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Boxset Review: Satan – Out Of The Fire 1981-1985

Reviewed by NAME

With a band name like SATAN, you would be easily forgiven for thinking that musically you had a black metal band on your hands, and not a NWOBHM band, as was the reality, although the perhaps misnomer was the cause of many a band name change in the future. The 4 CD boxset ‘Out of the Fire’ is a dream of a package for fans of the North East of England band, covering their origins and formative years, with two full length albums and a plethora of demos and bonus material.

Starting with CD 1 is the classic debut album ‘Court in the Act’, an album well ahead of its time, so much so that it probably didn’t have the impact it should have, the songs were driven by the highly innovative guitar duo of Russ Tippins and Steve Ramsey, with razor sharp riffs, amazing melodies and intricate harmonies. A solid rhythm section of Graeme English on bass and drummer Sean Taylor, all topped off with the unique vocals of Brian Ross. The album these days is seen as hugely influential with the songs not only being firmly rooted in classic heavy metal, but bringing in elements of speed, thrash and touches of power metal, and the song writing in general was a cut above the majority of other bands from the time, with the likes of “Trial by Fire” and the atmospheric “Alone in the Dock” being standout numbers. This version also adds 3 bonus tracks, two original outtakes and a remix of “Break Free”.

CD 2 is a real delight for completists as it contains the pre-Court in the Act single “Kiss of Death” plus B-side and the bands early ‘Into the Fire’ and original ‘Guardian’ demos, together with some early live tracks. These early tracks are quite rough and ready and original vocalist Trevor Robinson who although decent enough was perhaps a bit too rough around the edges, but it’s  great to listen to see how the band developed from these early recordings. CD 3 is a complete blistering live performance from a 1983 gig from the Dynamo Club, Eindhoven, with live renditions of the majority of the debut album tracks, together with demos, and is performed with much gusto and enthusiasm, the sound isn’t brilliant but is still a very enjoyable listen.

Perhaps the most interesting of the four discs is CD 4, which is the one and only full-length album by BLIND FURY, which has become quite difficult to get hold of in physical form, and is basically SATAN minus vocalist Brian Ross, who is replaced by Lou Taylor, the band had also become fed-up of being associated with more extreme bands and chose to use a less controversial moniker which happened to be the old name of Taylor’s previous and now dissolved band, BLIND FURY. As an aside, such is the complexity of the SATAN name saga, they also went under the name of PARIAH for three albums in the late ‘80s, that the inlay of this collection provides a nice family tree of all the different iterations together with associated member bands. Taylor’s style isn’t a million miles away from Ross’, but does go for a more grandiose and American style, and lacks some of the latter’s charisma, musically the band tread similar ground, but perhaps lean more into those power metal stylings, with the songs in general being a little bit less complex and busy than the debut, while lyrically the subject matter is a bit less serious with titles like  “Do it Loud” and “Contact Rock and Roll’. There is still plenty of great riffing though with the likes of ‘Evil Eyes” and “Out of Reach” while “Dance of the Crimson Lady Part 1” is something completely different, being a moody semi-ballad with some epic songwriting.

Overall, this is a great package for fans of the band but is also a good place to start for newbies, with lots of material and a very informative inlay booklet with interviews with all the band members. As someone who has become a fan relatively recently, I can’t recommend their 21^st century reformation material highly enough, I found this release both educational and highly entertaining. A highly recommended Box Set.

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

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Faroese visionary artist Eivør has released her stunning new album Tungl yesterday, 16th October, through Nuclear Blast Records.

Eivør comments: “The song is about a faint memory that still lingers, almost like a dream. I remember looking up at the moon in the dark sky when I was little, wondering why it always looked so sad. I would imagine all sorts of reasons, and my imagination would just wander off.

“The music video for this track was created by the incredible Gwenaël Akira. I just love how he understands my music in such a visual way and how he manages to capture the raw emotions, nature and a distorted dream like reality that captures the essence of this song beautifully.”

