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As the singer wrapped up her Eternal Sunshine world tour this week, she was set to take a break after a whirlwind couple of years.

Tanks, music, skins a commander and more.

The post Avenged Sevenfold Partner With ‘World Of Tanks: Modern Armor’ For ‘Metal Fest’ Event appeared first on Theprp.com.

Interview: Worn Out @ ArcTanGent

Interviewed by Matt Noble

Cork outfit Worn Out chat with us at ArcTanGent Festival.

They discuss their time at the festival, why ArcTanGent is so special, touring with Kublai Khan and Knocked Loose, the Cork scene and future plans – including hopes of playing Damnation.

You can listen to the interview below, or jump over to any of the usual streaming services!

Youtube | Spotify | Apple Podcasts | Youtube Music

Check out all of our interviews on the usual podcast channels!

Youtube | Spotify | Apple Podcasts | Youtube Music

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Interview: Worn Out @ ArcTanGent appeared first on The Razor's Edge.

Interview: The Grey @ ArcTanGent

Interviewed by Matt Noble

At ArcTanGent, The Grey pop in for a chat.

We Discuss their set at the festival – including the guest appearances, how they craft their songs, working with Majestic Mountain records and so much more!

You can listen to the interview below, or jump over to any of the usual streaming services!

Youtube | Spotify | Apple Podcasts | Youtube Music

Check out all of our interviews on the usual podcast channels!

Youtube | Spotify | Apple Podcasts | Youtube Music

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Interview: The Grey @ ArcTanGent appeared first on The Razor's Edge.

A lament begins where ordinary speech reaches its limit. Across Irish and Scottish Gaelic traditions, keening gave bereavement a communal voice, allowing grief to rise through repeated cries, elongated vowels, and melodies that seemed to carry private anguish beyond the body. The old songs associated with death and departure seldom treated sorrow as an interruption to life. Loss belonged to the order of existence, and music provided the vessel through which the living could address the dead, the absent, and whatever might wait beyond sight.

Medieval mourning followed a similar impulse. The planctus, sung for fallen rulers, saints, biblical figures, and loved ones, placed grief inside solemn melodic forms whose restraint often intensified the pain they carried. Processions, bells, candles, veils, and liturgical voices gave sorrow a physical setting, surrounding the bereaved with symbols when language had become inadequate. Centuries later, synthesizers can occupy the place once held by the drone, organ, and tolling bell, while the human voice still performs its oldest work: calling into the silence left by another person.

TVAM and Los Angeles synth-pop artist Riki enter that ancient territory with The Sorrow, their new collaboration released through TVAM’s Psychic Data label. Created remotely between Manchester and Los Angeles, the song turns love and loss into an ethereal goth dirge steeped in dark magic, medieval folklore, ecclesiastical grandeur, and the terrible intimacy of heartbreak and bereavement.

Low, sustained synthesizers open the recording with the sensation of fog rolling through a churchyard, slowly revealing a deep, buzzing organ tone beneath them. Delicate notes follow, somewhere between a kalimba and vibraphone, their chiming quality lending the arrangement an antique, almost ceremonial character. A broad sweep of synthesizers then rises with the severe beauty associated with Dead Can Dance, while the revolving drumbeat gives the piece the measured pace of a funeral procession.

Riki sings in a medieval, liturgical register, stretching her voice into phrases whose words remain difficult to distinguish while their meaning feels unmistakable. Her performance moves beyond conventional synth-pop phrasing into something closer to invocation, with each ascending line carrying another measure of anguish. Voice, percussion, organ, and chiming motifs pass over the senses in successive waves, layering sorrow like lace across a mourner’s veil. The Sorrow may be the deepest either artist has ventured into ethereal goth, and their shared instincts make the descent feel entirely natural.

TVAM’s Joe Oxley remembers the moment the collaboration found its form:

“It’s rare to find those moments when two artists can connect on something and it just seems to fall into place. It happened as soon as I dropped Riki’s vocal into the mix and the piece came alive.”

The accompanying visualizer places the song inside the unstable glow of an aging television. Distorted monochrome faces, veiled figures, clasped hands, stone reliefs, and indistinct landscapes appear through scan lines and buckling interference, as though fragments of a damaged medieval archive were being transmitted from an abandoned chapel. Pale blue-grey images occasionally give way to bruised reds, while figures stretch, double, and dissolve beneath rolling bands of static. The imagery functions as a distressed electronic reliquary, holding traces of devotion and death that seem perpetually on the verge of disappearing.

Watch the visualizer for The Sorrow below:

Liverpool dark electronic outfit Those Holy, who joined TVAM during the Ruins tour earlier this year, push the song into an even more severe form on the B-side remix. Oxley recalls:

“They played with us on the Ruins tour earlier in the year a just blew me away. They’ve got their own sound, really dark and intense but with these fragile moments which mess with your head.”

