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It celebrated the 50th anniversary of the Ramones' debut album. Continue reading…

JUNO award winner Steve Marriner joins the Blues Rock Show to discuss how the Blues Brothers movie sparked his love of music, Canadian musicians who need more attention in the States, who he’d love to produce for, the biggest pivot in music over the past five years, how fatherhood has changed him, and more.

The post The Blues Rock Show with Steve Marriner appeared first on Blues Rock Review.

Interview: Scott Black of Green Lung

Interviewed by Tim Finch

As Green Lung ready themselves to release fourth album ‘Necropolitan’, guitarist Scott Black stops by The Razor’s Edge studio for a chat.

We discuss the early days of Green Lung, their fiest show opening for Desert Storm, the rapid rise in their popularity and how the band are handling it. We discuss the new album, how it all came together and where Tom comes up with the theming. Scott talks about the help Nuclear Blast have given them, plans for the December tour and where they go next from here.

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

The post Interview: Scott Black of Green Lung appeared first on The Razor's Edge.

Krankenhaus Festival 2026 review

The post Krankenhaus Festival 2026 : Live Review appeared first on Louder Than War.

The post The Number Ones: The Cast Of <em>Encanto</em>‘s “We Don’t Talk About Bruno” appeared first on Stereogum.

Mastodon's Brann Dailor discusses his fondness for the 1986 film 'River's Edge,' how it received a nod on the 'Marrow Deep' album and how it played into his friendship with Joey Jordison. Continue reading…

“Sorceress”, the latest new single from Mistress Of Our Time‘s forthcoming studio record Watcher, is out now and available for streaming with an official music video.
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A decade after the release of their debut album Seraphical Euphony, Swedish melodic death black metal operatives Hyperion are now ready to unleash the new one. Dubbed Elysia, it will be set free later this year through via Willowtip Records. Cover artwork and tracklist can be checked out below.
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You already know that Opeth has the Sweden spot, but WHICH Opeth album did we pick?! Continue reading…

Who is this man who bears a pentagram and drapes his horse with astrological signs? Why does he carry a scythe, and why is he wearing armor? What does he see in the distance beyond the farmland? As the face of Armageddon Scars—debut LP of Louisiana sludge-doom duo Fane—he stands as a symbol for its contents, “[e]xploring themes of endurance, damage, and aftermath” by referencing an old world perhaps not so dissimilar from the present one. We may not get answers to our opening questions, but Fane’s musical expression can speak for itself. But in this genre epitomised by down-tuned dourness, is what it says any less vague and unanswerable?

Armageddon Scars sounds exactly like you think it does: a bit fuzzy, a bit wobbly, steady, sometimes groovy, but all in moderation. It finds some middle point between the promo’s advertised YOB, Primitive Man, and Crowbar, which manages to be quite listenable despite how that may sound. There’s a consistent atmosphere of stoicism, formed through the variously soft and spikey aspects of stoner-adjacent guitar drawls and grittier sludge chugs, that’s more than endearing. As opener “Flatline” fades in through the chirping of crickets and muted chords, this feeling starts to increase, augmented by the biting gutturals that take the lead and the tempo upshift that is echoed in the consistent turns of the album’s remainder.

Fane come into their own with a textured hook and the coalescence of passion with rhythmic delivery. It takes a while to get there, but “Flatline”‘s lead refrain hits a satisfying groove in its blended stoner-sludge riffs and crashing cymbals; “Poisoned Crown” fares better in delivery speed and general quality, but you do have to wait until the end of the album to reach its syncopated percussion and drawling soloing. This percussion is consistently enjoyable to listen to, but hits best when the album steps out of the template just a tad and messes with patterns (“Flatline,” “Passages”). Likewise, while Armageddon Scars remains melodically driven by simple yet effective riffing—and the theme in “Mariner” stands out particularly here—it’s usually when Fane mix in a little more dissonance or complexity that their solid base feels strongest. A guitar line whose twisting dissonance (“Dead Shepherd”), or high mirroring of another (“Flatline”) adds welcome urgency and intrigue. The bouts of atmosphere in the mix—to bring in the sounds of the sea, introduce the opening chords, or cloak the album’s only true solo—also contrasts nicely with the more solid foundation. When screams pitch above the fracas for vicious (“Passages,” “Mariner”) or agonised (“Dead Shepherd”) emphasis, they successfully pull their sober surroundings up with them, whose weight then lends these moments the punch they need.

Yet despite such signs, Armageddon Scars falters in large part because it fails to distinguish itself. There’s a fine line between a reassuring familiarity and staleness, and Fane fall on the bad side more often than not, with the bulk of the riffing and rhythms occupying that middle Venn diagram of their influences. It’s seemingly not for lack of imagination or skill, as the above indicates the band are experimenting a little and adding at least some layers and elements of darkness, atypicality, or poignancy. What’s there is just not enough to counteract how quickly the admittedly good rhythms and refrains lose their vivacity, and sometimes it even goes badly, as with the spoken-word (“Mariner,” “Passages”) that comes across as bland and non-committal. Perhaps the album’s greatest compliment just is its commitment to a singular sound and the fact that Fane have still made it just that bit more modern, but it feels like a shame in the face of their evident efforts beyond this.

Armageddon Scars is a strong album buried in a forgettable one. There’s enough to it that any fans of this sludge-doom sound will likely find something to believe in, even though it doesn’t convince me personally. Fane may have a brilliant journey and mysteries to unravel ahead of them, but currently there appears to be only unexplained adornments on a well-trodden scene.

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Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records (Octopus Rising)
Websites: Bandcamp | Instagram
Releases Worldwide: August 28th, 2026

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