Tungl is available in the following formats:

• CD Jewelcase
• Digipack – Artist Exclusive
• 1LP gatefold (crystal clear vinyl)
• 1LP gatefold (white & black marbled vinyl) – Nuclear Blast & Independent Stores
• 1LP gatefold (transparent & black marbled vinyl) + 7″ bonus vinyl – Artist Exclusive

Whether you’re already embedded in Eivør’s ever-expanding world or yet to fall under its spell, Tungl is a far-reaching journey of discovery.

Tungl – a Faroese word for ‘moon’ – sees Eivør reach further into elemental realms than ever before. Immersive, unmoored and steeped in a sense of time-stretched drama where familiar marker points give way as an inner compass emerges over its 10 searching tracks, it’s an album also in tune with a very contemporary need for navigation, self-belief and rejuvenation in the most uncertain of times.

Eivør has spent the summer performing across Europe, presenting a select number of headline concerts and appearing at leading festivals including Paléo Festival, Brutal Assault and Summer Breeze. She has two summer performances left, at ArcTanGent (UK) and Sun and Thunder Festival (Spain).

To celebrate the release of Tungl, Eivør will present three special album release concerts this October. Eivør will be playing two consecutive nights at Nordic House in Tórshavn, Faroe Islands, before she returns to Harpa’s Eldborg Hall in Reykjavík, Iceland, on 23rd October for a unique performance featuring special guest musicians in one of the Nordic region’s most iconic concert halls. These intimate events will offer audiences a rare opportunity to experience Tungl performed in a special setting before Eivør embarks on her extensive international tour.

Eivør will also be undertaking an extensive headline tour across North America later this year, and across Europe and the UK into 2027. For a list of dates and to get tickets please check here.

Order Tungl here.

For over two decades, Faroese artist Eivør has been regarded as one of the most bewitching and fearless voices to have emerged from the Nordic music scene. Ranging across rock, pop noir, jazz and folk to electronica over the course of 11 solo albums, various collaborations, live albums and soundtrack work including The Last Kingdom, God of War, and God of War Ragnarök, her musical path has revealed both a restless, explorative spirit and a singer deeply connected to her Faroese roots, earning her the Nordic Council Music Prize along the way.

It’s a testament to the singular yet universal nature of her music that her fanbase has grown to include metalheads and the Norse pagan folk scene – for whom her startling voice, hide drum and throat-chant incantation, Trøllabundin, has become an unofficial anthem – as well as the mainstream, all instinctively understanding that music coming from a place of true authenticity knows no boundaries.

If Eivør’s last album, Enn, marked the beginning of a darker, more atmospheric phase, her forthcoming release, Tungl and her first for the powerhouse German metal label Nuclear Blast, sees her reach further into elemental realms than ever before. Immersive, unmoored and steeped in a sense of time-stretched drama where familiar marker points give way as an inner compass emerges over its 10 searching tracks, it’s an album also in tune with a very contemporary need for navigation, self-belief and rejuvenation in the most uncertain of times.

As Eivør herself says: “Tungl explores the ever-changing cycles of life – its songs move between moments of tenderness and heartache, love and loss, and the emotional tides that shape us. Like the moon that inspired its title, Tungl serves as a gentle guide through life’s darker passages, illuminating the beauty, resilience, and transformation found along the way.”

The post EIVØR Celebrates Album Release With New Video For “Og mánin græt / And The Moon Cried” appeared first on Sonic Perspectives.

Album Review: Forbidden – Forbidden

Reviewed by Rich Oliver

Back in the 1980’s, there were a lot of amazing thrash metal bands that emerged from the San Francisco Bay Area scene and in my opinion one of the best was Forbidden. They had a knack of being amazingly technical and beautifully melodic whilst managing to remain wonderfully fast and aggressive. They formed back in 1985 originally as Forbidden Evil before eventually shortening to just Forbidden in 1987 dropping two bona fide thrash classics with 1988’s “Forbidden Evil” and 1990’s “Twisted Into Form” – two of the best thrash metal albums ever recorded. When it came to the 1990’s, Forbidden fell into a trap that befell many other thrash metal acts during that era – the dreaded stylistic change with two albums of forays into the fashionable groove metal and alternative rock. After 1997’s “Green” album, Forbidden disbanded for many years eventually reforming in 2007 and dropping a new album “Omega Wave” in 2010 which was a welcome return back to a far more thrashing sound. This return did not endure however with the band splitting again in 2012 and everyone assumed that Forbidden were gone for good. However, the band reformed in 2023 performing a bunch of shows but also promising that new material was incoming. Now in 2026, we finally get the sixth album from Forbidden – the self-titled “Forbidden”.

