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Boston hardcore outfit Haywire have premiered a claymation music video for their track “The Henchmen”. The video was created by Baby Cry Animations, who handled the song’s distinctive handcrafted visuals. The claymation approach gives the hardcore track a unique visual identity, pairing Haywire’s aggressive sound with an imaginative animated pr… Read More/Discuss on Metal Underground.com

Now signed to The Black Crowes’ Silver Arrow Records, the Jim Jones All Stars are fervently preaching the gospel of rock’n’roll

Australian psych rock/metal outfit Battlesnake have unveiled an official music video for their new single, “I Killed Satan”. The clip was directed by Samuel Frank and arrives with the band's tongue-in-cheek assurance that it is “100% human made.” Known for their theatrical aesthetic and ambitious storytelling, Battlesnake continue to lean into … Read More/Discuss on Metal Underground.com

This is the second album from Brazilian progressive doom/post-metal band Loneshore. Nothing Left to Deconstruct contains 52 minutes of immersive soundscapes for the listener to explore. Loneshore’s music is a mix of styles, which can be loosely termed as a combination of progressive doom and post-metal. Whatever you call it though, it’s pretty damn good. … Continue reading “Loneshore – Nothing Left to Deconstruct (Review)”

Album Review: Mork – Monolitt

Some bands like to play the long game, taking their time to assemble all the correct pieces of the puzzle. Mork is the living embodiment of this, with founder Thomas Eriksen taking almost ten years to release the band’s full length debut “Isebakke” almost a decade after the band’s inception. The Norwegian act with the crazy X logo occupying spots on festival posters (if you know, you know) has well and truly spread its wings, reaching to the Far East and Australia and everywhere else in between. Now, they prepare to unleash their latest studio effort “Monolitt” ahead of a European tour this autumn. How will this album compare to their previous release “Syv” ?

Honestly, “Monolitt” is like night and day compared to the rest of Mork’s back catalogue! Whereas older material felt somewhat primitive and rushed in terms of production, “Monolitt” immediately introduces you to a much cleaner and superior overall end product in the shape of ‘Under Vekten Av Verden’. The year 2026 has already seen ferocious black metal releases, whether it’s Mayhem, Darkthrone, Worm, or Stormkeep. However, Mork have found their place in this stacked market with their fresh yet classic sound. A sound that captures the raw fury and blazing infernal atmosphere of the genre’s early days, best illustrated with the blistering effort that is ‘Odelagt’. Though Eriksen and co have clearly invested time in the studio and embraced the best of modern technology, and the evidence is clear!

The dynamics and pace is constantly shifting in a chaotic and unpredictable environment. From the sludgy and mirky depths of ‘Torden’ to the chugging grooves of ‘Ferdament’, as well as the blistering pace of ‘Jutul’ that comes straight for the juggler, you’re a fool for even trying to guess what sorcery Mork will conjure up next! ‘Torden’ and ‘Skromt’ provide oddly uplifting and introspective melodies that form part of the package that constantly challenges the pre-conceived notions of what black metal can and should be. All of this gives the songs much welcome and necessary identity, preventing any from getting lost in the shuffle. If you only have time for one song, make it ‘Utryddelse’. From its cinematic opening, the song reaches staggering heights with an eerie and austere undertone that makes you contemplate your own fragile mortality!

Mork have produced something quite remarkable in “Monolitt”, their most ambitious and mature effort by quite some distance. “Monolitt” is an injection of fresh impetus in a genre that constantly runs the risk of becoming stale, and Mork have done this in an organic and believable manner.

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: Mork – Monolitt appeared first on The Razor's Edge.

Sean Tweedley’s Ooola Hooora is a carefree, sun-soaked singalong that radiates warmth, positivity, and undeniable charm. Built around an infectious melody and an uplifting spirit, the track captures the essence of summer with its easygoing energy and feel-good atmosphere. Beneath its playful exterior lies a thoughtful reflection on the balance between our primal instincts and our capacity for tenderness, giving the song an emotional depth that complements its catchy appeal. Tweedley’s natural storytelling and approachable delivery make the journey feel genuine and relatable, while the memorable hooks invite repeated listens. Ooola Hooora is the kind of song that feels tailor-made for open roads, bright skies, and shared moments of joy.

