Blog

  • Everything But The Everything Share New Single “Hollow Heart”

    Bay Area indie-rock project Everything But The Everything is entering a new era. What began as bassist, songwriter,
  • Burning Sun – Premiere ‘Quest Divine’ Single And Video

    To promote their third full-length release Power To Survive, due out on August 21st via Pride & Joy Music, Burning Sun have shared a new single/video “Quest Divine”.
    Read more…
  • Reviews: Phantom, Mace N Chain, Iron Slaught, Axemaster (Matt Bladen)

    Phantom – Not Midnight Yet (High Roller Records)

    It’s been quite a good year or so for Mexico’s Phantom, signing to High Roller Records, they have opened up their back catalogue to a wider audience with reissues and now they are poised to let loose their speed metal assault for the first time on the label.

    Not Midnight Yet is a moment in time inspired by that mid to late 80’s speed/thrash sound where everything was faster than everything else. Twin axe harmonies everywhere as the guitars collide and combine through rough riffage and firework display solo.

    The rhythms are relentless, inhuman drumming, with bass gallops like the four horsemen and screamed/shouted vocals torn from the bowels of hell. These comparisons are all deliberate by the way as Phantom are primarily all horror or occult themed in their lyrics, inspired by Mercyful Fate, Razor and Venom.

    Phantom are right at that point where thrash meets black metal, making the NWOBHM style more dangerous and aggressive, however on their third album Phantom also increase the complexity, with some prog rock textures, clean guitars and event clean vocals, but these add to rather than overpower, as Phantom so don’t throw out your leather and chains and it’s Not Midnight Yet for this Mexican metal machine. 7/10

    Mace N Chain – Crowned In Grey Skies (No Remorse Records)


    I think you could make quite a good Venn Diagram about how many members of death metal bands end up forming classic heavy metal outfits.

    Sweden’s David Nilsson is the singer in Feral as death metal band but in 2023 he debuted Mace N Chain with Among The Ancient Pillars, a swords and sorcery inspired solo project that brought out his sword and armour gleaming in the sun, with music inspired by Manilla Road and Manowar.

    On the debut he wrote and played everything but with this sophomore record, Crowned In Grey Skies, he’s joined by drummer Joey Mancaruso (Fortress/Gravesword) this time around but still plays; acoustic and electric guitar, 4- and 8-string bass, acoustic bass and also sings.

    Though a few solos on this record come from special guests in bands such as Smoulder, Vintersorg and Feral. With a drummer now involved Mace N Chain does feel a bit less like a “studio project” there’s a more organic flow though the songs and the writing has become diversified due to not having to write to a computer but a real drummer.

    Crowned In Grey Skies offers new variations on a theme but never moved too far from classic heavy metal. 7/10

    Iron Slaught – Metallic Torments (Gates Of Hell Records)


    More classic heavy metal speed from France now as Gates Of Hell Records bring us the second album from Iron Slaught. Formed in South West France in 2011, Iron Slaught are old school, hitting the accelerator with opening instrumental Harbinger Of Afflictions, which gallops like Maiden track.

    Increasing speed again on Ghastly Obsession where the thrash and black metal inspiration comes in through the intense blast beats, razor sharp guitar sound and raw vocal shouts, though these move towards more traditional vocals on Soldier Of Fortune.

    It’s been 11 years since their debut record and in that time Iron Slaught have matured their underground metal approach with advanced melodies, excellent guitar harmonies and a more cinematic atmosphere, all refined well by the two members with tales of medieval battles, witchcraft and more.

    The bass leads the charge, and while the drum programming does sound a little artificial, Iron Slaught deliver lighting quick classic metal in both English and their native French on this second record, but they never scrimp on the speed, all of these songs gallop, full speed ahead and nothing less.

    Is it worth an 11 year wait? Well yes, but, at the moment this is good studio project that is crying out to get on the road to reach full potential. 7/10

    Axemaster – Of Beasts And Plagues (Cosmic Fire Records)

    Enough of all this heavy metal revival stuff. Axemaster are the real deal.

    Formed in the US Of A in the 1980’s they’re as authentic as you’ll get as with most bands from this era there’s been line up changes, periods of inactivity, reformations but always carrying the heavy metal flame is founding guitarist Joe Sims.

    Of Beasts And Plagues sees an almost fully revamped line up with vocalist Geoff McGraw the only carry over from their last record in 2017. His voice is gruff but suits the style Axemaster bring to the table as classic metal meets thrash and doom, most of their tracks sit in that mid-pace chug.

