title track—another “lost” B-side—benefits immensely from a full-band arrangement and a dark mid-section. However, the standout is the emotionally charged “Troubled Man.” featuring guest vocals from Belly and Lorna of Pistol Daisies, its melancholy arrangement and vocal contrasts give the song profound depth and feeling.

This album is a bittersweet listen, it’s enjoyable, but it feels more like a covers band with one original member than the real Big Country. Stuart Adamson was the heart and soul of Big Country—it was his dream, vision, drive, and immense talent that drove their success, and I am glad Bruce has added the “Redux” suffix to their name, as it perfectly reflects the band’s current state. I wish Bruce and company all the best, but this project feels like the final embers of a dying fire, likely to appeal only to die-hard fans and completists.

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The post Album Review: Big Country Redux – Eastworld appeared first on The Razor's Edge.

[Album artwork by Tomáš Mitura]

V bažinách vědomí roughly translates to “in the pools of consciousness,” which is an objectively cool title. And if the album title wasn’t a strong enough hint, you should know that all ten of its tracks are in Czech, not English. That most can’t understand a word Rad Zdechlin is spewing—because it’s in Czech, and not because it’s being spewed—won’t stop them from appreciating the sense of dread it imbues. In fact, maybe it’s better most of us don’t know what Zdechlin is saying. The inherent mystery is part of the charm, and I appreciate that Sněť sticks to their linguistic guns. Great death metal speaks for itself. And Sněť’s V bažinách vědomí is great death metal.

Sněť’s follow up to Mokvání v okovech—its notably strong debut—is biting, serious, haunting, heavy, and, at times, hypnotic. It’s also pretty unrelenting. The fervent bounce of “Kladivo ve tme” is as obvious an example of this dynamic as any of the other nine songs. Brief. Intense. Thoughtfully executed. Sharp guitars. Riffs like needles. This is how death metal ought to be. Sněť understood and executed the mission.

The slower moments—like the one about a minute and a half into “Ve stinu slunce”—are the aforementioned doom flirtations, in the tradition of Autopsy, Asphyx, and Obituary. Lesser bands draw these slower passages out to no end. But not Sněť. These are, appropriately, moments of relative reprieve from the general assault of most of V bažinách vědomí.

One word I keep coming back to here is “serious.” Sněť plays serious death metal that is meant to be taken, listened to, and consumed seriously. And everything about V bažinách vědomí—the production, riffs, drumming, album and song titles, and atmosphere—is a product of this seriousness. That it sounds natural, and not clinical, is a serious credit to Sněť, who as a collective seem uniquely committed to seeing that vision through. Though I was somewhat familiar with Mokvání v okovech, this new one delivers a fiercer Sněť with a bigger appetite and tighter songwriting.

The post Snet – V Bazinach Vedomi Review appeared first on Last Rites.

Movements have announced a run of UK & European headline dates taking place in early 2027.

With the band’s fourth album ‘Happier Now’ out now via Fearless Records, they’ll be returning to this side of the Atlantic for a run of shows throughout February and March.

Featuring support from Gouge Away, they’ll kick things off in Antwerp on February 21, making plenty of stops across the continent before things finish up with a Glasgow show on March 17.

Tickets for all shows will go on general sale this Friday (September 18).

Check out the full list of dates below.

FEBRUARY

21: ANTWERP Trix Club
23: PARIS Trabendo
24: HAARLEM Patronaat
26: HAMBURG Fabrik
27: COLOGNE Kantine
28: MUNICH Technikum

MARCH

2: MILAN Legend Club
3: SCHAFFHAUSEN Kammgarn
5: BERLIN Kesselhaus
6: PRAGUE Futurum Music Bar
9: SOUTHAMPTON Enginerooms
10: LONDON Electric Brixton
12: BRISTOL SWX
13: BIRMINGHAM O2 Academy 2
14: MANCHESTER Manchester Academy 2
16: LEEDS Project House
17: GLASGOW SWG3 TV Studio

Rock Sound recently caught up with Patrick Miranda to learn more about the band’s latest album ‘Happier Now’.

