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  • Blood of the Argonaut A Light Went On Review

    Blood of the Argonaut A Light Went On Review

    This song is an assault without any introduction, immediate like the blade of a guillotine. It thrusts you into a wild atmosphere, akin to being overwhelmed by German tanks. It feels like being caught in the torrents of a swollen river. The sound is brutal, cold, and irreverent. A clear display of musicianship unfolds; the tempo is quick, hinting at black metal influences. However, the vocals and attitude lean toward thrash, forming a mix of genres that envelops the listener.

    Blood of the Argonaut A Light Went On

    The band clearly exhibits their identity, making it evident by the thirty-second mark. At this point, the song takes an unexpected pause, allowing the crowd in the mosh pit a moment to breathe. This brief respite sets the stage for an even more intense and violent resurgence. The addition of pads lends a dystopian and unique quality to the piece. The band possesses a distinct vision, drawing the audience into their realm.

    Another twist arises around the one minute and ten-second mark, with another moment of suspension leading into a bridge. This bridge adds a melodic and surprising element, contrasting sharply with the preceding ferocity. Following this section, the song launches back into an incredibly violent rhythm. The transitions in tempo and harmonic variations are exceptional. The overall sound remains robust and powerful.

    A Light Went On – Sound and Atmosphere

    This band is unyielding, presenting their music with an unfiltered intensity. They don’t shy away from confronting their audience, delivering their message with force and clarity. Each element of the composition feels purposeful, contributing to a cohesive experience. The intricate arrangements exhibit a strong level of craftsmanship that speaks volumes about their musical skills.

    The proficient interplay between instruments adds depth to the relentless pace of the track. The energy is infectious; it compels listeners to engage actively with the music. Every transition feels like a strategic maneuver in a battle, keeping audiences on the edge of their seats.

    The vocals, charged with emotion, stand out against the backdrop of aggressive instrumentation. The lead singer balances harshness with a raw vulnerability, ensuring the performance resonates deeply. It’s this dynamism that sets the track apart from typical offerings in the genre, creating a unique listening experience.

    A Light Went On – Performance and Production

    This single transcends mere entertainment; it evokes a visceral response. It achieves an unmatched intensity. The band’s fearless approach to music is refreshing and invigorating. They are unafraid to push boundaries, challenging conventional genre norms while maintaining their authenticity.

    Lyrically, the song could hold deeper meanings, inviting listeners to interpret the message for themselves. This ambiguity adds to the song’s richness, encouraging repeated listens to grasp its full essence. The structure remains engaging throughout, with each moment carefully crafted to maintain momentum.

    This track is a bold declaration from an emerging band. They deliver a thrilling musical journey imbued with fervor and confidence. “A Light Went On” highlights the remarkable talent of Blood of the Argonaut, marking them as a significant presence in the current music landscape.

    This experience is undoubtedly a delightful discovery, indicative of a band that deserves attention and respect. Their ability to blend genres while maintaining their identity is commendable. “A Light Went On” is a strong offering and a promising glimpse into their future endeavors.



    Fierce

    🔥 If you love this music: Discover More


    Find Blood of the Argonaut here:
    Spotify | Instagram

    The post Blood of the Argonaut A Light Went On Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • super guru Be Like You Review

    super guru Be Like You Review

    The song begins with a compelling guitar riff that feels epic yet dystopian. This introduction creates a somewhat unstable atmosphere. It features a peculiar harmonic and rhythmic progression, showcasing the artist’s intriguing vision right from the start. During the verses, the song maintains a tight grip on the listener. However, it dramatically explodes into the chorus, radiating an infectious energy.

    super guru Be Like You

    The lyrics explore the theme of people who seem supportive but end up bringing you down instead. The essence of the song encourages listeners to always trust their inner instincts and to be cautious about relying too much on others. With this message, the track resonates deeply, appealing to those who have experienced similar situations.

    Dynamic range serves as a significant strength in this piece. The transitions throughout the song keep the audience engaged, showcasing the artist’s skills. Notably, around the 1:45 mark, the track notably empties for a brief pause. This moment effectively heightens the intensity when the song erupts back to life with renewed strength and vigor shortly after.

    Be Like You – Sound and Atmosphere

    Musically, it fits comfortably into the rock genre. The production quality and conceptual framework are modern, illustrating the artist’s remarkable songwriting abilities.