    The gloomy atmosphere of the doom/occultism influence shifting to slower and rawer moments while they can get fast when they need to, bringing aggression on Dealers and Danse Macabre, and while the production style does vary quite a lot on the record, it’s still a good collection of authentic 80’s heavy metal. 6/10
  • Razorvoid – To Release Debut Record This Fall

    Swedish thrash metal/punk formation Razorvoid have unveiled details and first single in connection with their debut album announcement. Entitled Into The Void, it will see its official release on October 2nd 2026 via Jawbreaker Records.
    Read more…
  • “Hardcore Horror” by Various Authors (Earth Island Books)

    There is an annoying tendency of mainstream publishing to examine underground subcultures through a highly distorted, sanitized, and
  • Midnight Prey – Post New Song

    To taste a first piece of their next studio record Jenseitsritt, due out on September 25th via Dying Victims Productions, German heavy metal trio Midnight Prey present “Torn Into Pieces” single.
    Read more…
  • “Metal is a better place for having a happy, healthy System Of A Down in it.” System Of A Down’s UK return was electric, euphoric and one of the best rock stadium shows in recent memory

    “I love you, man,” Serj Tankian beams, hugging Daron Malakian tightly to a sea of cheers from over 60,000 delirious, onlooking System Of A Down fans. The last time this writer saw the Armenian-American metal heavyweights share a stage – at Download festival 2017 – they looked like they all wanted to be anywhere else, shoulders slumped, static poses and practically ignoring each other. It was a depressing visual for one of millennial metal’s most creative and idiosyncratic bands.

    Today, the vibes couldn’t be more different: singer Serj can barely stop smiling; guitarist Daron’s stage banter is playfully eccentric rather than grumpily off-kilter; bassist Shavo Odadjian looks like he’s having the time of his life. Even powerhouse drummer John Dolmayan’s trademark intensity is broken by the occasional grin. One 40-something fan sat near us remarks in disbelief as he takes in the spectacle: “Are System Of A Down back?!”

    System are indeed back – back in the UK for the first time in almost a decade, a long ol’ absence by any standards in music. There are kids here who wouldn’t have been born when they last played, enjoying their first rock show, hoisted up on the shoulders of parents in matching Toxicity t-shirts. There are teens milling around sporting Serj’s iconic 90s tribal face paint (why didn’t we ever think of that?!) and, of course, a large portion of elder millennials ready to relive their nu metal heydays. Oh, and lots of people in banana costumes. That definitely wasn’t a thing nine years ago.

    Long before System hit the stage, cult sludge heroes Acid Bath get us started in style. Their grimy psychedelic heft fits a stadium stage surprisingly well, even if the echoey thud of Shane Wesley’s bass bouncing off the empty seats at the back creates a head-spinning racket that’s even more of a trip than the far-out visuals splattered across the screens around them.

    Queens Of The Stone Age are masters of their craft at this point, Josh Homme’s casual saunter out on stage suggesting he’s well versed to owning crowds this size. They get a big response from a rapidly growing audience, though a muddy mix sees some of their swaggering riffs lost in the ether. Still, they earn the first pits and crowdsurfers of the day, so it’s very much job done.

    System Of A Down live on stage

    Daron Malakian: lovably eccentric (Image credit: Clemente Ruiz)

    The response that greets Daron Malakian’s arrival on stage around 40 minutes later is deafening, but surpassed almost immediately by the singalongs that accompany Soldier Side; fans are already on shoulders and venue-wide circle pits are already beginning to open up before a proper riff has even dropped.

    Then, the rest of System appear, launch into the dizzy opening crush of B.Y.O.B. and Tottenham’s home ground explodes into joyous, chaotic abandon. What follows is a relentless dishing out of anthemic alt metal ragers – thirty of them, in fact, unleashed at such a pace there’s barely time to remark “How good was that?!” after each song before they’ve already kicked into the next one.

    “These three guys are the best fucking musicians in the world!” Serj remarks warmly at one point, noting that his bandmates “saved my ass” after a slight miscue. Tottenham definitely didn’t notice; the entire floor is a bubbling sea of movement from the first notes of B.Y.O.B. to the final bouncing riff of Sugar, the stands full of people off their seats dancing, jumping and singing their bums off.

    Every song is greeted like a classic but there are undoubtedly highlights. Chop Suey! getting dropped two thirds of the way in sparks bedlam; Radio/Video‘s folky breakdown prompts all manners of shapes thrown; Daron’s now-trademark “I wanna see you spinnin’ around! Round, round, round and round!” command elicits at least 10 massive circle pits across the floor during an electric Toxicity.

    That would all be enough to make this a hell of a gig, but the fact that the band themselves seem genuinely, wholeheartedly pleased to be here is what really puts it over the top. Whatever healing these four lads have done over the past few years has made all the difference: even if we’re resigned to never getting that new album, metal is just a better place for having a happy, healthy System Of A Down in it. Tonight was an absolute treat and one of the best rock stadium shows in recent memory.

    System Of A Down Tottenham Stadium night one setlist

    Soldier Side – Intro

    B.Y.O.B.

