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Bloodstock Bound: Shadow Company

As Bloodstock gets closer, we delve deep into the line up to find out more about some of the bands playing the New Blood and EMP stages at this years event.

Today we chat with Shadow Company

Please introduce yourselves.

Hi We’re Shadow Company, we have Marty on vocals, Seamus on guitar, Zak on bass and Daisy on drums.

How would you describe your sound?

We’re a bit of a mixed bag to be honest. Our core sound is rooted in groove metal, but we also bring elements of thrash, doom and even power metal in places. We all have very different musical backgrounds and it means we all bring something different to our musical soup.

How did you land your spot on the Bloodstock bill?

We fought our way through a really tough M2TM run at Sanctuary Burnley.

How tough was the competition this year?

The competition this year has been cranked up to 11, we got to the finals last year tool, but the level of polish and talent compared to last year has been insane. With all the good bands on show we were really shocked that we actually won. A couple of standout bands for us this year were Nerve Agents, Azimuth Rising and Pre-empted.

What does playing at Bloodstock mean to you?

It’s hard to really put into words how much this means to us. It still feels a bit surreal that we are about to grace the New Blood Stage on such an important year for the festival. Seeing our name on the same poster as Judas Priest has to be the coolest thing ever.

For people who’ve never seen you live, what can they expect at Bloodstock?

We’ve been putting together our set over the last few days and you can expect heavy, fast paced riffs, brutal vocals and big doom metal breakdowns. Throughout M2TM we’ve been working on a couple of new songs so we’ll be busting them out for Bloodstock aswell.

What day are you performing?

We will be performing on Saturday but we’ll be down all weekend catching bands and hanging out.

What other bands are you looking forward to watching at Bloodstock this year?

There’s a bunch of great underground bands we’re looking forward to catching this year. We’re good friends with the gang in Wailing Banshees and catching them is always a pleasure. We also got to play with the guys in Thrash-Mob earlier in the year and those guys are insanely talented. Manchester winners Technologist are crazy good so we’re going to try to see them. As far as bigger bands go the lineup this year is amazing but to cherry pick a handful the bands we’re most looking forward to are Lamb of God, Castle Rat and obviously Judas Priest.

Playing the New Blood Stage is just the first steppingstone in a bands journey. What’s next in your plans for world domination?

We have been working on a bunch of new material so the first port of call is probably the studio to start getting those released, we also have a bunch of gigs throughout the rest of the year so keep your eyes peeled for announcements on those.

Are you camping with the fans? Which campsite are you heading for?

Touch wood there will be space for us to camp with the fans, we’ve not quite decided which camp we’re aiming for but when we’ve decided we’ll let people know then they can come camp and hang with us if they want. If anyone see’s us come say hi we’ll have a bunch of freebies we’re gonna give out while we’re there.

You’ve gotta keep hydrated at Bloodstock, what is your drink of choice for the weekend?

We’re not a fussy bunch as long as it’s cold and tastes good we’ll drink it!!

See you at Bloodstock in a few weeks!

We’ll see you all there !!

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The post Bloodstock Bound: Shadow Company appeared first on The Razor's Edge.

She put her own spin on the Beatles, Bob Dylan and more. Continue reading…

In the ninth instalment of the series, Louder Than War contributor Martin Gray takes a look back at one of the strangest and most downright deranged albums ever released, 20 Golden Showers by Bubonique, and shares the open secret of its co-conspirators in crime. Read on to discover their identity. Part One: Background: before the […]

The post Lost In The Time Tunnel #9 – Bubonique : 20 Golden Showers (originally released 1993) appeared first on Louder Than War.

Marmozets have released a statement revealing that bassist Sam McIntyre is no longer a part of the band.

Sam has been with Marmozets since their inception, playing on every song and album, including the band’s latest ‘CO.WAR.DICE., which arrived earlier this year.

They have spent 2026 so far touring, including returning to festival stages such as 2000trees and Download.

In a statement shared to the band’s socials, they had this to say:

“We’re taking the time, while on a little break, to inform you that we have parted ways with Sam Macintyre due to the relationship becoming unworkable despite our best intentions and attempts.

