ELEINE is back: bigger, darker, and louder than ever. This fall, the band hits the road for their most ambitious headlining tour to date! No longer a “rising star”, ELEINE has become a headlining powerhouse, delivering shows packed with raw energy and an immersive atmosphere only they can create. Years of touring and a massive […]
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Innovative Mongolian rock group and global phenomenon The HU are thrilled to announce a full headline tour across the UK and Europe in September and October 2026, with SKÁLD as special guest. In addition, The HU will join Iron Maiden at Knebworth Park in the U.K. on July 11th along with The Darkness, Airbourne, and […]
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23rd February 2026
Support: The Black Dahlia Murder, Frozen Soul
Words & Photos: Tim Finch
German titans Heaven Shall Burn brought righteous fury to XOYO in Birmingham on a damp Monday night, turning the intimate Digbeth venue into a pressure cooker of blastbeats and circle pits.
Opening the night were Texan death metal wrecking crew Frozen Soul, who wasted no time living up to their name. ‘Encased in Ice’ and ‘Chaos Will Reign’ landed like concrete slabs, thick tones grinding through the low blue lights and thick stage fog. There’s something unapologetically old-school about Frozen Soul’s approach with no frills, no gimmicks just caveman riffs and pit-summoning grooves delivered with surgical heaviness.
‘Morbid Effigy’ and ‘Absolute Zero’ kept the momentum punishingly steady, while ‘No Place of Warmth’ and ‘Arsenal of War” leaned into that Bolt Thrower-esq stomp that feels tailor-made for live destruction and on point in the Throwers home town. By the time they closed with ‘Invoke War’ and ‘Crypt of Ice’ the early crowd had fully thawed into a mass of swinging limbs. It was a no-nonsense, riff-driven opener that set a high bar for the evenings events.
Next up were melodic death metal stalwarts The Black Dahlia Murder. ‘What a Horrible Night to Have a Curse’ immediately ignited the floor, its machine-gun riffing and breakneck pace whipping the crowd into a frenzy. The dual guitar leads of ‘Kings of the Nightworld’ powered above relentless drumming and a vicious bass line.
‘Aftermath’ and ‘A Vulgar Picture’ showcased their ability to balance savagery with melody, while ‘Mammoth’s Hand’ and ‘Cursed Creator’ delivered pure whiplash frenzy. A moment for vocalist Brian Eschbach to mix up the set list brought an air of hilarity to the otherwise vicious set, his mistake quickly and humorously corrected by drummer Alan Cassidy’s calls from the back of the stage.
Closing with ‘Nightbringers’, ‘Everything Went Black’ and the anthemic ‘Utopia Black’ they turned XOYO into a swirling vortex of hair and horns. It was a masterclass in modern melodic death metal and a chance to warm the room left icy from Frozen Souls previous terror.
As we await the headliners, Hall & Oates classic ‘You Make My Dreams’ is plying over the PA, and a wave of voices sing out in time. Who knew death metal fans were admirers of this classic outfit?
When Heaven Shall Burn stormed on with ‘War Is the Father of All’ the shift in intensity was immediate. The volume was raised and the intensity rose a gear or two. ‘Voice of the Voiceless’ and ‘My Revocation of Compliance’” were delivered with clenched-fist urgency, Marcus Bischoff commanding the stage appearing sporidcally as the strobes lit him and shadowed him in equal measure.
‘Godiva’ and ‘Counterweight’” hit with weight, longtime fans roaring every lyric back at the stage, whilst others pitted with glee. ‘Armia’ and ‘Confounder’ kept the pace relentless, , the band’s chemistry was undeniable visibly feeding off the crowd’s energy.
‘Thoughts and Prayers’ landed with pointed relevance, its title alone drawing knowing cheers before the breakdown detonated. It’s in these moments that Heaven Shall Burn truly excel, channeling anger and frustration into something communal and explosive.
Closing with ‘The Weapon They Fear’ the band left nothing in reserve. The final notes rang out over a sea of raised fists, sweat-soaked smiles and exhausted bodies. In a venue the size of XOYO, the experience felt intensely personal and what a special night it was.
Photo Credits: Tim Finch Photography
The post Live Review: Heaven Shall Burn – Birmingham appeared first on The Razor's Edge.
23rd February 2026
Support: The Black Dahlia Murder, Frozen Soul
Photos: Tim Finch
We look back at the epic Heaven Shall Burn show, through the eyes of our photographer Tim Finch!
