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  • 10 Blues Rock Artists that Changed the World

    Blues rock stands as one of the most electrifying and transformative forces in modern music history. It fuses the raw emotional power of the blues with the high-energy drive of rock & roll, creating a sound that redefined generations. The ten artists on this list are among the genre’s most important visionaries. Their groundbreaking guitar work, soulful vocals, and innovative songwriting pushed musical boundaries and had a cultural impact on a global scale.

    Here are 10 blues rock artists that changed the world.

    The Allman Brothers Band


    The critical period of creativity, when the Allman Brothers Band expanded musical boundaries and reshaped the landscape of American music, came during the brief window when both Gregg and Duane Allman were together in the lineup. That collaboration ended in October 1971 when Duane was killed in a tragic motorcycle accident. Duane Allman’s slide guitar mastery and his younger brother Gregg’s raw, heartfelt vocals created a sound that was both rootsy and revolutionary. Dickey Betts’ second lead guitar, paired with Duane’s, created a dynamic, fiery interplay interwoven with soulful Southern storytelling. Together, they pioneered Southern rock and influenced generations of artists, from Lynyrd Skynyrd to ZZ Top, while also helping lay the foundation for the jam band genre.

    Eric Clapton 


    Eric Clapton changed the world with his music as he rose through the ranks during his time with the Yardbirds, John Mayall’s Bluesbreakers, Cream, Derek and the Dominos, and finally as a solo artist. He was unique in his ability to bridge the raw emotional depth of American blues with the explosive energy of rock & roll, using his guitar as a transformative instrument. He took the phrasing of legendary blues artists like Robert Johnson, B.B. King, Freddie King, and Buddy Guy and infused it with his own brand of fiery improvisation. He has won 18 Grammy Awards and is the only artist inducted into the Rock and Roll Hall of Fame three times: as a member of the Yardbirds, Cream, and as a solo artist.

    Fleetwood Mac

    Fleetwood Mac’s foundational period began when the band was founded by Peter Green in 1967 after he left John Mayall’s Bluesbreakers. Green recruited former Bluesbreakers drummer Mick Fleetwood and bassist John McVie, prophetically naming the new group after them. Green’s musical genius produced classics like “Albatross,” “Black Magic Woman,” “Oh Well,” and “The Green Manalishi” with an authenticity that transcended nearly everything else of the era. The band’s tight chemistry, especially after the additions of slide guitarist Jeremy Spencer and guitarist Danny Kirwan, gave them a distinctive, atmospheric sound that shaped blues rock and left an enduring mark on popular music.

    Rory Gallagher

    Rory Gallagher grew up in Cork, Ireland, and despite the fact that there was no real music scene in his hometown, he managed to listen to the erratic radio signals that carried American music. He heard artists like Muddy Waters, Howlin’ Wolf, Chuck Berry, and Woody Guthrie, and received his first guitar at the age of nine. He was a fast learner, and after winning a talent contest at age 12, he purchased his first electric guitar and began playing professionally in show bands by the age of 15. He purchased a 1961 sunburst Fender Stratocaster that he played almost exclusively throughout his 30-year career until the paint wore off.

    In January 1974, he performed at Ulster Hall in Belfast, Ireland, during one of the city’s most violent periods, when hundreds of people had been killed. The audience was made up of Protestant and Catholic fans who peacefully coexisted and joyously enjoyed the concert together. The performance was recorded and released as Irish Tour ’74 in July 1974, and decades later, Joe Bonamassa called it one of the most influential live albums of all time.

    Jimi Hendrix

    Jimi Hendrix was the most revolutionary and influential guitar player in history. His rise coincided with the hippie counterculture movement of the late 1960s, which was fueled in part by the widespread use of psychedelic, mind-expanding drugs. The combination of his years of experience playing the Chitlin’ Circuit and the newfound freedom of expression that existed not only in music but throughout society reshaped modern music as we know it. His performances at the Monterey Pop Festival in 1967 and Woodstock in 1969 redefined what rock music could be, inspiring generations of guitarists. His performance at Woodstock, which was both filmed and recorded, remains the best example of his spellbinding ability to use the guitar as a transformative instrument. His rendition of “The Star-Spangled Banner” was revolutionary at the time and resonated deeply because of the pain the nation was experiencing as a result of the Vietnam War.

