Category: news

  • Bloodstock Bound: Dosed

    Bloodstock Bound: Dosed

    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 Dosed

    What’s up! We are Dosed and we’re made up of Paul aka Foz on vocals, Rhys and Paul aka Noodles on Guitar, Dai on bass guitar and our drummer Tom aka Chong.

    It’s a bit of a weird one. We’re like a happily misplaced band I guess but we’d probably describe our selves as a thrashy hardcore punk band with fast punk/hc-esque beats that flow throughout with straight headbanging and circle pitted riffery and a sprinkle of sludge or doom for the slow (old) dancers amongst us.

    We’d like to think that all the hard work we’ve put into this band over the past couple of years, since our conception has paid off but it’s probably also a stroke of luck that Simon Hall picked us out of a list of millions of applicants. Either way we’re stoked about it!

    Playing Bloodstock, especially on its 25th anniversary is a dream. In our eyes BS is the top festival for proper metal and underground roots bands in the UK. There are bigger festivals out there, yes.. but none with bollox this big.

    We’ve heard there were dinosaurs in the circle pit at the EMP tent in previous years so we’re expecting to see more of that! But what people can expect to see is a siege. We bring the riffs. We bring real rage. Fast circle pits and moshing to chugs and riffs. Mounted walls of death. Last man standing kinda shit. If that makes no sense come along and bring a mate, it soon will!

    We’ve got a Saturday slot although we haven’t been given an official time a lot as of yet.

    We’re all looking forward to seeing a whole bunch of different bands between us.

    Body Count, Overpower, Stampin Ground and Flayed Disciple all get a regular mention when we chat about who we’re gonna try and catch while we’re there.

    We’re gonna keep hammering shows around the UK as we have been doing. We’d like to stretch our reach and get off the island and in to Europe. America. Japan. Australia. All of it. Bring it on!

    It’ll be the artist camping area for us. A few of us are gonna do the sensible thing and rent a room for the weekend too. We’re gonna be out roaming and you never know who’s camp we’ll end up chilling in.

    Water. That’s the responsible answer. Rum fits the festival nicely. Beers. Beers. Mosh pit tears.

    Can’t fuckin wait!

    For all the latest newsreviewsinterviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebooktwitter and instagram.

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

  • Phoebe Bridgers Plays “Lost Boys” With Kids In Surprise Tonight Show Performance

    The only announced guests for Jimmy Fallon’s Tonight Show Tuesday were Matt Damon, promoting The Odyssey, and Anthony Michael Hall, promoting, uh, Nation’s Dumbest. But at the end of the show, there were Phoebe Bridgers and a bunch of kids.

    The post Phoebe Bridgers Plays “Lost Boys” With Kids In Surprise <em>Tonight Show</em> Performance appeared first on Stereogum.

  • 5 Hair Metal Bands Who Lost Their Classic Lineups

    These bands left a lasting mark on hair metal, even if the lineups that built their legacies didn't last. Continue reading…
  • Interview: Deliberate Miscarriage at Grind After Death Fest

    Interview: Deliberate Miscarriage at Grind After Death Fest

    Interviewed by Patrick O’Reilly

    Deliberate Miscarriage catch up with us at the final Grind After Death Fest.

    We chat all about the bands show at the festival, playing in the intense heat, how they formed, backlash they’ve recieved about their name and a whole lot more.

    You can listen to the interview below, or jump over to any of the usual streaming services!

    Youtube | Spotify | Apple Podcasts | Youtube Music

    Check out all of our interviews on the usual podcast channels!

    Youtube | Spotify | Apple Podcasts | Youtube Music

    For all the latest newsreviewsinterviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebooktwitter and instagram.

    The post Interview: Deliberate Miscarriage at Grind After Death Fest appeared first on The Razor's Edge.

  • “The world thinks that he’s a scary, mean guy. And he’s the complete opposite.” Why former Guns N’ Roses drummer Frank Ferrer only has good things to say about Axl Rose, despite his surprise dismissal from the band in 2025

    On March 19, 2025, Guns N’ Roses announced the “amicable exit” of drummer Frank Ferrer, who had played with the band for 19 years.

    “The band thanks Frank for his friendship, creativity and sturdy presence over the past 19 years,” a spokesperson for the LA hard rock giants posted on social media, “and wish him success in the next chapter of his musical journey.”