All photo credits: Tim Finch Photography
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Sylosis, Revocation, Distant & Life Cycles, O2 Ritz Manchester, 21.02.26
Manchester didn’t just host a metal show tonight. It survived one.
As Sylosis rolled into town, the venue was already buzzing before doors properly opened. You could feel it in the air. That low, electric tension that only comes before a heavy show where you know things are about to get out of control. And from the very first note, that tension exploded.
Life Cycles (8) kicked things off with zero hesitation. No slow build. No easing in. Just heavy, punishing riffs that instantly snapped the crowd into motion. From the first breakdown it was a sea of heads moving in unison, bodies crashing together as the pit formed almost immediately.
The front filled with moshers within seconds, crowd surfers were already flying over the barrier, and somehow — unbelievably — a small kid throwing himself into the chaos proved this one was for the fearless. Their new song hit especially hard live, sounding bigger and nastier than it had any right to this early in the night. It was a proper statement opener and set the bar high.
Distant (10) took that already boiling energy and twisted it into something darker and more unhinged. The room shifted from hyped to outright feral. This was where things got wild. Kicks and fists were flying in every direction, massive circle pits swallowed half the floor, and there were two-steps happening at all angles.
The breakdowns felt seismic, the kind that make the floor bounce and the walls shake. It was heavy, relentless, and borderline violent in the best possible way. Security barely had a second to breathe as surfer after surfer came crashing over the barrier.
Then came Revocation (7), and somehow the intensity climbed again. Easily one of the wildest crowds of the night, maybe the wildest overall. Crowd surfers poured forward one after another in a constant wave. Musically, they were razor sharp.
Clean, cutting riffs sliced straight through the chaos, technical but never losing that raw aggression. Every transition was tight, every solo landed perfectly, and the crowd responded to every single shift. It was controlled precision on stage while the room completely erupted around them.
By the time Sylosis (10) hit the stage, Manchester was beyond ready. The lights dropped, the intro hit, and the place detonated. They didn’t just deliver. They dominated.
The new album sounds insane live, somehow even heavier and more punishing than on record. The guitars felt thicker, the drums hit harder, and the vocals carried a commanding presence that controlled the chaos rather than getting lost in it. The pits were the biggest and craziest of the night, constant motion, constant bodies flying, no room to stand still even if you wanted to.
One of the standout moments came mid-set when the singer spotted a kid who’d been crowd surfing all night. Instead of brushing it off, he brought him up again and handed him a drumstick, a genuinely class moment in the middle of total carnage. It was chaotic, yes, but there was that sense of unity underneath it all. Everyone there understood the energy. It was aggressive, but it was shared.
Vocals were powerful and commanding throughout, cutting clean through the wall of sound. Meanwhile, the guitarist unleashed an unreal amount of headbanging that somehow matched the ferocity of the riffs without missing a single note. The whole band looked locked in tight, aggressive, and completely at home in the madness unfolding in front of them.
From start to finish, there was crowd surfing during almost every song. Not just the big ones, almost every track. It was relentless. Sweat dripping from the ceiling, barriers shaking, voices shredded from shouting every word back at the stage. The kind of night where you leave aching, exhausted, and grinning.
Loud. Brutal. Chaotic. Exactly what a metal show in Manchester should be!
Pix by Marky B Photography DALLAS FRASCA SARAH MCLEOD DALLAS FRASCA & SARAH MCLEOD
Party Cannon have regurgitated their latest dose of absurd extremity with Subjected To A Partying, an amusing play on Dying Fetus’ Subjected To A Beating and the newest statement of intent from Scotland’s most chaotically unhinged export.
Release Date: Out Now
Words: Matty Hunter
Formed in 2010, Party Cannon have built their reputation on pairing punishing, old-school-inspired slam brutality with their own riotous creativity and a colourful, party-fuelled aesthetic that emphatically works.
The band have evolved into one of Extreme Metal’s most recognisable bands, and their growing stature in the modern landscape is impossible to ignore.
Releasing via Unique Leader Records, the nine-track EP delivers crushing slam riffs, remixed cuts, two live tracks and of course, the band’s signature sense of fun. It is available on all major platforms, and can be ordered on CD, vinyl and amusingly, on Nintendo 64 as well, and that particular platform has already sold out on pre-orders.
“We are going where no slamming Death Metal band has before, Nintendo 64,” Party Cannon bassist Clankenstein said. “That’s right, it’s time to get N or get out. To celebrate Daryl ‘The Frogman’ Boyce’s first release as our new vocalist, we decided to make it something truly special, and there’s nothing more special than a console whose lifespan ended in 2001.