    This track doesn’t shy away from addressing complex emotional themes. It captures the struggle of discernment in relationships, urging listeners to remain true to themselves.  From the first strum of the guitar to the final beat, listeners are taken on a journey. Super Guru’s artistry shines through with bold choices in lyrics and melody.

    Be Like You – Performance and Production

    The versatility of the musical components keeps listeners actively engaged. The ability to ebb and flow creates a captivating journey through the artist’s emotional landscape.

    The overall production elevates the emotional aspects of the song. The careful layering of instruments allows each element to shine without overshadowing another. This balance creates a rich auditory experience.

    Key moments in the track create emotional peaks that challenge listeners to face their truths. The modern rock elements ensure that it feels relevant to today’s audience while teaching timeless lessons. This combination of nostalgia and contemporary influence is appealing and effectively executed.

    Super Guru proves his merit as a skillful songwriter and musician. Moving beyond mere entertainment, this song prompts introspection and emotional honesty.



    Peculiar

    🔥 If you love this music: Discover More


    Find super guru here:
    Spotify | Instagram

    The post super guru Be Like You Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Rumour Den All In This Together Review

    Rumour Den All In This Together Review

    The sound resonates as pure 90s rock. Powerful guitar riffs deliver an intense emotional impact. The vocal interpretation mirrors the intensity of Chris Cornell. The collaboration between AJ Gilmore, who handles lyrics and vocals, and Steve Simms, responsible for guitar and music, consistently produces high-quality music. This single presents a slightly dystopian feel, particularly in the verses. The sound bears a resemblance to Soundgarden. As the chorus unfolds, the backing vocals take inspiration from Alice in Chains.

    Rumour Den All In This Together

    The authenticity of this music stands out. In a time when sterile sounds dominate the mainstream, this raw, genuine quality is refreshing. The pulsating drums and the crisp snare resonate deeply, allowing listeners to feel the energy of the performance. The guitars and amplifiers exude warmth, characteristic of tube technology, which adds depth to the listening experience. The harmonies are rich, and the chord progression is refined and intense.

    “All In This Together” embodies characteristics of a rock alternative ballad. Grunge elements thread through the composition, resonating with the listener’s soul. The lyrics convey profound themes, engaging listeners on a deeper level. Gilmore’s vision for 2026 reflects a world on the edge, reminiscent of historical struggles. It warns of the gripping clutches of conflicting ideologies, each claiming to possess the ultimate solutions.

    All In This Together – Sound and Atmosphere

    Yet, the answer shared through the song suggests a surrender to authoritarianism. Gilmore points out the inherent dangers in such a submission. This warning draws upon historical insights regarding authoritarian regimes. The song serves as a plea for unity and awareness, inspiring a call for change.

    Musically, the track resonates with the sensibilities of 90s rock while addressing contemporary issues. It creates an experience not only rooted in nostalgia but also relevant today. The balance between lyrical depth and musical intensity ensures this single garners attention and respect.

    All In This Together – Performance and Production

    The dynamics captured within this track facilitate a powerful listening session. It evokes strong emotions linked to personal and societal challenges. By encouraging reflection and discussion, the song remains relatable. It fosters an environment where listeners can contemplate current events amidst the rich tapestry of its sound.

    Overall, “All In This Together” is an enduring piece that evokes a myriad of emotions. It stands tall against the backdrop of contemporary music trends. Its authenticity and relevance set it apart, awakening a sense of urgency in listeners. This effort from Rumour Den serves not only as musical enjoyment but also as a thought-provoking commentary on society.

    Moving forward, it will be exciting to see how Rumour Den continues to develop their sound and message. The world needs voices that challenge the status quo and inspire change. This single is a strong step in that direction.



    Revolutionary

    🔥 If you love this music: Discover More


    Find Rumour Den here:
    Spotify | Instagram

    For fans of:

    Soundgarden • Alice in Chains


    The post Rumour Den All In This Together Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Marilyn Manson Deploys New Single “Front Toward Enemy”

    Along with a claymore edition vinyl pressing of “One Assassination Under God – Chapter 2”.

    The post Marilyn Manson Deploys New Single “Front Toward Enemy” appeared first on Theprp.com.