This is a much anticipated return for Forbidden as the band’s recent live shows have proved there is a lot of fire burning in the band. Founding guitarist Craig Locicero and bassist Matt Camacho remain from the old days but the band have new/old blood in the line up with Chris Kontos (ex-Machine Head, ex-Attitude Adjustment) on the drums and Jeremy Von Epp (The Venting Machine) on guitars. Original vocalist Russ Anderson has retired from music but filling his massive shoes is the more than capable Norman Skinner (Hellscream, Skinner) who can nail the old stuff but also brings his own style to the new material on the album. So the big question is how does Forbidden sound in 2026?

With the setlists for the live shows being very much centred around their first two albums, there was massive hope for a full on thrash assault. If you expected “Forbidden Evil” or “Twisted Into Form” Part 2 then this album isn’t going to do it for you but if you are expecting an album that contains a bit of everything that Forbidden have done to date but also sounding like a contemporary thrash band then “Forbidden” will definitely leave you a happy listener. This isn’t an all guns blazing thrash album but it does definitely thrash hard but in a more restrained way. This is an album that has a ton of atmosphere as much as it has crushing riffs. The album opens with a trio of thrashers – ‘Single Point Failure’, ‘Burning The Lungs Of Earth’ and ‘Divided By Zero’ which have that old school Forbidden crunch with a contemporary twist. It is with ‘DCLXVI’ and ‘Psyclops’ that we start to see that there are going to be some different sounds on this album as the songs both pack a ton of groove and some chugging riffs as well as having a bit of a darker atmosphere. Following that is ‘Jinsei’ which is a mellow and atmospheric piece with some gentle vocals from Norman which is a bit of a waste of time and unnecessarily breaks up the flow of the album. Thankfully it is followed up by two hardened thrashers on the album – the crushing ‘Mutually Assured Dysfunction’ and the brilliant melodic and mid-paced ‘Sycophantasy’ which has a guest spot by Brann Dailor of Mastodon. The last chunk of the album is more forgettable with ‘The Burden’ and ‘Sol Grave’ being solid but ultimately rather forgettable but the album closes with its most experimental song ‘Flower Of Life (Chaos By Design)’ which is a full blown progressive thrash epic complete with piano, strings and atmosphere.

“Forbidden” is a a solid comeback album for the band. Much like its predecessor “Omega Wave”, it has some fantastic moments as well as some moments which feel more lacklustre and could have been left out but when this album hits the right spot, it really does slay. The drumming from Chris is killer and the guitar work from Craig and Jeremy is killer with some truly magnificent riffs and solos. Norman does a fantastic job on vocals channelling the mighty Russ Anderson at times but also putting his own stamp on things with a far more aggressive and snarling style which matches the darker tone of the album.

As said previously, “Forbidden” isn’t a straightforward thrasher. Throughout the album, you will hear elements of groove metal, traditional heavy metal, power metal and progressive metal. This will no doubt disappoint the old schoolers but it isn’t 1990 anymore and although it isn’t perfect, “Forbidden” is a fitting return for the band and as they said themselves this “isn’t merely a revival for the quintet, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution”. Highlights include ‘Single Point Failure’, ‘Burning The Lungs Of Earth’, ‘Mutually Assured Dysfunction’ and ‘Sycophantasy’.

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

The post Album Review: Forbidden – Forbidden appeared first on The Razor's Edge.

Live Review: John 5 – The Live Rooms, Chester

15th October 2026
Support: Dan Byrne
Words: Matthew Williams
Photos: Tom Atkin

As the nights turn a bit darker, it was a wet, miserable drive over to Chester to visit The Live Rooms, a great little venue opposite the train station. This John 5 gig has originally been scheduled for back in May, but the masses has turned up tonight, to worship at the feet of their guitar hero.

