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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.

The post Album Review: Wolves In The Throne Room – Estuary appeared first on The Razor's Edge.

Parker McCollum emerged from the Texas country scene with a voice that could deliver a bruised-heart ballad as convincingly as a loud, guitar-driven country rocker. Born in Conroe, Texas, McCollum began writing songs as a teenager and built an independent following through performances around the state. His early music drew on traditional country, Americana, Texas songwriting, and the influence of rock music, giving his songs a combination of polish and rough edges that connected with fans. His first EP, A Red Town View, arrived in 2013, followed by the full-length debut The Limestone Kid in 2015. With Probably Wrong in

The post Complete List Of Parker McCollum Songs From A to Z appeared first on ClassicRockHistory.com.

During my recent conversation with Heidi Shepherd, one word surfaced repeatedly while discussing the new Butcher Babies album, Nightbloom. Survival.

Butcher Babies – Nightbloom

Release Date: Out Now

Words: Rhys Tagg

Heidi Shepherd explained that the record was focused on what comes after suffering rather than the suffering itself. Described as “a love letter to my past”, Nightbloom draws from heartbreak, uncertainty and deeply personal experiences.

Opening the album is Lost In Your Touch, one of the singles released ahead of Nightbloom. The opening moments carry some of the aggression longtime fans will recognise immediately, but there is a stronger emphasis on melody this time around, and overall the record is more radio-friendly and heavily produced. 

The chorus does much of the heavy lifting. The guitars hit with force, while the vocal hook lingers once the track finishes. Anyone coming to Nightbloom expecting the relentless attack of the band’s earlier records may need a little time to adjust.

That becomes even more apparent on Sincerity. For me, this is where the album really starts to reveal itself. The soaring vocals showcase a cleaner side of Shepherd’s voice that often sits in the shadows behind the band’s heavier reputation. There is still plenty of weight here, but the song succeeds because it gives the melody room to breathe.

With Carla Harvey no longer part of the line-up, there was always going to be curiosity around how Butcher Babies would sound as a single-vocalist outfit. Credit to Shepherd, she never sounds uncomfortable carrying that responsibility. Nightbloom gives her more freedom to explore different approaches across the record than ever before.

Howard Benson’s production helps to strike somewhat of a balance, but at times it can be overkill. Overall, the album sounds modern, and there is still enough grit in the guitars to stop the heavier moments from losing their edge.

Not every experiment lands equally well, as some of the electronic flourishes are more effective on certain songs than others. Broken & Beautiful benefits from its electronic opening because it immediately grabs attention and establishes its own identity. Are You Waiting Up arrives at exactly the right moment in the running order, slowing the pace and allowing the record some breathing room.

Black Clouds Over Georgia caught my attention for different reasons. The heavy electronic introduction initially points one way before Shepherd’s vocal performance takes the song somewhere else entirely. The Southern flavour in her delivery gives the track a distinct personality with her heavy enunciation.

Lyrically, the strongest material arrives late in the album. I found myself returning to Leaving California more than any other song here. There is a tension running through the track, caught between letting go and holding on. The chorus is huge, the emotion feels earned, and by the time it reaches its conclusion, it is easy to understand why listeners may gravitate towards it.

If Nightbloom has an overarching anthem, this is probably it, though critically it does suffer from the aforementioned production and radio-ready leaning.

The album closes with Black Dove, which likely offers the most familiar-sounding track of the lot. After some of the stylistic detours elsewhere, it provides a reminder that the band’s heavier instincts remain.

Nightbloom will almost certainly divide opinion among sections of the fanbase and wider audience. Some listeners will undoubtedly miss the full-throttle aggression and dual vocals that defined earlier releases.

Others will welcome the increased focus on melody and songwriting.

Either way, Butcher Babies sound comfortable in the space they have created for themselves here, and that confidence carries the album a long way.

Butcher Babies released their new album, NIGHTBLOOM, on 2 October 2026 via Judge & Jury Records. For more details, visit ffm.to/nightbloom. The album single Blame It On The Wind has already surpassed one million Spotify streams.