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  • Awaiting Abigail Funhouse Review

    Awaiting Abigail Funhouse Review

    The single “Funhouse” begins with the sound of an eerie music box, paving the way for a dark and intense adventure. This haunting introduction is soon met by distorted guitars forming an epic, powerful riff. The energy shifts quickly as the instrumentation pulls back, allowing the lead singer’s beautiful vocals to take center stage. Her voice evokes comparisons to artists such as Amy Lee and Cristina Scabbia, bringing an emotional depth to the performance.

    Funhouse Awaiting Abigail Single

    The pacing of the song feels rhythmic and theatrical, evoking the atmosphere of a grotesque circus. While the overall vibe is somewhat sinister, the musicianship elevates the track into an epic piece. Each arrangement and chorus moment resonates with a grandiosity that draws listeners in. At certain points, the musical arrangements mirror the work of bands like Rammstein, showcasing a strong influence in both dynamics and intensity.

    The rhythmic construction of “Funhouse” is executed impeccably, revealing a thoughtful approach to song development. Expert production plays a significant role in enhancing the listening experience. The mixing of the track was handled by the renowned Tom Lord-Alge, bringing a polished finish to the composition.

    Funhouse – Sound and Atmosphere

    The talented members of Awaiting Abigail contribute to this powerful single. Abigail Hill shines with her vocal capabilities. James Smith delivers strong guitar work, while Kori Tolfa adds depth with the keyboard. Laurie Barnett plays the bass with precision, and Heather Hammonds provides a solid foundation on drums. Together, they create a cohesive sound that makes “Funhouse” an impressive showcase of the band’s talents.

    Accompanying the single is a visually stunning music video where Abigail sports a look reminiscent of Margot Robbie’s portrayal of Harley Quinn. The video tells a compelling story, showing the band performing on stage while also depicting a poker game that symbolizes a fateful gamble. This setting reflects the struggles of being trapped in a toxic relationship, ultimately portraying the courage it takes to break free.

    The overall essence of “Funhouse” is mysterious and unsettling, making it a must-listen for anyone seeking a track with emotional weight and depth. The fusion of theatrical elements with intense musicianship and visual storytelling makes this single stand out in a crowded music landscape.

    Funhouse – Performance and Production

    Listeners are invited into a journey that is rich with narrative and musical engagement, transforming the experience into something extraordinary. “Funhouse” captures the essence of struggle and liberation, connecting with audiences on multiple levels through its lyrical themes and haunting melodies.

    There is no doubt that they are a band to watch, as they have crafted a track that resonates well beyond the initial listen. With “Funhouse,” they have established their identity and artistic vision, steering their music into uncharted territory.

    If you’re looking for an enigmatic track that intertwines darkness with beauty, “Funhouse” is a compelling choice.

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    The post Awaiting Abigail Funhouse Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Album Review: Voidthrone – Dreaming Rat

    Album Review: Voidthrone – Dreaming Rat

    Reviewed by Eric Clifford

    Have you ever wondered what might happen if you dropped a fistful of acid and watched Event Horizon? If so, then Voidthrone are here to let you know. Riffs are instrumental renditions of a mass of misfiring neurons, seizing, jittering, unpredictable. Occasionally content to lapse into a sullen quiescence only to pounce with rabid abandon in any direction the compass allows for and some it probably doesn’t. Genre-wise it’s somewhere in the fuzzy midground between black and death metal, or at least the more dissonant fringes of them – as much Deathspell Omega as it is the more fevered “The Locust” inspired chunks of Cattle Decapitation’s back catalogue; splashes of some tormented version of Artificial Brain in places, and the more opaque entries in Mayhem’s own career perhaps – Grand Declaration of War or Ordo Ad Chao. There’s a level of panicked whimsy to it as well. It bounces into a jovial polka sandwiched between blast beat avalanches on “Surfing the Abyss” – you may as well chuckle in the face of the impending heat death of the universe I suppose, and besides – a level of lighthearted lunacy should probably be expected of any band that titles a song “Morbid Seagull”.