    B.B. King

    B.B. King was the undisputed King of the Blues, helping bridge the racial divide through blues rock by opening for bands like the Rolling Stones and Savoy Brown. He transformed the genre and left a lasting mark on blues rock and popular music worldwide while influencing and inspiring artists like Jimi Hendrix, Eric Clapton, Stevie Ray Vaughan, and countless others. He was an ambassador for the blues, and in 1969 he recorded and released his signature hit, “The Thrill Is Gone,” on Completely Well. Through seven decades of relentless touring, often performing up to 300 shows a year, King brought authentic blues to mainstream audiences around the world.

    Led Zeppelin

    Keith Moon predicted that guitarist Jimmy Page’s new band would go over like a lead balloon, inspiring Page and the band to name themselves Led Zeppelin. They emerged from the ashes of the Yardbirds, who had broken up, leaving Page as the group’s only remaining member. He recruited Robert Plant on vocals, John Paul Jones on bass and keyboards, and John Bonham on drums to complete the lineup and fulfill the remaining tour dates. They took Delta and Chicago blues and transformed it into a global force that redefined music’s scale, ambition, and cultural impact.

    The Rolling Stones

    The Rolling Stones took Black American blues by artists like Muddy Waters, Howlin’ Wolf, and Chuck Berry and brought it into arenas packed with screaming fans. Brian Jones, the founder of the Rolling Stones, named the band after a Muddy Waters song, and the group recorded blues standards like Howlin’ Wolf’s “Little Red Rooster.” The Rolling Stones shattered racial and generational barriers while embracing the persona of the outlaw antihero rock star. They proved that rock could endure as both art and spectacle with songs like “(I Can’t Get No) Satisfaction” and “Sympathy for the Devil.” They created a soundtrack for the counterculture movement and the social upheaval of the late 1960s.

    Stevie Ray Vaughan

    Stevie Ray Vaughan spearheaded what could be considered a new wave of blues rock artists that gained popularity in the 1980s. By that time, many pioneering blues rock bands, including the Butterfield Blues Band, Led Zeppelin, and Free, had either broken up or faded into the background. Vaughan reignited the blues rock flame when he burst onto the scene in 1983 with his debut album, Texas Flood, which featured his signature song, “Pride and Joy.” The song introduced listeners to his explosive style, marked by searing bends, thunderous tone, impeccable dynamics, and lightning-fast Stratocaster runs. He was influenced by legends like Albert King, Freddie King, and Jimi Hendrix, and in turn inspired artists such as Dan Auerbach, Kenny Wayne Shepherd, and Gary Clark Jr.

    Johnny Winter

    Johnny Winter was a trailblazing guitarist from Texas whose ferocious slide guitar technique and piercing vocals injected raw, electrifying energy into blues rock during the late 1960s and 1970s. At a time when the British blues invasion dominated the genre, he reignited interest in American roots music with lightning-fast licks, thunderous riffs, and gritty authenticity. He used his fame to draw attention to blues legends who had been overlooked by mainstream audiences and helped Muddy Waters make a comeback by producing four of his albums, three of which won Grammy Awards. Johnny Winter left a lasting mark on music that continues to inspire guitarists and blues rock artists around the world through his electrifying performances, fearless musicianship, and unwavering dedication to preserving the blues.

    Blues rock provided the soundtrack for the late 20th century and continues to evolve, giving generations a channel to express their rebellious spirit through music. By combining the emotional honesty of the blues with the power, volume, and freedom of rock and roll, its pioneers created a genre that transcended cultural, racial, and national boundaries. More than half a century after some of the greatest blues rock of the Golden Age was recorded, it still resonates with listeners. From the guitar pyrotechnics of Jimi Hendrix and Stevie Ray Vaughan to the enduring careers of Eric Clapton and the Rolling Stones, their legacy isn’t measured only by album sales or awards, but by the countless people they inspired to pick up a guitar and carry the music forward.                               