As back in May, the support act was once again Liverpudlian Dan Byrne, so this was almost a hometown gig for him. Having released his debut album “This is Where the Show Begins” earlier in the year, most songs are from this and he kicks off with “Saviour”. He’s got a strong, soulful voice and the classic rock theme continues during “Like Animals” and “She’s the Devil”.

There are some slower moments, during “Pulling Me Under” and he thanks the crowd “for keeping this scene alive” before the heavier “Hate Me”. There’s a few clap along moments with the crowd, as he interacts well, but I wish he’d introduced the musicians, instead of just saying “my band” as they are integral to what he does. It ends with “Death of Me” which was “the first song I ever wrote” and he holds a few powerful notes before wrapping up.

To alleviate some of the crowding downstairs, the venue opened the balcony, so more people could see John 5 perform and after a delayed start, drummer Alejandro Mercado started off the set before the versatile guitarist appears. Starting with the heavy “Seasons of the Witch” a plethora of phones start filming as the fret tapping skills are on full display.

Having played alongside and toured with Marilyn Manson, Rob Zombie and Motley Crue, smaller venues like this must seem odd, but this is the lifeblood and he gives it everything to entertain us with his innovative instrumental songs. “The Ghost” is a slice of soloing heaven, but when he plays the first few notes of the cowboy inspired “Howdy” you can see beaming smiles and bodies swaying.

It also demonstrates how comfortable he is playing different styles of music, and the crowd lap it up. The fret work is undeniably impressive, if somewhat over the top on times, but he shreds those strings for around 75mins and the crowd are mesmerised. One of the highlights for me was the recognisable riffs of “Crank It” as he places a mask and wig on whilst playing, as the vocal hook reverberates across the room.

He gets a great response when playing a few chords from Queen’s “Crazy Little Thing Called Love” ahead of the anthemic “I am John 5” which the masses sing back to him. He turns his hand to a bit of bluesy rock with “You Me and the Devil Makes Three” before finally stepping up to the mic to say his first word, “hello” in a soft, hushed voice. His skills are on full display throughout and at one point his left hand was over the top of the fretboard pressing down on the strings, as he fret tapped away furiously, and he also plays the strings at the head of the guitar next to the tuning keys, to create more unique sounds.

He turns to another genre for “Moon Glow” as the jazzy notes flow from his fingertips, before going all heavy again during “The Black Grass Plague”. He then explained that the original date was cancelled because he had to appear on American Idol but was glad that “everyone showed up tonight, thank you” before playing a medley of Motley Crue songs, to leave the masses happy and fulfilled.

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.

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Live Review: Amon Amarth – O2 Apollo, Manchester

9th October 2026
Support: Soilwork, Orbit Culture
Words: Oli Gonzalez
Photos: Scott Clarke

It’s not easy for a band to stay relevant for well over two decades. It’s harder for a band to do that and be an icon for as long as Amon Amarth has. Then again there aren’t many bands like Amon Amarth! The Swedish Viking themed melodic death metal band stormed into the Manchester Apollo on the back of their 13th studio album “The Allfather Awakens”, which dropped exactly one week beforehand. Almost 7 years since their last appearance in this very same building too! The undercard was suitably stacked too with the fast rising Orbit Culture and accomplished veterans Soilwork in an all Swedish affair.

Arriving at Manchester Picadilly and seeing the train station littered with warriors in their black and leather band logo garments spoke to the popularity of tonight’s show and the expected crowd. 5.30pm doors seemed surprisingly early and the crowd snaking round the venue could have meant a long long ordeal in getting into the actual building, but to the Manchester Apollo’s credit they were efficient in managing this! Taking my place in the Circles and getting to see the action unfold whilst seated was a treat for my middled aged knees, though my heart really belonged down below. Time to settle and absorb the atmosphere before our opening act…

The lights went down and judging by the roar of the crowd, a healthy turn out at this early hour. Soilwork‘s initial sound felt remarkably clean, perhaps a little too clean and lacking that crucial low end thunder. Though that came, suddenly, with the kickdrum beginning to shift some serious air half way through the opening song. Then it felt complete, invoking that early 00s melodic death metal/metalcore sound they were amongst the innovators of back in the day. Perhaps best personified by the blast from the past that was ‘Distortion Sleep’.