    Yet none of the chaos matters if, at it’s core, it’s just chaos with no real songwriting going on. So as ever the question comes down to: is it any good? Yes, in a word. It’s excellently performed, rather unapproachable (in a good way), and unapologetically itself in all its bewildering resplendence. And it has virtues in abundance besides; I love the bass for one thing – out here doing it’s own thing instead of just humming along an imitation of the guitars, springing out to drop a fill or a melody line of it’s own, often leading the riff while the guitars paint a squalling landscape behind it. There’s a psychotic break of a vocal performance, half a plethora of harsh vocal styles and half a collection of mad laughter, demented gibbering and agonised howling – even if some of it comes over less as distressingly mad and more just a little bit annoying, especially this “ninininininini” noise that gets made on “Ren Omega”, and “The Dying Squid” which opens with a guest performance from Kermit coming home midway through an existential crisis to find that Mrs Piggy has been made into a sandwich. There’s moments throughout – “Worm Spiral” for example – where a diseased variety of tunefulness breaks through and counterpoints how otherwise atonal the album is, and while there is a sort of predictability going on insofar as the album being reliably batshit insane, things like a springy jaw harp and tribal drum breaks prove the band is never short on ideas.

    Album Review: Voidthrone - Dreaming Rat

    Voidthrone haven’t released an album here so much as an attack of auditory night terrors, but at the risk of overstating the case there is restraint of a sort going on. We’re at dangerous levels of mental infirmity, yes, but we’ve yet to become as wholly detached from reality as a band like Effluence might be. The band isn’t constantly at full throttle, and tracks like “Homeless Animal” are happy to explore their neuroticism at more mid paced tempos. There’s even moments dotted about where the medication kicks in and the band approaches something like stability – flickers of conventional deathgrind or slam popping out to say hello on tracks like “Bergen” as well as a handful of nimble, much-appreciated shredfest solos. If I feel as though the band’s restless experimentation does sometimes impede the songs in forming an arc – building up to things, crescendos, resolving musical motifs, etc – it does for sure prevent them ever being boring. There is always something going on, a burst of unhinged laughter, proggy bass noodling, the band deciding to channel their inner Discordance Axis with a sudden grind spree, or any number of other twists on the formula the band are so liberal with.

    I mean this as a compliment, but this album sounds like a bus full of clowns getting teleported into hell. And with that there’s the obvious point that this is an acquired taste, but then, so much of the most interesting stuff is. It’s a testament to what can be accomplished if you take all the wrong drugs, and for that reason alone you should sample the bad trip that Voidthrone are sending us all on.

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

    The post Album Review: Voidthrone – Dreaming Rat appeared first on The Razor's Edge.

  • Eyrin Freakuency Review

    Eyrin Freakuency Review

    The song opens with a playful and sly piano motif. This rhythm gradually builds an atmosphere that leaves listeners uncertain of the journey ahead. Eyrin begins to sing in a theatrical manner reminiscent of a stage performance, blending irony with an almost hypnotic allure. Her voice is not loud but rather speaks directly, exuding a blend of sensuality and mystery.

    Freakuency Eyrin Single

    The song wraps around the listener like a dancer seeking to entice, constructing an experience that feels intimate and engaging. It becomes evident that this piece conveys a strong message — not everyone can handle women who operate at high frequencies. Eyrin’s work stands as a declaration of self-belief and empowerment, urging individuals to take charge of their lives.

    Musically, “Freakuency” presents a dynamic mix of rock elements, enlivened by a conversational and sly approach. This combination creates a rhythm that moves fluidly, keeping listeners intrigued. A particularly stunning guitar solo emerges around the three-minute mark, showcasing a playful and varied tone that reflects the song’s overall energy.

    Freakuency – Sound and Atmosphere

    Eyrin demonstrates a solid artistic vision throughout the track. Her ability to communicate complex emotions with simplicity is commendable. The piano’s mischievous opening sets the stage for a rich exploration of themes that resonate with many.

    The infectious nature of the melody, coupled with meaningful lyrics, fosters a connection with the audience. Listeners may find themselves reflecting on their own experiences, drawing inspiration from the empowerment that Eyrin encapsulates. This single is not merely entertainment; it also serves as an anthem for self-discovery and personal strength.

    Freakuency – Performance and Production

    “Freakuency” speaks directly to anyone who has ever felt the thrill and weight of being a powerful individual. Eyrin’s artistry shines through every material aspect of the song, making it a must-listen for fans of diverse musical landscapes.

    This song is a unique blend of rock flavor infused with thoughtful lyrics and a striking performance. As the track reaches its climax, the listener is left fulfilled and inspired, embodying the song’s central message of believing in oneself and embracing one’s power.

    In a world that often seeks to diminish individual voices, Eyrin’s work stands strong. She invites listeners to embrace their own frequencies and reminds them of the strength found in self-assertion. Message delivered ironically and entertainingly.