    One year on, the 60-year-old New York drummer has given his first interview about his time in Gn’R, and he only has positive things to say about his former boss Axl Rose, and his experiences with the band.

    “Everything just comes to an end,” Ferrer tells Rolling Stone. “And I’ve said this before, I knew this thing wasn’t gonna be forever. I was just so happy I got to do it when I got to do it, and now I’m doing other stuff. It’s really that simple… We didn’t get into a fight or anything.”

    Originally, Ferrer was hired to play with Guns N’ Roses for just two weeks, deputising for Bryan ‘Brain’ Mantia on a European tour while the former Primus drummer returned to the US to be with his wife for the birth of their daughter. But after Mantia decided to sit out the group’s next North American tour, Ferrer’s services were retained, right through to November 5, 2023 when he played his last show with the band in Mexico. He has since been replaced by Isaac Carpenter, formerly the drummer for Awolnation.

    In his interview with Rolling Stone, Ferrer expresses nothing but gratitude for the opportunity to play in Axl Rose’s band, and has only good things to say about his former boss.

    “I think the world thinks that he’s a scary, mean guy,” he reflects. “And he’s the complete opposite. He doesn’t suffer fools, so that might piss people off. But he’s generous and super funny, and worried about us all the time, worried about, ‘Hey, you guys, how you guys doing? Hey, is Frank OK? Hey, Frank, are you OK?’ I’m doing fine. He’s, ‘Oh, OK, cool.’ It’s that kind of stuff constantly. I wish they could know him the way I know him. That’s the only way I could say it. He’s a great musician, great singer, all that stuff that goes in the pot, but he’s a good man… He’s out there busting his ass, trying to make everything sound great, be great every night. He’s under immense pressure, and he delivers. He would lead the way.”

    Ferrer is now playing in two bands, One Night Only, with Hanoi Rocks and Electric Boys guitarist Conny Bloom) and the Slax.

  • Best Rock Albums of 2026 So Far, Ranked

    Classic rockers and some of their progeny are having a great year. Continue reading…
  • Upcoming Metal Releases: 7/12/26 – 7/18/26

    Here are the new releases for July 12th to 18th. Releases reflect proposed North American scheduling, if available.



    Upcoming Metal Releases: 7/12/26 – 7/18/26


    ÄxeAutogeddon | Caligari Records | Speed Metal + Black Metal | United Kingdom (London, England)

    With the umlaut on the A, seemingly just for the sake of it, and band members named Professor Speed and Nihil Kaos, Äxe isn’t afraid to embrace the cheese. Their fast-paced thrills embody a motorcycle-riding knight lopping the heads off demons to make a necklace out of. On their debut demo from last year, Warriors of the Death Raid, Äxe often felt like speed metal with black metal vocals. Not on the follow-up. The first notes of Autogeddon‘s lead single, “Warriors of the Death Raid” (sound familiar?), are much darker with raw screams that sound trapped in a car engine. Over six minutes long, the song dedicates time to both an enthusiastic guitar solo and a depressing outro of shrill chords. This surprising pairing of nocturnal and exuberant genres is captured perfectly within the raw black metal vocals that spontaneously burst into high-pitched wails resembling a baby falling from a window. 34 minutes of merciless metal that digs its fangs in your neck and shreds your innards – metal that makes the most lubugrious listeners dance to its punk pace. The band’s second demo informs listeners that the äxe’s edge is sharpened.

    –Aidan Sibley




    EmptinessNowhere Speaks | Season of Mist | Avant-garde Death Metal | Belgium (Brussels)

    Try to recall your last dream. Maybe elements of it appear to you, incoherent dialogues and movements that felt unnatural. A world so close to reality with abnormalities that make it unnerving. Nowhere Speaks is like a memorable dream of death metal. A revisitable dream. Emptiness retains small elements of death metal but creates a disorienting world from them. Blast beats and dissonance are found throughout but cloaked in a production that rarely lets it explode. The record looms, builds atmosphere, and drags you into rooms with an ever-shifting axis of gravity. The pull of guitar production and booming bass lifts you into the air as furniture blows past your head.