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Canadian singer’s five-year absence was long enough for his bandmates to fail the challenge of reinventing themselves

The Cloverhearts are a Celtic punk rock band with Australian roots and an international flair. Sam Cooper founded the band, and they have a new album in the pipeline called “Germaniac!,” a surprising title. The band has been on the road a lot, with many shows taking place in Germany. After spending a lot of… Continue Reading →

I spend all day looking for a sign
I wait all week for something to find
And it takes so long just to take my time
There’s too much coming into my mind

Johnny Marr has announced his fifth solo studio album, The Age Of Everything, and unveiled its first single, “Spin.” The 10-track record is set for release on October 2 via BMG, marking Marr’s first collection of new original material since 2022’s Fever Dreams Pts. 1–4. The new single arrives with an official video conceptualized by Marr and filmed in Manchester.

The announcement lands exactly 40 years to the day after The Smiths’ The Queen Is Dead was released on June 16, 1986—a fitting bit of calendar symmetry for a musician whose guitar work helped define the language of Indie-Rock worldwide.

“This is the record that’s been the most cathartic,” Marr says of The Age Of Everything. “The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it’s not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.”

Written in London, developed live on the road across the East Coast of North America, and recorded in Manchester, The Age Of Everything finds Marr moving through tension, optimism, and the jagged machinery of modern life. The album’s ten songs consider the world as it is—fraught, fast, and flickering—while refusing to surrender the future to dread.

As its first single, “Spin” does not open The Age Of Everything with Marr’s usual gleaming rush so much as a taut, introspective mid-tempo churn: a rubbery rhythmic bounce, darkened riffs, and a bass-forward groove pulling his indie-rock/post-punk vocabulary toward a subtly gothic edge. It is still unmistakably Marr—precise, melodic, elegantly cut—but there is a cooler shadow across it, a feeling of circular pressure rather than outright release.

The video, conceptualized by Marr and filmed in Manchester, mirrors that spiral. Shot largely through warped, wide-angle lenses, it places Marr in a stark, almost clinical white modernist interior: seated, pacing, staring into the camera, or holding his guitar like an object of meditation. The brightness is deceptive. The room bends at the edges, the image blooms and smears, and flashes of red tint, blue shadow, and double exposure gradually turn the domestic space into something more anxious and dreamlike. Between the performance shots are fast inserts of a black convertible cutting through green roads, reflections ghosting over Marr’s face, city streets sliding past under overpasses, and high-rise buildings looming upward. At points, fragments of text wash across the walls—“pure seeking,” “transparent layer,” “all touched”—as if the song’s mental overload has become part of the architecture itself.

Watch the video for “Spin” below:

The Age Of Everything will be accompanied by some of Marr’s biggest solo headline shows to date, including a homecoming date at Manchester’s Castlefield Bowl on July 9 and a massive show at London’s Wembley Arena on October 24. Warm-up dates are also set for Leeds Stylus on July 6 and O2 Academy Liverpool on July 7.

Fans who pre-order The Age Of Everything through Marr’s official artist store receive access to an exclusive fan presale. The album will be available on CD, black vinyl, limited red vinyl, and an official-store exclusive three-colour splatter vinyl, along with merch bundles.

The Age Of Everything is out October 2 via BMG. Pre-order/pre-save the album here.

The Age Of Everything Tracklist

1. “Spin”
2. “Beyond The Rain”
3. “It’s Time”
4. “How Come”
5. “Ophelia”
6. “That Feeling”
7. “In And Out Of Love”
8. “Just Once More”
9. “Fire With Fire”
10. “All In A Life”

Johnny Marr Tour Dates:

• June 28 — Live is Live, Antwerp, Belgium
• July 4 — Down The Rabbit Hole, Ewijk, Netherlands
• July 6 — Stylus, Leeds, UK
• July 7 — O2 Academy, Liverpool, UK
• July 9 — Castlefield Bowl, Manchester, UK — Sold Out
• July 10 — Iveagh Gardens, Dublin, Ireland
• July 16 — Verona, Italy
• July 17 — Rome, Italy
• July 18 — Puglia, Italy
• July 20 — Udine, Italy
• July 21 — Sardinia, Italy
• July 23 — 1001 Músicas, Granada, Spain
• August 9 — OFF Festival, Katowice, Poland
• August 21 — Parkenfestivalen, Bodø, Norway
• October 24 — OVO Arena Wembley, London, UK

Follow Johnny Marr:

• Website
• Instagram
• Facebook
• YouTube
• Spotify

The post Johnny Marr Announces “The Age Of Everything” — Watch Video for Album Opener “Spin” appeared first on Post-Punk.com.

Metallica has updated the profile and header images on their social media leading some fans to speculate the band is up to something. Continue reading…