    The post 10 Blues Rock Artists that Changed the World appeared first on Blues Rock Review.

  • LIVE: 2000Trees 2026 – Friday

    It’s even hotter today, but we’re not throwing in the towel yet. 2000Trees Friday sees the return of the mighty Arcane Roots, gives us a chance to release our Cancer Bats, and kicks us into the heaviest day of the weekend!

    Words: Kate Allvey // Photos: Penny Bennett and Paul Lyme

    Beauty School

    The timeless longing of ‘The Reaper’ turns a couple of onlookers into a vast, laid-back crowd within minutes, all of us ready to have our pains eased. ‘Old Rotten Teeth’ blooms with nostalgia for the Leeds of their youth, and we’re filled with emotional warmth for Beauty School’s mellow hardcore that’s as rich in sentiment as it is full of hope for the future. 

    Reclus.E

    They’re the fresh new project that feels like they’re created as timeless soothsayers against the pretentiousness of the world, and Reclus.E make brutal, beautiful post punk that twists into wails. “I’m sorry I’m not an angry man screaming,” laughs vocalist Soren Bryce, but in a lineup packed with just that, her outsider take on the problems of the world makes for an intelligent, appealing respite.

    House of Protection

    Immersive and charismatic, House of Protection have emerged from the ashes of Fever 333 as a force to be reckoned with. Barely recovered from the heaviness of ‘Pulling Teeth’, vocalist Stephen Harrison directs ‘Learn To Forget’ from the middle of the circle pit, his mic stand a tiny island in a whirlpool of people. Lunchtime surfers flip towards the front for ‘Fuse’, a highlight of an endlessly dynamic and massive set. 

    Free Throw

    Free Throw’s passion fills out the Axiom Stage as the sun’s rays lengthen. Before they even finish opener ‘Missingno’, there’s no room left. ‘Pallet Town’ conjures memories of streets past as we fan ourselves with the fumes of their regrets and cloud-like choruses send us swaying. We’re dancing our troubles away, fuelled by the knowledge that catching Free Throw was the best decision of the day. 

    Banks Arcade

    The fizzy anti-boyband chuck sharp riffs at The Cave and we are ready to slam. ‘Move’, from their upcoming release, builds into towering echoes before we’re thrown into screwed depths, and ‘Be Someone’ shows that the sweary Kiwis have a serious side which could lead to some impressive stadium potential. If they keep throwing out heavy electro with their metalcore, we’ll be seeing a whole lot more of these guys on much bigger stages. 

    Mallory Knox

    We’ll never stop being grateful that Mallory Knox have returned, and ‘Beggars’ instant connection reminds us of why we’re so thankful. ‘Getaway’ provides otherworldly comfort, and ‘Wake Up’ is always beautiful in the way that it can unite so many tribes within the alt world into one huge singalong. It’s the delicacy at the heart of ‘Shout At The Moon’ that proves that Mallory Knox are the masters of both the emotive echo and the festival anthem.

    The Wildhearts

    We’re very pleased to see these late additions to the lineup, as early shouts of glee attest. ‘Failure Is The Mother Of Success’ keeps it old school, with rip-roaring solos and an easy, accessible energy. As their “celebration of life” rolls on, we’re struck by how it’s the warmth of community and good humour which makes a Wildhearts show such a great experience. We toast to ‘Mazel Tov Cocktail’, jump, laugh, and bark back at Maggie the dog’s brief onstage cameo. 

    Arcane Roots

    The hotly anticipated return of Arcane Roots is worth eight years of waiting for the payoff. Sirens, strings and delicious slow burn announce ‘A Wave, Across The Sea’. It is ever-changing, living art and we just have to stand back and let it wash over us. We raise our hands to worship ‘Matter’, fully aware that we’re experiencing what could be the Band of The Weekend who’ve used their time away to take their emotional gut-punch to the next level. 

