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  • IRON MAIDEN Announces Run For Your Lives Tour – North America 2027

    From Iron Maiden Facebook:

    Iron Maiden announce a surprise third and final leg of the Run For Your Lives Tour for North America in 2027!

    Following sold-out shows and rave reactions across Canada and the USA this year, the Run For Your Lives Tour will return for 16 more shows.

    Special guests Bullet For My Valentine and The Raven Age will be joining Iron Maiden for the headline shows.

    RUN FOR YOUR LIVES NORTH AMERICAN TOUR 2027:

    APRIL
    14 – Tacoma, WA
    16 – Vancouver, BC (Canada)
    18 – Portland, OR
    20 – Wheatland, CA
    22 – Chula Vista, CA
    24 – San Bernardino, CA
    26 – Phoenix, AZ
    28 – Dallas, TX

    MAY
    01 – Tampa, FL
    02 – West Palm Beach, FL
    05 – Atlanta, GA
    07 – Raleigh, NC
    09 – Hartford, CT
    11 – Belmont Park, NY
    14 – Columbus, OH – Sonic Temple*
    16 – Ocean City, MD – Boardwalk Rock*

    *Festivals – Iron Maiden only

    Tickets for headline shows go on general sale Friday 23 October 2026. For festival onsales, please check their respective websites.

    Steve comments, “As many of our fans know, Maiden were planning on taking a break from live performances in 2027, but we’ve been enjoying this last leg in the USA and Canada so much that we all had a chat and decided we should take the show to parts we missed, particularly the North West and South East. It just seems fair to our many fans there who have given us tremendous support for so many years. We can’t get everywhere but we can try!”

    More information and IMFC presale details at https://www.ironmaiden.com/

  • Two Nights at Saint Vitus, the Metal Mecca of Brooklyn

    Over two nights at Saint Vitus, the newly reopened venue, generations of metalheads made their pilgrimage.
  • Live Review: Don Broco – Nowrich

    Live Review: Don Broco – UEA, Nowrich

    10th October 2026
    Support: Unpleople, Ando San
    Words & Photos: Tom Atkin

    We’re at the legendary UEA tonight for a triumphant return by Don Broco, the first show of a sold out tour and for a band that has ties to the venue in its history. The line up has some incredible variety, with Ando San and Unpeople providing support, all three acts bring something completely different to the table but in a way that makes it an interesting but not frowned upon combination. 

    Opening the evening’s cocktail of music is California”s own Ando San, an artist that is hard to define genre wise. He brings astounding hip hop inspired vocals beautifully mixed with guitar work that would make Tom Morello proud. It certainly is an interesting mix and a brave one to open a show with. That being said, with how the crowd reacted to the music. It was most certainly a risk worth taking. 

    The one thing that stood out; this wasn”t normal guitar playing, it was in essence slap guitar. With songs like “Dash Out” truely showing off the technical ability of his playing and gloriously mixing in metal inspired riffs with the hip hop vocal influence that he has perfected.
    It is a mostly simple performance, not much in the way of moving about the stage, but when you have all the focus on the mash up that Ando San brings, you do not need the additional flare of dancing about. A wonderful introduction to an artist that has created a new genre bend. 

    Unpeople are riding high, with their debut album released just the day prior, and their continuous online growth gives us a little peak into what they have in store. A nice introduction to the album for those that hadn’t had the opportunity to give it a listen yet. 

    Starting the set with “waste”, “bottle it” and “Moon Baboon” gave a glimpse into the heavier side. Unpeople’s ability to balance both their meaty riffs and smooth melodies is what probably draws in such a variety of people. The performance shows that they are an exceptional fit for this tour, with enough in common with Don Broco to appeal to their fans while still offering something of their own. Seven songs only give you a taste of a band, but there was plenty here to encourage a closer listen.

    Conjurer’s Brady Deeprose joined them for “clouds”, before “The Garden” rounded things off. With their debut album only released the day before, the timing couldn”t have been much better. Anyone wanting to hear more had a whole record waiting for them.

    There is a local connection for headliners Don Broco, with guitarist Simon Delaney returning to the university where he once studied. Playing the LCR with Don Broco must be a rather different way to spend an evening at UEA than it was during his student days.