Though they brought us back to the future with ‘Spirit of No Return’, which also captured that sound but injected a sharper modern edge and sense of urgency. ‘Death Divider’ got the biggest reaction…and no wonder with its blistering and infectious chorus and soaring lead guitar solo! The peak of the set that, with only one more track, felt way too short and ended once it was gaining momentum. No classics like

Where is the sky ceiling for Orbit Culture? Is there even a ceiling ? It seems like the young Swedish act can do no wrong, with their critically acclaimed “Death Above Life” album dropping almost exactly one year prior and really pushing the band into the consciousness of many a metalhead and growing their already respectable fanbase. They’re no strangers to the city of Manchester where a sizable fan base resides, having opened the Coop Arena for Trivium and graced Damnation Festival’s main stage in 2025. Which is likely why the place was so packed before they had even played a note, with a friend describing going for a pint ‘like a warzone’! Warzone could also describe the pits which erupted only 2 songs in! All the ingredients were there for this to happen. With frontman Niklas’ all commanding presence, whether it was his disruptive growls or infectious clean vocals, or the punishing riffs and grooves that really drove the band’s sound. A sound ridiculously mature and complex for a band so early in their career. Matched only by the production values you’d expect from a band 20 years their senior!

Three songs in and it was time for ‘Vultures Are Watching’, where the momentum really started to grow. Before it began running away like a freight train during ‘North Star Of Nija’. If anybody heard a huge explosion in central Manchester at roughly 8.10pm, it wasn’t an earthquake. It was Orbit Culture blasting out ‘Vultures Of The North’.

Though no matter what song they put out, it was a certified banger with the crowd guaranteed to know it in a superbly paced and executed set! It’s a matter of when, not if, Orbit Culture returns here as headliners!

The 40 minute change after Orbit Culture felt like an eternity! Though with the scale of production Amon Amarth bring to the stage, they needed all that time, even if we couldn’t see any of that stage being assembled from behind the vast curtain.

The lights went down and a good old sing-a-long in the shape of Iron Maiden’s ‘Run To The Hill’ made its way onto the PA, with the crowd almost certainly drowning it out during the chorus. Manchester was more than ready!

The PA went quiet. The curtain dropped. Johann Hegg and his four warriors took to the stage. No fancy walk ons. Just straight into ‘Gjallarhorn’. We could see why it took so long to put the stage together, with the sight of the twin serpent heads and the stelae stone pillars surrounding it speaking to Amon Amarth elite production values.

Was it too early for pyro? NEVER. Especially when it’s ‘War Of The Gods’, and going back to 2011 in the process! Or ‘Death In Fire’, taking us even further back into their discography! The old school feel continued with ‘Free Will Sacrifice’ and ‘Deceiver Of The Gods’, but the momentum never slowed, nor did the vast scale of production. As vast as the screen behind the band and the graphics that added so much cinematic depth.

Maybe it’s an unconscious bias, but new songs like ‘’The Allfather Awakens’ just didn’t hit the same level as some of these old school hits. But we needed a breather somewhere in the set.

Now this is pure bias now…’Hermod’s Ride To Hel’! 17 years I had waited to hear this live. Then finally it came. The story of Hermod travelling to Hel in an ultimately unsuccessful bid to free his brother, Baldr, was brought to life by vocalist Johann Hegg interacting with the shield maiden on the screen. Cinematic genius! Though they outdid themselves in the next song, as it was time to put your back into the oar. Seemed as good a time as any to start a viking row boat. Especially those of us who were seated.

“Smile, you’re on camera!”

We got a chance to be part of the show as the Manchester collective were projected onto the screen behind the band! Maybe time to retract the comment about the new songs not connecting?! Especially after witnessing the fully blown stadium level sing along that was ‘We Rule The Waves’.