  • Catlea Someone’s Got To Review

    Catlea Someone’s Got To Review

    From the start, the strumming of the guitar grabs attention and sets an artistic vision. The immediate groove engages the listener, drawing them into the experience. The song then transitions into an arpeggio that complements a melancholic and intense melody. This musical choice envelops the audience in a narrative about self-discovery, especially when love goes unreciprocated.

    Catlea Someone's Got To

    The central theme revolves around resilience and self-love. Instead of succumbing to despair, the lyrics encourage an empowered reaction. The protagonist finds inner strength to embrace life on their own terms. This message is crucial for facing the unpredictability of life. It highlights the importance of self-worth and personal value in overcoming emotional struggles.

    The chorus introduces rich string harmonies that gently rest on the melody, which feels like the first snowfall on an open field. This imagery enhances the song’s emotional depth. The music creates an atmosphere where the listeners can visualize and feel the sentiments being expressed.

    Someone’s Got To – Sound and Atmosphere

    The bridge at 2:37 is particularly striking. The song takes a brief pause, offering a moment of emptiness that feels meaningful. This silence paves the way for a gradual resurgence, building anticipation for the grand finale. It’s a remarkable structural choice, adding depth to the overall composition.

    Catlea’s voice is a highlight of the song. Her tonal quality is beautiful and carries weight in the lyrics. The listener can easily resonate with the emotions conveyed through her performance. She effectively brings the lyrics to life, making them relatable and impactful. Her delivery invites empathy and understanding, enhancing the connectivity between the artist and the audience.

    The arrangements in “Someone’s Got To” are another standout feature. There are no over-the-top embellishments, allowing the message of the song to shine. Each element complements the central theme, amplifying the emotional resonance. This careful craftsmanship demonstrates a keen understanding of musical dynamics.

    Someone’s Got To – Performance and Production

    The overall execution of the song aligns perfectly with its lyrical content. The artful integration of melody, harmony, and vocals creates a intense listening experience.

    There’s a comforting familiarity in the sound of this single, yet it remains fresh and engaging. Catlea continues to establish her artistic identity through this track. “Someone’s Got To” serves as an anthem for personal resilience and an evocative exploration of emotional depth.

    Catlea’s single not only showcases her artistic vision but also offers listeners a meaningful reflection on love and self-acceptance. The song’s structural choices, vocal performance, and arrangements all work together harmoniously. “Someone’s Got To” firmly positions Catlea as a significant voice in contemporary music, capable of touching hearts and inspiring change.



    Resilience

    🔥 If you love this music: Discover More


    Find Catlea here:
    Spotify | Instagram

    The post Catlea Someone’s Got To Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • THE RALLIES – No Better Time

    THE RALLIES – No Better Time

    The Rallies 2026 Seizing the zeitgeist in search of multicolored optimism, four Seattleites set their sights on daydreams that get real. When some musicians try to access the ’60s innocence, the results of such attempts seem quite stylized, albeit unnatural, … Continue reading

    The post THE RALLIES – No Better Time appeared first on DMME.net.

  • Premiere: IN THIS MOMENT ‘Crawl’

    IN THIS MOMENT, the GRAMMY® Award-nominated, multi-platinum heavy alternative force of nature returns today with a new single and music video entitled Crawl. Listen HERE. Most importantly, however, it heralds the arrival of their ninth full-length offering and debut LP for Better Noise Music, WITCH, on AUGUST 28. Pre-order + pre-save HERE. Crawl seethes and […]
  • “He was so wild, I had to move out of New Jersey.” The story of the stalker-inspired song that broke Blondie in the US and made Debbie Harry a new kind of role model

    With its seductive snarl and hooky riff, One Way Or Another provided a bridge between Blondie’s grimy, CBGB past and glossy commercial future. It is in many ways the quintessential moment from the ultimate new wave album, 1978’s Parallel Lines, which yielded six singles in the US and UK and sold more than 20 million copies worldwide.

    Those statistics would have been inconceivable just two years earlier. Blondie were the least likely candidates for global fame to emerge out of New York’s seedy punk milieu. Ramones, Television and Talking Heads were all marked out for critical, if not commercial, success. Blondie, by contrast, were regarded as a joke, with their attempts to bring girl- group sass to garage rock.