Please be assured that this decision is in the best interests of everyone involved.

Thank you for all the love and support and we’ll see you soon…

Becca, Jack and Josh.”

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The post Marmozets And Bassist Sam McIntyre Have Parted Ways appeared first on Rock Sound.

From Kansas City, MO comes Radkey, a pop-punk rock trio of brothers, Dee, Solomon, and Isaiah, who wear their hearts and influences on their sleeves. Having seemingly consumed a healthy diet of Chicago punk, the Ramones, and the Foo Fighters, their latest album, Bedroom Sand, is eight songs in under twenty-five minutes of rock and roll bliss that hit all the right notes. This record is short and punchy, and aesthetically filling. Let’s dig in. 

An eight-song album sometimes feels slapped together: too long to be an EP, but not long enough to be a full-length. Sometimes it can feel too lean. However, there’s just enough fat on these songs to keep them from feeling overindulgent, even if its track count leaves you wanting more. Bedroom Sand opens with a track that puts it all out on front street: big drums, riffs, and high energy, “Victory.”

A fantastic start to an album that surprised me in many different spots. Taking a page from the Dave Grohl playbook, you would think that the band had spent all their energy on that first track, but this train keeps moving. Radkey pivots to the steady one-two punch of punk rock that is “Falling Out of Grace” and “Welcome to the Backyard.” The first side closes with the bouncy and poppy album-titled track, “Bedroom Sand.” It may taper off the sound a bit, but it’s a good breather that serves as a thematic midpoint serving as a tonal pivot before jumping into the rest of the album. 

Side two is just as solid as side one. Opening with “Strays,” a sort of love song for the unloved about the band’s many rescue cats, Radkey managed to subvert expectations but still deliver a track that delivers on what it proposed. There seems to be this underlying feeling that the band doesn’t feel good enough, but “Return to the Sky” and “The Heartless” definitely prove that theory wrong. The record closes with the surfy lo-fi burnout anthem, “Ready to Burn.” It would be a weird song to end the album on, energy-wise, if it wasn’t a great capper to a tight record. Feelings of being outsiders are peppered through Bedroom Sand, but it’s very clear their voice and sound is more than welcome.

Radkey’s Bedroom Sand is a great record. On top of the influences listed above, there are fingerprints all over the record from bands like Squeeze, Hüsker Dü, and the Cars. Lyrics take inspiration from the anime they consume to the feelings of embarrassment at being the worst person in your friend group. Its condensed track list and big sound make this pick a no-brainer. Eight tracks represent a band who clearly put work and love into their craft. The proof is in the record itself. While the band is definitely ready for the radio, we’re lucky to have them here in punk rock. Radkey’s Bedroom San is out now on Little Man Records.

by Geoff Bailie

Released in July 2026 for, presumably, its 50th anniversary, this Yes release comes off the back of two years where multiple new and archive releases have appeared. As a fan of YesAll, that’s not a complaint – it’s amazing! Jason Jones and the team at Rhino who have produced the recent box sets and Record Store Day releases are once again behind this one… and the bar continues to be set high. The packaging doesn’t give us a lot of information and so the assumption is that this is sourced from the radio broadcast of the 1976 show rather than a multi track that could have had some mix / balance fixes – but don’t worry, you’ll not come away thinking you’ve listened to a bootleg!

The story so far … Patrick Moraz joined the band on keyboards, and very quickly they made Relayer before they headed out on tour. Having toured that album, and their position as a live draw being undiminished, they went their separate ways to make solo albums, before what’s become known as the Solo Albums tour in 1976. By this the 17th show of the tour, the solo album material was dropped almost entirely except for some of Story of I in Moraz’s solo and some Olias from Jon as his pot, and was replaced with Ritual from Tales… and that’s the set list of this release.