    Cancer Bats

    We’ve got no time to recover from the aftermath of Arcane Roots or “the brutal sun roasting our flesh,” as vocalist Liam Cormier puts it, because there’s no way we’re missing Cancer Bats. ‘R.A.T.S’ takes everything up to eleven before ‘Bricks & Mortar’ calls down the night and a spring-loaded Cormier commands our pit for ‘Lucifer’s Rocking Chair’. They’re a reliable source of the heaviest noise around, a musical steamroller, and we’re rewarded for our endurance with a Beastie Boys cover and a beachball party. 

    Funeral For A Friend

    There’s more than a pinch of Trees magic in the air as children with rainbow glow sticks giggle during a proper heavy rock show. “It’s a fucking amazing place to be!” Lucas Woodland grins, having the time of his life. His inclusion in Funeral For A Friend is Trees personified; he’s just as much a fan of the band as we are, and the community spirit between old fans and new, between the band and us, is what makes their set so glorious. Of course, the gorgeous guitar appeal of ‘Bullet Theory’ helps, as does the hypnotic rhythm of ‘Monster’, but this is a set radiating with love from every corner. 

    If we have to pick the times where we felt the elusive festival spirit the most, ‘The End Of Nothing’ has to be on the list. After all, it is “a fucking banger” as Woodland puts it, essential and compelling with every riff. Every song bursts with an energy that makes you want to revel in each moment until ‘Escape Artists Never Die’ sends us off to the Silent Disco. “Every time we play on stage, we play like it’s the last time,” the frontman admits, and it’s this beautiful transience which they’ve captured at every turn. 

  • Amon Amarth Announce New Album “The Allfather Awakens” Coming October 2 via Metal Blade Records

    – July 22nd, 2026 –

    Pre-Order / Pre-Save HERE

    Release “Gjallarhorn” Single / Video – WATCH

    AMON AMARTH announce The Allfather Awakens – a ten-song masterwork that further cements the legacy of the Swedish metal titan’s spectacularly memorable riffs and unflinching melodic aural power. The Allfather Awakens sees its release October 2 via Metal Blade Records.

    For Amon Amarth, a new album marks the beginning of a new world. As with previous records, Oden, the Norse “all father” who is a deity of war, wisdom, death, magic, and poetry, is the through-line in Amon Amarth‘s lyrics and artwork. Once again, Oden is the band’s inspiration, but The Allfather Awakens is not a concept album, rather a collection of historically inspired epic tales of conflict and sacrifice for a greater good.

    Following the release of Amon Amarth‘s first-ever acoustic excursion “Upphaf“, the band unleash The Allfather Awakens‘ opening track and epic tale of “Gjallarhorn“. Where the stripped-back “Upphaf” carried the solemnity of an oral history whispered under the shadow of the Allfather, “Gjallarhorn” arrives as a furious Amon Amarth classic. “Gjallarhorn’s” driving, upbeat guitar riff and high tempo, catchy chorus fuse with a few surprises that ensure itself to be a future live staple.

    To gain wisdom beyond mortal comprehension, Oden made the ultimate sacrifice – gouging out his own eye and casting it into the Well of Wisdom, Mímisbrunnr, in exchange for cosmic insight and foresight that would shape the fate of gods and men alike. Now, Amon Amarth bring that ancient reckoning to life with “Gjallarhorn” – and they are extending Oden’s offer to you. Those who received the eye know what must be done. Those who did not: seek it out. Sacrifice your sight. Gain your foresight.