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    The post Eyrin Freakuency Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • 20TH ALBUM CONFIRMED: Judas Priest Hits Nashville Studio as Richie Faulkner Teases “Organic” New Sound

    judas-priest-2026

    LISTEN: Catch the Latest Metal News on the Loaded Radio Daily Podcast

     

    NASHVILLE, TN — In a definitive strike that proves the fires of British steel are far from extinguished, Judas Priest guitarist Richie Faulkner has officially confirmed that the band is deep into the recording process for their next studio album. Coming off the massive global success of 2024’s Invincible Shield, the metal legends have wasted no time, gathering just outside of Nashville in February 2026 to lay down the foundation for what will be their 20th studio masterpiece.

    TL;DR: The Key Takeaways

    • Studio Update: Richie Faulkner confirmed the band recorded drum tracks in February 2026, marking a more collaborative organic process than their previous record.
    • The “Best Of” Release: While fans wait for the new studio LP, a massive career-spanning collection, The Best Of Judas Priest, arrives on June 19, 2026.
    • Touring Force: The band is currently preparing for their 2026 “Faithkeepers” European tour, with new material already being integrated into their long-term plans.

    Inside the Nashville Sessions: A Return to Form

    The momentum behind Judas Priest in 2026 is nothing short of miraculous. During a recent interview with MELTDOWN on WRIF in Detroit, Richie Faulkner revealed that the band deliberately changed their recording approach for this upcoming cycle. Unlike Invincible Shield, which was partially hindered by pandemic-era travel restrictions, the band successfully congregated in person to capture the “ground” of the record together.

    “We got together in February just outside Nashville… we did the drum tracks together,” Faulkner shared, noting that the synergy of having the rhythm section in the same room has given the new material a distinct energy. With drum and bass tracks largely completed, the “Metal Gods” are now moving into the guitar and vocal phases. Faulkner noted that the sessions “sound really good,” reinforcing the idea that Judas Priest isn’t just surviving—they are thriving.

    We Also Recommend – ‘STILL REIGNING’: The Definitive Judas Priest Albums Ranked List That Crowns the True #1

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    The Best Of Judas Priest: Celebrating a 50-Year Legacy

    While the new studio album is currently in production, Sony Music has announced a major stop-gap release to celebrate the band’s five-decade dominance. The Best Of Judas Priest is slated for release on June 19, 2026. This collection is being positioned as both an entry point for the new generation of “Metal Maniacs” and a definitive high-fidelity compilation for the die-hards.

    The tracklist spans the band’s entire evolution, from the early grit of “Rocka Rolla” to the Grammy-nominated intensity of “Panic Attack.” The release will be supported by a string of high-profile festival appearances, including a massive headline slot at Bloodstock Open Air in August and a return to the Eventim Apollo in London. This “Best Of” era acts as a victory lap while the band simultaneously builds the next wall of sound in the studio.

    Rob Halford and the Future of British Steel

    Frontman Rob Halford continues to defy the laws of physics and vocal longevity. In addition to the Priest sessions, Halford has been a visible force in the 2026 metal scene, recently contributing to Accept’s 50th-anniversary album, Teutonic Titans. His dedication to the craft ensures that the upcoming Judas Priest record will maintain the high-frequency “Painkiller” intensity fans expect.

    The band’s 2026 “Faithkeepers” tour will see them traversing Europe and the UK, effectively bridging the gap between their legacy hits and the future of the band. As Faulkner put it, there is no plan for retirement; the focus remains entirely on the next riff, the next tour, and the next chapter of heavy metal history.

    Check This Out – Rob Halford Unmasked: 13 Surprising Facts About The Judas Priest Metal God

    rob-halford-married

    FAQ: New Judas Priest Music & Album News

    • When will the new Judas Priest album be released? While recording began in early 2026, an official release date has not been set. Based on current progress, a late 2026 or early 2027 window is likely.
    • What is the next Judas Priest release? The Best Of Judas Priest, a career-spanning collection, arrives on June 19, 2026, on CD and Vinyl.
    • Who is in the current Judas Priest recording lineup? The sessions feature Rob Halford, Richie Faulkner, Ian Hill, Scott Travis, and Glenn Tipton (contributing), with Andy Sneap handling production duties.

    Band Bio: Judas Priest

    Formed in 1969 in Birmingham, England, Judas Priest is one of the most influential heavy metal bands of all time. Known for pioneering the “leather and studs” look and the dual-guitar attack, they have sold over 50 million albums worldwide. With classics like British Steel and Painkiller, they were inducted into the Rock and Roll Hall of Fame in 2022 and continue to define the genre in 2026.