“Vominic Stonebones painstakingly designed and ported the cartridge himself. The Frogman sounds like unfettered pressurised sewerage pouring all over these tracks, and we couldn’t be happier with how disgusting these vocals are. It’s a new era of Party Slam.
“It’s been a mental year for Party Cannon. Played every festival ever, toured non-stop, new vocalist, the official addition of a skull man to the band. So we wanted to give you all a taste of the new low the band has sunk to, rather than making you wait seven years for a new album (again).
“We took a slightly different approach to writing this EP. We distilled our sound down to its four main components, slam, goregrind, early 2000s brutal Death Metal, and NYDM and wrote a song that focused on each of those styles while still retaining the Party Slam sound.
“So, one song is slam-focused, one is goregrind, etc. As a spicy treat, we also invited some of our friends to join in on the dumbassery. The EP features remixes from low IQ legends Kmac2021, Frontierer and Ritual Studio.”
Subjected To A Partying opens with Parisian Bed Bug, which is a brutal track that leaves a little introduction to Party Cannon, whether that is for a first-time listener or an OG fan. The track is one that does not let up on killer riffs, the best drumming on the record, in my opinion, and it has several humorous samples, which, for me, I am a huge fan of.
Track two is my favourite track that Party Cannon have released to date. Thirst Trap officially dropped as a single on 13 June 2025, and fans who caught Party Cannon live in the second half of last year will have heard this song played. I heard it live when they supported Nekrogoblikon in September, and I could not help but have a smile on my face the whole time as I admired the spectacle and listening assault that it was.
It is whimsical as ever, and despite only being two minutes long. It has a chaotic song structure, and every element of the track makes for a great listen, and it is already a fan favourite at their live shows.
The following song is High Tariff Behaviour, which also dropped last June and has already been played live on many shows that the band have done since. It opens with a hilarious sample of Plankton from SpongeBob SquarePants exclaiming, “Good grief, he’s naked”, before bursting into a cacophony of noise for four minutes.
It is brutally slamming and keeps you engaged for its duration, and for anyone who has never listened to the band before, it is a perfect example of what their music is about.
Improper Use Of A Speculum is next, which was dropped last Halloween as a treat for the fans, and the musicianship on this one is particularly admirable, with Martin Gazur’s snare sound being filthy. Clocking in at just under five minutes in length, it makes you want to mosh and is again a highlight of Party Cannon’s set of late.
The lyrics for this song make you feel for the person who has suffered this unfortunate event with the surgical instrument. I will let you look them up.
Tracks 5-7 are remixes, and they add even more chaos to the already hectic tracks. Thirst Trap (Kmac2021 remix) is heightened with elements of drum & bass and techno, but it just works. Low IQ Behaviour (Frontier Remix) follows in the same vein and is full of welcome surprises. The final remixed track, High Tariff Overture (Ritual Remix), further highlights the insane vocal talent of Daryl and is chaotic as hell.
Finally, the EP closes with two live tracks, both from a show in 2025 in their home country of Scotland, in Glasgow, only about 40 miles away from their hometown of Dunfermline. These are High Tariff Behaviour (Live in Glasgow 2025) and Human Slime (Live in Glasgow 2025), the latter of which is a track from the band’s latest album Injuries Are Inevitable.
The two songs highlight the humour of the band, marring spewing vocals with blunt precursors about the songs’ meaning and even an order for the crowd to perform a push-up pit at one, and I can vouch that this is great to see live.
This EP will drop less than a month before Party Cannon teams up with New York slam institution Internal Bleeding, with support from slam heavyweights in Guttural Slug, for the UK/IE Vomitour, which will steamroll its way across the UK and Ireland in April, into the start of May.
Billed as “the dumbest tour of the year,” the trek will see Party Cannon and Internal Bleeding trading headline-length sets each night, promising high-tariff behaviour and extreme IQ loss in equal measure.
Bassist Clankenstein says the band have put together “a lineup that can only be described as the epoch of barbarity” and recommends that fans wear a helmet, because injuries at these shows are pretty much inevitable.
I will be in attendance on the first night of the tour in Newcastle. Stay tuned for my review of what is sure to be a chaotic, IQ-lowering concert.
Tour tickets are on sale now via linktr.ee/PartyCannonUK. Subjected To A Partying is out now via Unique Leader Records. For more details, visit party-cannon.com.
