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  • Listening Now : Mark Harrell & The Hundred Star Hotel – War Inside My Head

    Mark Harrell & The Hundred Star Hotel’s War Inside My Head arrives as a compelling opener, blending indie folk sensitivity with alt-country grit. The band’s presence adds depth and texture, with warm, organic instrumentation that gradually builds around Harrell’s introspective songwriting. His vocal delivery feels grounded yet emotionally exposed, capturing the tension between self-doubt and the urge to break free. There’s a quiet resilience running through the track, as it shifts from internal struggle toward subtle empowerment. As a first chapter, it sets a thoughtful, human tone—inviting listeners into a journey shaped by vulnerability and growth.

  • Listening Now : Maxime Dangles & Tommy Rizzitelli – Delusion (feat. Craig Walker)

    Maxime Dangles & Tommy Rizzitelli’s Delusion (feat. Craig Walker) unfolds as a cinematic, slow-building piece of electronica that prioritizes atmosphere and emotional clarity over excess. The production is spacious and carefully restrained, allowing subtle textures and evolving layers to breathe, while Walker’s voice carries a sense of introspection and quiet resolve. There’s a gradual lift throughout, as the track moves from inward reflection toward a more hopeful, open horizon.

    Thoughtful and immersive, it feels less like a song and more like a closing statement—one that trades tension for unity and leaves a lingering sense of calm.

  • Listening Now : Telephone Romeo – Ways Of The World

    Telephone Romeo’s Ways Of The World delivers a timeless indie rock feel, balancing melodic immediacy with emotional sincerity. Built on driving guitars, steady rhythms, and a warm, unpolished production, the track carries a sense of openness that lets its message resonate naturally. There’s a heartfelt core beneath the surface, as the vocals convey reflection and quiet determination without slipping into heaviness. It’s both personal and outward-looking, channeling themes of growth, empathy, and perspective.

    Direct, honest, and melodically engaging, it’s a song that feels grounded while still aiming toward something brighter.

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  • Playlist: Sirius XM’s “Dark Wave” — hosted by Slicing Up Eyeballs (4/12/26)

    This week’s “Dark Wave,” hosted by Matt Sebastian, featured music by The Mission, Joy Division, Concrete Blonde, The Chameleons, Pigface, The Birthday Party and more.
  • Playlist: SPAIN 🇪🇸

    Only Spanish bands.

    Only the very, very best.

    The post Playlist: SPAIN 🇪🇸 appeared first on Still in Rock.

  • Jerry Garcia’s “Reflections” Sees Anniversary Reissue

    Jerry Garcia’s “Reflections” Sees Anniversary Reissue

    Back in the mid-’70s, Jerry Garcia was on a roll, touring and recording both with the band which bore his name and GRATEFIL DEAD. No wonder, then, that the half-century expansion of the latter collective’s is to be followed soon … Continue reading

    The post Jerry Garcia’s “Reflections” Sees Anniversary Reissue appeared first on DMME.net.

  • Review SKINDRED “You Got This”

    Skindred has always been a joy to listen to, whether on record or on stage. While their live performances carry an unmatched intensity, their studio albums also deliver pure enjoyment from start to finish. Following the release of “Smile” in 2023, the band returns with their latest studio album, “You Got This,” continuing their signature… Continue Reading →
  • Album Review: Crippled Black Phoenix – Sceaduhelm

    Album Review: Crippled Black Phoenix – Sceaduhelm

    Reviewed by Oli Gonzalez

    Well, there’s unorthodox, there’s far left field…and then there’s Crippled Black Phoenix! Beginning life in 2004 as an expansive musical project that was never designed to conform to typical musical boundaries, they blend post rock, gothic, and progressive metal in a mix that truly is hard to define. Though “Sceaduhelm” provides an insight into this collaborative and ambitious project.

    Things kick off with ‘One Man Wall Of Death’. The use of voiceovers can add real intrigue and an extra dimension to a band that instruments just can’t. Sometimes they’re just straight up annoying and prove to be an unwanted distraction. The voiceover here is very much of the latter, playing over what is a very promising and potentially very enjoyable delicate progressive rock passage. It’s unclear what purpose it serves, and is almost like somebody talking at the cinema when you just want to watch the movie! Though when the voiceover finally clears off, the dynamics shift and we’re treated to a much more cathartic and atmospheric burst to close out the song. I was getting a vibe similar to the 70s/80s era of progressive rock that my parents raised me on. The likes of Genesis and Marillion; and that’s only a good thing! This energy continues into ‘Ravenette’, which reveals itself to be a rather infectious and catchy number indeed, especially with those glossy shoegaze style guitar tones! As well as Belinda’s impressive vocal delivery; ethereal and dripping in opulence.

    So, a rough start maybe but the momentum is gathering.

    Though things get spookier during the opening of ‘Things Start Falling Apart’. Especially with the ominous hypnotic guitar arpeggio and haunting effects that sound like they belong in a 1970s sci-fi movie! Though order is restored and we’re treated to more introspective and cathartic soundscapes which are quickly becoming a signature for Crippled Black Phoenix! What’s also becoming signature is that bleak melancholic undertone which becomes most prominent in ‘The Precipice’. Imagine a Tom Waits style blues ballad, especially with the anguish and palpable pain in the deep rich vocals provided by Justin Storm, and this is what we’re introduced to. All before the gears are suddenly shifted and we find ourselves in a much more uplifting and almost stadium like ballad that washes over you gracefully. You’ll notice that Crippled Black Phoenix don’t really have a fixed lead vocalist and will often swap vocalists on a song-by-song basis to match the emotion and timbre required. This rotation and shifting of vocalists provides a safeguard to boredom and staleness, and speaks to the vast creative reserves that Crippled Black Phoenix possess.