    STAY LOUD: Catch the full breakdown of what’s happening in metal news today on the Loaded Radio Daily Podcast, or crank the hard rock and metal on our 24/7 Live digital stream.

    The post 20TH ALBUM CONFIRMED: Judas Priest Hits Nashville Studio as Richie Faulkner Teases “Organic” New Sound appeared first on Loaded Radio.

  • LIVE REVIEW: Steel Over The Solent (Portsmouth, UK)

    The beginning of a brand new heavy metal festival here in England is very welcome news. Having been some years since the likes of Live Evil or the one-off Studfest, this was a void that needed filling. Thankfully the superb True Steel Promotions stepped up to the mark and brought us this fantastic day of heavy metal mania.

    Dethonator kicked things off but sadly due to train timing I got there just after they finished. So apologies guys, will try and catch ya another time.

    Toledo Steel gave a belting performance of heavy metal thunder. As local heroes, it felt a wholesome first set of the day for me with skilful delivery from the whole band whose tried and tested formula went down very well with the crowd.

    Power Surge fire in with a very clean-cut heavy metal attack with some virtuosic guitars, soaring vocals and hard rhythms. Their well-rehearsed set had a somewhat more modern than most heavy metal stuff I tend to go for personally, but their skills were undeniable and those more into a modern production will certainly find a lot to enjoy here.

    Elixir are the first of the classic NWOBHM bands and a band I have seen a couple of times before. For me, this was the best set yet, the band have gotten better and better with time. Their classic “The Son of Odin” album being performed in full was a real treat and their live show was full of energy and sounded just like the record. “Children of Tomorrow”, “Treachery (Ride like the Wind” and “Trial by Fire” were real highlights for me, delivered with total power.

    Saracen continues the old guard’s appearance with a majestic set of progressive and rocking anthems. Mostly centred around their classic “Heroes, Saints and Fools” record, we got a passionate performance with a superb mix that really conveyed their fantastical nature. “Rock of Ages” is a favourite anthem when it comes to putting on a stack of NWOBHM 7″ from the collection so seeing it live again is always excellent. Their set, culminating in “Ready to Fly” closed things with a terrific bang. This was one of my most anticipated performances of the day and it certainly did not leave me anything short of ecstatic.

    Quartz hit the stage next, their setlist contained a cool balance of their cult discography which still rocks as hard as ever. Feeling very to-the-point with their sound, this was another band which is rare to see play here in their home country (last time seeing them for me was in Germany at Keep It True Rising). Clearly people were very happy to see the Birmingham rockers down south, as could be proven by the amount of Quartz patches, badges and so on around the room. Closing with a cover of Black Sabbath’s “Heaven and Hell”, the pure old spirit of the festival was not dwindling at all.

    Holocaust was my personal highlight of the day. As one of my favourite NWOBHM bands, their more aggressive and in-your-face performance saw the Scots valves smokin’ as they unleashed heavy metal mania. Once again we got a full album set, this time the immense “The Nightcomers’ being played from start to finish. Clearly you are only as young as you feel, because these Edinburgh gents could still ferociously deliver pure sonic thunder! John Mortimer had a killer stage presence which in some of the slower moments gave him this sinister presence that was quite cinematic while the rest of the band joined him in consistently hitting hard with no remorse. A legendary moment that I look forward to repeating in London and Romania later this year.

    Wytch Hazel* brought the night to an end. The stage completely transformed for the final band and headliner of the festival. Everything the band touched suddenly turned into white and gold. Smoking valves were extinguished with white drapes, covering the amps over with ivy plants, candles and goblets. There wasn’t a single detail that felt out of place, we have definitely entered their parish and piece of history. But don’t be fooled by appearances, the spirit of heavy metal continued to shine through! Powerful duel guitar harmonies and captivating vocals were still amongst us. Wytch Hazel are celebrating the 10th anniversary of their first album, and graced their set with a healthy mix of old and new songs, ranging from their last album “V. Lamentations” all the way to their first album “Prelude” as well as even earlier releases such as “Surrender”. Cheering with us, goblet in hand, their commemoration was truly an uplifting end to the festival. *Wytch Hazel review by Amelia.