    Listen / Share / Playlist “Gjallarhorn”

    Watch Official Music Video

    Amon Amarth took a new songwriting approach for The Allfather Awakens, the band’s 13th album since 1998′s Once Sent from the Golden Hall. The album came to life across two recording sessions, months apart, at producer Jacob Hansen’s studio in Denmark. Amon Amarth began writing songs while touring, rather than waiting until they were off the road. The first session was Spring 2025; the final recording was completed in March 2026. The writing and recording process allowed the musicians to intensely focus on each track, resulting in an album where each song was treated as a single. “We worked on one song at a time and made each song as good as possible,” says guitarist Olavi Mikkonen. “Then we recorded one song at a time until each track was totally finished–drums, guitars, and vocals. Only then did we start on the next one.” Guitar-wise, Amon Amarth opted for a slightly less modern approach sonically, moving away from 5150 amps and back to Marshalls.

    Music is written before lyrics, and often sets the tone for the words. The song that inspired the album title, “The Allfather Awakes,” was the last written for the album. With Oden as the titular “Allfather,” there is no shortage of historical influences heard across new songs like “Eight Legs of Thunder,” “Kvasir’s Blood” and “Die With a War Cry,” with the brutally beautiful lyrical rallying cry: “Facing destruction / Annihilation / Master your thoughts and mind.The Allfather Awakens cover art is a powerful portrait of Oden by Tom Thiel, who created seven of the quintet’s album covers.

    Pre-Save / Pre-Order The Allfather Awakens Here

    Over 30 years later, Amon Amarth remains a band of brothers, and that loyalty and unity allow for harmony and a united front that conquers both the stage and record. Frontman Johann Hegg’s powerfully rendered lyrics on The Allfather Awakens‘ on “We Rule The Waves” sum up the band’s unrelenting intent. “From cradle until the grave / As long as the sun sets in the west / We rule the waves / Our restless hearts / Have brought us far / As far as Vinland’s shores / We’ve gone further / Than any man has ever gone before.”

    From Amon Amarth‘s 1992 formation in Tumba, Sweden, to the worldwide fame they’ve found in the ensuing years, their lyrical, live and recorded musical legacy speaks for itself. Over the past few years the band have performed globally and alongside legendary acts such as Slayer, Iron Maiden, Slipknot, Pantera in addition to monumental takeovers of Los Angeles’ The Forum and Denver’s historic Red Rocks Amphitheatre to name a few. Across seas, Amon Amarth have headlined multiple major rock and metal fests including an epic performance at Germany’s Wacken in 2024 for 85,000. Elsewhere on UK/European soil, the Viking lords have twice headlined the UK’s storied Bloodstock festival, made four appearances at Download (2008 – 2019), and performed at Summer Breeze eight times (2003 – 2024) – six of them as headliner.

    Their rapidly increasing sales and touring numbers, plus pre-release buzz to Amon Amarth‘s 2026 North American tour with Dethklok and Castle Rat, has managed to garner mainstream success without sacrificing either of their constantly evolving creativity or heaviness. Audience demographics run the gamut from pre-teens to 60-somethings, an inclusive metal experience for those who appreciate epic positivity and powerfully inspirational lyrics.

    Their cultural influence cannot be overstated. To wit: The Row. The consensus is that the legendary “Viking row” by audience members first began during the 2009 Amon Amarth set at Bloodstock. Fans get on the ground and, in unison, imitate rowing an invisible longship in a powerfully unifying experience. With the 2022 release of the single and video “Put Your Back into the Oar,” Hegg said, “we thought it was a good idea to write a song about The Row! This one is for you, the fans, wherever you are-and may Oden guide you as you row to your destiny in uncharted seas!

    Over the years the phenomenon has spread to other artist’s’ concerts and global events including 2026 World Cup audiences – but thanks to video footage, it’s safe to say Amon Amarth audiences began the now-iconic trend. Last month, Hegg spoke to Norway’s public broadcaster NRK about the The Row‘s origin, read the interview HERE.

    The Allfather Awakens is yet another step up, introducing previously untried efforts, an impressive and conscious musical and lyrical feat after three decades of band-dom. This autumn, The Allfather Awakens will take physical form on stage as the band unveils an entirely new production inspired by Oden’s legendary Golden Hall, transforming their iconic concert experience into a living extension of the new album. Amon Amarth perform across the U.K. and Europe. See below for a full list of worldwide dates; visit HERE for tickets and more info.