Speaking on the journey to reach the point they’re now at, he told us:

“I think everything that we have been through as a band, everything that I’ve been through personally – my social life, my relationships – has all got me to where I am right now and where we are right now as a band. I’m obviously extremely appreciative of everything I have gone through, and how even the struggles and the shit have ended up helping me grow as a person and given me a better outlook and understanding of what I want from life and what I want from music.”

Read the full interview here.

The post Movements Announce 2027 UK & Europe Headline Tour appeared first on Rock Sound.

Long Island multi-instrumentalist Dylan Taganas is a musical chameleon. At just 21 years old, the New York artist seamlessly fuses classic rock, progressive metal, psych-pop, folk, and jazz into a singular, highly personal sound. Lyrically, his tracks dive into the introspective, detail-oriented mindset of a perfectionist. Having spent years performing in various acts—opening for major international artists like Bamboo, Sharon Cuneta, and Arnel Pineda, as well as sharing the stage with Gin Blossoms frontman Robin Wilson—Taganas is a seasoned performer who currently handles bass duties for punk outfit 2/14, alt-rockers Anything Ever, and indie-alt band Glenn Strange.

His solo work tracks a captivating evolution: from the hard-rocking grit of his 2020 debut single “Feelings’ Blues” and the solemn, eulogy-inspired tribute “I Hoped, I Wondered,” to the explosive, punk-metal fusion of his single “Drained.” Driven by relentless experimentation and deep musicality, Taganas continues to prove himself as one of the most versatile young talents coming out of the East Coast.

Rolling Heavy Thunder features a punk energy, hard rock vibes and it’s amazingly performed and produced. It’s got every piece in the right place (including production) and it’s very enjoyable from start to finish. The song is energetic but catchy at the same time, with fantastic vocals and stunning solos, reminding me of Queen and The Darkness. 

Give it a go by clicking on the Spotify player below and follow Dylan Taganas if you like what you hear.

https://instagram.com/dylantaganas 

Melvins have been announced as the first headliner for Desertfest London 2027, which will take place across multiple venues in Camden Town from 21 to 23 May 2027.

Formed in Montesano, Washington, in 1983, Melvins are pioneers of Heavy music and one of modern music’s most influential bands. Their appearance will place them at the top of the bill when Desertfest returns to London next spring.

Monolord will also return to the festival after their packed Ballroom set in 2024. The Swedish trio have spent more than a decade building a reputation around their molten riffs and imposing live performances.

German duo Mantar will bring their hybrid of blackened death-punk grooves, while Virginia’s Inter Arma will mark 20 years of dissonant, punishing music. British Heavy Metal band Desert Storm will also celebrate its twentieth anniversary at the festival.

Montreal power trio Dopethrone will deliver what the band calls “Canadian Slutch”, while Seattle duo Year of the Cobra will make their first Desertfest London appearance in eight years.

Desertfest London 2027 First Announcement

• Melvins
• Monolord
• Mantar
• Inter Arma
• Dopethrone
• Year of the Cobra
• Desert Storm
• The Grudge
• Modder
• Kanaan
• Omo
• Row of Ashes

Desertfest London 2027 takes place from Friday 21 May to Sunday 23 May across its annual home in Camden Town. Phase one tickets are on sale now through the Desertfest website and Dice. Tickets are on sale at https://www.desertfest.co.uk.

It was only in 2019 that I discovered Villagers Of Ioannina City with their excellent album Age Of Aquarius. That was followed by the atmospheric live recording Through Space & Time – Alive in Athens 2020, which was released in 2023. The delight that I experienced when Venceremos dropped into the inbox was substantial, and there is nothing to disappoint with the Greek band’s fourth full-length release.

Villagers Of Ioannina City – Venceremos

Release Date: 18 September 2026

Words: Paul Hutchings

A concept album can put you into a spiral of fear, but there are no such shudders here. Instead, you are quickly drawn into an intoxicating and immersive album that sees Villagers Of Ioannina City move dynamically into a new level of intensity.

It is hard to describe Villagers of Ioannina City’s sound. They are heavy, crushingly so in parts. Yet they combine it with glorious progressive passages, indigenous instruments and clean vocals that blend with Greek narrative. It all combines in an intoxicating mix that really takes some embracing. 