    And then in 1977 their single Rip Her To Shreds, from their self-titled debut album, became a Top 5 hit in Australia. Suddenly it didn’t seem ludicrous at all that this platinum-blonde sexpot backed by four identikit, dark-haired male musicians should become a mainstream staple. And by 1978 that’s exactly what happened: Denis, (I’m Always Touched By Your) Presence Dear and Picture This reached numbers 2, 10 and 12 respectively in the UK chart.

    But the group still hadn’t cracked the US market. Enter Mike Chapman, the bubble-glam producer for The Sweet, Suzi Quatro and Mud, among others, who was brought in to finish the job that Richard Gottehrer, producer of Blondie’s previous album, Plastic Letters, had started: to make them worldwide stars.

    “I don’t know if it was that deliberate,” the band’s guitarist and main songwriter, Chris Stein, considers, “but certainly Mike Chapman had been involved in a lot of number one records.”

    Stein agrees that Chapman gave Blondie an essential polish, notably on One Way Or Another: “It definitely connects punk and pop, especially in the vocals and the raw guitars. It’s got the snarl of punk and the glossiness of pop.”

    One Way Or Another was recorded between June and July 1978 at the Record Plant studio in New York. It packed a lot into its three-and-a-half minutes: a snappy guitar riff, keyboards, bass and drums that achieved the perfect blend of tunefulness and menace, some swirling organ, a police siren sound, and a coda that nodded to the band’s 60s garage roots.

    Then there was Debbie Harry’s voice. It started off gently, carrying just enough icy disdain. Soon, though, louche irascibility set in for the ‘get ya, get ya, get ya, get ya’ hook, which swiftly turned into ‘meet ya, meet ya, meet ya, meet ya’. At this point, it became unclear who Harry was playing in this song about a stalker: the protagonist or the prey.

    “He was so wild, I had to move out of New Jersey,” she has said of her ex-boyfriend who worked all day in a chemical plant and drank all night, at which point he would “start after me”, calling her on the hour, every hour, and then hanging around outside her door.

    “The girl in that song is certainly not a victim,” says Stein. “The protagonist is a self-empowered figure.”

    The lyrics to One Way Or Another were written by Harry, while the co-writing credit went to the British-born Nigel Harrison, who had joined the band as bassist after Plastic Letters. The basic musical structure was Harrison’s, but the details and flourishes could have come from any of the musicians in the band. “Everybody played their part, and the songs were shaped in the studio,” says Stein.

    Those studio sessions were fraught. Chapman, an Australian living in LA, found his first meeting with Blondie, at the Gramercy Park Hotel, decidedly “unnerving”, perhaps because they sensed that he had been brought in to clean up their act – or rather hone it until they became a well-oiled chart machine. “They were all over the place, musically,” he said. “The group didn’t know what hit them.”

    Chapman’s memory is of the “dark, silent and serious” Harry. As for the others, there was no little antagonism when they realised how hard he was going to work them to turn their demos – “embryos of a musical masterpiece”, as the producer put it – into finished works of pop art.

    “He [Chapman] was a hard taskmaster,” Stein says with a laugh. “He would go over and over a part until we got the right version. That’s something we hadn’t been familiar with prior to working with him. By the time we got to [1979’s] Eat To The Beat it was much more loose. That was like ‘school’s out’ compared to Parallel Lines.”

    Stein got off lightly – during one session Chapman claims to have “rode [Harrison] so hard he threatened to take me apart piece by piece if I didn’t back off. No one,” he adds, “was happy with my technique.”

    It worked, though. One Way Or Another, although never released as a single in the UK, became such a favourite with audiences it felt as though it had been. In the US it reached No.24. It presented a new type of female role model: the intimidatingly glamorous, every bit as tough as Poly Styrene or Siouxsie Sioux, but with added boho, SoHo chic, as though Patti Smith had been remade/remodelled by Warhol.

    Surprisingly, for all its qualities, Stein didn’t think One Way Or Another would make a good single, let alone a hit. “You’re never 100 per cent sure,” he says.

    With a little help from One Way Or Another and its parent album, Blondie became one of the biggest bands of the era. They also invented a new paradigm: catchy, danceable new wave, the sort that has been unavoidable these past few years.