For TVAM, The Sorrow follows Ruins, his third full-length album and the successor to 2022’s High Art Lite. Released through Invada Records in February, Ruins was shaped by grief, reflection, and personal transformation, with songs including Powder Blue, In Memory, and The Haunted examining what remains after loss has altered the dimensions of daily life. That preoccupation leads directly into The Sorrow, where mourning assumes a more mythic and devotional scale.

Riki’s recent work has found her moving between solo material and carefully chosen collaborations. In March 2025, she released the two-song Pulser single, pairing its title track with Devil Games. Two months later, she joined Mareux for Ébène Fumé, a romantic duet featured on his album Nonstop Romance. Her work with TVAM draws out another dimension of her voice, replacing the poised movement of her Italo and new-wave material with the grave sweep of sacred song.

TVAM first gained wider attention with his 2018 debut album, Psychic Data, recorded in a small bedroom studio in Wigan. From the slogans of Porsche Majeure to the political unease of Semantics, Joe Oxley developed a body of work concerned with media saturation, cultural memory, and the images through which modern life understands itself. His music has since received daytime support from BBC Radio 6 Music and appeared in television productions including Succession.

Riki established her solo identity with 2020’s self-titled debut before widening her emotional and stylistic reach on 2021’s Gold, both released through Dais Records. Her combination of European new wave, Italo disco, art-pop, and dramatic stage performance has always carried a strong visual sensibility. On The Sorrow, that theatrical command becomes almost ecclesiastical, suited to a song that regards heartbreak through the distance of centuries.

The Sorrow was composed by TVAM and Riki, mixed by Joseph M. A. Oxley, and mastered by Dean Honer of I Monster and The Moonlandingz. The release is available digitally through the DSP smartlink and as a hand-numbered, two-track “Blood is Thicker” cassette limited to 100 copies.

Copies numbered 1 through 25 are available exclusively in a limited bundle containing the cassette and a The Sorrow T-shirt. The remaining hand-numbered copies, 26 through 100, are offered separately. The cassette places the original collaboration on the A-side and the Those Holy remix on the B-side.

Listen to The Sorrow and the Those Holy remix below or via the streaming service of your choice, and order the limited-edition cassette or T-shirt bundle here.

Follow TVAM:

• tvamindustries.com
• Facebook
• Instagram
• YouTube
• Bandcamp

Follow Riki:

• Facebook
• Instagram
• Bandcamp
• LinkTree

The post TVAM and Riki Invoke Ancient Magic, Heartbreak, and Timeless Love in Ethereal Goth Dirge “The Sorrow” appeared first on Post-Punk.com.

Oakland’s Samuelito Cruz has been intermittently cranking out lo-fi guitar-pop as Toner for over a decade now, and these days he’s doing it for the esteemed Smoking Room label. Toner will soon follow up 2023’s God’s Hammer EP with the new album Dynasty House, the fourth Toner LP and the first in five years. There’s no album art or pre-order link yet, but we do have some music to whet our appetities.

The post Toner Announces New Album <em>Dynasty House</em>: Hear “Cleo” appeared first on Stereogum.

Elon Musk, the richest and arguably shittiest man on the planet, is the subject of Musk, a new epic-length documentary from Alex Gibney, a filmmaker who won an Oscar for 2005’s Enron: The Smartest Guys In The Room and whose other works include Going Clear: Scientology And The Prison Of Belief and The Inventor: Out For Blood In Silicon Valley. Musk is 235 minutes long, and Gibney calls it a “definitive and unvarnished examination” of the man. Musk himself has already called it a “hit piece.” I hope it is! The film will include a new David Byrne song that’s apparently made up of nothing but Elon Musk quotations.

The post David Byrne Wrote A Song Using Only Elon Musk Quotes For “Scathing” New Documentary appeared first on Stereogum.

The band will serve as the game’s latest DLC team.

The post GWAR Headed To ‘Mutant Football League 2’ Via ‘Antarctica Scumdogs’ DLC appeared first on Theprp.com.

The band's Kevn Kinney tells UCR about their latest album and also, shares his thoughts regarding an ongoing tribute to his music. Continue reading…

Our list of 20 songs that only those of us who grew up in the seventies will remember fits in perfectly with other types of lists that prove if you didn’t grow up in the seventies, you probably would have no idea what a Pet Rock was, what the Have a Nice Day smiley face meant, or why phrases like “Danger, Will Robinson!” still make us laugh. Although that last one originated in the 1960s, many of us watched Lost in Space in syndication after school throughout the 1970s. Of course, there are countless things in pop culture that people

The post 20 Songs Only Those Who Grew Up In The 70s Remember appeared first on ClassicRockHistory.com.