    12 years ago, Emptiness finished their album Nothing but the Whole on a riff which suddenly stopped, baffling their listeners. With two albums in between, which softened their sound and abandoned metal, Nowhere Speaks begins on the continuation of that heavy riff. Returned is the abstract phraseology and pronunciation: lyrics growled in a whisper are spoken with random breaks and drawls. Lyrics like, “The body is nourished and the mind twists like an arm. The arm of a child that I hated when life was young.” With sinister synths and sound collages where human and animal sounds become inseparable, Nowhere Speaks brings you to a realm of ludicrousness. Then it ends as Nothing but the Whole did, suddenly within the riff which started that album, morphing the two into an endless loop.

    –Aidan Sibley




    PsycropticThe Pulse of Annihilation | Metal Blade Records | Technical Death Metal | Australia (Tasmania)

    Tasmanian death metal dervishes, Psycroptic, are back on the scene with The Pulse of Annihilation. The new record is the veteran Aussie crew’s Metal Blade debut. Interestingly, the label touted Psycroptic’s evolution from “pure technical density into something more architecturally deliberate.” That’s a pretty fascinating way to describe The Pulse of Annihilation. Guitarist and principal songwriter Joe Haley views it simply as the “culmination of everything that has come before.” Either way, it’s hard to deny the tangled knot of razor wire riffs, roiling battering ram percussion and emphatic dual vocal onslaught unleashed within tracks like “Gathering a Venomous Herd,” “No Time for the Weak” and “To Embrace the Curse.” The decimating twin growl attack from Jason’s Keyser and Peppiatt definitely adds an extra layer of mass to Psycroptic’s clinical assault. The haunting ambient passage at the beginning of “Our Pillars Fall” is another nice touch amidst the grinding, mathematical din. As Henry Rollins once yelled: Annihilate. What could possibly go wrong?

    –Dennis J. Seese




    NiveousCult of the Void Star | Hypnotic Dirge Records | Black Metal | United States (Milwaukee, WI)

    Niveous didn’t get the memo that black metal isn’t meant to be enjoyable. Their debut album Cult of the Void Star is fantastical, as if Immortal held back on the thrash but kept the worldbuilding on At the Heart of Winter. Similarly, Niveous keep their distance from misanthropy and err towards the epic, with “Frostborne Resistance” boasting particularly engaging folk metal vocals.

    –Colin Dempsey




    WehmutIV: Sommer | Naturmacht Productions | Blackgaze | Germany (Bavaria)

    Wehmut incorporates post-rock, shoegaze, and DSBM with a reservation that’s unbecoming of blackgaze. What optimism there is feels tainted and sick, demonstrated through trances rather than biting riffs. This is all to say, Wehmut does more than play into stereotypes, despite the reverb-encrusted tremolo picking and floral album cover.

    –Colin Dempsey




    Supremative / CrucifixationSchism of Demonic Intolerance / Reveling In Sin | Down With the Most High | Death Metal + Black Metal | Spain + United States

    Both sides of Schism of Demonic Intolerance / Reveling In Sin sound like burning embalming fluid in your ears, which is to say, primitive death and black metal, or, in other terms, war metal, albeit a strain that hasn’t seen the light or evolved since 1990. Supremative embody that genre hybrid more fully, whereas Crucifixation are less tactful, charmingly laying death metal barks atop musicianship that can’t decide which Sepultura album is its favorite.

    –Colin Dempsey




  • Ann Wilson Sets Major Fall 2026 Tour to Cap a Very Busy Year

    She'll be joined by the Tripsitters on dates in the U.S., Canada and Japan. Continue reading…
  • “The shock of a band associated with hippies and the profound, playing confrontational theatrical rock, was mind-bending”: Were you there for Pink Floyd’s 10 most influential concerts?

    In 2023, accompanying our analysis of how Pink Floyd changed dramatically between their first two shows at Earls Court in 1973 and their five-night return in 1981, Prog presented a rundown of 10 key live performances from the band’s early days to their final reunion.

    1. 14 Hour Technicolor Dream – Alexandra Palace, London, April 1967

    At which the first tranche of Floyd fans felt they’d sold out, moving from the confines of All Saints Hall in Powis Gardens and the UFO in Tottenham Court Road to be part of the multi-artist happening in Muswell Hill. Captured on film by Peter Whitehead as part of Tonite, Let’s All Make Love In London, Floyd appeared at the end of the show,as the Sunday sun rose across the capital – and with it, their role as underground house band of choice was secure.