    Asked whether he’s amazed at their achievement, Stein’s wry reply is as pure New York cool as the song itself. “Somewhat,” he says, “yeah.”

    This feature originally appeared in Classic Rock 160, published in June 2011.

  • Release Round Up – July 17th 2026

    Release Round Up – July 17th 2026

    Every week there is a tidal wave of new music released unto the world. Each Friday we’ll round up some of the best new music available, some we’ve reviewed, some we haven’t, but all worth checking out!

    Theres a lot of new heavy music hitting the airwaves this week, everything from black metal, death metal, gothic metal, Stoner rock, doom, thrash metal and even some of your traditional heavy metal!

    Here’s what we think you should check out today!

    ALBUM OF THE WEEK

    Platinum-selling powerhouse Motionless In White release ‘Decades’ via Roadrunner Records.
    “keen to draw the listener into their bosom”
    Read our full review here.

    British thrash force Imperium release debut album ‘Exodus Unknown’ via Heavy Metal Records.
    “an absorbing debut release”
    Read our full review here.

    Canadian Blackened Thrashers Eternal Drak release ‘The Violence of Time’ via FirstWave
    “make time in your life to experience and enjoy the deathly screams and raucous riffs of Eternal Drak.”
    Read our full review here.

    Rock

    Mercers – The Liminal Tapes (Independent)
    Tesla – Homage (Frontiers Music SRL)

    Heavy Metal

    Black Sites – For Eternity (Independent)
    Coffin Hunters – Cosmic Dawn (Bitter End Records)
    Repentance – Retaliate (Noble Demon)
    Ruthless – Curse of the Beast (Fireflash Records)

    Death Metal / Death-Doom / Grindcore

    Carbon Tomb – Passage to a Neutron Star (Transcending Obscurity Records)
    Eaten By Sharks – The Undertow of Hate (CDN Records)
    Ethereal Rot – Ethereal Rot (Independent)
    Horresque – Behind the Door (Independent)
    Mangled Carpenter – Between Blood And Silence [EP] (Rottweiler Records / Broken Curfew Records)
    Psycroptic – The Pulse of Annihilation (Metal Blade Records)

    Doom / Stoner Rock / Sludge / Psych

    Heavy on the Ride – Heavy on the Ride (Independent)
    Holystone – Accepting Omega (Independent)
    Mothertomb – Dying to Live (independent)
    Tomb Slab – Tomb Slab (Road to Masochist)
    Umbersound – Tracks From The Slither (Red Book Records)

    Metalcore

    Boundaries – Yearing: The Unbeautiful After
    Kingseeker – Eldritch Horrors (Braak Records)
    Under Auburn Skies – Diminisher of Hope [EP] (independent)

    Post-Hardcore

    As It Is – As It Is (FLG)
    Quicksand – Bring On The Psychics (Rude Records)
    Too Late, But Still – How Much We Can Take (Cardinal Sun Records)

    Power Metal

    Novareign – Shifting the Axis of the World (M-Theory Audio)
    Stormhammer – Wrath of the Hammer (ROAR)

    Punk

    The Menzingers – Everything I Ever Saw (Epitaph)
    Trivia – Home [EP]

    … and the rest!

    Cinder Well – A Blooming Body (Hen House Studios)
    Poison The Preacher – Things I Want [EP] (Seek and Strike) [Thrash Metal]
    Protest The Hero – Within (Independent) [Progressive Metal]
    Rei Code Zero – Chronicles (WormholeDeath records) [Industrial Metal]
    Riley! – To Live and Die in the American South (Pure Noise Records) [Emo/Pop-Punk]
    The Secrecy – Pins & Needles (Disorder Recordings) [Post-Punk]


    For all the latest newsreviewsinterviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebooktwitter and instagram.

    The post Release Round Up – July 17th 2026 appeared first on The Razor's Edge.

  • Bon Scott at 80: The chaos, contradictions and brilliant mischief – Only in the new issue of Classic Rock

    It’s hard to believe, but had his life not been cut so tragically short, AC/DC’s Bon Scott would be turning 80 years old this month. In an alternate universe, is he still fronting AC/DC with his pirate’s smile and larger-than-life stage presence?

    AC/DC are still out on the road, Mick Jagger and Paul McCartney are both older, and they’re both still out there doing it, so I think it stands to reason that Bon probably would be too. Sadly, though, our universe had other plans, and we lost Bon back in 1980, but his legacy remains. And I wager it always will.