    Suite-Pee

    Chic ‘N’ Stu

    Prison Song

    Aerials

    I-E-A-I-A-I-O

    Innervision

    Darts

    Genocidal Humanoidz

    Needles

    Deer Dance

    Radio/Video

    Dreaming

    Hypnotize

    ATWA

    Bounce

    Suggestions

    Psycho

    Chop Suey!

    Lonely Day

    Lost in Hollywood

    Streamline

    Spiders

    Forest

    DAM

    War?

    Roulette

    Toxicity

    Sugar

  • Alice Cooper – Confirms North American Leg Of ‘Alice’s Attic Tour’

    This coming fall, Alice Cooper and his band will return to the stages across the North American lands for his ‘Alice’s Attic’ touring route.
    Read more…
  • LIVE: My Chemical Romance @ Wembley Stadium

    It’s Gerard Way’s World, and we just happen to live in it. Why else would ninety thousand of us be attempting to decipher cryptic messages flashed across the screens of Wembley Stadium in order to try and extract secret messages from our emo prophets mere hours before My Chemical Romance start their show? They’ve always been a puzzle box and tonight proves that the line between hubris and genius, between the greatest show of the year and the musical equivalent of ‘The Room’, is razor thin. We get all four of these qualities in vast quantities and, even more astoundingly, honesty so sharp it grazes. For a brief couple of hours, we are utterly under their control.

    Just like the usual events at Wembley Stadium, tonight is a game of two halves. We’ll politely sidestep the question of whether it’s appropriate to role-play as a Soviet era dictatorship – complete with mock executions, a secret police force and an ever-present Big Brother figure watching from a throne – when the victims of these real life political systems number in the tens of millions, and instead we’ll focus on the sheer drama. Way rewrites our teenage agonies as ecstasies from the moment ‘The End’ opens the show, his scarecrow charisma soaring as he sings for his life at the biggest misery party of the year. One note of ‘Welcome To The Black Parade’ breaks us all. He takes to a podium and delivers it as preaching, our raised fists casting us as actors in his vision. “Once more into the breach,” he snarls. By the time we’ve reached ‘House Of Wolves’, the strength of the music buries his overacting, and its stunning; a song of colossal heartbreak.

    Between the Shakespearean allusions, re-casting ‘Teenagers’ as seventies light entertainment that sparks rapturous screamed karaoke, and a cast member on fire running across the stage, we’re fully bought in. ‘Disenchanted’, the beginning of the end, is just so much grit and punch, an infernal resistance, and the sight of the band playing on in the middle of a fully burning set as rockets flare overhead is one that’s seared into our memories. The entire first act is a testament to magnificent ambition and the lasting power of our favourite album two decades on.

    Then, the real surprises arrive, perhaps even more shocking than seeing the frontman stabbed by a clown. One transfer to the small second stage later and we  see MCR as they really are; a very human rock band, humbled by their success, and ready to give us the emo hit we need. Despite the fact there’s an entire town’s worth of people here, the second stage feels like an intimate little island in the middle of the chaos and a reward for sticking with the band for this long. Our thanks comes in the form of the first outing for ‘Honey, This Mirror Isn’t Big Enough For The Two of Us’ in a decade and a half, and their revelatory cover of Morrissey’s ‘Jack The Ripper’, played live for the first time since 2003. “It’s a little different,” Way remarks, and suddenly we’re witnessing the twisted post punk beauty that could always have been part of their sound. “Oh, we haven’t played this yet on tour! You love rave shit, don’t you?!” Way gently surprises himself before dropping ‘Planetary (GO!)’, and the tiny circular stage becomes the eye of a moshing storm. He might be right about ‘I’m Not Okay (I Promise)’ as well; the “greatest summer jam of all time” conjures a halo of phone screens around them as we slam as one, creating the MCR live moment we all wanted.

    In the middle of ‘Helena’, with waterfalls of guitar raining around him and fireworks lighting the midnight sky above, the vocalist pauses between our shouted lines. “Fuck…” he whispers, barely audible above thousands of screams, the reality of what this show is finally hitting him. We all experienced that frozen realisation over the course of their set at one point or another. It might have been the theatrical microcosm of ‘Mama’, or waiting for zero to hit on the missile countdown above ‘Disenchanted’, or revelling in the vibrancy of ‘I Don’t Love You’, or a million other little moments which reached out to all of is.

    It was a day trip to the world of My Chemical Romance at their finest and a payoff for anyone who clutched ‘The Black Parade’ to their hearts when they needed it the most, but most importantly; tonight could easily be a contender for the title of Show Of The Summer. 

    KATE ALLVEY

    Photo: Matty Vogel

  • Mortemia – Present Cover Of ‘California Dreamin’

    Norwegians Mortemia have revealed their version of the 1965 The Mamas And The Papas classic “California Dreamin”, featuring vocalists: Helle Bohdanova (Ignea), Caterina Nix (Chaos Magic) and Karmen Klinc (Venus 5). Arranged, produced, engineered, mixed and mastered by Morten Veland at Audio Avenue Studios.
    Read more…