    This was easily one of my favourite all-dayers to occur on English shores ever. From the supreme mix of classic legends and newcomers sharing the stage to the audience of die-hard metal lovers through to the venue’s decor of flags from Maiden, Manowar, Priest, Angel Witch and more right until the after party where DJ Amy Sentinel was blasting anthems of the truest order. The sound was killer, the lighting felt like an 80s b-horror prom night, everything ran on time. There was even a cool record vendor selling some great LPs and a NWOBHM fanzine available (grabbed one, excellent work from Overdrive!). I simply cannot overstate how much of a success this event was. Hail to True Steel Promotions, DJ Amy Sentinel, my brothers and sisters in Crimson Storm HMFC and all others rockers, delinquents and undesirables who made it so special.

  • Saving Vice unleash cinematic new single “The Shadow”

    Vermont-based metalcore powerhouse Saving Vice has officially returned with their highly anticipated new single, “The Shadow”, released worldwide via Arson Theory. Known for a sound that effortlessly bridges the gap between crushing heaviness and cinematic atmosphere, the band’s latest offering is a melodic yet undeniably raw statement that solidifies their standing in the modern metalcore … Continue reading Saving Vice unleash cinematic new single “The Shadow”

  • Motionless In White Teasing A “Massive” Guest For Their New Single “Playing God”

    That track will debut later this week.

    The post Motionless In White Teasing A “Massive” Guest For Their New Single “Playing God” appeared first on Theprp.com.

  • Mephisto Odyssey’s “CRASH: Reborn (Falling Star Edition)” Featuring Wayne Static Gains Major Spotlight Following The PRP Coverage – @thebeast

    FOR IMMEDIATE RELEASE
    Mephisto Odyssey’s “CRASH: Reborn (Falling Star Edition)” Featuring Wayne Static Gains Major Spotlight Following The PRP Coverage
    Metal Devastation PR is proud to announce that Mephisto Odyssey’s powerful reimagining, CRASH: Reborn (Falling Star Edition) , featuring the late Wayne Static of Static-X , has been featured on the widely read platform The PRP , bringing renewed attention to the release and the story behind it.
    The track, originally tied to the 2000 animated film Batman Beyond: Return of the Joker , has been completely reimagined by Mephisto Odyssey founder Mikael Johnston as part of the project’s 25th anniversary celebration. The updated version delivers a darker, more refined take on the original, blending industrial aggression with modern production.
    The new release also features contributions from legendary guitarist Brad Gillis (Ozzy Osbourne, Night Ranger), adding an additional layer of depth and musicianship to the track.
    According to Johnston, the project was years in the making. After revisiting original demos in 2023, he rebuilt the song from the ground up, alongside remastering efforts by Maor Appelbaum and a full 4K restoration of the original music video using long-lost 35mm footage. The reimagined visual also introduces a darker narrative direction, including a female Joker concept portrayed by Mandy Rachael Perez.
    In recent statements covered by The PRP, Johnston also addressed challenges surrounding the release, alleging that Edsel Dope , current frontman and manager of Static-X, attempted to block the track’s rollout despite it being a Mephisto Odyssey composition. Johnston emphasized that the project ultimately moved forward with label support and has since resonated strongly with fans worldwide.
    Despite the controversy, CRASH: Reborn (Falling Star Edition) has already made a major impact, surpassing over 1.3 million views and reigniting interest in both the original track and Wayne Static’s enduring legacy.
    For fans of industrial metal and the legacy of Wayne Static, this release stands as both a tribute and a bold step forward.
    Media Contact: zach@metaldevastationradio.com
    Check it out here: https://www.theprp.com/2026/05/01/news/mephisto-odyssey-accuse-edsel-dope-of-trying-to-block-the-release-of-a-new-remix-of-their-2000-collaboration-with-wayne-static/

    To experience the Mephisto Odyssey / Wayne Static “Crash: REBORN” collaboration, click here:

  • Thrash, Grind and a Rain of Fire in Csepel – Concert Report on KREATOR, CARCASS and EXODUS’ Budapest Performance

    KREATOR – Krushers of the World Tour 2026 April 13, 2026 – Budapest, Barba Negra On April 13, another excellent metal package arrived on the main stage of Barba Negra. Alongside Nails, the veteran American thrash godfathers Exodus, British grind/death legends Carcass, and Germany’s number one thrash metal export, Kreator, led by Mille Petrozza, all […]

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  • Murdery return with brutal new single “Killing Grandma”

    Spanish death metal outfit Murdery have unleashed their first offering of 2026 with the release of their savage new single, “Killing Grandma”. Dropping on 21st April, the track serves as the first glimpse of upcoming studio material and follows their 2023 release, Bloodshed. The new single was released to coincide with the band’s Spring Annihilation … Continue reading Murdery return with brutal new single “Killing Grandma”