The campfire was lit. You knew what time it was. ‘Upphaf’ The band’s very first acoustic only ballad! We were amongst the first to hear it live in the world. It was simply beautiful in a sinister way! A lot of effort to ship in all these acoustic guitars and props for one song but fair play to them!

Look, there are countless analogies that could be used to fill out this report. Let’s put it straight. Amon Amarth have simply outgrown 3500 cap arenas now.

The fact that a near two hour set just didn’t seem to be enough reinforces this too. A set that finished with the fan favourite ‘Twilight Of The Thundergod’.

They need to bring this show to the bigger arenas. They’re MORE than capable and ready! Amon Amarth headline show at the AO Arena 2028?

Photo credits: Scott Clarke

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

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Yes, Guns N’ Roses will rock Jakarta, Indonesia, for the third time. Their first visit was in 2012 at MEIS Ancol, promoted by Indika Production and LAMC Production. Their second visit took place in 2018 at the Gelora Bung Karno Main Stadium, promoted by TEM and Unusual Entertainment.

Now, MetalTalk Indonesia are excited as Guns N’ Roses will return for a third time when they play the Madya Gelora Bung Karno Stadium in Senayan, Jakarta, on 21 November 2026. This show is being presented by Bale by BTN, one of Indonesia’s top everyday banking apps, and promoted by Rajawali Indonesia.

Notably, this marks Rajawali’s first event featuring a major rock band of this magnitude, building on their extensive experience organising concerts for legendary rock and Metal acts in Indonesia such as Deep Purple, Scorpions, Whitesnake, Europe, Judas Priest, Dream Theatre, Bryan Adams, and others.

Rajawali Indonesia also possesses experience in organising rock festivals, notably Jogjarockarta. Last February, the promoter staged major concerts for Bryan Adams and Dream Theater just four days apart.

This visit marks the third time Guns N’ Roses will perform in Indonesia. The touring lineup consists of Axl Rose (vocals), Slash (guitar), Duff McKagan (bass), Dizzy Reed (keyboards), Richard Fortus (guitar), and Isaac Carpenter (drums). Melissa Reese (keyboards/synths) is taking a temporary hiatus from the tour in 2026 for personal reasons.

It has been reported that the band will be transporting approximately 40 tons of equipment and gear. The venue, Madya Stadium, has a total capacity of around 24,000 spectators, combining seated stands and the festival floor, and tickets for the VIP category as well as Tribune A and B sections have already sold out.

For the main artwork of the 2026 concert in Jakarta, the promoter is collaborating with Eko Nugroho, an internationally acclaimed artist from Yogyakarta. His work will be selected by the band to serve as the official artwork for the Indonesia show, in keeping with the band’s tradition of using unique artwork for each city on their tour.

Additionally, nine great and legendary Indonesian guitarists will join forces to deliver an exciting and impressive opening act for Guns N’ Roses. Among these guitarists are Ian Antono, Rhoma Irama, the undisputed king of Southeast Asian Dangdut music, Dewa Budjana, Eet Syahrani, and Pay.

Few tickets remain, so get in quickly, since Guns N’ Roses are performing in only two locations across Southeast Asia.

Live Gallery: Amon Amarth – The Halls, Wolverhampton

11th October 2026
Support: Soliwork, Orbit Culture
Photos: Scott Clarke

We look back at the epic Amon Amarth show through the eyes of our photographer Scott Clarke!

Amon Amarth

Orbit Culture

Soilwork

Photo credits: Scott Clarke

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: Amon Amarth – Wolverhampton appeared first on The Razor's Edge.

Madfish [Release date 17.10.26] The Sensational Alex Harvey Band were literally a sensation, and formed in Glasgow in 1972, combining blues and soul singer/ guitarist Alex Harvey and progressive/hard rock band Tear Gas. Alex had been active since the mid … Continue reading →

The post Album review: SENSATIONAL ALEX HARVEY BAND – Framed appeared first on Get Ready to ROCK!.

What can be said about Nicke Andersson that his back catalogue doesn’t already tell us? With a career spanning nearly four decades, Nicke Andersson has helped shape the sound of Swedish and international rock and metal, from his early days with Nihilist and Entombed to his work as co-founder, guitarist, and vocalist of The Hellacopters.