    Credit: Sylwia Makris & Christian Martin Weiss

    The Allfather Awakens Tracklist:
    01. Gjallarhorn
    02. Eight Legs of Thunder
    03. Kvasir’s Blood
    04. We Rule the Waves
    05. Upphaf
    06. Die With a War Cry
    07. Raven God
    08. The Allfather Awakes
    09. Oden’s Hunt
    10. Ascending Like an Eagle

    Format Details:
    CD: Digipak with 20-page booklet (US and EU)
    CD: Deluxe Edition – 2-CD with lenticular cover – includes bonus audio Live from Summer Breeze 2024, 4 art prints and patch (EU)
    CD: Jewel case – includes bonus tracks “Heidrun (Live at Graspop, 2023)” “Put Your Back into the Oar (Live at Hellfest, 2023)” (JP)
    CD: Talk Shop Live Edition – Digipak with 20-page booklet – includes a band signed art print (US)
    LP: Standard Edition – Single LP gatefold with lyric sheet (US and EU)
    LP: Blood-filled “Oden Eye” Single LP (liquid vinyl) + poster + signed art print, and vinyl sized booklet (US and EU)
    LP: Talk Shop Live Edition – Single LP – color “Oden’s Hunt” – includes a band signed art print (US)
    Cassette: available in the EU + Amon Amarth’s US store
    Digital/Streaming: all major platforms

    US Vinyl Variants:
    “Oden’s Hunt”
    “Yggdrasil Burns” – Indie Exclusive
    “Viking Blood Runs Red” – Metal Injection Exclusive
    “Golden Hall Gold” – Amon Amarth Web Store
    “Demons Ascend” – Metal Blade Web Exclusive
    “The Rainbow Bridge” – Metal Blade Web Exclusive
    “Mead of Poetry” – Metal Blade Web Exclusive
    “Oden’s Eye Sky Blue” – Spotify Fans First
    “Copper Gjallarhorn” + Amon Amarth Mead – Brimming Horn Meadery (D2C bundle)

    For worldwide variants and more info, visit HERE.

    Amon Amarth Live Dates:
    UK:
    Oct 09: England – Manchester, O2 Apollo
    Oct 10: England – London, Eventim Apollo
    Oct 11: England – Wolverhampton, Civic Hall
    EU:
    Oct 13: France – Paris, Zenith
    Oct 14: Luxembourg – Esch sur Alzette, Rockhal
    Oct 16: Germany – Stuttgart, Schleyer-Halle
    Oct 17: Germany – Frankfurt, Festhalle
    Oct 18: Belgium – Antwerp, Lotto Hall
    Oct 20: Netherlands – Den Bosch, Mainstage
    Oct 21: Germany – Hamburg, Sporthalle
    Oct 23: Sweden – Gothenburg, Scandinavium
    Oct 24: Sweden – Stockholm, Hovet
    Oct 26: Finland – Helsinki, Ice Hall
    Oct 27: Estonia – Tallin, Unibet Arena
    Oct 29: Poland – Gliwice, PreZero Arena Gliwice
    Oct 30: Germany – Leipzig, Quarterback Immobilien Arena
    Oct 31: Germany – Oberhausen, Rudolf Weber Arena
    Nov 02: Hungary – Budapest, Barba Negra
    Nov 03: Austria – Vienna, Gasometer
    Nov 04: Germany – Bamberg, Brose Arena
    Nov 06: Czech Republic – Prague, O2 Universum
    Nov 07: Germany – Berlin, Velodrom
    Nov 08: Germany – Munich, Zenith
    Nov 10: Italy – Milan, Alcatraz
    Nov 11: Switzerland – Zurich, The Hall
    Nov 13: Spain – Barcelona, Sant Jordi Club
    Nov 14: Spain – Madrid, Vistalegre
    Nov 15: Portugal – Lisbon, Sala Tejo