    They opened their eighteen-song set with “True Believers”, followed by “Nightmare Tripping” and “Gumshield”. The new album featured heavily, but there was still plenty of room for older material. “Come Out to LA” arrived early on, with “Somersaults”, “Money Power Fame” and “Everybody” following.

    It was a good reminder of just how many songs they now have to choose from. They could easily fill a set with the familiar favourites, so it was good to see them giving the newer tracks a proper place throughout the evening. There’s also something very Don Broco about putting a huge riff alongside a chorus that could happily live in your head for days. They’ve never seemed particularly interested in sticking to one sound, and that”s a large part of their appeal.

    Rob Damiani is the obvious focal point, but Simon Delaney, Tom Doyle and Matt Donnelly are just as much a part of what makes this band work. There”s a playful side to Don Broco that suits their music, even when the songs themselves take a more serious turn. For all the heavier material, having fun remains a big part of the attraction.

    “Swimming Pools” and “Euphoria” took things into the middle of the set, followed by a return to “Automatic” with “What You Do to Me”. The older songs were spread throughout the evening, giving long-standing fans plenty to look forward to between the newer tracks.

    “Disappear”, “Bruce Willis” and “Uber” followed, with “One True Prince” offering a change of mood later on. Having that range helps keep a set interesting. There’s room for something a little more expansive before getting back to the heavier side of things, without either feeling out of place.

    “Cellophane” and “The Corner” brought the main stretch towards its end, leaving “T-Shirt Song” and “Hype Man” to finish the evening. It”s hard to argue with “T-Shirt Song” that late in the set, while closing on “Hype Man” gave the final word to the new record.

    There was plenty to get stuck into across all three acts. Ando San brought something different to the opening slot, unpeople gave a useful introduction to their newly released debut, and Don Broco found room for both recent material and songs that have been part of their sets for years. A good bill to arrive early for, and two support acts worth following beyond this tour.

    Photo credits: Tom Atkin

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

    The post Live Review: Don Broco – Nowrich appeared first on The Razor's Edge.

  • Live Gallery: Don Broco – Norwich

    Live Gallery: Don Broco – UEA, Norwich

    10th October 2026
    Support: Unpeople, Ando San
    Photos: Tom Atkin

    We look back at the epic Don Broco show through the eyes of our photographer Tom Atkin!

    Don Broco

    Unpeople

    Ando San

    Photo credits: Tom Atkin

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

    The post Live Gallery: Don Broco – Norwich appeared first on The Razor's Edge.

  • To the Grave – Liberation Front Review

    “Subtle” is not a word that comes up very often when discussing deathcore. To a greater or lesser extent, roughly proportionate to the volume of brutality and rage it borrows from its respective parents and beyond, it’s a genre defined by its bluntness. It’s thus unsurprising, yet satisfying, to see To the Grave continue to use the medium to channel their unapologetic vitriol for humanity’s mass torturing and murdering of non-human animals. It’s unignorable, and has only gotten angrier and more violent. The artwork follows the same trajectory: after a gory but tongue-in-cheek break on Everyone’s A Murderer, Liberation Front picks right back up where Director’s Cuts left off—a slaughterhouse wheelbarrow of heads, real gore now front and centre and yet still a negligible fraction compared to what we don’t see. Their fifth LP, it’s To the Grave’s most misanthropic and appropriately visceral work to date, all grounded in the true horrors of human cruelty.

    Liberation Front is punishing in every sense. To the Grave have accelerated their drift into the chonkier, uglier side of deathcore, and it makes for a natural conduit for their now depleted patience. The groove that once propped up anthemic choruses now more often feels like a beating than a bounce: clubbing you into submission with vile breakdowns, shaking you up with grindy blasts, slicing into you with particularly acerbic, rhythmically-delivered lyrics. The driving force of the music is its nihilistic rage, borne out in its crushing relentlessness of beating rhythms and refrains roared in your face. Humanity’s time is up, and the only redemption comes in a bloodbath; as opener “MEAT THE HUMANS” puts it, “Can’t make you care//can’t make you fucking get it.//But I can make sure you don’t make it.” Even the track titles being in all-caps, though a tad played-out, indicates the raw fury. The group have selected the bluntest, heaviest weapons to inflict as much damage as possible, doing away with any mincing of words1 in favour of making mincemeat out of their listeners; the result is an unfiltered but thoroughly enjoyable bloodbath.