Now, he’s embarking on a new chapter with Sound Pollution, bringing his unmistakable songwriting and independent creative spirit to his first true solo album as Nicke Andersson and Nobody Else.

As one of Sweden’s most versatile and distinctive musicians, Nicke Andersson has never been content to rest on his accomplishments. After leaving Entombed in 1998 to focus on The Hellacopters, he continued exploring new musical territory through projects including The Hydromatics, The Solution, Death Breath, Imperial State Electric, and Lucifer, alongside extensive production work for other artists. Throughout it all, he’s followed his own instincts, creating music on his own terms rather than chasing trends or sticking to a single genre.

With Nicke Andersson and Nobody Else, that philosophy reaches a new level. For the first time, Nicke Andersson takes on every aspect of a solo record, performing every instrument and handling production himself. He has even taken charge of the artwork. The result is a deeply personal album shaped by decades of experience and a lifelong love of rock music, with songs that explore ambition, exhaustion, love, and identity with honesty and self-awareness.

The signing marks an exciting new chapter for one of Sweden’s most singular rock musicians, whose drive to create has remained constant throughout his career. With Nicke Andersson and Nobody Else, he steps into the spotlight entirely on his own terms.

The post Prolific Swedish Musician NICKE ANDERSSON AND NOBODY ELSE Officially Signs to Sound Pollution appeared first on Sonic Perspectives.

Album Review: Wolves In The Throne Room – Estuary

Reviewed by Oli Gonzalez

Winter is here, with the nights getting longer and colder. As good a time as any to check out one of the leading forces in the USA’s black metal scene, Wolves In The Throne Room (WITTR). See, WITTR will return to Europe this autumn and embark on a tour that will see them land at Samhain Maastricht as headliners, whilst also topping the bill for Damnation’s second stage! Before then, here’s a sneak preview of what we can expect from their latest full length effort “Estuary” which coincides with this tour.

The band haven’t made it easy for themselves, with huge releases like “Two Hunters” and “Crypt of Ancestral Knowledge” setting a standard for their legions of fans globally. Though what we have on “Estuary” is a reminder of why they’re such a respected name and revered force in the world of black metal!

See, the account is opened with the album’s title track. There’s something so relaxing and opulent yet gritty and bleak about this. That’s achieved through the dense layers of guitars sprinkled with a bit of magic from the synths, achieving a depth of atmosphere that hits the sweet spot between being immersive but not overwhelming. For the most part, the pace is more relaxed; you feel as though WITTR are resisting the urge to throw the kitchen sink at you and ease you in gently. Then it’s time. ‘Knights Of Tiamat’. The pace quickens, the drums become more frantic and there’s an undeniable sense of urgency now! Though within all this chaos, the lead guitars still add a melodic focal point and an indulgent celestial atmosphere to the music. With this becoming more apparent at around the 3 minute mark. After what feels like a brief moment of respite, all hell breaks loose with the most sadistic and gnarly lead guitar solos! The crescendo of the song no doubt.

The mood and dynamics shift to slow, introspective, and sludgey during the outset of ‘Foretold In Reflections’. Whereas Nathan is largely the voice of the band with his higher pitch shrieks one of the band’s more iconic features, here the rest of the band join in and lend more gravelly and lower growls into the vocal repertoire for the band. The band lean into a more darkened almost funeral doom feel for large parts of the song before fading away and allowing a more enchanting harp segment close the song!

‘The Orca Cliffs’ represents faster, more frantic movements for the song, interseeded with slower atmospheric and ambient segments. This pattern has always been central to WITTR’s sound, though the non-canonical song structures makes it difficult to predict what direction the band will take you in. This makes you feel constantly on guard and stimulated, rather than typical verse-chorus-verse style arrangements. No, WITTR are undisputed innovators for the genre. No doubt. “Estuary” represents the sound of a band more than comfortable in taking the path less travelled. We’re in for a real treat when they play songs from this fine effort in only a few weeks time!

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

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