What you have hear is a powerful performance by, by now, a well drilled band, playing with the same fury and energy as they did in the classic Yessongs era. Siberian Khatru starts the show off and the band hit the ground running. It’s notable that Moraz isn’t doing a straight copy of Wakeman’s part, but he’s not doing anything that makes you feel something is missing. The pace is relentless as the band tackle two from Relayer – a superb live version of Soundchaser with incredible guitar parts from Howe (there is great use of left/ right panning during the guitar cadenza which really brings the piece to life), and searing solos on the keyboards, followed by Gates of Delirium, with its bass and drums showcases. Of course, Gates ends with the beautiful Soon, and Jon Anderson sings incredibly on this hymn-like finale to the suite.

With about 25,000 people in attendance, the crowd get rewarded with I’ve Seen All Good people, and you can hear the audible excitement in their responses. An acoustic Long Distance Runaround follows – if you’ve heard the QPR version it’s similar to that except Howe adds some electric guitar licks in places. That’s all a set up for the solo section, starting with Moraz playing Cachaca (Baiao) and leading into Howe’s familiar Clap. With release of Olias of Sunhillow still being a few weeks away, it’s hard to know what the crowd made of the excerpts played. I think for those who hadn’t heard Olias (everyone?) they probably just considered this to be a harp solo, with some keys and occasional guitars – but it gets plenty of cheers and is one that it’s good to have a great quality release of in the collection.

Solos over, it’s back to the epics and to Ritual! Tales may have had its critics over the years, but the crowd give a great response to this powerful live piece. Writers, Anderson and Howe sing and play beautifully throughout this, and of course Squire and White get that incredible bass and drum feature before the closing Nous Sommes Du Soleil. Moraz is at a bit of a disadvantage due to the few prominent keyboard parts on this track, and it feels like he is also quite far back in the mix, but it still sounds magnificent.

In show terms, it has been about an hour since I’ve Seen All Good People, and the crowd (who have maintained their energy!) are rewarded with Heart of the Sunrise. Listen out for Alan White’s inventive playing during the opening bass solo… there’s a large hint of Bruford, yet something uniquely his own. Jon’s shakers are a bit loud, compared to the Mellotron, but this version rips along with a Yessongs-like energy, as the crowd whoops and whistles. This all leads to a lightning pace Roundabout which you might imagine would be the closer but… Yes return with, I imagine at the time, an unexpected cover of The Beatles’ I’m Down, notable for some great playing from Steve Howe.

It has only been in recent years that the Yes archives have been opened to reveal some amazing live recordings from the 1970s – and this is a worthy addition. The Moraz line up was relatively short lived and this excellent release is a definitely worth picking up if you’re a Yesfan for its mix of lesser-played live tracks and incredible playing by every band member.

LIVE AT ROOSEVELT STADIUM, JERSEY CITY, 17 JUNE 1976

2CD Track Listing

Disc One
“Apocalypse” *
“Siberian Khatru” *
“Sound Chaser” *
“The Gates Of Delirium” *
“I’ve Seen All Good People” *
“Your Move” *
“All Good People” *
“Long Distance Runaround” *
“The Story Of I” (excerpt) *
“Clap” *
“Olias Of Sunhillow” (excerpt) *

Disc Two
“Ritual” *
“Heart Of The Sunrise” *
“Roundabout” *
“I’m Down” *
* Previously Unreleased

3LP Track Listing

Side A
Apocalypse*
Siberian Khatru*
Sound Chaser*

Side B
The Gates Of Delirum*

Side C
I’ve Seen All Good People*
Your Move*
All Good People*
Long Distance Runaround*
The Story Of I (excerpt)*
Clap*
Olias Of Sunhillow (excerpt)*

Side D
Ritual- Nous Sommes Du Soleil*

Side E
Heart Of The Sunrise*
I’m Down*
* Previously Unreleased

The post Yes – Live At Roosevelt Stadium Jersey City – 17 June 1976 (Album Review) appeared first on The Prog Report.

From seedy Sunset Strip origins to the top of the world. Continue reading…

As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).¹ The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.

Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.² Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.

The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.³ Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.

At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.

Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’

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Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

The post Into Darkness – Route to the Outer Side Review appeared first on Angry Metal Guy.

Melodic hardcore band IN SCHWERER SEE has officially dropped the lead single from their highly anticipated debut full-length