    To the Grave have successfully distilled their righteous anger into aural form, and it sounds fantastic (and horrifying). Churning syncopation (“MEAT THE HUMANS,” “THE WORLD IS A SLAUGHTERHOUSE.”) and straightforwardly headbangable or otherwise madly infectious grooves (“NAIL MARY,” “YOU KNOW THE DRILL,” “LIFE AMONG THE SEPTICS”) make for more hooks than an industrial slaughterhouse, while sudden bursts of urgent melody inject you with a shot of adrenaline or dread at just the right moments (“CALF SLICER,” “LIMB FROM LAMB”). Possibly, all are happening at once, as in my personal favourite “YOU KNOW THE DRILL,” which went straight to my Heavy Moves Heavy and SOTY playlists without a second thought. Dane Evans’ vocals have made leaps and bounds even since EaM, and his fluctuations between gut-twisting gutturals and roars are themselves compelling enough, without the addition of blood-curdling shrieks (“EYESTALK ABLATIONS,” “CALF SLICER”, “LIMB FROM LAMB”) and group roars or screams to hammer home some stupidly catchy line (“MEAT THE HUMANS,” “NAIL MARY,” “TORTURE PORN,” “YOU KNOW THE DRILL”). And whilst being a fun listen, To the Grave keep the real horror underlying everything close to the surface—take the distorted scream at the end of “CALF SLICER” that takes the notion of “deathcore pig squeals” to a totally new level,2 and the sample that dominates “TERRORFIRE.”

    I love Liberation Front, but I’ll concede that a sympathy with the cause helps a lot. Being in the position I am, the music—lyrics included—is cathartic, and the unadulterated meanness and nihilism feel like a release. Mileage may vary, therefore, for non-vegans whose sensibilities might cause the above to sit awkwardly,3 even though I don’t fault To the Grave for loudly standing up for the animals and exorcising their demons. Ideological points aside, I can fault Liberation Front for its mix, which, while appropriately crushed for the slammier, more br00tal aspect of the sound, doesn’t allow one to properly appreciate those elements of atmosphere and melody, however brief. I’m also not sold by the sudden and short-lived veer into a hardcore shout on “THE WORLD IS A SLAUGHTERHOUSE.” Finally, the skew of melodicism towards the back end feels a bit odd, even if designed to illustrate the growing visibility of the pain and sorrow for the victims underneath the vitriol.

    To the Grave haven’t broken uncharted musical ground, but their musical and conceptual no-holds-barred approach is insidiously easy to get behind. Liberation Front is a jolt of passion and inexorable punch, and it’s the furious voice of a chainsaw-wielding (anti-)hero that your gym session—and importantly the animals—definitely need.


    Rating: Very Good
    DR: Probably not very high | Format Reviewed: Stream from your local slaughterhouse
    Label: BLKIIBLK
    Websites: Official | Facebook
    Releases Worldwide: October 2nd, 2026

    The post To the Grave – Liberation Front Review appeared first on Angry Metal Guy.

  • Fading Light – New Song & Lyric Streaming

    In wake of their The Spell Of A New Dawn album release, due on November 13th via Apostasy Records, Fading Light offer in listening the second single called “Poltergeist”.
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  • Book Of Wyrms – Announce LP Release

    On December 11th 2026, Virgina-based psychedelic stoner doomers Book Of Wyrms will unleash their fourth studio album dubbed Megacelestial. Along disclosed details, the band also present the album’s second single “Proficient Dreamer”.
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  • Osyron – Deliver ‘Telos’ Single

    Canadian progressive metal collective Osyron has released a music video for “Telos”, the newest single taken from their upcoming self-titled long player.
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  • Review EIVØR “Tungl”

    No guitar firepower. No screams or shouted vocals. So, is Eivør really relevant to Markus’ Heavy Music Blog? Absolutely. Especially considering that the Faroese artist has already shared stages with the heavier side of the music world, including appearances at festivals such as Wacken and Hellfest. For anyone who hasn’t come across Eivør before, here’s… Continue Reading →
  • Nervosa – Cancel Upcoming UK Tour

    Brazilian thrashers Nervosa were forced to cancel the upcoming November tour across the United Kingdom, supporting Xentrix, due to Prika Amaral’s health issues.
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