    2. Games For May – Queen Elizabeth Hall, London, May 1967

    Probably the group’s most famous early concert, Games For May was immortalised in song by Syd Barrett on the Floyd’s first Top 10 single, See Emily Play. Described as a “space age relaxation for the climax of spring – electronic composition, colour and image projection, girls, and the Pink Floyd,” frankly, what was there not to like?

    Playing more or less what was to become The Piper At The Gates Of Dawn, and premiering Emily, someone dressed as an admiral gave out daffodils to the audience while a bubble machine stained the seats, allegedly resulting in a lifelong ban at the venue for the group.

    3. More Furious Madness From The Massed Gadgets Of Auximenes – Royal Festival Hall, London, April 1969

    Realising that trying to replace the tragic whimsy of Syd Barrett was a road to nowhere, Floyd favoured the high concept with a generous dollop of their brand of space rock. The show the group premiered at this RFH event was The Man And The Journey, following Everyman as he goes through the day, incorporating released and unreleased material. Thumbs up for ambition, thumbs down for abundance of melody.

    4. Roman Amphitheatre, Pompeii, Italy, October 1971

    Arguably Pink Floyd’s most famous live performance was captured without a single paying member of the public amid the lava-saturated relics of Pompeii. Filmed by Adrian Maben for his oft-released and well-loved movie Pink Floyd: Live At Pompeii (reissued in 2025) the tracking shot behind the band’s amplifiers, bearing the legend ‘Pink Floyd. London.’ is one of the greatest moments in pop, ever.

    5. Winter Tour ’74 – Trentham Gardens, Stoke on Trent, November 1974

    After the desultory performances at the Empire Pool the nights before, Pink Floyd found their mojo and played a show strong enough that the bootleg of the three non-Dark Side songs of that tour allegedly sold 150,000 copies, in one shop outselling Led Zeppelin’s Physical Graffiti. What the recordings do underline is that by playing an hour of unheard material, Floyd demanded a great deal from their audience.

    6. In The Flesh – Stade du Parc Olympique, Montreal, Canada, July 1977

    Included solely for its notoriety, the most infamous Pink Floyd show of all time saw Waters beckoning a rowdy fan toward him, then spitting at him. It resulted in Roger Waters hating himself and his audience, setting his creative course for a considerable time going forward. How had it come to this?

    7. The Wall – Earls Court, London, August 1980

    The excitement of The Wall shows is difficult to put into writing. The shock of this band, associated with hippies and the profound, playing confrontational, difficult, theatrical rock was palpable. Once the taste was acquired, to see it in this enormous venue with its inflatable mothers, schoolteachers and wives, crashing planes, pop-up rooms, explosions and a lot of cardboard is still somewhat mind-bending.

    8. A Concert For Europe – Venice, Italy, July 1989

    A free concert that was intended to be played off the island of Giudecca in the Venetian Lagoon; instead, because of logistics, it actually ended up being staged on large rafts in the middle of the San Marco Basin, directly opposite the Doge’s Palace and smack-dab in the middle of Venice.

    A great deal of local, national and eco politics surrounded the show, but it also acted as a metaphor for the very opulence of the 80s – not to mention the apogee of slick, David Gilmour-led commercial Floyd. The show was eventually watched globally by 100 million people.

    9. Pulse – Earls Court, London, October 1994

    By the time of The Division Bell, and what was to become the live album Pulse, Gilmour, Rick Wright and Nick Mason had learned how to be Pink Floyd without Waters or, indeed, Barrett. No one now had to ask “Which one was Pink?” as Pink was the unity, the spectacle, the togetherness of the band, playing The Dark Side Of The Moon in full for the first time since 1975, but importantly, having, in The Division Bell, an album that could stand upright in its shadow.

    10. Live 8 – Hyde Park, London, July 2005

    They never thought it would happen, Gilmour and the boy from Great Bookham, out on that crepuscular common, that night many haven’t forgotten… Pink Floyd’s temporary reunion, engineered by Bob Geldof for Live 8, overshadowed the rest of the global concert. Although the awkwardness onstage can be analysed to the nth degree afterwards, in its moment, it felt like the best thing ever.

  • The Ocean – Reveal Another New Single

    German post-metal collective The Ocean have shared a music video for “Belligerence”, another preview of their upcoming album, Solaris. Check it out below.
    Read more…