A journey through exile, resistance and awakening, Venceremos is a rise against a broken world. More topical subject matter is hard to find, and nowhere is it more inspiring than the opening song Home. A massive ten-minute track that combines edges of folk with heavy riffs, traditional bagpipes and zurna contributes fully.

The uplifting Ghosts In The Sky follows, the first single from the album. Full of groove and pace, you cannot help but nod along to a song that provides another side of the band. Yes, you can hear elements of the Gothenburg ’90s sound, but crafted in a contemporary manner, with the lush keyboards bringing another edge to the sound. 

The band’s songs are often long, but the title track, which is pivotal to the album’s core, is a racing five-minute track with dynamic shifts, an energy that builds from an impressively already frenetic start and seems superbly placed in the overall pacing of the record.

It leads into The Ruiner, which provides a different slant, utilising more native instruments and an overall folky flavour which amplifies the band’s liberating approach. 

Here And Now, however, stands apart from everything else here. It is a dramatic slow burner that builds with emotionally charged passion and hits deep. The sheer intensity of the musicianship, the massive peak around the nine-minute mark and the overall progressive nature of the flowing piece allow Here And Now to rank in one of the top ten songs of 2026. It is simply magnificent. 

And to close, the final chapter in the story is Requiem. A seven-minute anthemic progressive beast that provides intricate structures, instantly memorable hooks and the conclusion to an emotionally sonic experience. 

There is no doubt that Venceremos will feature in my top ten of 2026. The six-year wait has been worth it. They may remain underground, but their time is coming. The evolution of the Villagers Of Ioannina City continues.

Villagers Of Ioannina City release Venceremos on 18 September 2026 via Napalm Records. For more details, visit lnk.to/VillagersOfIoanninaCity-Venceremos.

Mirrortalk have shared all the details of their latest EP, set to be released via the band’s new label home Hassle Records. 

Set to drop on November 27, the Birmingham band’s upcoming release is titled ‘Where Does Everyone Go When I Need Them Most’.

With previously shared dark, devastating single ‘Circle The Drain’ and the crushing ‘Wait My Turn’ included on the track listing, the EP will also feature the freshly released ‘Forget My Name’.

Deeply introspective, it’s a poignant shoegaze-infused alt. rock track that explores the crippling nature of self-doubt, and the tendency to push push people away when you actually need them there the most.

Speaking on ‘Forget My Name, vocalist Mat Coffey has said:

“Forget My Name ‘talks to those who fight with themselves. When you don’t like who you are, the easiest mistake to make is to push people away, even if you know you need them. This song is about what it feels like when you want people to forget you.”

Mat has also spoken about the process of creating the band’s latest EP, and what we can expect from ‘Where Does Everyone Go When I Need Them Most’ :

“Mirrortalk has always been built on a desire to combine all the music we loved growing up; but ‘Where Does Everyone Go When I Need Them Most’ is our greatest nod to that yet. Elements of metal and hardcore, shoegaze, and pure rock have gone into every track, making it feel like a new offering that is grounded in some familiarity for people who are fans of the same music as us.

“The recording was done at Lower Lane Studios by our good friend Jonny Price, and if there’s one thing we took seriously while tracking, it was guitar tone. We wanted the release to be driven by the guitar, and throughout the process we dialled in and layered some sounds we feel are hitting the nail on the head for what Mirrortalk wants to sound like.

“Throughout our other releases we have tackled a lot of topics around mental health and self-battling. This continues through this release, but also touches on some other personal notes we hope people can feel connected to. “Where Does Everyone Go When I Need Them Most” is the best reflection of our direction, and we just hope people want to come along”

Take a look at the EP’s artwork below.

To celebrate the EP’s release, Mirrortalk have also announced a special release party taking place at Birmingham’s O2 Institute 3 on November 27. 

Check out a full list of their upcoming live shows below.

SEPTEMBER

19: BIRMINGHAM The Flapper (w/ Spilt Chain)
26: LUTON Castlefest (w/ False Reality)

NOVEMBER

27: BIRMINGHAM 02 Institute 3

The post Mirrortalk Announce New EP ‘Where Does Everyone Go When I Need Them Most’ appeared first on Rock Sound.