    This issue, Kurt Squiers, AC/DC expert and creator and host of the Beyond The Thunder podcast, remembers the glorious enigma and contradiction that was Ronald Belford “Bon” Scott in the company of those who knew him, admired him, or spent time with him.

    This issue we also talk to Rob Halford about his songwriting and his life in Judas Priest; venture back to the 80s to look at the making of Ozzy’s The Ultimate Sin album; collar Alice Cooper and Joe Perry to talk up their forthcoming Hollywood Vampires tour; go to Canada with The Sheepdogs; chat to Ronnie Wood about the new Rolling Stones album and so much more.

    Sian Llewellyn signature

    Alt

    Features

    Bon Scott At 80
    A Celebration AC/DC’s former frontman, rock’s most beloved rogue remains impossible to define but easy to admire.

    Ozzy Osbourne
    Forty years after the release of The Ultimate Sin, we tell the story of how a fragile but defiant Ozzy Osbourne conquered personal demons to eclipse Black Sabbath.

    Frankie Miller
    When he and his band played a gig to a captive audience at San Quentin prison in 1975, things could have turned nasty.

    The Sheepdogs
    In Canada’s modern-day rock’n’rollers we found the beating heart of a band who wield retro tastes like superpowers.

    Judas Priest
    Rob Halford opens up about the classic tracks, the hard times and the no-compromise that forged the metal gods’ identity.

    The cover of Classic Rock 356, featuring Bon Scott

    (Image credit: Future)

    Regulars

    The Dirt
    ‘Whispering’ Bob Harris steps down; Tony Iommi and Maiden manager Rod Smallwood in King’s birthday honours list; concert, exhibition and tribute album to mark Syd Barrett’s 80th. Welcome back CJ Wildheart and The Menzingers. Say hello to Frenzee and The Gnomes. Say goodbye to Dave Greenslade, Walter Parazaider and Sonny Rollins.

    The Stories Behind The Songs: B-52s
    How Rock Lobster, kooky song about undersea life, became a new-wave dance classic.

    Q&A: Ronnie Wood
    The Rolling Stones guitarist and own band leader on the new Stones album, its guest appearances, a new Faces album, Einstein and more.

    The Hot List
    We look at some of the essential new tracks you need to hear and the artists to have on your radar. This month they include These Wicked Rivers, Dead Pioneers, Split Dogs, AA Williams, Public Opinion, John R Miller, Getdown Services and more.

    Reviews
    New albums from Foreigner, Muse, Robyn Hitchcock, Big Country Redux, Fantastic Negrito, Armored Saint, King Crimson, Koyo Bloom, Bywater Call and more. Reissues from Thin Lizzy, Small Faces, Sendelica, Hawkwind, My Chemical Romance, Motörhead, Frank Zappa, Clutch, Status Quo, Supertramp and more. DVDs, films and books on Clem Burke, Def Leppard, David Bowie, Paul Di’Anno, Bruce Springsteen, Sex Pistols and more. Live reviews of Linkin Park, Dogstar, Skindred, Guns N’ Roses, Limp Bizkit, B-52s, Jason Isbell, Jon Spencer.

    Buyer’s Guide: Levellers
    The recorded manifesto of the politically charged folk-punk-rock survivors are still casually ignoring musical trends.

    Lives
    We preview tours by Saxon, Hollywood Vampires and Tuk Smith. Plus gig listings – who’s playing where and when.

    The Soundtrack Of My Life: Bruce Watson
    The Big Country Redux guitarist picks his records, artists and gigs of lasting significance.

    Alt

    * Copies of the new issue of Classic Rock can be purchased online from Magazines Direct

    * Classic Rock is on sale in the UK in shops such as supermarkets and newsagents.

    * In North America, Classic Rock is available in branches of Barnes & Noble and Books-A-Million, although new issues do not go on sale until a couple of weeks after they’re published in the UK.

    * An easy option is to go digital. You can subscribe digitally from just £20.99 for six months. Individual issues and subscriptions are also from the Apple Store, Zinio, Readly, Press Reader and Pocketmags.

    * Save money by buying a physical subscription. UK and overseas subscriptions are available.