    Album Review: Crippled Black Phoenix - Sceaduhelm

    A little bit of calmer psychedelic spiced ambience in the shape of ‘The Void’ provides space for the album to breath. Definitely forming a whole greater than the sum of its parts. The psychedelics stay whilst the Belinda returns to the mic during ‘Hollows End’ and ‘Dropout’. As does the infectious pulse and eerie undertone, much like a Bjork or Julie Christmas kind of vibe. You feel as though tension is building, and is never fully resolved as we’re building towards something greater. Though some of that is seemingly lost with yet another seemingly unnecessary voice over to begin ‘Vampire Grave’ which is pretty uncomfortable to listen to and is better to just skip in all honesty. Though those who stick to this will see that it serves a purpose in setting the scene for a high tempo gothic rock style ballad. The gothic vibes continue through to ‘Colder and Colder’ though the pace slows drastically, and the walls of distortion are replaced with an introspective melancholic undertone. Justin and Belinda share vocal duties here and complement one another exquisitely.

    If ‘Colder and Colder’ is melancholic, then both ‘Under The Eye’ and ‘Tired To The Bone’ are full blown serotonin drainers! Genuinely, if you don’t feel anything when listening to the ‘Tired To The Bone’ you may just be a robot, or cyborg. The music is much more stripped back and simple, with the strumming of the acoustic guitar and electronic synths setting the melodic foundations for Belinda’s haunting and ethereal vocals to glide over, where she delivers a performance dripping in raw human emotion and sentiment. This is the stand out song of the album as far as I’m concerned; dark and bleak yet achingly beautiful!

    After an album that takes so many bizarre twists and turns, we need something big to end. The rather anthemic chorus and blazing guitars that characterize the final song ‘Beautiful Destroyer’ ends the album on a high; any unresolved tension is released here and provides you with a full brief and closure.

    Let’s keep it 100. Crippled Black Phoenix isn’t going to be for everyone. “Sceaduhelm” is as complex as it is challenging, and at times difficult to decipher. Though those who are willing to be patient and take time to crack this riddle wrapped in an enigma will be gifted with an expansive and rewarding journey into the seldom visited and considered recesses of the vast musical spectrum.

    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: Crippled Black Phoenix – Sceaduhelm appeared first on The Razor's Edge.

  • The 1838 Prophecy: How Victorian Names and “Monday’s Child” Created Wednesday Addams

    The “Full of Woe” Legacy: How Victorian Names Predicted Wednesday Addams

    Some names are chosen. Others feel inevitable. Long before Wednesday Addams stepped into pop culture, her identity was already written—quietly waiting in the shadows of Victorian folklore.

    victorian_names_wednesday_addams_origin_nursery_rhyme

    The Prophecy Hidden in a Nursery Rhyme

    When we think about Victorian names, we often imagine old books, cemetery stones, or forgotten family records. However, one of the most iconic gothic names did not begin in Hollywood. Its origin traces back to 1838, through the words of a Victorian writer named Anna Eliza Bray.

    In her collection Traditions of Devonshire, Bray recorded a traditional nursery rhyme known as “Monday’s Child”. This poem acted almost like a guide for destiny, assigning traits to children based on the day they were born.

    One line, in particular, echoes through time:

    “Wednesday’s child is full of woe.”

    Why “Woe” Became Beautiful

    During the Victorian era, emotion was not hidden—it was elevated. Melancholy carried meaning. Darkness had elegance. While other days in the rhyme promised beauty, grace, or joy, Wednesday stood apart. It carried weight. It carried mystery.

    This fascination with sorrow aligned perfectly with the gothic sensibility of the time. The idea that a child could be “full of woe” was not a curse—it was a poetic identity.

    More than a century later, this same identity would be reborn.

    From Victorian Ink to The Addams Family

    When Charles Addams developed The Addams Family in 1964, one character remained unnamed. The daughter of Morticia and Gomez needed something distinctive—something that carried depth beyond the surface.

    The answer came through poet Joan Blake, who suggested the name “Wednesday,” directly inspired by Bray’s nursery rhyme. With that choice, the character instantly inherited over a century of gothic symbolism.

    Wednesday Addams was not simply created. She was summoned from history.

    Gothic prints and dark art apparel by Edgar Allan Poets

    The Return of Victorian Gothic Names

    Today, the rise of gothic culture has brought these Victorian names back into the spotlight. There is a growing desire for names that feel timeless, mysterious, and emotionally rich.

    If you are drawn to the same dark elegance that defines Wednesday, these names carry a similar presence:

    Victor — A name tied to power and legacy, forever linked to Mary Shelley’s Frankenstein.
    Edith — Soft yet strong, often found in ghost stories and noir narratives.
    Silas — A name that feels rooted in shadowed forests and hidden paths.
    Lenore — Immortalized by The Raven, a name filled with longing and absence.
    Arthur — Echoes of fog-covered London and forgotten legends.

    More Than a Name

    The story of Wednesday Addams reveals something deeper. Names are not just identifiers. They carry history, emotion, and meaning across generations.

    By reaching back to a simple rhyme from 1838, Charles Addams connected modern storytelling to Victorian tradition. He gave his character a foundation built on folklore, poetry, and the quiet beauty of melancholy.

    And that is why Wednesday endures.

    Because sometimes, the most powerful names are the ones that were never invented—only rediscovered.


    👉 Read our full analysis of The Raven

    Enter the Noir World

    The post The 1838 Prophecy: How Victorian Names and “Monday’s Child” Created Wednesday Addams appeared first on Edgar Allan Poets – Noir Rock Band.