    Amon Amarth Lineup:
    Johan Hegg – Vocals
    Olavi Mikkonen – Guitar
    Johan Söderberg – Guitar
    Ted Lundström – Bass
    Jocke Wallgren – Drums

    Amon Amarth | Instagram | TikTok | Facebook | X | YouTube

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  • Illwind – The Unfolding at the End of Light Review

    Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.1 Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

    Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

    At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

    How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

    The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”


    Rating: 3.0/5.0
    DR: 7 | Format Reviewed: 320 kbps mp3
    Label: Personal Records
    Website: Bandcamp
    Releases Worldwide: July 3rd 2026

    The post Illwind – The Unfolding at the End of Light Review appeared first on Angry Metal Guy.

  • Olivia Rodrigo Discusses Abortion Bans With Center For Reproductive Rights

    Olivia Rodrigo, a real one, has been advocating for abortion rights since she first got famous. Rodrigo’s Guts Tour, for instance, made sure to feature a number of different feminist organizations, including the National Network Of Abortion Funds, though they had to stop handing out Plan B pills at their table partway through the tour. Now, she’s using the blockbuster moment of her you seem pretty sad for a girl so in love album release to draw attention to the many awful things currently happening with reproductive rights in America.

    The post Olivia Rodrigo Discusses Abortion Bans With Center For Reproductive Rights appeared first on Stereogum.

  • Bloodstock Bound: Redscar

    Bloodstock Bound: Redscar

    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 Redscar

    My name is Elliot, though most people call me Chariot and I am the frontman of Redscar. The other members are Jonny, Isaac and Jamie who play guitar, bass and drums respectively.

    We tend to categorise ourselves as thrash/groove. We can absolutely give it hell for leather and blast out the pit inducing speed people love, but we also love to get really chewy heavy grooves going that you can sink your teeth into and bang your head along to.

    We fought our way through the M2TM Newcastle heats to secure our spot on the New Blood stage. Originally Redscar competed in their first M2TM last year and wound up all the way at the final, but ultimately Ruled by Raptors went on to win and have the honour of playing Bloodstock 2025.

    The competition was really fierce this year as there were not only old faces who’ve competed before, but there was tons of fresh bands scattered throughout this year who made it a really tight fight.

    Playing Bloodstock is such a massive honour. So many great bands have stomped around it’s grounds and entertained countless people so getting to play where they have is very special. Jamie is only 20 so to get Bloodstock under his belt as such a young age is hugely impressive as well. Isaac, Jonny and myself had the privilege of playing the then Jager stage, now the EMP stage, back in 2017 under the banner of Trendkill so to be back under the mantle of Redscar is astounding.

    Our motto is shock and awe so we come in with a bang and keep going till we can’t give it any more. We also have two beautiful inflatable assistants we’ll be dressing up in Redscar t-shirts that we’ll be hurtling into the crowd for enjoyers to rip the shirts off their backs.

    We’re playing Saturday 8th on the New Blood stage so if you’re about come and enjoy the riffs and fun.

    I personally can’t wait to see Lamb of God, Sepultura, Priest, Body Count, Castle Rat and Carpenter Brut, and I know some of the other lads really want to see Slaughter to Prevail and Party Cannon as well as some of the aforementioned bands. In short as a collective we really want to see as many bands as we possibly can.

    Well we’ve got releases on the big platforms coming up for the run-up to Bloodstock so we want to continue that post ‘Stock with getting the best quality music we can out there to sonically assault all those who dare. We’re also getting more gigs lined up and down the country too so we’re by no means taking a break after Bloodstock, it’s all go! For info on all our upcoming shows you can head to redscarofficial.com

    We’ll be camping in the artist campsite with weekend camping tickets being sold out, but we all either have witnessed the madness that can take place first hand like the legendary bin-jousting or have been told of just how bonkers it can get.

    Ideally I’d take a so sour it twists your face into a ball cold and crisp lemonade, and for the other lads in the band if they can get their hands on one it’d be a Newcastle Brown Ale.

    See you there! We hope to see yourself and all The Razors Edge readers when we hit the New Blood stage.

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

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